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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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Cendrillon

Cendrillon

Date: 1759
Creator: Anseaume, M. (Louis), 1721-1784.
Description: 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.
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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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Le tonnelier

Le tonnelier

Date: 1765
Creator: Audinot, Nicolas Médard, 1732-1801. & Quétant, Antoine-François, 1733-1823.
Description: 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.
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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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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.
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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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The Padlock

The Padlock

Date: 1768
Creator: Bickerstaff, Isaac, 1735-1812.
Description: This is a copy of a ca. 1768 edition of Isaac Bickerstaff libretto for the two-act English comic opera "The Paddlock" by Charles Dibdin. The plot is an adaptation of Miguel de Cervantes's "El celoso extremeño" (translated as, The Jealous Estremaduran). The t.p. features a vignette signed by IJ Taylor [possibly by the London engraver Isaac Taylor (1730-1807)] with four infants. The one at the center is holding several keys and is playing horse riding with a walking stick that has a padlock attached to it. In the story, Don Diego, a rich old man, hopes to marry the young Leonora and locks her inside his house using a large padlock on the front door. After bribing the servants, the younger suitor, Leander, climbs over the garden wall to court Leonora. Don Diego returns unexpectedly and catches the lovers, but allows the young couple to wed acknowledging that he is too old for Leonora.
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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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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.
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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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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."
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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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Coronis

Coronis

Date: 1891
Creator: Chappuzeau de Baugé, Daniel-Paul.
Description: 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.
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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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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.
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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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