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 Resource Type: Musical Score/Notation
Kirchen und Hauss Gesänge, 2. Teil

Kirchen und Hauss Gesänge, 2. Teil

Date: 1620~
Creator: Altenburgio, M. Michaele, 1584-1640
Description: This tenor partbook opens with several dedications followed by a letter of commendation for the entire set of Newer Kirchen- und Hauss-Gesänge. Songs are listed topically in the Register.
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Artaxerxes. An English opera.

Artaxerxes. An English opera.

Date: 1763
Creator: Arne, Thomas Augustine, 1710-1778
Description: 1763 English libretto for Thomas Arne's opera Artaxerxes. Thomas Arne most likely wrote his own libretto for Artaxerxes, which enjoyed a successful run at Covent Garden beginning on 2 February 1762. Artaxerxes follows the structure of Metastasio’s Italian libretto on the same subject; no other English-language opera has been recognized as following the principles of Metastasian opera seria.
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Vocal Melody Book IV

Vocal Melody Book IV

Date: 1752
Creator: Arne, Thomas Augustine, 1710-1778
Description: This collection of songs from the pantomime "Harlequin Sorcerer" and the play "The Oracle" are scored for various voice types with obbligato instruments and basso continuo (with figured bass). A "Mrs. Cibber" is credited prominently on the title page. Some songs also have alternate parts for the solo line (conflating obbligato and vocal parts) for German flute (sometimes simply designated as "Flute").
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Love in a Village: a Comic Opera As it is Performed at the Theatre Royal in Covent-Garden.  For the Harpsicord, Voice, German Flute, or Violin.

Love in a Village: a Comic Opera As it is Performed at the Theatre Royal in Covent-Garden. For the Harpsicord, Voice, German Flute, or Violin.

Date: 1763
Creator: Arne, Thomas Augustine, 1710-1778 & Bickerstaff, Isaac, 1735-1812
Description: Vocal score for Love in a Village is broken into four labeled sections ('books'), each of which has a separate title page, and includes the music from the comic opera which has figured bass. Some of the music includes underlaid lyrics and the names of the persons who performed the pieces. Table of contents for the entire work is on page [1]. According to Grove Music Online, the opera is the story of a heroine (Rosetta) who runs away from an unhappy marriage.
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Thomas and Sally

Thomas and Sally

Date: 1782
Creator: Arne, Thomas Augustine, 1710-1778 & Bickerstaff, Isaac, 1735-1812
Description: 1782 vocal score of Thomas Arne's opera Thomas and Sally, or the Sailors return. Dramatic pastoral in two acts by Thomas Augustine Arne to a libretto by Isaac Bickerstaff; London, Covent Garden, 28 November 1760. Thomas and Sally can claim to be the first all-sung English comic opera. It is noteworthy as well for the introduction of clarinets into the orchestra (Grove Music Online).
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The Musical Library, Vocal: Volumes 1 & 2

The Musical Library, Vocal: Volumes 1 & 2

Date: 1849
Creator: Ayrton, William, 1777-1858
Description: 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.
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The Musical Library, Vocal: Volumes 3 & 4

The Musical Library, Vocal: Volumes 3 & 4

Date: 1849
Creator: Ayrton, William, 1777-1858
Description: 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.
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Nouvelles parodies bachiques, mélées de vaudevilles ou ronde de table

Nouvelles parodies bachiques, mélées de vaudevilles ou ronde de table

Date: 1700
Creator: Ballard, Christophe, 1641-1715.
Description: This a copy of vol. 2 of an anthology of French songs compiled by Christophe Ballad, music publisher of King Louis XIV. The work consists mainly of unaccompanied melodies with underlaid text for selected acts of the following tragedies: Proserpine (pp. 1-19); Le triomphe de l'amour (pp. 20-60); Persée (pp. 61-81); Phaeton (pp. 62-94); Amadis (pp. 95-125); Roland (pp. 126-155); Armide (pp. 169-176); Acis et Galatée (pp. 177-192). It contains also melodies for "Ballet du temple de la Paix" (pp. 156-168), and Vaudevilles on rondes de table (pp. 193-264). Two previous editions, compiled by Monsieur Ribon, published under title: Parodies bachiques. Cf. RISM, v. B I, 1 1695(4) and 1696(1), present ed. listed as 1700(3).
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Variations à quatre mains pour le piano-forte sur une theme de Monsieur le Comte de Waldstein

Variations à quatre mains pour le piano-forte sur une theme de Monsieur le Comte de Waldstein

Date: 180u
Creator: Beethoven, Ludwig van, 1770-1827
Description: None
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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.
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Prodromus Musicalis

Prodromus Musicalis

Date: 1704
Creator: Brossard, Sebastian, 1655-1730
Description: "Prodromus Musicalis" (published in 1702) is bound, here, with "Motets à une et deux voix, mélez de symphonies, livre premier" (1704); thus, the latter gate is used for this item as a unit. Both sets of motets consist of Latin-texted music preceded by a title page in French. A Table of Contents either at the front or back of each collection describes the motets contained therein. Content is printed on both sides of each leaf. "Prodromus" also has a note from Brossard informing the reader that a Dictionary of Music, published at the same time as "Prodomus," contains French translations of Italian, Greek, and Latin terms, knowledge of which is vital to the understanding and performance of the present music. The contents of "Prodromus" are as follows: "Ave vivens hostia," "O Jesu quam dulce," "Congratulamini filiae Sion," "O vos aetherei," "Festivi martyres" "Angele sancte" "Sonitus armorum," "Quemadmodum desiderat," and "O plenus irarum dies." "Motets à une et deux voix" contains the following pieces: "Venite exultemus," "Gaudete Mortales," "Ad mensam caelitus paratam," "Ave Regina coelorum," "Animae Amantes ad Deum esurientes," "Ite gemmae, Ite flores," "Anxiatus est super me spiritus meus," "Festivi Martyres, festivae Virgines," "Nisi Dominus aedificaverit domum."
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Tancrède:  tragédie

Tancrède: tragédie

Date: 1702
Creator: Campra, André, 1660-1744; Danchet, Antoine, 1671-1748. & Tasso, Torquato, 1544-1595
Description: André Campra’s Tancrède, which premiered on 7 November 1702, is his best-known tragédie en musique, with a run of performances until 1764, and high praise by noteworthy music personalities such as Rameau. While the music critic La Cerf de la Viéville wrote positive comments about Tancrède, he was bothered by the opera’s use of low voices, which defied the tradition of employing castrati parts. Additionally, the role of Clorinda was written for a well-known contralto named Mademoiselle Maupin; although the range is that of a mezzo-soprano, the powerful quality of Maupin’s voice seemed to be a prime consideration for Campra.
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Il primo libro de madrigali a cinque voci

Il primo libro de madrigali a cinque voci

Date: 1567
Creator: Carli, Gierolamo, b. ca. 1530
Description: This partbook contains the "quinto" part for "Il Primo Libro de Madrigali a Cinqve Voci, con Tre Sesti, et Tre Dialoghi a Otto, Nouament e da lui Composti, & per Antonio Gardano dati in luce." Carli dedicated his First Book of Madrgials "all' Illustrissimo Signor Conte Alfonso Gonzaga Conte di Nuuolara." A table of contents at the end of the partbook lists the madrigals alphabetically in three categories: five-voice pieces, six voice pieces, and eight-voice dialoghi.
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Walkin' by the River

Walkin' by the River

Access: Use of this item is restricted to the UNT Community.
Date: July 16, 1957
Creator: Carlisle, Una Mae, 1915-1956. & Sour, Robert, 1905-
Description: This is a manuscript score of Joseph [Joe] A. Coccia's arrangement for jazz ensemble of the song "Walkin' by the River," by Una Mae Carlisle. It includes chord symbols and sections of the music, dynamics and solo entrances were marked using red pencil. On the back of the last page of the manuscript, there are suggested performance instructions and an alternative ending addressed to Stan [Kenton]. Each page of the manuscript bears the inscription "Stan Kenton Orch."
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Mélomanie : opera comique en un acte en vers mêlé d'ariettes mis en musique

Mélomanie : opera comique en un acte en vers mêlé d'ariettes mis en musique

Date: 1781
Creator: Champein, Stanislas, 1753-1830 & Grenier
Description: During his early career, Champein was known for church music composed while he worked as music master at the collegiate church in Pignon (in the southern Provence region of France). He moved to Paris and established himself as an operatic composer; La mélomanie (1781) is one of his most famous operas, and it remained in the repertoire at the Opéra-Comique until 1829. La mélomanie actually mocks the debate between French and Italian styles of music, with Fugantini as an Italian who is rejected by the French Elise. References to harmony (a French feature) and melody (emphasized by advocates of Italian music) abound in the opera.
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Les deux journées

Les deux journées

Date: 1800~
Creator: Cherubini, Luigi, 1760-1842.
Description: 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.
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Exultate Deo: petit motet nouveau a voix seule et grande simphonie: chanté pour la premiere fois par Melle, Jet au Concert Spirituel le 4 Avril, 1755; Ch. d'Herbain

Exultate Deo: petit motet nouveau a voix seule et grande simphonie: chanté pour la premiere fois par Melle, Jet au Concert Spirituel le 4 Avril, 1755; Ch. d'Herbain

Date: 175u
Creator: Chevalier d'Herbain, ca. 1730-1769
Description: Sacred solo cantata for high voice, with orchestra.
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Matrimonio segreto : dramma giocoso in due atti = ou, Le mariage secret : opera comiLe mariage secret : opera comique en deux actesque en deux actes

Matrimonio segreto : dramma giocoso in due atti = ou, Le mariage secret : opera comiLe mariage secret : opera comique en deux actesque en deux actes

Date: 1799
Creator: Cimarosa, Domenico, 1749-1801 & Bertati, Giovanni, 1735-1815
Description: Domenico Cimarosa’s Il matrimonio segreto premiered at the Burgtheater in Vienna on 7 February 1792, just two months after Mozart’s death. It received immediate accolades, particularly from Emperor Leopold II, and the opera was performed a second time that day for a private audience that included the Holy Roman ruler. Il matrimonio segreto enjoyed a successful run that lasted almost a hundred years, with revised versions appearing in the second half of the nineteenth century; in 1933, the work was performed at the Library of Congress. Although the harmonic language is largely diatonic, Cimarosa’s beautiful melodies and exciting rhythms complement Bertati’s direct text. The opera presents the predicament of the secretly married couple without resorting to stock plot conventions such as characters in disguise, conveying the dramatic naturalness and simplicity promoted by Rousseau. The inventive orchestration, which includes clarinets, was another aspect of the opera that was praised by some (while Schumann appreciated the orchestration, Berlioz was unimpressed).
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Rosamond

Rosamond

Date: 1707
Creator: Clayton, Thomas, 1673-1725
Description: This three-act opera is to a libretto by Joseph Addison. Content is printed only on the recto side of each leaf. The score features two title pages: the first, with an engraving and small print describing the contents; the second, with large font. The work opens with a three-part "symphony or overture" for an ensemble of unspecified instrumentation: two treble instruments and one bass instrument. The indication "with Violins" on some the songs suggests the nature of the high instruments. No figures are included on the bass line. All the songs are followed, on the same page, by a version of the vocal line for flute.
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Songs in the new opera call'd Arsinoe, queen of Cyprus

Songs in the new opera call'd Arsinoe, queen of Cyprus

Date: 1705
Creator: Clayton, Thomas, 1673-1725
Description: Thomas Clayton’s first opera, Arsinoe, Queen of Cyprus, premiered at Drury Lane in London on 16 January 1705. The opera initially enjoyed success, but two years later, Clayton’s second opera was not well-received. Part of Arsinoe’s popularity may have been due to Catherine Tofts' portrayal of the title character; Toft would later become a star of the English stage.
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Cantates françoises à I. et II. voix: avec simphonie, et sans simphonie, V. 1-2

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

Date: 1710
Creator: Clérambault, Louis-Nicolas, 1676-1749
Description: This item contains volumes 1 and 2 of Clérambault's "Cantates Françoises." The second volume bears the subtitle "Mellées de Simphonies." Volume 1 contains the cantatas "L'amour piqué," "Le jaloux," "Orphée," "Poliphême," "Medée," and "L'amour et Baccus." Volume 2 contains "Alphée et Arethuse," "Leandre et Hero," "La musette," "Pirame et Tisbé," "Pigmalion," and "Le triomphe de la paix." The continuo line is figured.
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Devil to pay: or, The wives metamorphos'd

Devil to pay: or, The wives metamorphos'd

Date: 1732
Creator: Coffey, Charles, d. 1745; Mottley, John, 1692-1750 & Jevon, Thomas, 1652-1688
Description: English libretto to Charles Coffey's ballad opera The devil to pay or, The wives metamorphos'd. The Devil to Pay is an adaptation of Thomas Jevon’s play The Devil of a Wife (1686). Nearly fifty years later, the ballad opera appeared at Drury Lane with Charles Coffey and John Mottley each responsible for half of the three acts. However, a much shorter and more well-received one-act version, edited by Theophilus Cibber, is represented in the printed libretto. Today Coffey is generally the only name widely attached to The Devil to Pay. The opera’s popularity is attested by the frequent performances and a translation into German, which contributed to the development of the Singspiel.
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Thetis et Pelée; tragédie en musique

Thetis et Pelée; tragédie en musique

Date: 1716
Creator: Collasse, Pascal, 1649-1709 & Fontenelle, M. de (Bernard Le Bovier), 1657-1757
Description: Pascal Collasse was one of the few opera composers able to secure successful performances in the years following Lully’s death. Collasse then went on to supply the music for the entire opera, Thétis et Pélée, which was premiered at the Paris Opéra on 11 January 1689. Thétis remained popular throughout Collasse’s lifetime, in spite of its rather weak plot. Owing to its success is primarily the music, including a significant storm scene in Act II. This departure from the Lullian tradition is perhaps Collasse’s most significant contribution to the tradition of French opera.
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Achille et Polixene, tragédie dont le prologue & les quatre derniers actes

Achille et Polixene, tragédie dont le prologue & les quatre derniers actes

Date: 1687
Creator: Collasse, Pascal, 1649-1709; Lully, Jean Baptiste, 1632-1687 & Campistron, Jean Galbert de, 1656-1723
Description: Achille et Polixene, Jean-Baptiste Lully's last opera, premiered on 7 November 1687, eight months after Lully's death on March 22 of that year. Since the composer had only finished the overture and first act, the score was completed by Pascal Colasse, Lully's secretary and student, to a text by Jean Galbert de Campistron based on events in Virgil's Aeneid.
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