You limited your search to:

  Partner: UNT Music Library
 Language: Italian
 Collection: Virtual Music Rare Book Room
Amore fra' gl'impossibili

Amore fra' gl'impossibili

Date: 1693
Creator: Gigli, Girolamo, 1660-1722. & Campelli, Carlo
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
Arianna e Teseo

Arianna e Teseo

Date: 1764
Creator: Pariati, Pietro, 1665-1733
Description: Libretto of the opera seria "Arianna e Teseo" by Pietro Pariati. The story unfolds in the island of Crete where several young Athenian men are brought to be ritually sacrificed, and Athenian maidens are to be delivered as victims to a minotaur that lives in a labyrinth. Among the Athenians is Arianna, the daughter of Minos (Minosse), King of Crete, who was abducted as a child by King Aegeus, and Teseo, Aegeus's son. Teseo is determined to kill the minotaur in order to save Arianna's friend Laodice, but Arianna believes that he loves her friend. In spite of her doubts, she hands over to Teseo the secret how to kill the minotaur and vanquish Tauride, King Mino's champion, which she overheard from Minos. The work ends with Teseo's victory over the minotaur and his reconciliation with Arianna.
Contributing Partner: UNT Music Library
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
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 ...
Contributing Partner: UNT Music Library
Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 1

Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 1

Date: 1801
Creator: Mozart, Wolfgang Amadeus, 1756-1791. & Da Ponte, Lorenzo, 1749-1838
Description: By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague.
Contributing Partner: UNT Music Library
Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 2

Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 2

Date: 1801
Creator: Mozart, Wolfgang Amadeus, 1756-1791. & Da Ponte, Lorenzo, 1749-1838
Description: By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague.
Contributing Partner: UNT Music Library
La favola di Orfeo

La favola di Orfeo

Date: 1749
Creator: Poliziano, Angelo, 1454-1494. & Baldi, Bernardino, 1553-1617.
Description: Libretto of the opera "La favola di Orfeo" in several verse forms. Poliziano's version of the legend of Orfeo differs from the story in Monteverdi or Gluck's operas. In Poliziano's ending, Orpheus is torn to pieces by the maenads (or Bacchantes). This copy includes Bernardino Baldi's eclogue "Celeo e l'Orto," a culinary poem that describes the production of polenta.
Contributing Partner: UNT Music Library
La fede ne' tradimenti

La fede ne' tradimenti

Date: 1689
Creator: Gigli, Girolamo, 1660-1722.
Description: 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.
Contributing Partner: UNT Music Library
Finta pazza, drama.

Finta pazza, drama.

Date: 1644
Creator: Strozzi, Giulio, 1583-1652
Description: Although Sacrati’s La finta pazza (1641) was immensely popular and influential, the opera has received little discussion in modern scholarship, due in large part to the absence of the music (even the number of extant copies of librettos is very small). Since Lorenzo Bianconi discovery of a score that was used for traveling productions, the opera has received increasing attention.
Contributing Partner: UNT Music Library
Forza del sangue, e della pietà; drama per musica

Forza del sangue, e della pietà; drama per musica

Date: 1686
Creator: Fabrini, Giuseppe & Gigli, Girolamo, 1660-1722
Description: 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.”
Contributing Partner: UNT Music Library
La Geneviefa

La Geneviefa

Date: 1685
Creator: Gigli, Girolamo, 1660-1722
Description: 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.
Contributing Partner: UNT Music Library
Giulio Cesare : opera in tre atti

Giulio Cesare : opera in tre atti

Date: 1743
Creator: Handel, George Frideric, 1685-1759.
Description: 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)."
Contributing Partner: UNT Music Library
Idomeneo : dramma eroico in tre atti, volume 1

Idomeneo : dramma eroico in tre atti, volume 1

Date: 1821
Creator: Mozart, Wolfgang Amadeus, 1756-1791.; Varesco, Giambattista. & Danchet, Antoine, 1671-1748.
Description: This score is special edition of Mozart's opera "Idomeneo" issued by subscription by J. Frey in ca. 1822. The cursive signature J. Frey appears in ink at the bottom of the t.p. This edition is in two volumes. Volume 1 lists the names of subscribers and has a table of contents for each of the three acts with the incipit of first lines of texts of arias, recitatives and choruses. Volume 1 also contains the overture of the opera and the first act. Volume 2 contains the second and third acts. According to New Grove, in 1780 Mozart received a commission to composed a serious opera on a libretto by the Salzburg cleric Giambattista Varesco, which the latter based on Antoine Danchet's Idoménée.
Contributing Partner: UNT Music Library
Idomeneo : dramma eroico in tre atti, volume 2

Idomeneo : dramma eroico in tre atti, volume 2

Date: 1821
Creator: Mozart, Wolfgang Amadeus, 1756-1791.
Description: This score is special edition of Mozart's opera "Idomeneo" issued by subscription by J. Frey in ca. 1822. The cursive signature J. Frey appears in ink at the bottom of the t.p. This edition is in two volumes. Volume 1 lists the names of subscribers and has a table of contents for each of the three acts with the incipit of first lines of texts of arias, recitatives and choruses. Volume 1 also contains the overture of the opera and the first act. Volume 2 contains the second and third acts. According to New Grove, in 1780 Mozart received a commission to composed a serious opera on a libretto by the Salzburg cleric Giambattista Varesco, which the latter based on Antoine Danchet's Idoménée.
Contributing Partner: UNT Music Library
Ifigenia in Aulide

Ifigenia in Aulide

Date: 1762
Creator: Cigna-Santi, Vittorio Amedeo.
Description: This is a ca. 1762 copy of the libretto of "Ifigenia in Aulide," by Vittorio Amedeo Cigna-Santi, the principal librettist at the Teatro Regio in Turin. Cigna-Santi's libretto is an adaptation of Euripide's story of Ifigenia, the daughter of the king of Argos, Agamemnon. The goddess Diana decreed that Ifigenia had to be sacrificed in order to guarantee fair winds for the king's fleet on their journey to Troy. Achilles, rushed to save Ifigenia, his wedding bride, but Diana, moved by Ifigenia's obedience, spared her life before the priest killed her. Ferdinando Giuseppe Bertoni set this libretto to music for the 1762 carnival season in Turin. According to scholar George Hollis, the surviving arias of Ifigenia in Aulide are technically demanding and contain florid and lengthy passages in the tradition of opera seria. The library's copy of "Ifigenia in Aulide"is bound with the following librettos: "Catone in Utica," by Pietro Metastasio; "Sofonisba" by Mattia Verazi; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi.
Contributing Partner: UNT Music Library
Le istitutioni harmoniche

Le istitutioni harmoniche

Date: 1562
Creator: Zarlino, Gioseffo, 1517-1590.
Description: 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."
Contributing Partner: UNT Music Library
Messa à 4

Messa à 4

Date: unknown
Creator: Bisso, Matteo, 1705-1776
Description: This a manuscript copy of two Mass movements, Kyrie and Gloria, gathered from a "Messa à 4." The copyist, Vincenso Marchetti, attributed this mass to the composer Matteo Bisso. The texts of both movements of the Mass are divided in several sections and set musically for an ensemble of mixed choir (S.A.T.B), vocal soloists, strings and basso continuo. Each section reflects changes of tonality, tempo, and musical meter. The composer indicated dynamics, the use of muted strings (e.g., p.[84]) and performance indications such as unison and col parte (e.g., p. [76] and p.[79]). The last section for the Chirie [sic] is set musically as a slow fugue in triple meter.
Contributing Partner: UNT Music Library
Nouvelles Poesies Morales sur Les Plus Beaux Airs de la Musique Francoise et Italienne avec la Basse.: Fables Choisies Dans le gout de M. De La Fontaine, Sur des Vaudevilles & petits Airs aisés à chanter, avec leur Basse & une Basse en Musette.  Recueil I.  6 liv. broché.

Nouvelles Poesies Morales sur Les Plus Beaux Airs de la Musique Francoise et Italienne avec la Basse.: Fables Choisies Dans le gout de M. De La Fontaine, Sur des Vaudevilles & petits Airs aisés à chanter, avec leur Basse & une Basse en Musette. Recueil I. 6 liv. broché.

Date: 1737
Creator: La Fontaine, Jean de, 1621-1695
Description: This score is a collection of poetry and set to music including moral fables (marked on the table of contents with an asterisk). Each piece has words written with musical lines in treble, bass, or a combination of both. Includes a preface ('Avis.') and table of contents for the movements prior to page 1 for each of the seven collections ('recueil'). The pagination restarts for each collection and for the fables which fall at the end of each section.
Contributing Partner: UNT Music Library
Oeuvres de J. Haydn, Cahier IX contenant XXXIII Airs et Chansons

Oeuvres de J. Haydn, Cahier IX contenant XXXIII Airs et Chansons

Date: 1799
Creator: Haydn, Joseph (1732-1809)
Description: Though the cover of this volume is in French, the title page gives the same information in German. This latter language also receives pride of place in the text underlay: Most songs are solely in German but, when lyrics are given in two languages, German is immediately below the musical staves with either Italian or French in italics below the German. Songs use one to three voices with the voice part sometimes integrated into the top staff of the piano part with text underlay indicating when to sing. Several songs are set for three-part Männerchor or four-part chorus with piano accompaniment. In strophic settings, only the first stanza of poetry appears in the score; the rest are included as addenda at the end of the piece. The volume concludes with a table of contents given the name and first line of each song in all languages used for each entry.
Contributing Partner: UNT Music Library
Oeuvres de J. Haydn, Cahier VIII

Oeuvres de J. Haydn, Cahier VIII

Date: 1799
Creator: Haydn, Joseph (1732-1809)
Description: This volume contains fifteen sacred and secular songs for one to four voices with piano accompaniment. Contrary to the title page, the titles of each song are given either in German or German and Italian. When both languages are present in the text underlay, the Italian text sits directly below the staves with German below the Italian. Most songs either give "Singstimme" or a voice part for the vocal staves; some give names of characters, possibly indicating a theatrical or semi-dramatic performance context. Songs for one voice tend to be strophic while part songs are through-composed. Authors such as Gellert, Metastasio, and Shakespeare figure among the authors (most anonymous) of the texts. As with the other binlingual pieces in this volume, the scene "Arianna a Naxos" is set in Italian and German. The interaction of the soprano voice and piano accompaniment as well as the structural alternation between arioso/aria and recitative reveals this piece to be a solo cantata. The volume concludes with a four-page catalog of all of Breitkopf und Härtel's publications in Leipzig complete with price in thalers for each piece and a table of contents. The positioning of the Inhalt at the end of the volume reflects ...
Contributing Partner: UNT Music Library
Orfeo ed Euridice

Orfeo ed Euridice

Date: 1822
Creator: Calzabigi, Ranieri de, 1714-1795.
Description: 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.
Contributing Partner: UNT Music Library
Le piacevoli poesie

Le piacevoli poesie

Date: 1750
Creator: Baretti, Giuseppe Marco Antonio, 1719-1789.
Description: This is a ca. 1750 copy of "Le piacevoli poesie di Giuseppe Baretti" (The Pleasing Poetry of Giuseppe Baretti). Although Baretti is primarily remembered for his frequent travels throughout Italy, England, France, and Portugal, which he recounted in his "Lettere familiari ai suoi tre fratelli," he was also a scholar, linguist, poet, translator, and journalist. He wrote "Le piacevoli poesie di Giuseppe Baretti" in 1750. The poetry imitated the style of Fancesco Berni, a 16th-century Italian poet who wrote parodies and burlesque letters-much of it obscene in nature. The introduction of this work was written by the Venetian Count Gasparo Gozzi, himself a poet, prose writer, journalist, critic, and also the brother of Baretti's friend, Carlo Gozzi. The library's copy of "Le piacevoli poesie" is bound with the following librettos: "Ifigenia in Aulide" by Vittorio Amedeo Cigna-Santi; “Catone in Utica,” by Pietro Metastasio; "Sofonisba" by Mattia Verazi; and "Arianne e Teseo" by Pietro Pariati.
Contributing Partner: UNT Music Library
Prattica di musica, utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose cantabili

Prattica di musica, utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose cantabili

Date: 1596
Creator: Zacconi, Lodovico, 1555-1627.
Description: This book is the first part of Lodovico Zacconi's "Prattica di musica," published in 1596. The contents of this book are divided in four parts covering: the history of music, definition of musical terms, introduction to musical notation, modes, time and prolation, rules of counterpoint, musica ficta, classification of musical instruments, and proper manner of singing polyphonic works and musical ornaments. A second part, "Prattica di musica seconda parte," was published in Venice in 1622. The library's copy contains the following pagination errors: leaves 30, 67, 124, 130, 134, 188 were numbered incorrectly as 29, 140, 130, 122, 130, 194, respectively. There are two leaves numbered 50, each containing the parts for the alto, bass and tenor with underlaid text "Beatus author seculi" and "Residuo." Each leaf is preceded by another leaf that contains the singing parts for the cantus, quintus and tenor. These are two versions of a polyphonic setting, in duple time and triple mensuration, respectively. In the second example, the words Gloria tibi domine" appear under the cantus and quintus.
Contributing Partner: UNT Music Library
Prima la musica e poi le parole

Prima la musica e poi le parole

Date: 1786
Creator: Casti, Giovanni Battista, 1724-1803.
Description: This is a copy of Giovanni Battista Casti's libretto for the comic opera "Prima la musica e poi le parole". On the back of the t.p. appears a list of characters and names Antonio Salieri as the composer of the music. The one-act opera was commissioned by Emperor Joseph II. Members of the Burgtheater's Italian troupe premiered it at the Schönbrunn Palace on February 7, 1786. The library's copy is bound with the libretto of Zaccaria Valaresso's "Rutzvanscad, il giovine."
Contributing Partner: UNT Music Library
FIRST PREV 1 2 NEXT LAST