You limited your search to:

 Collection: Virtual Music Rare Book Room
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." digital.library.unt.edu/ark:/67531/metadc57/
Dictionary of Music and Musicians, Volume 3
This is a copy of the third volume of "Dictionary of Music and Musicians," edited by Sir George Grove. This volume, published in 1883, is an encyclopedic work that contains the biographies of well-known composers as well as articles contributed by various authors on music topics, concepts and definitions starting alphabetically from: "P" (Planché, James Robinson) to "S" (the title of the Medieval rota, "Sume is icumen in"). The names of contributing authors appear in a list on pp.[v]-vii, signed "29 Bedford Street, Covent Garden, July, 1883." The titles of volumes I and II, indicate that the dictionary was issued in three volumes. However, the titles of the third and fourth volumes changed that statement to indicate that the publication of the dictionary was in four volumes. digital.library.unt.edu/ark:/67531/metadc31506/
Dictionary of Music and Musicians, Volume 4
This is a copy of the fourth volume of "Dictionary of Music and Musicians," edited by Sir George Grove. This volume, published in 1890, is an encyclopedic work that contains the biographies of well-known composers as well as articles contributed by various authors on music topics, concepts and definitions starting alphabetically from: "S" (continuation of the article about the Medieval rota, "Sume is icumen in" that appears on vol. 3) to "Z" (starting with the singer, Zur Mühlen, Raimund von). The names of contributing authors appear in a list on pp.[vi]-xi. The titles of volumes I and II, indicate that the dictionary was issued in three volumes. However, the titles of the third and fourth volumes changed that statement to indicate that the publication of the dictionary was in four volumes. digital.library.unt.edu/ark:/67531/metadc31507/
Storia della musica
This is a copy of the second of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. Each volume bears a different dedicatee: v.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The t.p. of this volume is printed in red and black ink and decorated with a border that depicts various musical instruments. It also features an illustration of a minotaur and a young boy (presumably, the god Apollo) holding a lyre. This volume is divided in nine chapters and three dissertations. The start of each chapter and each dissertation features, within an ornamented oval-shaped frame, the notated music of a canon in a five-line staff with underlaid text taken from works by Hesiod, Homer, Anacreon, and Sophocles. The book contains maps of Greece and Asia Minor, as well as a table that summarizes the divisions of the breve and prolations translated to 18th century musical notation practice. Chapter 1 discusses the origins of music according to precepts passed down from antiquity and Greece as well as the theory of musical intervals. Chapter 2 discusses several Greek mythological figures and a history of the invention of the lyre per Homer. It also mentions Greek authors and use of instruments in Greek festivities. Chapter 3 presents stories of Greek gods and demigods by Ovid and Homer, among others. Chapter 4 includes Virgil's story of Orpheus (the son of Apollo) and his attempted rescue of his dead wife Eurydice from Hades. The chapter contains references to the role of music in that story. Chapter 5 is about the role of music in the cult of Cybele (in Greek mythology, the mother of all gods). It also mentions names of people mentioned by Plutarch in connection with several musical instruments--e.g., the flute by Janus. The chapter includes a musical staff that explains the Greek chromatic, enharmonic, and diatonic genres. Chapter 6 continues the stories of Greek mythological and heroic characters mentioned in the previous chapters and their involvement with music. Chapter 7 discusses Greek poets (e.g., Homer, Hesiod and Plato) and includes some of their verses alluding music. Chapter 8 discusses the function of music in Greek sacrifices, festivities, weddings and funerals. Chapter 9 discusses the function of music in the celebration of games and competitions. The first dissertation, argues about the influence of Greek music and discusses theoretical concepts such as Pythagoras tuning and the theory of music proportions taken from treatises such as "Armonia" by Quintilian. The second dissertation argues about the unique properties of Greek music and treatment of music according to rules of rhetoric. It contains a table of rhythmical division of notes, and discusses the principles of singing syllables properly. The third and last dissertation argues about the wonderful effects produced in humans by Greek music and the "Theory of Affects." digital.library.unt.edu/ark:/67531/metadc31511/
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/
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. digital.library.unt.edu/ark:/67531/metadc31/
Panurge dans l'Isle des Lanternes : comédie lirique en trois actes
No Description digital.library.unt.edu/ark:/67531/metadc21/
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. digital.library.unt.edu/ark:/67531/metadc32/
Recueil d'opera
Collection of opera excerpts in manuscript (in an unidentified hand). digital.library.unt.edu/ark:/67531/metadc1690/
Roland. Tragédie mis en musique
Roland is one of three operas by composer Jean-Baptiste Lully and librettist Philippe Quinault based on the medieval legends of chivalry (the other two are Amadis and Armide). This is the second edition. Roland sets episodes from Ludovico Ariosto's Orlando furioso. And, like its sibling Armide, Roland centers on the conflict between duty and love. Acts I-III portray this conflict within Angélique, Queen of Cathay, while the remaining acts concern Roland's unrequited love for Angélique, which is resolved only when the goddesses Glory and Fame show him that this too is a struggle between duty and love. digital.library.unt.edu/ark:/67531/metadc68/
Isis; tragedie mise en musique
Isis, which premiered January 5, 1677, at St. Germain-en-Laye, was the fifth of Jean-Baptiste Lully's tragédies lyriques written with librettist Philippe Quinault. The plot is loosely adapted from one of the episodes in Ovid's Metamorphoses. In many of its essentials, the plot of Isis resembles that of Lully's previous opera, Atys. In Isis, the nymph Io, daughter of the river Inachus, is promised in marriage to Hierax, just as the nymph Sangaride, daughter of the river Sangar, was promised to Celoenus. Like Sangaride, Io is pursued by another love and yields to this love in spite of her feelings of guilt. Like Sangaride, Io has a goddess as a rival and is vulnerable to her jealousy. Lully's contemporaries interpreted this story as representing the volatile situation between two of the King's mistresses. The subsequent scandale of the premiere ended the collaboration between Lully and Quinault for a time, and led to the dismissal of a number of members of Lully's artistic circle. digital.library.unt.edu/ark:/67531/metadc59/
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/
Roland; tragédie mise en musique
Roland is one of three operas by composer Jean-Baptiste Lully and librettist Philippe Quinault based on the medieval legends of chivalry (the other two are Amadis and Armide). Roland sets episodes from Ludovico Ariosto's Orlando furioso. And, like its sibling Armide, Roland centers on the conflict between duty and love. Acts I-III portray this conflict within Angélique, Queen of Cathay, while the remaining acts concern Roland's unrequited love for Angélique, which is resolved only when the goddesses Glory and Fame show him that this too is a struggle between duty and love. digital.library.unt.edu/ark:/67531/metadc66/
Thesée; tragedie, mise en musique
Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory. digital.library.unt.edu/ark:/67531/metadc70/
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/
Proserpine; tragedie
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. digital.library.unt.edu/ark:/67531/metadc63/
Colonie : opéra comique en deux actes
No Description digital.library.unt.edu/ark:/67531/metadc41/
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. digital.library.unt.edu/ark:/67531/metadc17/
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/
Le trompeur trompe, ou, La rencontre imprevue. Opera-comique en un acte. Represente pour la premiere fois sur le Theatre de la Foire S. Germain, le 18 fevrier 1754.
In the mid-eighteenth century, comic opera librettos served a dual purpose, as evinced by the libretto to Vadé ’s Trompeur trompé (1754). Although the primary function of the publication was to allow audience members to follow along with the text of the opera, solo airs were printed in the back of the book. Not all the melodies are included, but those printed in the libretto enhance our understanding of an opera the music of which was never published as a comprehensive musical score. digital.library.unt.edu/ark:/67531/metadc81/
Thesee : tragédie
Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory. digital.library.unt.edu/ark:/67531/metadc76/
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/
Pigmalion
This is the 1773 edition of the libretto to the comic opera and vaudeville, "Pigmalion" by Charles-François Panard and Thomas Laffichard. The opera premiered at the Paris Opéra Comique in 1735 . The plot is an adaptation of Ovid's story of Pygmalion, a sculptor who fell in love with a statue that he carved. Operatic and ballet representation of the subject of Pigmalion (or Pygmalion) became famous after Antoine Houdar de la Motte's entrée "La sculpture" for the ballet "Le triomphe des arts," which staged in 1700 at Académie Royale de Musique with music by Michel de la Barre. Page 16 of this edition was incorrectly numbered as number 10. digital.library.unt.edu/ark:/67531/metadc31513/
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/
Tractatus de musica
The present volume is a 1875 compendium of various Latin music treatises by Johannes Tinctoris gathered from manuscript sources from Brussels, Bologna and Gand. The present edition, edited by Charles Coussemaker, comprises ten of the twelve surviving manuscripts of Tinctoris's theoretical works. According to Oxford Music, these were written in the first few years of his employment at Ferrante's court and demonstrate Tinctoris's intellectual and pedagogical mastery of music theory. They also demonstrate his acquaintance with contemporaneous composers of the early Renaissance Burgundian composers like Antoine Busnoys, as well as with the music of Franco-Flemish composers such as Johannes Ockeghem. Below is a table of content listing the titles of each treatise and a brief description of the concepts they treat. Treatises and Description: "Expositio manus" - this treatise is divided in 10 chapters consisting of: definitions, places, clefs, voicing, properties, deductions, mutations, conjunctions, conclusion; "Liber de natura et proprietate tonorum" - this treatise is divided in 51 chapters containing: definitions and name of tones, concerning the species diatessaron and diapente, formation of first throughout the eighth tone, authentic and plagal modes, ascending and descending perfect/imperfect tones; "Tractatius de notis et pausi" - this treatise is divided in two books. Book one contains a prologue and 14 chapters devoted to definitions of note values (e.g., long, breve, semi-breve, minim) and the use of ligatures. Book 2 explains the notation of note rests; "Tractatus de regulari valore notarum" - this treatise is this treatise includes a prologue and 32 chapters devoted to explanations of the musical notation of tempi and modes and the use of prolation (i.e., symbols used to indicate perfect and imperfect subdivisions of the breve; "Liber imperfectionum musicalium notarum" - this treatise is divided in two Books and a prologue. These are concerned with the notation of perfection and imperfection in major mode; "Tractatus alterationum" - note alterations; "De punctis musicalibus" - this treatise is divided in three books. The first book contains 19 chapters concerned with the use of the point to alter note values and tempi. Book two, divided in 34 chapters, discusses the use of semitones, tritone, tuning considerations, and counterpoint rules. The third book, divided in 9 chapters, discusses counterpoint rules; "Proportionale musices" - this treatise is divided in three books. The first book, divided in 9 chapters, defines and discusses the rules of music proportions. The second book, in 6 chapters, discusses major and minor relations. The third book, divided in 8 chapters, discusses the qualities of various prolations; "Diffinitorium Musices" - this treatise contains a prologue and 20 chapters all of which define musical terms; "Complexus effectuum musices" - this part contains two treatises found in two sources: the manuscript codex of Brussels (9 chapters) and the codex of Gand (20 sections). Both codices are devoted to the physical, emotional and spiritual effects of music. digital.library.unt.edu/ark:/67531/metadc31512/
Isis : tragedie
Isis, which premiered January 5, 1677, at St. Germain-en-Laye, was the fifth of Jean-Baptiste Lully's tragédies lyriques written with librettist Philippe Quinault. The plot is loosely adapted from one of the episodes in Ovid's Metamorphoses. In many of its essentials, the plot of Isis resembles that of Lully's previous opera, Atys. In Isis, the nymph Io, daughter of the river Inachus, is promised in marriage to Hierax, just as the nymph Sangaride, daughter of the river Sangar, was promised to Celoenus. Like Sangaride, Io is pursued by another love and yields to this love in spite of her feelings of guilt. Like Sangaride, Io has a goddess as a rival and is vulnerable to her jealousy. Lully's contemporaries interpreted this story as representing the volatile situation between two of the King's mistresses. The subsequent scandale of the premiere ended the collaboration between Lully and Quinault for a time, and led to the dismissal of a number of members of Lully's artistic circle. digital.library.unt.edu/ark:/67531/metadc74/
Colinette à la cour ou La double épreuve : comédie lyrique en trois actes
A comparison of the scores for Colinette à la cour and Barbe-bleue illustrates the primary distinguishing factor between the genres of comédie lyrique and opera comique: the method of dialogue delivery. In Paris, the issue of genre was tied to the performance venue of a particular opera, due to government regulations. Although comic opera was traditionally presented with spoken dialogue, as in opera comique, when Grétry composed for the Opéra, where recitative was expected, he merged comic subject matter with the sung dialogue heard in serious opera. digital.library.unt.edu/ark:/67531/metadc18/
Dictionary of Music and Musicians, Volume 2
This is a copy of the second volume of "Dictionary of Music and Musicians," edited by Sir George Grove. This volume, published in 1880, is an encyclopedic work that contains the biographies of well-known composers as well as articles contributed by various authors on music topics, concepts and definitions starting alphabetically from: "I" (improperia) to "P" (plain song). The names of contributing authors appear in a list on pp.[v]-vii, signed "Bedford Street, Covent Garden, October 1, 1880." The titles of volumes I and II, indicate that the dictionary was issued in three volumes. However, the titles of the third and fourth volumes changed that statement to indicate that the publication of the dictionary was in four volumes. digital.library.unt.edu/ark:/67531/metadc31505/
Dictionary of Music and Musicians, Volume 1
This is a copy of the first volume of "Dictionary of Music and Musicians," edited by Sir George Grove. This volume, published in 1879, is an encyclopedic work that contains the biographies of well-known composers as well as articles contributed by various authors on music topics, concepts and definitions starting alphabetically from: "A" (i.e., the sixth note in the scale of C major) to "I" (impromptu). The names of contributing authors appear in a list on pp.[vii]-viii), signed "Bedford Street, Covent Garden, April 1, 1879." The titles of volumes I and II, indicate that the dictionary was issued in three volumes. However, the titles of the third and fourth volumes changed that statement to indicate that the publication of the dictionary was in four volumes. digital.library.unt.edu/ark:/67531/metadc31504/
Storia della musica
This is a copy of the first of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. Each volume bears a different dedicatee: v.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The t.p. of this volume is printed in red and black ink and decorated with a border that depicts various musical instruments and includes a pastoral scene depicting Euterpe, the muse of music, holding a lyre and a horn as allegory of a scepter, and accompanied by various putti singing or playing musical instruments. Each page of the book is decorated with an ornamented border. The volume is divided in eleven chapters and three dissertations. The start of each chapter and each dissertation features, within an ornamented oval-shaped frame, the notated music of a canon in a five-line staff with underlaid text taken from passages in the book of Psalms and other books of the Old Testament. This volume includes an engraved portrait of Martini by an unknown engraver and one illustration by Nicolaus Valleta depicting Queen Maria Barbara of Portugal in the company of several mythology figures, such as Apollo and Minerva, among others. At the center top appears a crown and a banner with the Latin inscription, "Hoc offer Regina, Tibi Lectum undique manus. Et vult esse tuum Musica quid quid Habet." At the bottom appears the coat of arms of the Spanish crown. The first chapter explains the purpose of the volume and defines three classifications of music as defined by Boethius in the medieval ages: mundana (produced by the motion of planets and celestial bodies), humana (loosely translated as music of the body and soul), and instrumentalis (this kind produced by the human voice and musical instruments). Chapters 2-11 are devoted to some aspect of music covering various biblical ages starting with the story of the creation, as told in the Book of Genesis, throughout the lives of the Jewish patriarchs (Moses, David, and Solomon), and the encounter of the Hebrews with other eastern peoples. The first dissertations argues about human natural singing and discusses theoretical concepts such as Greek music theory, scales and division of tetrachords. The second dissertation argues about the ancient manner of singing in harmony as taught by Zarlino and other music theoreticians. This part discussed the evolution of music notation from heightened neumes to the invention of four-line staff and square notation, to the five-line staff and Renaissance music notation. The third dissertation discusses the influence of Hebrew vocal and instrumental church music. digital.library.unt.edu/ark:/67531/metadc31509/
Persée : tragedie
King Louis XIV's involvement in campaigns against the Dutch/Swedish alliance in early 1682 prevented him from attending the premiere of Persée in April of that year. As was customary in the operas of composer Jean-Baptiste Lully and librettist Philippe Quinault, the prologue included references to current battlefield exploits and portrayed the king as a paragon of virtue. The prologues of previous Lully operas emphasized glory and prowess over virtue; the change in emphasis in Persée may have resulted from the increased influence of Madame de Maintenon (the king's new mistress) in the court and her pension for decorum. digital.library.unt.edu/ark:/67531/metadc60/
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/
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/
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/
Épreuve villageoise : opéra bouffon en deux actes en vers
L’épreuve villageoise started out as Théodore et Paulin before Grétry convinced Desforges to rewrite the libretto. The original three-act opera was reduced to two acts, and the improbabilities of the original plot were reworked. Théodore et Paulin received one performance at Versailles on 5 March 1784, but it was never published. L’épreuve villageoise appeared at the Comédie-Italienne on 24 June 1784. This revision remained one of the most popular of Grétry’s opéra-comiques, receiving performances throughout the nineteenth century. digital.library.unt.edu/ark:/67531/metadc19/
Les deux comtesses : opera bouffon imité de l'Italien et parodié sous la musique
Paisiello’s comic operas were some of the most successful of the time. In point of fact, his operas enjoyed 251 performances in Vienna between 1783 and 1792, compared to 63 performances of Mozart’s operas. The intermezzo Le due comtesse, which first appeared in Rome (with an all-male cast) on 3 January 1776, was translated to French and parodied by Nicolas Etienne Framery, who also adapted Paisiello’s Il barbiere di Siviglia for the Parisian stage. digital.library.unt.edu/ark:/67531/metadc27/
Phaëton : tragédie mise en musique
Like many of the operas created by composer Jean-Baptiste Lully and Philippe Quinault, his favorite librettist, Phaëton is filled with solar symbolism--a reference to the "Sun King," Louis XIV. The story also provides a political lesson: the haughty youth unable to contend with his position of power served as a warning to anyone brash enough to challenge the rigid mores of Louis' court. In addition to this political interpretation, the story is also a character study of a reckless juvenile whose arrogance destroys him. Phaëton's misguided and inappropriate attempts to make his lineage public bring about his downfall. The plot, like that of several of Lully's operas, is based on an episode in Ovid's Metamorphoses. digital.library.unt.edu/ark:/67531/metadc61/
Thesée; tragedie mise en musique
Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory. digital.library.unt.edu/ark:/67531/metadc71/
Giulio Cesare : opera in tre atti
This is a [ca. 1743] score of "Giulio Cesare," an Italian opera seria in three acts by Handel. The performance forces include: flute, oboe, horns (in A and D), strings (violin, viola, violoncello, bass), continuo (theorbo and viola da gamba), harp, chorus of mixed voices (soprano, alto, tenor, bass), and soloist singers. A list of solo arias and duets of each act appears on p.170 followed by a list containing the names of the subscribers on pp.[171-172]. Two mythological figures [possibly, the god Apollo and the Muse Erato] and musical instruments signed by the London engraver [John] Strongitharm of Pall Mall appear on the title page. The name of each character appear at the top of p.3 with the names of the actual performers inscribed with pencil. The names of the casting coincide with those listed in the Oxford Dictionary of Music (online, 2009): "the castratos Senesino, Gaetano Berenstadt and Giuseppe Bigonzi (Caesar, Ptolemy and Nirenus), Francesca Cuzzoni (Cleopatra), Margherita Durastanti (Sextus), Anastasia Robinson (Cornelia), Giuseppe Boschi (Achillas) and John Lagarde or Laguerre (Curius)." digital.library.unt.edu/ark:/67531/metadc25950/
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/
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/
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/
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/
Handel's songs, selected from his oratorios
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. digital.library.unt.edu/ark:/67531/metadc25953/
Le istitutioni harmoniche
This is a 1562 copy of "Le istitutioni harmoniche," one of the most influential music theory treatises written by Gioseffo Zarlino. The first edition appeared in Venice in 1558. The treatise, divided in four parts, includes theoretical and practical elements of music. The first two parts discuss philosophical, cosmological and mathematical aspects of music, Greek tonal system and tuning. The third and fourth parts cover the rules of counterpoint and modes, respectively. This copy bears a dedication to Vicenzo Diedo. It contains a table of contents per chapter and list of corrections. Several handwritten annotations appear on the t.p. ink: "coll: cochi nuoi soc: Jesù;" "exdono Joannis Jerary;" and "Inscriptet catalog." digital.library.unt.edu/ark:/67531/metadc25955/
Handel's songs, selected from his oratorios
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. digital.library.unt.edu/ark:/67531/metadc25952/
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/
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/
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/
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/
FIRST PREV 1 2 3 4 NEXT LAST