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 Resource Type: Musical Score/Notation
 Language: English
 Collection: Virtual Music Rare Book Room
Proserpine; tragedie

Proserpine; tragedie

Date: 1680
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: With Proserpine, composer Jean-Baptiste Lully returned to his collaboration with librettist Philippe Quinault, which had been interrupted when the poet was banned from Court for offending Madame de Montespan (the king's mistress) with unflattering references in Isis. By 1679, Quinault had been restored to favor. Proserpine was first performed at St. Germain-en-Laye in February of 1680. Though seventeenth-century audiences were familiar with the story of Proserpine being carried off into Hades from numerous ballets and stage plays, Quinault returned to the source in Ovid's Metamorphoses to embellish the plot. In addition to details drawn from Ovid, Quinault added some of his own, making Proserpine among the most convoluted of Lully's operas. While the prologue alludes to King Louis XIV in the guise of Jupiter, the play itself refers specifically to the king's recent victories over the Spanish and Dutch when Jupiter battles and defeats the giants. Robert Isherwood notes that Jupiter's trip to Phrygia may represent Louis' inspection of Flanders after its defeat in 1679.
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The Theater of music

The Theater of music

Date: 1685
Creator: Playford, Henry, 1657-1710
Description: A note at the bottom of the final page reads, "In the Title Page of this Book, instead of Theorbo-Bass, read Thorow-Bass." Although this seems to suggest that chordal accompaniment should be used, bass lines are unfigured and meant for either a plucked or bowed string instrument per the suggestions on the title page. Three-part ritornelli are interspersed throughout this volume. All vocal lines (the top one of each system) use the treble clef. Only the text of the first stanza is underlaid; any subsequent stanzas are printed under the music.
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Rosamond

Rosamond

Date: 1707
Creator: Clayton, Thomas, 1673-1725
Description: This three-act opera is to a libretto by Joseph Addison. Content is printed only on the recto side of each leaf. The score features two title pages: the first, with an engraving and small print describing the contents; the second, with large font. The work opens with a three-part "symphony or overture" for an ensemble of unspecified instrumentation: two treble instruments and one bass instrument. The indication "with Violins" on some the songs suggests the nature of the high instruments. No figures are included on the bass line. All the songs are followed, on the same page, by a version of the vocal line for flute.
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Three Cantatas

Three Cantatas

Date: 1717
Creator: Hayden, George, d. 1722?
Description: It is upon this set of three Italianate cantatas - "Martillo," "Thyrsis and Neptune" and "Amymone" that Hayden's reputation mainly rests. The second and third works include unspecified obbligato instruments. Content is printed only on the recto of each leaf. The bass line contains no figuration.
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Harmonia Sacra

Harmonia Sacra

Date: 1730~
Creator: Purcell, Henry, 1659-1695
Description: This collection of six anthems for various combinations of voices employs a figured continuo accompaniment. Instrumental interludes labeled "symphonies" can also be found interspersed among the choral selections. Though the music cites no particular scriptural passages, the text seems inspired by - if not directly derived from - the Bible.
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Devil to pay: or, The wives metamorphos'd

Devil to pay: or, The wives metamorphos'd

Date: 1732
Creator: Coffey, Charles, d. 1745; Mottley, John, 1692-1750 & Jevon, Thomas, 1652-1688
Description: 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.
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Achilles. An opera.

Achilles. An opera.

Date: 1733
Creator: Gay, John, 1685-1732
Description: 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.
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Beggar's opera

Beggar's opera

Date: 1735
Creator: Pepusch, John Christopher, 1667-1752. & Gay, John, 1685-1732.
Description: 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.
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Ode on St. Cecilia's Day

Ode on St. Cecilia's Day

Date: 1736
Creator: Handel, George Frideric, 1685-1759.
Description: A sacred work for mixed chorus (SATB) with orchestra acc. (2 oboes, 2 violins, viola, and basso continuo). A contents index is given on p. 74. Plate no. 105.
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Judas Maccabaeus

Judas Maccabaeus

Date: 1740
Creator: Handel, George Frideric, 1685-1759.
Description: This is a [ca. 1740] score of Judas Maccabaeus, a sacred oratorio by Handel. It contains a table of songs for each of the three acts of the oratorio and a descriptive catalog of music composed by Handel, which includes: Italian operas, English oratorios as well as concertos, chamber music and transcription of vocal music for instruments. The performance forces include: vocal soloists (SATB or SATB), strings (violins, viola, violoncello and contra bass), oboes, traverse flute, and bassoon. It also includes figured bass for continuo playing. The names of singers (Gambarini, Galli, Reinhold, and Beard) appear at the heading of each aria. Page [73], incorrectly numbered 48, contains a keyboard march identified as: No.484 Marche.
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XII solos for a violin

XII solos for a violin

Date: 1740~
Creator: Corelli, Arcangelo, 1653-1713
Description: This English edition of Corelli's Op. 5 sonata for violin and continuo is, aside from an engraving of the composer and the title page, printed on both the recto and verso sides of the leaves. The bass line contains figures. A note by the publisher states: "These Solos are Printed from a curious Edition Publish'd at Rome by the Author."
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Acis and Galatea

Acis and Galatea

Date: 1743
Creator: Handel, George Frideric, 1685-1759.
Description: 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.
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Alexander's Feast or the Power of Musick.

Alexander's Feast or the Power of Musick.

Date: 1743
Creator: Handel, George Frideric, 1685-1759. & Dryden, John, 1631-1700.
Description: 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.
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Vocal Melody Book IV

Vocal Melody Book IV

Date: 1752
Creator: Arne, Thomas Augustine, 1710-1778
Description: This collection of songs from the pantomime "Harlequin Sorcerer" and the play "The Oracle" are scored for various voice types with obbligato instruments and basso continuo (with figured bass). A "Mrs. Cibber" is credited prominently on the title page. Some songs also have alternate parts for the solo line (conflating obbligato and vocal parts) for German flute (sometimes simply designated as "Flute").
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Artaxerxes. An English opera.

Artaxerxes. An English opera.

Date: 1763
Creator: Arne, Thomas Augustine, 1710-1778
Description: 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.
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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.

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.

Date: 1763
Creator: Arne, Thomas Augustine, 1710-1778 & Bickerstaff, Isaac, 1735-1812
Description: 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.
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Messiah

Messiah

Date: 1767
Creator: Handel, George Frideric, 1685-1759.
Description: This is the score of the first published edition of Handel's sacred oratorio, Messiah to the English text by the librettist Charles Jennens. It includes an engrave lithograph showing a portrait of Handel and musical instruments and mythological figures playing instruments. A list of subscribers before the content index includes the King, Queen [of England], His Royal Highness the Duke of York, His Royal Highness the Duke of Gloucester, His Royal Highness the Duke of Cumberland. The content index includes incipit of recitatives and arias of each part. New pagination starts after the end of the oratorio at page 188 for added music.
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Handel's songs, selected from his oratorios

Handel's songs, selected from his oratorios

Date: 1780
Creator: Handel, George Frideric, 1685-1759.
Description: This is the second of a five-volume anthology featuring 160 arias and songs from various oratorios by G. F. Handel. The vocal score contains musical selections arranged for 1-2 voices with unrealized figured bass intended for harpsichord (continuo), oboe, or flute accompaniment. The English text is printed between the treble and bass, or alto staves. A publisher's note in the t.p. announced the availability of instrumental parts are available separately for concerts. The table of content that follows after the t.p. indicates the titles of the oratorio from which the arias and songs were taken. The songs are numbered continuously from 81-160 paginated from 172-332.
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Thomas and Sally

Thomas and Sally

Date: 1782
Creator: Arne, Thomas Augustine, 1710-1778 & Bickerstaff, Isaac, 1735-1812
Description: 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).
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The Occasional : an Oratorio in Score Composed by Mr. Handel

The Occasional : an Oratorio in Score Composed by Mr. Handel

Date: 1784
Creator: Handel, George Frideric, 1685-1759
Description: A sacred oratorio for mixed chorus (SATB) and orchestra (2 violins, viola, "principale", 2 oboes, 2 trumpets, timpani, and continuo). The score includes a list of subscribers and an index for each of the three sections of the oratorio. The anthem "God save the King" is included on pp. 164-26, each page bearing an additional sequence number from 14-26.
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Handel's songs, selected from his oratorios

Handel's songs, selected from his oratorios

Date: 1785
Creator: Handel, George Frideric, 1685-1759.
Description: This is the third volume of a five-volume anthology featuring arias and songs from various oratorios by G. F. Handel. The vocal score contains musical selections arranged for 1-2 voices with unrealized figured bass intended for harpsichord (continuo), oboe, or flute accompaniment. The English text is printed between the treble and bass, or alto staves. A publisher's note on the t.p. announced the availability of instrumental parts sold separately. The table of content indicates the oratorio from which the arias and songs were taken. The songs are numbered continuously from 161-240 paginated from 334-498.
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Hercules : an oratorio in score

Hercules : an oratorio in score

Date: 1788/1789
Creator: Handel, George Frideric, 1685-1759. & Broughton, Thomas, 1704-1774
Description: The plot of this oratorio centers around Hercules's death by an inadvertent action of his wife Dejanira. Handel set to music the English libretto by Rev. Thomas Broughton's English, based on Sophocles' Trachiniae, and additions from Ovid's Metamorphoses. The performance forces include: soloists (SATB) and mixed chorus with oboes (2) violins (2), viola, Bass (unspecifdied) and continue. The index that appears on p.248 contains the incipits of arias, recitative and choruses for each of the three acts.
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The musick for the Royal fireworks

The musick for the Royal fireworks

Date: 1788
Creator: Handel, George Frideric, 1685-1759.
Description: This is a [ca. 1788] score of one of the arrangements Handel made of his "Music for the Royal Fireworks." The caption title gives indication that this version contains the music as performed in 1749. The Grove Dictionary of Music lists two other arrangements from ca. 1746. The performance forces of this edition include: trumpets (3), horns (3), timpani, oboes (2), bassoon, and strings (violin, viola, violoncello, and contrabass). The plate no. appears in both Roman and Arabic forms: No. XXIV and No. 24.
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Saul : a sacred oratorio, in score

Saul : a sacred oratorio, in score

Date: 1792?
Creator: Handel, George Frideric, 1685-1759.
Description: This is ca. 1792 musical score of Saul, a sacred oratorio by Handel composed in 1738 to the English text by Charles Jennens. The composition year 1740 given in the t.p. might refer to a performance of the oratorio that took place that year. The performance forces include: vocal soloists (SATB), mixed chorus, and orchestra (2 oboes, bassoon, trombones (3), horns (2), strings (violin, viola, violoncello, bass), timpani, organ, harp and continuo). A content index with the incipits of recitatives and arias appears on a separate page at the end of the score.
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