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  Partner: UNT Music Library
 Resource Type: Musical Score/Notation
 Collection: Virtual Music Rare Book Room
Amadis; tragedie, mise en musique

Amadis; tragedie, mise en musique

Date: 1684
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of Amadis at the Opéra in Paris on 18 January 1684. It was an immediate public success.
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Amour au village : opera-comique, en un acte, et en vaudeviles

Amour au village : opera-comique, en un acte, et en vaudeviles

Date: 1754
Creator: Favart, M. (Charles-Simon), 1710-1792
Description: 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.
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Les amours des dieux : ballet heroique

Les amours des dieux : ballet heroique

Date: 1727
Creator: Mouret, Jean Joseph, 1682-1738
Description: None
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Andante for the piano forte, op.42

Andante for the piano forte, op.42

Date: 184u
Creator: Meyer, Leopold von, 1816-1883
Description: Musical score of "Andante for the piano forte", part of opus 42 by Leopold von Meyer.
Contributing Partner: UNT Music Library
Armide

Armide

Date: 1686~
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.
Contributing Partner: UNT Music Library
Armide:  drame héroïque

Armide: drame héroïque

Date: 1811
Creator: Gluck, Christoph Willibald, Ritter von, 1714-1787 & Quinault, Philippe, 1635-1688
Description: 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.
Contributing Partner: UNT Music Library
Armide:  Drame héroique, mis en musique

Armide: Drame héroique, mis en musique

Date: 1783
Creator: Gluck, Christoph Willibald, Ritter von, 1714-1787
Description: 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.
Contributing Partner: UNT Music Library
Armide:  Drame héroique, mis en musique

Armide: Drame héroique, mis en musique

Date: 1783
Creator: Gluck, Christoph Willibald, Ritter von, 1714-1787
Description: 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.
Contributing Partner: UNT Music Library
Armide : tragedie mise en musique

Armide : tragedie mise en musique

Date: 1686
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.
Contributing Partner: UNT Music Library
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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Atys : tragedie

Atys : tragedie

Date: 1708
Creator: Lully, Jean Baptiste, 1632-1687
Description: Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to conclude with a tragic ending. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is placed more highly than honor, it will bring unhappiness even to one of the immortals.
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Atys : tragédie lyrique en trois actes

Atys : tragédie lyrique en trois actes

Date: 1781
Creator: Piccinni, Niccolò, 1728-1800; Quinault, Philippe, 1635-1688 & Marmontel, Jean François, 1723-1799
Description: 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.
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Atys : tragédie lyrique en trois actes

Atys : tragédie lyrique en trois actes

Date: 1780
Creator: Piccinni, Niccolò, 1728-1800; Quinault, Philippe, 1635-1688 & Marmontel, Jean François, 1723-1799
Description: 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.
Contributing Partner: UNT Music Library
Atys : tragedie mise en musique

Atys : tragedie mise en musique

Date: 1720
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: 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."
Contributing Partner: UNT Music Library
Atys; tragedie mise en musique

Atys; tragedie mise en musique

Date: 1709
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: 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."
Contributing Partner: UNT Music Library
Ausführliche theoretisch-practische Anweisung zum Piano-forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung

Ausführliche theoretisch-practische Anweisung zum Piano-forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung

Date: unknown
Creator: Hummel, Johann Nepomuk, 1778-1837
Description: "Detailed theoretical and practical instruction on playing the piano-forte," issued in four parts.
Contributing Partner: UNT Music Library
Bajazeth

Bajazeth

Date: 184u
Creator: Meyer, Leopold von, 1816-1883
Description: Musical score containing the piano part for "Bajazeth: air national [sic] des turques pour le piano forte" by Leopold von Meyer.
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Ballet du Temple de la paix

Ballet du Temple de la paix

Date: 1685
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Description: The elements that make up the Jean-Baptiste Lully's Ballet du Temple de la Paix have some parallels to the plot of Roland, which premiered in the same year. Both celebrate the expanding influence of France and Louis XIV through the introduction of exotic characters. The flexibility of the ballet de cour format, which was more a progression of loosely related scenes and spectacles than an organized plot, allowed librettist Philippe Quinault more freedom in his elaboration of that theme.
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Barbe bleue : comédie en prose et en trois actes

Barbe bleue : comédie en prose et en trois actes

Date: 1789
Creator: Grétry, André Ernest Modeste, 1741-1813 & Sedaine, 1719-1797
Description: 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.
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Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes

Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes

Date: 1789
Creator: Paisiello, Giovanni, 1740-1816; Beaumarchais, Pierre Augustin Caron de, 1732-1799 & Framery, Nicolas Etienne, 1745-1810
Description: None
Contributing Partner: UNT Music Library
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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Bellérophon; tragedie mise en musique

Bellérophon; tragedie mise en musique

Date: 1679
Creator: Lully, Jean Baptiste, 1632-1687; Corneille, Pierre, 1606-1684; Fontenelle, M. de (Bernard Le Bovier), 1657-1757 & Boileau Despréaux, Nicolas, 1636-1711
Description: Although not the first of the Jean-Baptiste Lully's tragédies lyriques, Bellérophon was the first of Lully's opera scores to appear in print. The Ballard first edition was printed in 1679 to accompany the premiere, on January 31 of that year, at the Palais Royale. Bellérophon was the second of two operas (the first was Psyché) created by Lully without librettist Philippe Quinault after the scandal associated with Isis that led to Quinault's temporary dismissal as royal librettist. After an extended illness during which he did not compose, Lully collaborated with Thomas Corneille and Bernard le Bovier de Fontenelle for the second time to create one of his most unqualified successes. Following the first performance in January 1679, Bellérophon played for nine months at the Palais Royale.
Contributing Partner: UNT Music Library
Belshazzar : a sacred Oratorio in Score

Belshazzar : a sacred Oratorio in Score

Date: {1744-08-23, 1744-10-23}
Creator: Handel, George Frideric, 1685-1759. & Jennens, Charles, 1700-1773
Description: A sacred oratorio in three acts for soloists and mixed chorus (SATB) with orchestra acc. (2 oboes, 2 violins, viola, and basso continuo). A contents index is given on p. 219. According to the Grove Dictionary of Music and Musicians, Handel composed this oratorio from 23 August - 23 October 1744. Charles Jennens wrote the libretto on the Biblical story of the downfall of the King of Babylon with details taken from "Cyropaedia" (a political romance about the education of an ideal ruler) by Herodotus and Xenophon's.
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Buona figliuola : opera comica

Buona figliuola : opera comica

Date: 1767
Creator: Piccinni, Niccolò, 1728-1800; Goldoni, Carlo, 1707-1793 & Richardson, Samuel, 1689-1761
Description: 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.
Contributing Partner: UNT Music Library