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  Partner: UNT Music Library
 Language: French
 Collection: Virtual Music Rare Book Room
1er quatuor, pour deux violons, alto et basse, oeuvre 5
This is a digital copy of the four parts of Charles Dancla's first string quartet, op.5 in F minor. Charles Dancla was the most prominent member of a family of musicians and a virtuoso violinist, composer and teacher. In 1828, he was admitted to the Paris Conservatory of Music, where he won the first prize in 1833. At the Conservatory, he studied violin with Paul Guérin and Pierre Baillot. Dancla played solo violin with the orchestra of the théâtre Royal de l'Opera Comique and with the Société des Concerts. In ca. 1860, he was appointed professor of violin at the Paris Conservatory and retired from that post in 1892. He wrote 14 string quartets intended for professional or amateur players (opp. 5, 7 ,18, 41, 48, 56, 80, 87, 101, 113, 125, 142, 160, and 195a) and three easy string quartets (op. 208). The library's copy includes a list of subscribers that names amateur and distinguished musicians such as: the composers [Hector] Berlioz, [Luigi] Cherubini, [Giacomo Meyerbeer], the violinist [Jean-Delphin] Alard, and pianist [Pierre] Zimmermann, among others. digital.library.unt.edu/ark:/67531/metadc39285/
7e. quatuor, pour deux violons, alto et violoncelle, oeuv.80
This is a digital copy of the four parts of Charles Dancla's seventh string quartet, op.80 in D minor. Charles Dancla was the most prominent member of a family of musicians and a virtuoso violinist, composer and teacher. In 1828, he was admitted to the Paris Conservatory of Music, where he won the first prize in 1833. At the Conservatory, he studied violin with Paul Guérin and Pierre Baillot. Dancla played solo violin with the orchestra of the théâtre Royal de l'Opera Comique and with the Société des Concerts. In ca. 1860, he was appointed professor of violin at the Paris Conservatory and retired from that post in 1892. He wrote 14 string quartets intended for professional or amateur players (opp. 5, 7 ,18, 41, 48, 56, 80, 87, 101, 113, 125, 142, 160, and 195a) and three easy string quartets (op. 208). digital.library.unt.edu/ark:/67531/metadc39286/
Achille et Polixene, tragédie dont le prologue & les quatre derniers actes
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. digital.library.unt.edu/ark:/67531/metadc50/
Airs russes, [op.20]
This is a digital copy of "Airs russes, [op.20]" by Leopold von Meyer. This piece was issued as the second of four pieces published under the title "Repertoire de Léopold de 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. "Airs russes" 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 Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39278/
Alceste: tragedie opera en trois actes
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." digital.library.unt.edu/ark:/67531/metadc34/
Amadis, tragedie en musique
Libretto of the 1684 opera "Amadis," by Philippe Quinolt. 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. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King. digital.library.unt.edu/ark:/67531/metadc39250/
Amadis; tragedie, mise en musique
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. digital.library.unt.edu/ark:/67531/metadc51/
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/
Les amours des dieux : ballet heroique
No Description digital.library.unt.edu/ark:/67531/metadc25/
Armide
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. digital.library.unt.edu/ark:/67531/metadc53/
Armide: drame héroïque
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/metadc67/
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/metadc45/
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/
Armide : tragedie mise en musique
No Description digital.library.unt.edu/ark:/67531/metadc52/
Astrée
Libretto of the 1691 opera "Astrée" by Jean de la Fontaine. Pascal Collasse composed the music of the opera which premiered under the title "Astrée et Céladon" on November 25, 1692. digital.library.unt.edu/ark:/67531/metadc39251/
Atys : tragedie
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. digital.library.unt.edu/ark:/67531/metadc54/
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/metadc30/
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/
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/metadc55/
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/
Bajazeth
This is a digital copy of "Bajazeth: air national [sic] des turques pour le piano forte" 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. Bajazeth 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 Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39265/
Ballet du Temple de la paix
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. digital.library.unt.edu/ark:/67531/metadc69/
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/
Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes
No Description digital.library.unt.edu/ark:/67531/metadc26/
Bellérophon; tragedie mise en musique
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. digital.library.unt.edu/ark:/67531/metadc58/
Le cadi dupé
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. digital.library.unt.edu/ark:/67531/metadc39292/
Le carnaval de Venise
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 Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39266/
Cendrillon
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. digital.library.unt.edu/ark:/67531/metadc39252/
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/
[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]
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. digital.library.unt.edu/ark:/67531/metadc11804/
Colonie : opéra comique en deux actes
No Description digital.library.unt.edu/ark:/67531/metadc41/
Coronis
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. digital.library.unt.edu/ark:/67531/metadc39253/
Les Danaïdes, tragédie lirique en cinq actes
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. digital.library.unt.edu/ark:/67531/metadc46/
Dardanus : nouvelle tragédie
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. digital.library.unt.edu/ark:/67531/metadc37/
Dardanus : tragédie lyrique en quatre actes
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. digital.library.unt.edu/ark:/67531/metadc42/
Le depart et le retour, deux nocturnes
This is a digital copy of 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." 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. These nocturnes are 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 Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39277/
Les deux chasseurs et la laitière; comédie en un acte
Undated score of Egidio Duni's opera Les deux chaussures et la laitière. Duni’s French style was shaped by the developments of the War of the Buffoons, which pitted French tragic opera against Italian comic opera. The newly emergent opéra comique genre, for which Duni is still considered to be one of the major contributors, combined elements of both styles. His significance in the development of opéra comique is evident in the long-term success of Les deux chasseurs et la laitière, which was performed at the Comédie-Italien until 1792, almost twenty years after the composer’s death. digital.library.unt.edu/ark:/67531/metadc8/
Les deux chasseurs et la laitière; comédie en un acte
Duni’s French style was shaped by the developments of the War of the Buffoons, which pitted French tragic opera against Italian comic opera. The newly emergent opéra comique genre, for which Duni is still considered to be one of the major contributors, combined elements of both styles. His significance in the development of opéra comique is evident in the long-term success of Les deux chasseurs et la laitière, which was performed at the Comédie-Italien until 1792, almost twenty years after the composer’s death. digital.library.unt.edu/ark:/67531/metadc7/
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/
Les deux journées
Vocal score of Luigi Cherubini's rescue opera "Les deux journées" (also known by the title, The water carrier) to a libretto by Jean-Nicolas Bouilly. The first performance took place in Paris at Théâtre Feydeau on January 16, 1800 followed by 56 performance during that year. Les deux journées remained in the international repertory of operas for most of the 19th century. The piano reduction contains the text in French and German. digital.library.unt.edu/ark:/67531/metadc39254/
Le devin du village
As with many French operas, Rousseau’s Le devin du village was first staged for the court, appearing at Fountainebleau on 18 October 1752. The work was then performed at the Paris Opéra on 1 March 1753. The historical importance of this short intermè is closely tied to its role in the famous Querelle de bouffons, a debate about the merits of French serious opera in comparison to Italian comic opera (especially Pergolesi’s La serva padrona). digital.library.unt.edu/ark:/67531/metadc40/
Didon; tragédie lyrique en trois actes
With Didon, Piccinni demonstrated his ability to combine both Italian and French styles to create a compelling tragédie lyrique. The opera includes lyrical Italian melodies and a second-act finale, as well as French choruses and numbers that transition continuously without pauses. Didon was premiered at Fountainebleau on 16 October 1783, and it remained one of Piccinni’s most popular French operas, with performances through the first part of the nineteenth century. The story of Dido had been realized on the operatic stage before Piccinni’s setting, including Cavalli’s Didone (1641), Purcell’s Dido and Aeneas (c. 1689), and Vinci’s Didone abbandonata (1726) with a libretto by Metastasio. digital.library.unt.edu/ark:/67531/metadc33/
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/
Enée et Lavinie
Libretto of the opera "Enée et Lavinie" by Bernard le Bovier de Fontenelle. Pascal Collasse composed the music of the opera which premiered on November 7, 1690. The plot, which Bovier de Fontenelle adapted from Virgil's "Aeneid, Book vii," revolves around the marriage of Enée (i.e., Aeneas) to the Latin bride Lavinia. digital.library.unt.edu/ark:/67531/metadc39256/
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/
Fantaisie pour le piano sur un air de Bellini
This is a digital copy of the "Fantaisie pour le piano sur un air de Bellini" 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 composer Frédéric Chopin. "Fantaisie pour le piano sur un air de Bellini" 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 Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39268/
Fantaisie sur L'elisire d'amore, op. 32
This is a digital copy of the "Fantaisie sur L'elisire d'amore, op. 32" 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 composer the Italian composer Gaspare Spontini (1774-1851). "Fantaisie sur L'elisire d'amore" 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 Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39269/
Fantaisie sur Les Hirondelles
This is a digital copy of "Fantaisie sur Les Hirondelles" 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 inspired by the bird song "Les hirondelles" (i.e., The swallows) by the French composer Félicien David (1810-1876). "Fantaisie sur Les Hirondelles" 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 Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39267/
Fantaisie sur Norma, [op.40]
This is a digital copy of the "Fantaisie sur Norma, [op.40]" 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. "Fantaisie sur Norma" 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 Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39270/
Fileuse : parodie d'Omphale
When Vadé’s first opera comique, La fileuse, appeared at the Foire St Germain on 8 March 1752, the tragic opera that it parodied—Destouches’s Omphale (1701)—had recently been criticized by Friedrich Melchior Grimm in his “Lettre sur Omphale.” Soon after this attack on “bad taste” in French music, the Querelle des Bouffons heated up, with debates about the merits of Italian comic opera versus French serious opera. Many mid-eighteenth-century French comic parodies were based on familiar serious operas, but following the Querelle des Bouffons, lyrical Italianate melodies were incorporated into the opera comique genre. Vadé’s La fileuse follows the older model of reworking existing tunes to new texts, including a vaudeville finale; later in his career, he composed some original airs. digital.library.unt.edu/ark:/67531/metadc79/
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