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Virtual Music Rare Book Room
Achille et Polixene, tragédie dont le prologue & les quatre derniers actes
Date: 1687
Creator: Collasse, Pascal, 1649-1709
Description: Achille et Polixene, Jean-Baptiste Lully's last opera, premiered on 7 November 1687, eight months after Lully's death on March 22 of that year. Since the composer had only finished the overture and first act, the score was completed by Pascal Colasse, Lully's secretary and student, to a text by Jean Galbert de Campistron based on events in Virgil's Aeneid.
Contributing Partner: UNT Music Library
Permallink:digital.library.unt.edu/ark:/67531/metadc50/
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.
Contributing Partner: UNT Music Library
Permallink:digital.library.unt.edu/ark:/67531/metadc11/
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), flute, violins, basso continuo, and chorus of mixed voices (soprano, alto, tenor 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.
Contributing Partner: UNT Music Library
Permallink:digital.library.unt.edu/ark:/67531/metadc11794/
Alceste: tragedie opera en trois actes
Date: 1776
Creator: Gluck, Christoph Willibald, Ritter von, 1714-1787
Description: According to Grove Music, "when Admetus, King of Pherae in Thessaly, is ill and about to die an oracle announces that he will be saved if someone else is willing to die in his stead. His wife Alcestis displays her conjugal devotion by offering herself; she dies and Admetus recovers. Under the influence of tragédie lyrique, Calzabigi enriched his libretto with choruses, ballets and opportunities for impressive scenery."
Contributing Partner: UNT Music Library
Permallink:digital.library.unt.edu/ark:/67531/metadc34/
Alexander's Feast or the Power of Musick.
Date: 1743
Creator: Handel, George Frideric, 1685-1759.
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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Permallink:digital.library.unt.edu/ark:/67531/metadc11077/
Amadis; tragedie, mise en musique
Date: 1684
Creator: Lully, Jean Baptiste, 1632-1687
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.
Contributing Partner: UNT Music Library
Permallink:digital.library.unt.edu/ark:/67531/metadc51/
Amore fra' gl'impossibili
Date: 1693
Creator: Gigli, Girolamo, 1660-1722.
Description: According to Grove Music, Gigli's 'Amore fra gli impossibili' is an eccentric work where "the pastoral setting is disturbed by mythological references and the addition of the characters Don Chisciotte and Coriandolo, in an ironic and grotesque atmosphere."
Contributing Partner: UNT Music Library
Permallink:digital.library.unt.edu/ark:/67531/metadc11793/
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.
Contributing Partner: UNT Music Library
Permallink:digital.library.unt.edu/ark:/67531/metadc10/
Les amours des dieux : ballet heroique
Date: 1727
Creator: Mouret, Jean Joseph, 1682-1738
Description: None
Contributing Partner: UNT Music Library
Permallink:digital.library.unt.edu/ark:/67531/metadc25/
Armide
Date: 16--
Creator: Lully, Jean Baptiste, 1632-1687
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
Permallink:digital.library.unt.edu/ark:/67531/metadc53/