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  Partner: UNT Music Library
 Collection: Virtual Music Rare Book Room
Messa à 4
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. digital.library.unt.edu/ark:/67531/metadc86519/
Catone in Utica
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 of "Catone in Utica" is bound with the following librettos: "Ifigenia in Aulide", by Vittorio Amedeo Cigna-Santi; "Sofonisba" by Mattia Verazi; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi. digital.library.unt.edu/ark:/67531/metadc39294/
Ifigenia in Aulide
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. digital.library.unt.edu/ark:/67531/metadc39295/
Sofonisba
This is a ca. 1764 copy of the libretto of the opera seria "Sofonisba" by Mattia Verazi. Baldassare Galuppi set this libretto to music for the 1764 carnival season in Turin. Mattia Verazi became a court poet at Mannheim and Stuttgart in 1756. Duke Carl Eugen favored operas with French influence, and Verazi catered to his tastes by providing libretti that deviated from Metastasian opera conventions. In 1762, Verazi and Tommaso Traeta collaborated to create operas following French models. Sofonisba was the result of such collaboration. Sofonisba and Siface, king of Numidia, are married and have a child. When Siface fails to return from battle against the Romans, Massinissa, Sofonisba’s former suitor, renews his advances. Siface appears among the captives and rejoins his wife but fail in their attempt to escape from their Roman captors. Afraid that she will be marched in chains through the streets of Rome, Sofonisba poisons herself and is dying when the news arrives that all has been resolved. Baldassare Galuppi composed the music of the opera for the 1764 Turin carnival season. The opening scene includes a programmatic sinfonia that accompanies a pantomimed battle, and later, another pantomime that depicts gladiatorial games. Verazi included detailed instructions for staged actions. Verazi's dramatic ending to the opera included Sofoniba's dramatic suicide. The library's copy of "Sofonisba" is bound with the following librettos: "Ifigenia in Aulide" by Vittorio Amedeo Cigna-Santi; "Catone in Utica" by Pietro Metastasio; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi. digital.library.unt.edu/ark:/67531/metadc39297/
Le piacevoli poesie
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. digital.library.unt.edu/ark:/67531/metadc39296/
Arianna e Teseo
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. digital.library.unt.edu/ark:/67531/metadc39293/
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/
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/
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/
Estebanillo: zarzuela en tres actos, en verso
Libretto of the three-act zarzuela "Estebanillo" by Ventura de la Vega. The plot is an adaptation of the ca. 1634 Spanish comedy, "Fortuna te dé Dios, hijo" (May God give you good luck, son), by the playwright Tirso de Molina's. The zarzuela is also known by the title "Estebanillo Peralta." It was premiered in 1855 at the Teatro del Circo (built in 1834 and destroyed by fire in 1876). digital.library.unt.edu/ark:/67531/metadc39257/
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/
La favola di Orfeo
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. digital.library.unt.edu/ark:/67531/metadc39258/
Isis, tragedie en musique
Libretto of the opera "Isis," by Philippe Quinolt. The music of the opera was composed by Jean-Baptiste Lully's and premiered on January 5, 1677 at St. Germain-en-Laye. The libretto is a loose adaptation of one of the episodes in Ovid's Metamorphoses. The plot resembles that of Lully's previous opera, Atys. It is set in pastoral and divine realms. In the opera, Jupiter courts the nymph Io, and jealous Juno imprisons her under the hundred watchful eyes of Argus. The god Mercury helps Io to escape and turns Hiérax, Io's former lover, into a bird when he tries to interfere. Then, Juno orders a Fury to torment Io. After a series of tortures, Io invokes Jupiter who interferes with Juno promising he will be faithful to her in exchange of her sparing Io. Juno then transforms Io into the Egyptian goddess Isis. 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/metadc39259/
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/
Elements of Musical Composition; comprehending the Rules of Thorough Bass, and the Theory of Tuning.
Manual describing musical composition for beginners. The manual is divided in 9 chapters and includes 479 musical examples engraved in 59 pages at the end of the book, as well as four plates with figures (plate no. II appears at the beginning of the book. The musical examples cover the following subjects: scales, intervals (diatonic and chromatic) and their inversion, counterpoint rules, harmonic progressions, use of non-harmonic tones (suspensions, passing notes, appoggiaturas, and upper-lower neighbor. It also includes several examples taken from Handel's "Dettingen Te Deum," "Messiah," and from Haydn's oratorio "Creation," among others. digital.library.unt.edu/ark:/67531/metadc39255/
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/
Zephire et Flore
This is a digital reproduction of the 1688 libretto of the opera "Zephire et Flore" by Michel Du Boullay. The music of the opera is attributed to Louis and Jean-Louis Lully, sons of Jean-Baptiste Lully. It was performed for the first time on March 22, 1688 at the Palais Royale in Paris. digital.library.unt.edu/ark:/67531/metadc39291/
Le tonnelier
Libretto of the comic opera "Le tonnelier" (The cooper) by Nicolas-Médard Audinot in collaboration with Antoine-François Quétant. The music of this one-act opera is a pasticcio of works by Gossec and other contemporaneous composers. Typical of the genre, the opera contains a variety of musical forms (airs, romance, vaudeville, and recitatives) and the dialogues are interspersed with additional airs, possibly using popular tunes. This copy includes (on pp. 52 and 54-56) notated melodies of airs. digital.library.unt.edu/ark:/67531/metadc39261/
Roland
Libretto of the opera "Roland" by Philippe Quinault; he based the plot of Roland on medieval legends of chivalry, setting episodes from Ludovico Ariosto's epic poem "Orlando furioso." Roland centers on the conflict between duty and love and the intervention of goddesses. This copy includes includes handwritten annotations of performers' names, and a frontispiece engraving undersigned by Jean Dolivar (i.e., Juan Dolivar) that illustrates one of the scenes from the opera. Jean-Baptiste Lully composed the music of the opera which premiered on January 8, 1685. digital.library.unt.edu/ark:/67531/metadc39287/
Proserpine
Libretto of the opera "Proserpine," by Philippe Quinolt; the plot is based on the story of the abduction of Proserpine and her descent into Hades, and also on Ovid's Metamorphoses, its original source. In the plot, Cerés, the goddess of the earth, summons the nymph Aréthuse to guard her daughter Proserpine. Aréthuse protests, and tells Cerés of her love for Alphée, the river god, but the anxious mother warns her she should not let her own feelings interfere with the assigned task. Alphée assumes that Aréthuse abandoned him to look after Proserpine. Taking advantage of the situation, Ascalaphe, Pluto's envoy, encourages Alphée's belief in Aréthuse's supposed infidelity; then, persuades both Alphée and Aréthuse into letting Pluto watch over Proserpine. Alphée and Aréthuse agree and as the lovers' attention wanders, Pluto seizes Proserpine and abducts her. Cerés learns of her daughter's abduction and in despair decides to withhold her gifts that give earth prosperity. When Alphée and Aréthuse finally reach Proserpine, they find that she has already eaten of the grain and tasted the fruit of the underworld, which condemned her to Pluto's control. Proserpine begs Pluto for mercy, but the love-stricken god refuses to free her. Pluto summons his judges and three furies, who support his claim to keep Proserpine with him, even at the cost of bringing devastation to earth. As Cerés laments, Alphée and Aréthuse approach to tell her that Proserpine is held by Pluto and that she is now the queen of the underworld. Cerés calls Jupiter and demands the return of daughter. Mercure descends and tells Cerés that the gods heard her plea and reached a compromise to allow Proserpine to be Pluto's wife and queen, while spending several months of each year with her mother. The title page contains a lithograph illustration of a winged young Pluto wearing a crown and ridding a horse chariot while holding a two-pronged spear. It includes an engraved frontispiece titled, "Proserpine" by Jean le Pautre. digital.library.unt.edu/ark:/67531/metadc39284/
Thetis et Pelée
Libretto of the opera "Thetis et Pelée" by Bernard le Bovier de Fontenelle. In the plot, the Nereid Thetis is wooed by Jupiter and Neptune, as well as by a mortal, Pelée (Peleus). When a storm caused by Neptune disrupts a celebration Jupiter gave in honor of Thetis, an oracle is consulted, which foretells that Thetis's husband will one day be less powerful than his son. Neptune and Jupiter withdraw their claims, and Thetis marries Pelée. Pascal Collasse composed the music of the opera which premiered at the Paris Opéra on January 11, 1689. This copy includes an engraved frontispiece titled, "Thetis et Pelée" by Juan Dolivar (undersigned as J. Dolivart). digital.library.unt.edu/ark:/67531/metadc39289/
Phaeton
Libretto of the opera "Phaeton," by Philippe Quinolt. The plot is based on an episode in Ovid's Metamorphoses. In the plot, Phaethon, son of Climène and Soleil [the Sun], is filled with excessive ambition and pride. He abandons his beloved, Théone, and requests to the King of Egypt the hand of his daughter Libie. Climène, who after consulting the sea god Proteus knows of the demise that her son's avarice will bring upon himself, tries in vain to discourage his ambition for the throne of Egypt and urges him to renew his love for Theona. However, Phaeton goaded by the taunts of his rival, Epaphus, rides recklessly across the sky in his father's chariot. The spectacular ending includes Jupiter's thunderbolts aimed at stopping Phaethon's wild ride, and Phaethon crashing onto earth where he dies. An ensemble and chorus provide a sorrowful denouement. 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. It also includes an engraved frontispiece titled, "Le trébuchement de Phaeton" (The Fall of Phaeton) by Jean le Pautre. digital.library.unt.edu/ark:/67531/metadc39283/
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/
Jeannot et Colin
This is a ca. 1857 copy of the libretto of Jeannot et Colin, an opera by Charles Etienne with music by Nicolo Isouard. The opera premiered in Paris at the theater of the Opéra-Comique on 17 October 1814. The expressive melodies of the opera as well as its performers ensured its success. The opera was staged again on 14 October 1857. The first page of the library's copy contain the names of the performers that participated in both productions. digital.library.unt.edu/ark:/67531/metadc39260/
Hortense
This is a digital copy of the nocturne "Hortense" 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 Loise Dulcken (1811-1850), a German pianist famous for her pianistic prowess, the musical soirées she sponsored, which gathered prominent musicians, painters and literary figures, and for having taught piano to Queen Victoria. The nocturne Hortense 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/metadc39274/
Valses brillantes
This is a digital copy of "Valses brillantes" by Leopold von Meyer. This piece was issued as the third 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. "Valses brillantes" 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/metadc39279/
Machmudier
This is a digital copy of the Moroccan march "Machmudier, air guerrier national' des Turcs" 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 Lieutenant Brownlow C. Bertie of the 2nd Regiment of Life Guards. The caption on page 1 of "No. 1 Air guerrier guerrier des Turcs" suggests that this is the first of several such piano Turkish/Moroccan marches composed by von Meyer. The one shown here 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/metadc39276/
Grande marche triomphale d'Isly, op.30
This is a digital copy of the "Grande marche triomphale d'Isly, op.30" 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. "Grande marche triomphale d'Isly" 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. The march was dedicated to the Marshall Thomas Robert Bugeaud, Duke of Isly (1784-1849). 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/metadc39273/
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/
Lucrezia Borgia, introduction and brilliant variations, for the piano forte
This is a digital copy of the "Lucrezia Borgia, introduction and brilliant variations, for the 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. "Lucrezia Borgia, introduction and brilliant variations" 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. This piece was inspired on the opera "Lucrezia Borgia" (1833) by Gaetano Donizetti to whom von Meyer dedicated the work. 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/metadc39275/
Grande fantaisie orientale, op. 38
This is a digital copy of the "Grande fantaisie orientale, op.38" 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. "Grande fantaisie orientale" 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/metadc39272/
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/
Variations brillantes sur la cavatine favorite Aurora sorgerai
This is a digital copy of the ca. 1830 edition of Henri Herz's Brilliant variations for the piano forte on the cavatina "Aurora che sorcerai" from Rossini's two-act melodrama "La donna del lago," (i.e., The lady of the lake). The library's copy is part of a bound collection of piano music by variopus nineteenth-century composers. The pianist, and Herz's friend, Franz Hünten adapted several passages of the music to suit the range of the contemporaneous piano fortes. A note on the t.p. indicates that "Mrs. [Lucy] Anderson had the distinguished honor of performing this piece before their Majesties at Brighton." Plate no. 476. digital.library.unt.edu/ark:/67531/metadc39282/
Variations sur un thême de Semiramis de Rossini, op.37
This is a digital copy of "Variations sur un thême de Semiramis de Rossini, op.37" 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 madame d'Obrescoff. Variations sur un thême de Semiramis de Rossini, op.37 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/metadc39281/
Grand galop de bravoure
This is a digital copy of "Grand galop de bravoure" by Leopold von Meyer. This piece was issued as the fourth 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. "Grand galop de bravoure" 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/metadc39280/
Grande étude de bataille, for the piano forte, op. 35
This is a digital copy of the "Grande étude de bataille for the piano forte, op. 35" 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 Bohemian pianist and composer Ignaz Moscheles (1794-1870). "Grande étude de bataille for the piano forte" 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, 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/metadc39271/
1er quatuor, pour deux violons, alto et basse, oeuvre 5
Musical score containing the four parts of Charles Dancla's first string quartet, op.5 in F minor, written for two violins, with alto and bass. digital.library.unt.edu/ark:/67531/metadc39285/
Airs russes, [op.20]
Musical score for "Airs russes" written for piano by Leopold von Meyer, as part of opus 20. This piece was issued as the second of four pieces published under the title "Repertoire de Léopold de Meyer." digital.library.unt.edu/ark:/67531/metadc39278/
Airs russes: fantaisie for the piano forte, op.43
Music score for Airs russes: fantaisie, written for the piano forte, part of opus 43 by Leopold von Meyer. digital.library.unt.edu/ark:/67531/metadc39263/
Andante for the piano forte, op.42
Musical score of "Andante for the piano forte", part of opus 42 by Leopold von Meyer. digital.library.unt.edu/ark:/67531/metadc39264/
Bajazeth
Musical score containing the piano part for "Bajazeth: air national [sic] des turques pour le piano forte" by Leopold von Meyer. digital.library.unt.edu/ark:/67531/metadc39265/
Fantaisie sur Les Hirondelles
Musical score containing the piano part for "Fantaisie sur Les Hirondelles" by Leopold von Meyer. digital.library.unt.edu/ark:/67531/metadc39267/
Fantaisie pour le piano sur un air de Bellini
Musical score containing the piano piece for "Fantaisie pour le piano sur un air de Bellini" by Leopold von Meyer. digital.library.unt.edu/ark:/67531/metadc39268/
Fantaisie sur L'elisire d'amore, op. 32
Musical score containing the piano piece for "Fantaisie sur L'elisire d'amore," part of opus 32 by Leopold von Meyer. digital.library.unt.edu/ark:/67531/metadc39269/
Fantaisie sur Norma, [op.40]
Musical score containing the piano piece for "Fantaisie sur Norma," part of opus 40 by Leopold von Meyer. digital.library.unt.edu/ark:/67531/metadc39270/
Le depart et le retour, deux nocturnes
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." digital.library.unt.edu/ark:/67531/metadc39277/
The Musical Library, Vocal: Volumes 3 & 4
This is a digital copy of volumes 3 and 4 of "The musical library," a bound collection of part songs and songs with piano accompaniment edited by William Ayrton. It includes arrangements of famous nineteenth-century tunes, madrigals, ballads, canzones, elegies, and opera arias by various composers. digital.library.unt.edu/ark:/67531/metadc39290/
The Musical Library, Vocal: Volumes 1 & 2
This is a digital copy of volumes 1 and 2 of "The musical library," a bound collection of part songs and songs with piano accompaniment edited by William Ayrton. It includes arrangements of famous nineteenth-century tunes, madrigals, ballads, canzones, elegies, and opera arias by various composers. digital.library.unt.edu/ark:/67531/metadc39288/
Le triomphe de l'amour
Libretto of the ballet "Le triomphe de l'amour" written by Philippe Quinault in collaboration with Isaac de Benserade. It is divided in two parts. The first, contais the prologue and the ballet entrances (i.e., entrées); the second part contains flattering comments and instructions directed to the noble people participating in the ballet. Each of the entrées that comprise "Le Triomphe de l'Amour" reveal aspects of love triumphant. The theater represents a magnificently ornate place where a crowd receives Amour (i.e., the god Love), the son of Venus. The latter presides over the crowd and sings of the virtues of the king who has restored peace to his kingdom. Venus entreats everyone to pay homage to her victorious son. The first performance took place at Saint-Germain-en-Laye on January 21, 1681. The twenty entrées of this 'ballet de cour' (i.e., court ballet) were choreographed by Pierre Beauchamp with music by Jean-Baptiste Lully. Carlo Vigarani designed the stage décor and Jean Berain provided designs for costumes and decorations of this royal festivity. This copy includes a frontispiece engraving that depicts a stage setting by Daniel Marot. digital.library.unt.edu/ark:/67531/metadc39262/
Dictionary of Music and Musicians, Volume 3
This is a copy of the third volume of "Dictionary of Music and Musicians," edited by Sir George Grove. This volume, published in 1883, is an encyclopedic work that contains the biographies of well-known composers as well as articles contributed by various authors on music topics, concepts and definitions starting alphabetically from: "P" (Planché, James Robinson) to "S" (the title of the Medieval rota, "Sume is icumen in"). The names of contributing authors appear in a list on pp.[v]-vii, signed "29 Bedford Street, Covent Garden, July, 1883." The titles of volumes I and II, indicate that the dictionary was issued in three volumes. However, the titles of the third and fourth volumes changed that statement to indicate that the publication of the dictionary was in four volumes. digital.library.unt.edu/ark:/67531/metadc31506/
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