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 Collection: Virtual Music Rare Book Room
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
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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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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.
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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.
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Le cadi dupé

Le cadi dupé

Date: 1766
Creator: Lemonnier, Pierre René, 1731-1796.
Description: This is a 1766 copy of the libretto of the one-act comic opera "Le cadi dupé" (The duped judge), by Pierre René Lemonnier to music by Pierre-Alexandre Monsigny. The first performance of the opera took place at the Paris Foire St-Germain on 4 February 1761. Christoph Willibald Gluck's music replaced that of Monsigny's for the 8 December 1761 performance at the Burgtheater in Vienna.
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Le cadi dupé, opéra bouffon en un acte, representé sur le Théatre de l'opera comique

Le cadi dupé, opéra bouffon en un acte, representé sur le Théatre de l'opera comique

Date: 1761
Creator: Monsigny, Pierre-Alexandre, 1729-1817
Description: The figured bass is unrealized in the full score of this one-act comic opera. Sung French text is underlaid; spoken text is printed before and after each song.
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Cantates françoises à I. et II. voix: avec simphonie, et sans simphonie, V. 1-2

Cantates françoises à I. et II. voix: avec simphonie, et sans simphonie, V. 1-2

Date: 1710
Creator: Clérambault, Louis-Nicolas, 1676-1749
Description: This item contains volumes 1 and 2 of Clérambault's "Cantates Françoises." The second volume bears the subtitle "Mellées de Simphonies." Volume 1 contains the cantatas "L'amour piqué," "Le jaloux," "Orphée," "Poliphême," "Medée," and "L'amour et Baccus." Volume 2 contains "Alphée et Arethuse," "Leandre et Hero," "La musette," "Pirame et Tisbé," "Pigmalion," and "Le triomphe de la paix." The continuo line is figured.
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Cantates françoises a voix seule et basse-continue, avec et sans symphonies, Livre second

Cantates françoises a voix seule et basse-continue, avec et sans symphonies, Livre second

Date: 1708
Creator: Stuck, Jean-Baptiste, 1680-1755
Description: This item comprises two books of secular cantatas for soprano (indicated by the consistent use of the soprano clef in the vocal line), obbligato strings and winds, and (unrealized) basso continuo. The first book was printed in 1706; the second, in 1708. Since the two volumes were bound together, the later date is used for this item. The subtitle for the first volume indicates "a voix seule avec symphonies" while the subtitle for the second volume gives "a voix seule et basse-continue, avec et sans symphonies."
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Le carnaval de Venise

Le carnaval de Venise

Date: 184u
Creator: Meyer, Leopold von, 1816-1883.
Description: This is a digital copy of "Le carnaval de Venise" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. This piece was dedicate to the operatic soprano Eugenie García (née Mayer; 1815-1880), who was the first wife of the famous Spanish baritone Manuel García. "Le carnaval de Venise" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les ...
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Catone in Utica

Catone in Utica

Date: 1763
Creator: Metastasio, Pietro, 1698-1782.
Description: This is a ca. 1763 copy of the libretto of "Catone in Utica," by Metastasio. Gian Francesco de Majo set this libretto to music for the 1763 carnival season in Turin. In this story, Caesar and Fulvio meet Cato, Utica's ruler, and offer him a peace truce, but Emilia, Pompey's widow, suspects treachery and plots to murder Caesar. Cato rejects a Senate's order for a reconciliation with Caesar and demands that Caesar surrender his dictatorial powers. Marzia, Cato's daughter, promised in marriage to Arbace, is in love with Caesar and pleas to her father to deter him from waging war. Arbace, who feels that his love for Marcia was betrayed, is lured by Emilia into an assassination attempt on Caesar. Fulvio is led to believe that Emilia will attempt on Caesar's life as he leaves by the gate of the city and advises him to take a secret path only to discover that Emilia used him to deliver Caesar into the hands of her followers. As Fulvio announces the victory of Caesar's armies in Utica, Cato stabs himself and before dying grants forgiveness to Marcia on condition that she swear loyalty to Arbaces and hatred towards Caesar. The library's copy ...
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Cendrillon

Cendrillon

Date: 1759
Creator: Anseaume, M. (Louis), 1721-1784.
Description: Libretto of the 1759 pastiche-style comic opera "Cendrillon," by Louis Anseaume. The songs were contributed by the singer-composer Jean-Louis Laruette and Egidio Duni, which they likely adapted from fashionable tunes. "Cendrillon" (Cinderella in English) premiered in Paris at Foire St-Germain on February 21, 1759. The opera underwent two revisions before the definitive version of 1764. Anseaume adapted the plot the fairy tale by Charles Perrault. This copy includes (from pp.54-63) notated melodies of airs and recitatives.
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Colinette à la cour ou La double épreuve : comédie lyrique en trois actes

Colinette à la cour ou La double épreuve : comédie lyrique en trois actes

Date: 1782
Creator: Grétry, André Ernest Modeste, 1741-1813 & Lourdet de Santerre, Jean Baptiste, 1732-1815
Description: 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.
Contributing Partner: UNT Music Library
[Collection of Eleven Operas: Le triomphe de l'amour; Coronis: pastorale heroïque; Isis: tragedie en musique; Amadis: tragedie en musique; Phaeton: tragedie en musique; Proserpine: tragedie en musique; Zephire et Flore: opera; Thetis et Pelée: tragedie en musique; Enée et Lavinie: tragedie en musique; Astrée: tragedie; Roland: tragedie en musique]

[Collection of Eleven Operas: Le triomphe de l'amour; Coronis: pastorale heroïque; Isis: tragedie en musique; Amadis: tragedie en musique; Phaeton: tragedie en musique; Proserpine: tragedie en musique; Zephire et Flore: opera; Thetis et Pelée: tragedie en musique; Enée et Lavinie: tragedie en musique; Astrée: tragedie; Roland: tragedie en musique]

Date: 1681
Creator: Quinault, Philippe, 1635-1688.; Benserade, Isaac de, 1613-1691.; Beauchamp, Pierre, 1631-1705.; Benserade, Isaac de, 1613-1691. & Lully, Jean Baptiste, 1632-1687.
Description: This book contains a collection of librettos for ballets, tragedies and opera staged for Louis XIV from ca. 1680-1691. The works reflect the collaboration of Jean-Baptiste Lully and dance masters and librettists in the court of Louis XIV. The following French dramatic works are included in the collection: Le triomphe de l'amour; Coronis; Isis; Amadis; Phaeton; Proserpine; Zephire et Flore; Thetis et Pelée; Enée et Lavinie; Astrée; and Roland.
Contributing Partner: UNT Music Library
Colonie : opéra comique en deux actes

Colonie : opéra comique en deux actes

Date: 1776
Creator: Sacchini, Antonio, 1730-1786 & Framery, Nicolas Etienne, 1745-1810
Description: None
Contributing Partner: UNT Music Library
Coronis

Coronis

Date: 1891
Creator: Chappuzeau de Baugé, Daniel-Paul.
Description: 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.
Contributing Partner: UNT Music Library
Daisy: Opera in Two Acts

Daisy: Opera in Two Acts

Access: Use of this item is restricted to the UNT Community.
Date: September 15, 1973
Creator: Smith, Julia, 1905-1989
Description: This is the original conductor's score for the opera "Daisy" including the vocal parts as well as instrumental lines for flute, oboe, clarinet, bassoon, horns, trumpets, bass trombone, timpani and percussion, harp and piano, violin, viola, cello, and string bass. The introductory pages at the start of the score include acknowledgements and synopsis by Professor Kenneth L. Ballenger, the cast of characters and scene list (5 scenes). There is an index to the scenes for each act following their title pages (before page 1 for Act I and before page 262 for Act II).
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Les Danaïdes, tragédie lirique en cinq actes

Les Danaïdes, tragédie lirique en cinq actes

Date: 1784
Creator: Salieri, Antonio, 1750-1825; Du Roullet, François Louis Gaud Lebland, marquis, 1716-1786 & Tschudi, Jean-Baptiste-Louis-Théodore, baron de, 1734-1784
Description: Antonio Salieri began work on Les Danaïdes upon the recommendation of Gluck, whose health prevented him from fulfilling a commission for the work. Although Salieri was living in Vienna, the tragedie-lyrique was written for the Opéra in Paris, with a libretto by François Louis Gand Leblanc Roullet and Ludwig Theodor Tschudi based on Calzabigi’s Italian libretto.
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Dardanus : nouvelle tragédie

Dardanus : nouvelle tragédie

Date: 1744
Creator: Rameau, Jean Philippe, 1683-1764 & La Bruère, Le Clerc de, 1714-1754
Description: Dardanus went through a number of revisions from the time of its premiere in 1739 until its final eighteenth-century run at the Opéra in 1771. The version in the Virtual Rare Book Room was first performed in 1744; the last three acts exhibit extensive plot changes from the first edition. The final version in 1760 received the most positive acclaim, especially compared to the criticisms that were made about the nonsensical plot of the first version. By this point, however, the polemic between the Lullistes and the Ramistes, which had surrounded the premiere, had subsided.
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Dardanus : tragédie lyrique en quatre actes

Dardanus : tragédie lyrique en quatre actes

Date: 1784
Creator: Sacchini, Antonio, 1730-1786; Guillard, Nicolas François, 1752-1814 & La Bruère, Le Clerc de, 1714-1754
Description: Like Renaud, Sacchini’s second French opera, Dardanus, faced problems due in large part to the composer’s Italian heritage. The opera is based on Rameau’s Dardanus, which had been a topic of earlier dispute between the Lullistes and the Ramistes. After an initially disappointing reception, Dardanus was reduced from four acts to three. In its first form, the opera received only six performances, but the three-act version was performed more than thirty times during the eighteenth century. Dardanus went on to enjoy several productions in the first decade of the nineteenth century.
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Le depart et le retour, deux nocturnes

Le depart et le retour, deux nocturnes

Date: 184u
Creator: Meyer, Leopold von, 1816-1883
Description: Musical score containing a piano part for two nocturnes "Le depart" and "Le retour" by Leopold von Meyer. These nocturnes were issued as the first of four pieces published under the title "Repertoire de Léopold de Meyer."
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Le déserteur; drame en trois actes representé par les Comediens italiens ordinaires du roi le 6 mars 1769, Gravé par Mlle, Vendôme et le Sr. Moria

Le déserteur; drame en trois actes representé par les Comediens italiens ordinaires du roi le 6 mars 1769, Gravé par Mlle, Vendôme et le Sr. Moria

Date: 1769
Creator: Monsigny, Pierre-Alexandre, 1729-1817
Description: This three-act opera is dedicated to His Most Serene Highness Monseigneur Duke of Orleans and premiered on 6 March 1769 at les Comediens italiens ordinaires du roi. This full score opens with a letter of dedication from the composer to his patron.
Contributing Partner: UNT Music Library