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 Resource Type: Musical Score/Notation
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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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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XII solos for a violin

XII solos for a violin

Date: 1740~
Creator: Corelli, Arcangelo, 1653-1713
Description: This English edition of Corelli's Op. 5 sonata for violin and continuo is, aside from an engraving of the composer and the title page, printed on both the recto and verso sides of the leaves. The bass line contains figures. A note by the publisher states: "These Solos are Printed from a curious Edition Publish'd at Rome by the Author."
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1er quatuor, pour deux violons, alto et basse, oeuvre 5

1er quatuor, pour deux violons, alto et basse, oeuvre 5

Date: 182u
Creator: Dancla, Charles, 1817-1907.
Description: 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.
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7e. quatuor, pour deux violons, alto et violoncelle, oeuv.80

7e. quatuor, pour deux violons, alto et violoncelle, oeuv.80

Date: 186u
Creator: Dancla, Charles, 1817-1907.
Description: 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).
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Prélude à l'après-midi d'un faune

Prélude à l'après-midi d'un faune

Date: 1895
Creator: Debussy, Claude, 1862-1918
Description: This is the orchestral score of Debussy's Prélude à l'après-midi d'un faune. The copy was presented to Edouard Colonne with the inscription by the composer on the title page, "à Monsieur E. Colonne en hommage d'infinie gratitude artistique, Claude Debussy, Oct. 1895." The score contains performance markings in pen, pencil and crayon; possibly by Colonne. In original green wrapper. Preserved in green cloth-and-marbled-paper chemise with matching slipcase.
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Les Elemens

Les Elemens

Date: 1742
Creator: Destouches, André Cardinal, 1672-1749
Description: This four-act ballet was premiered on 22 December 1721 at the Tullieries and, later, performed at L'Academie Royale de Musique on 29 May 1725 and 27 May 1734, and at the Theatre on 22 May 1742. Various dramatis personae present an allegorical depiction of the French court.
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Omphale, tragedie en musique

Omphale, tragedie en musique

Date: 1701
Creator: Destouches, M. (André Cardinal), 1672-1749
Description: Omphale (1701) is one of Destouches’s contributions to the Lullian genre of the five-act tragédie en musique. Half a century after the premiere, Friedrich Melchior Grimm targeted the opera in his pamphlet “Lettre sur Omphale” (1752), which continued the earlier debate between advocates of Lully and Rameau. This written attack also precipitated the famous guerre des bouffons, which was sparked by a performance of Pergolesi’s La serva padrona (1733) in 1752.
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Issé

Issé

Date: 1697
Creator: Destouches, M. (André Cardinal), 1672-1749 & La Motte, M. de (Antoine Houdar), 1672-1731
Description: 1724 score of André Cardinal Destouches' opera Issé. Destouches’s Issé premiered in 1697, just nine years after the death of Jean-Baptiste Lully. The tradition of featuring new operas at the court prior to a public premiere—common during Lully’s later years—was reinstated with this work. When Destouches revived the opera in 1708, he enlarged the original three-act work to five acts. This allowed for expanded divertissements, choruses, and more elaborate arias, which appealed to contemporary public preferences. The volume in the Virtual Rare Book Room is the five-act version.
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Les deux chasseurs et la laitière; comédie en un acte

Les deux chasseurs et la laitière; comédie en un acte

Date: 1763
Creator: Duni, Egidio, 1708-1775 & Anseaume, M. (Louis), 1721-1784
Description: Duni’s French style was shaped by the developments of the War of the Buffoons, which pitted French tragic opera against Italian comic opera. The newly emergent opéra comique genre, for which Duni is still considered to be one of the major contributors, combined elements of both styles. His significance in the development of opéra comique is evident in the long-term success of Les deux chasseurs et la laitière, which was performed at the Comédie-Italien until 1792, almost twenty years after the composer’s death.
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Les deux chasseurs et la laitière; comédie en un acte

Les deux chasseurs et la laitière; comédie en un acte

Date: 1763
Creator: Duni, Egidio, 1708-1775 & Anseaume, M. (Louis), 1721-1784
Description: Undated score of Egidio Duni's opera Les deux chaussures et la laitière. Duni’s French style was shaped by the developments of the War of the Buffoons, which pitted French tragic opera against Italian comic opera. The newly emergent opéra comique genre, for which Duni is still considered to be one of the major contributors, combined elements of both styles. His significance in the development of opéra comique is evident in the long-term success of Les deux chasseurs et la laitière, which was performed at the Comédie-Italien until 1792, almost twenty years after the composer’s death.
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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.”
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Amour au village : opera-comique, en un acte, et en vaudeviles

Amour au village : opera-comique, en un acte, et en vaudeviles

Date: 1754
Creator: Favart, M. (Charles-Simon), 1710-1792
Description: Libretto for Charles-Simon Favart's 1754 opera L'amour au village. Charles-Simon Favart gained prominence for his parodies of extant operas during the middle of the eighteenth century. His L’amour au village (1754), a typical example of the genre, was based on Carolet’s L’amour paysan (1737). The parody technique consisted of setting new texts to existing melodies and writing new dialogue based on a familiar plot. L’amour au village includes a typical vaudeville finale. In the Virtual Rare Book Room’s volume, the melody is included along with the first verse’s text. Because vaudeville finales are strophic (with one repeated melody), the subsequent verses are numbered to indicate each time the melody should begin again.
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