You limited your search to:

  Partner: UNT Music Library
 Collection: Virtual Music Rare Book Room
Daisy: Opera in Two Acts
Access: Use of this item is restricted to the UNT Community.
This is the original conductor's score for the opera "Daisy" including the vocal parts as well as instrumental lines for flute, oboe, clarinet, bassoon, horns, trumpets, bass trombone, timpani and percussion, harp and piano, violin, viola, cello, and string bass. The introductory pages at the start of the score include acknowledgements and synopsis by Professor Kenneth L. Ballenger, the cast of characters and scene list (5 scenes). There is an index to the scenes for each act following their title pages (before page 1 for Act I and before page 262 for Act II). digital.library.unt.edu/ark:/67531/metadc11083/
Prélude à l'après-midi d'un faune
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. digital.library.unt.edu/ark:/67531/metadc11081/
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/
Dictionary of Music and Musicians, Volume 4
This is a copy of the fourth volume of "Dictionary of Music and Musicians," edited by Sir George Grove. This volume, published in 1890, 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: "S" (continuation of the article about the Medieval rota, "Sume is icumen in" that appears on vol. 3) to "Z" (starting with the singer, Zur Mühlen, Raimund von). The names of contributing authors appear in a list on pp.[vi]-xi. 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/metadc31507/
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/
Dictionary of Music and Musicians, Volume 2
This is a copy of the second volume of "Dictionary of Music and Musicians," edited by Sir George Grove. This volume, published in 1880, 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: "I" (improperia) to "P" (plain song). The names of contributing authors appear in a list on pp.[v]-vii, signed "Bedford Street, Covent Garden, October 1, 1880." 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/metadc31505/
Dictionary of Music and Musicians, Volume 1
This is a copy of the first volume of "Dictionary of Music and Musicians," edited by Sir George Grove. This volume, published in 1879, 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: "A" (i.e., the sixth note in the scale of C major) to "I" (impromptu). The names of contributing authors appear in a list on pp.[vii]-viii), signed "Bedford Street, Covent Garden, April 1, 1879." 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/metadc31504/
Tractatus de musica
The present volume is a 1875 compendium of various Latin music treatises by Johannes Tinctoris gathered from manuscript sources from Brussels, Bologna and Gand. The present edition, edited by Charles Coussemaker, comprises ten of the twelve surviving manuscripts of Tinctoris's theoretical works. According to Oxford Music, these were written in the first few years of his employment at Ferrante's court and demonstrate Tinctoris's intellectual and pedagogical mastery of music theory. They also demonstrate his acquaintance with contemporaneous composers of the early Renaissance Burgundian composers like Antoine Busnoys, as well as with the music of Franco-Flemish composers such as Johannes Ockeghem. Below is a table of content listing the titles of each treatise and a brief description of the concepts they treat. Treatises and Description: "Expositio manus" - this treatise is divided in 10 chapters consisting of: definitions, places, clefs, voicing, properties, deductions, mutations, conjunctions, conclusion; "Liber de natura et proprietate tonorum" - this treatise is divided in 51 chapters containing: definitions and name of tones, concerning the species diatessaron and diapente, formation of first throughout the eighth tone, authentic and plagal modes, ascending and descending perfect/imperfect tones; "Tractatius de notis et pausi" - this treatise is divided in two books. Book one contains a prologue and 14 chapters devoted to definitions of note values (e.g., long, breve, semi-breve, minim) and the use of ligatures. Book 2 explains the notation of note rests; "Tractatus de regulari valore notarum" - this treatise is this treatise includes a prologue and 32 chapters devoted to explanations of the musical notation of tempi and modes and the use of prolation (i.e., symbols used to indicate perfect and imperfect subdivisions of the breve; "Liber imperfectionum musicalium notarum" - this treatise is divided in two Books and a prologue. These are concerned with the notation of perfection and imperfection in major mode; "Tractatus alterationum" - note alterations; "De punctis musicalibus" - this treatise is divided in three books. The first book contains 19 chapters concerned with the use of the point to alter note values and tempi. Book two, divided in 34 chapters, discusses the use of semitones, tritone, tuning considerations, and counterpoint rules. The third book, divided in 9 chapters, discusses counterpoint rules; "Proportionale musices" - this treatise is divided in three books. The first book, divided in 9 chapters, defines and discusses the rules of music proportions. The second book, in 6 chapters, discusses major and minor relations. The third book, divided in 8 chapters, discusses the qualities of various prolations; "Diffinitorium Musices" - this treatise contains a prologue and 20 chapters all of which define musical terms; "Complexus effectuum musices" - this part contains two treatises found in two sources: the manuscript codex of Brussels (9 chapters) and the codex of Gand (20 sections). Both codices are devoted to the physical, emotional and spiritual effects of music. digital.library.unt.edu/ark:/67531/metadc31512/
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/
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/
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/
The musical library, vocal
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. The contents of each volume are given below: Vol. 1 Madrigal, “Awake, sweet love!” by John Dowland, pp. 1-3; Song, “Forgive me,” composed to German words by [Joseph] Haydn, pp. 4-5; Song, “Beneath the ocean’s swelling wave” from [Giovanni] Pacini’s opera “Niobe,” pp. 6-7; Duet, “Come opprima” from the opera “Enea nel Lazio” by [Vicenzo] Righini, pp. [8]-10; Song, “The kiss, dear maid! thy lip has left” by Felix Mendelssohn, p. 11; Glee, “Forgive, blest shade!” by Dr. [William Hutchins] Callcott, pp. 12-13; Song, “Toll, toll the knell” from the opera “Mahmoud” by Stephen Storace, pp. 14-[16]; Duet, “Two daughters of this aged stream are we” from the masque “King Arthur” by [Henry] Purcell, pp. 17-19; Song, “How deep the slumber of the floods!” by Carl Löwe, p. 20; Serenade, “Good morning” by [Wolfgang Amadeus] Mozart, p. 21; Song, “Jephtha’s daughter” by Carl Löwe, pp. 22-24; Canzonet, “Recollection” by [Joseph] Haydn, pp. 25-27; Madrigal, “When flow’ry meadows deck the year” by [Giovanni Pierluigi da] Palestrina, pp. 28-31; Song, “O! sing unto roundelay” by Stephen Paxton, p. 32; Duet, “Love in thine eyes for ever plays” by [William] Jackson, pp. 33-35; Song, [“Thy voice is sweet, is sad, is clear”] originally set to German words by the chevalier [Sigismond] Neükomm, pp. 36-37; Glee, “Hark! the lark at heav’n’s gate sings” by Dr. [Benjamin] Cooke, pp. 38-40; Canzonet, “The marmaid’s song” by [Joseph] Haydn, pp. 41-43; Aria, “Deh calma, o ciel!” from the last scene in “Otello” by [Gioachino] Rossini, pp. 44-45; Round, “Winde, gentle evergreen” by Dr. William Hayes, p. 45; Cantata, “Mad Tom” by [Henry] Purcell, pp. 46-49; Madrigal, “As fair as morn, and fresh as May” by John Wilbye, pp. 50-52; “The hermitage” by [Carl Ludwig] Drobisch, p. 53; “Romance” from the German opera “Euryanthe” by [Carl Maria von] Weber, pp. 54-55; Glee, “The May-Fly” by Dr. [William Hutchins] Callcott, pp. 56-60; Arietta, “Ah! Non lasciarmi nò” by Bonifazio Asioli, p.61; Canzonet, “My wife’s a winsome wee thing” by [Ludwig van] Beethoven, pp. 62-63; Canzonet, [“Schäferlied,” Hob. XXVIa:27] by [Joseph] Haydn, pp. 64-65; Prize glee, “Here in cool Grot” by [Garret Colley Wesley], the Earl of Mornington, pp. 66-68; Duet, “Time has not thinn’d my flowing hair” by [William] Jackson, pp. 69-71; Aria, “With verdure clad” from [Joseph] Haydn’s “Creation,” pp. 72-76; Song, “Adieu, ye streams!” by [Carl Gottlieb] Reissiger, p. 77; Glee, “Ne’er trouible thyself with the times” by Matthew Lock, pp. 78-79; Song, “The woodman” by T. Linley, sen., pp. 80-81; Canzonet, “Pleasing pain” [Hob. XXVIa:29] by [Joseph] Haydn, pp. 82-84; Quartet, “Five times by the Taper’s light” from [the opera] “The iron chest” by Stephen Storace, pp. 85- pp. 85-87; Canzonet, “Pretty fairy!” by Miss Mary Linwood, pp. 88-90; Invocation, “Giusto ciel in tal periglio” transferred to [the opera] “L’Assedio di Corinto” by [Gioachino] Rossini, pp. 91-92; Round, “How great is the pleasure” by Henry Harrington, p. 92; Madrigal, “Now, o now, I needs must part, [John] Dowland, pp. 93-95 “Air” from the opera Les deux journées by [Luigi] Cherubini, pp. 96-97; “Round,” (anon., 1834), p. 97; Aria, “La Rachelina” from [the opera] “La molinara” by [Giovanni] Paisiello, pp. 98-100; Canzonet, “Despair,” [Hob. XXVIa:28] by [Joseph] Haydn, pp. 101-103; Song, “The self-banished” by Dr. [John] Blow, p. 104; Canzonet, “To my boat” by [Sigismond] Neükomm, pp. 105-107; Glee, “Fear no more the heat of the sun” by Dr. [James] Nares, pp. 108-111; Canzonetta, “Cara Lisa” by Carl Gottlieb] Reissiger, p. 112; Arietta, “Bella Ciprignia” by Francesco Pollini, p. 113; Cantata, “Mad Bess” by [Henry] Purcell, pp. 114-117; Madrigal, “The silver swan” by Orlando Gibbons, pp. 118-119; Portuguese “Modhina,” by [Joaquim Manoel] Gago da Camera, [arr. by Sigismond Neükomm], p. 120; Air, “Charmante Gabrielle” by [Eustache Ducaurroy], p. 121; Canzonet, “Fidelity,” [Hob. XXVIa:30] by [Jospeh] Haydn, pp. 122-125; Duet, “As I saw fair Clora walk alone” by [George] Hayden, pp. 126-128; Round, “Sweet enslaver” by [Luffmann] Atterbury, p. 128; Glee, “The fairies” by Dr. [William Hutchins] Callcott, pp. 129-131; Aria, “The husbandman” from [Joseph] Haydn’s “Seasons,” pp. 132-135; “May song,” by [Ludwig van] Beethoven, pp. 136-137; “Tweed-side” by Joseph Corfe, pp. 138-140; Duet, “When the moonlight streaming,” founded on the old French air, “Le clair de la lune” by [Rouennais Adrien] Boieldieu, pp. 141-143; Pastoral ballade, “Hebe”, by [Thomas Augustine] Arne, pp. 144-145; Aria, “Per pieta non dirmi addio,” [op.65] by [Ludwig van] Beethoven, [arr.], pp. 146-148; Canzonet, “Sympathy,” [Hob. XXVIa:33] by [Joseph] Haydn, pp. 149-151; Song, “Ada to Alexis, with a rose” by [Friedrich Heinrich] Himmel, pp. 152-153; Glee, “Health to my dear!” by [Reginald] Spofforth, pp. 154-[156]; Duet, “Could a man be secure” by [Starling Goodwin], pp. 157-159; Aria, “Non vi turbate, no,” [from the opera “Alceste” by Christoph Willibald von] Gluck, pp. 160-161; Madrigal, [“Out upon it”] by [Giovanni] Giacomo Gastoldi, pp. 162-163; Modinha, “As fades the morn,” [by Joaquim Manoel Gago da Camera; arr. by Sigismond Neükomm], p. 164; Canzonet, “The wanderer,” [Hob. XXVIa:32 ] by [Jospeh] Haydn, pp. 165-167; Glee, “Adieu to the village delights” by [Joseph] Baildon, pp. 168-169; Bolero, “Son Gelsomino” by [Gaetano B.] Piantanida, pp. 170-172; Vol. 2 [Table of] Contents with composers named alphabetically arranged; Cavatina, “Winter” from [Joseph] Haydn’s “Seasons,” p. 1; Son, “What makes the poor bosom” by [Louis] Spohr, pp. 2-3; Canzonet, “Soft Cupid, wanton, am’rous boy” by [John] Travers, pp. 4-8; Scena e duetto, “Parto! ti lascio, addio!” by Simone Mäyer, pp. 9-13; Ballad, “Sally in our alley” by Henry Carey, pp. 14-16; Glee, “Lighty tread, ‘tis hallowed ground,” [composed by John Scotland; arr. by George] Berg, p. 17; Canzonet, “Piercing eyes,” [Hob. XXVIa:35 ] by [Joseph] Haydn, pp. 18-19; “La Marmotte, or The Savoyard-boy’s song,” [i.e., "Marmotte", op. 52, no. 7 by Ludwig van] Beethoven, p. 20; Canzonetta, “Nizza, je puis sans peine” by [Gioachino] Rossini, pp. 21-23; Madrigal, “Return, return, my lovely maid” by [Garret Colley Wesley], the Earl of Mornington, pp. 24-27; Song, “O, gentle maid” by [Tommaso] Giordani, pp. 28-29; Air, “Where-e’er you walk” by [George Frideric] Handel, pp. 30-31; Glee, “The sun shines fair on Carlisle wall” by William Horsley, pp. 32-36; Romanza, “L’ombrosa note, vien!” from the opera “Matilde von Guise” by [Johann Nepomuk] Hummel, p. 37; Canzonet, “She never told her love,” [Hob. XXVIa:34] by [Joseph] Haydn, pp. 38-39; Glee, “You gave me your heart” by [Samuel] Webbe, pp. 41; Air, “Blow, blow, thou winter wind” by [Thomas] Arne and [Thomas] Linley, pp. 42-44; “The death song of the Cherokee Indian” [words] written and adapted by Miss [Ann] Home (afterward Mrs. John Hunter), [harmonized melody from “Scottish songs” (1869) by Joseph Ritson], p. 45; Duet, “Still confiding” (Folg’ dem Freunde) from the opera “Faust” by [Louis] Spohr, pp. 46-49; Song, “Down the river” from the [opera] “The iron chest” by [Stephen] Storace, pp. 50-51; Aria, “Rendi ‘l sereno al ciglio” from the opera “Sosarme” by [George Frideric] Handel, p. 52; Song, “Young spring-gods are round us flying,” [from “Gesänge von Goethe,” op. 83, no. 3] by [Ludwig van] Beethoven, pp. 53-55; Song, “O nanny, wilt thou gang with me?” by [Thomas] Carter, pp. 56-57; May song, “Hail! all hail! Thou merry month of May” by C. M. von Weber, pp. 58-59; Air, “Love in her eyes sits playing” from the serenata of “Acis and Galatea” by [George Frideric] Handel, pp. 60-61; Trio, “The flocks shall leave the mountains” from the same [i.e., Acis and Galatea] by [George Frideric] Handel, pp. 62-65; Air, “Heart, the seat of soft delight” from the same [i.e., Acis and Galatea] by [George Frideric] Handel, pp. 66-68; Madrigal, “Now is the month of Maying” by [Thomas] Morley, p. 69; Aria and Coro, “Lieti fiori, ombrose piante” from the opera “Il ratto de Proserpina” by [Pietro] Winter, p. 70-72; Canzonet, “Go, lovely rose” by [Thomas] Attwood, pp. 73-75; Glee, “Harold the valiant” by [Dr. William Hutchins] Callcott, pp. 76-79; Arietta, “Se resto sul lido” by Bonifazion Asioli, p. [80]; Cavatina, “Il pensier stà negli” from [Joseph] Haydn’s opera “Orfeo e Euridice,” pp. 81-83; Canzonet, “Say not that minutes swiftly move” by [Johann Peter] Salomon, pp. 84-85; Ballad, “Black-eyed Susan” by [Richard] Leveridge, pp. 86-88; German song, “Ich liebe dich” by [Carl] Eberwein, p. 89; Madrigal, “Flora gave me fairest flowers” by John Wilbye, pp. 90-93; Aria, “Verdi prati” from the opera “Alcina” by [George Frideric] Handel, pp. 94-95; Duet, “Why should mortals sigh for gold?” by Dr. [James] Nares, pp. 96-99; Song, “The streamlet” from the opera “The woodman,” [music by William] Shield, pp. 100-101; Song, “The parting,” adapted to an air in [Vicenzo] Bellini’s opera “La straniera,” pp. 102-104; Glee, “The fairest flowers the vale prefer” by [John] Danby, pp. 105-107; Quartet, “How strange does all appear!” from [Ludwig van] Beethoven’s [opera] “Fidelio,” pp. 108-112; Cavatina, “Joy has fled, and all is cheerless” [from Beethoven’s opera] “Fidelio,” pp. 112-113; Duet, “Oh more, far more than mortal pleasure” [from Beethoven’s opera] “Fidelio,” pp. 114-119; Canzonet, “Go, gentle gales” by [William] Jackson (of Exeter), pp. 120-123; Air, “La danse n’est pas ce que j’aime” from the opera “Richard coeur-de-lion” by [André Ernest Modeste Grétry], p. 124; Chorus, “Come, gentle spring!” from “Seasons” by [Joseph] Haydn, pp. 125-131; Song, “When I roved, a young highlander!” by [Adalbert] Gyrowetz, pp. 132-133; Glee, “Go, happy heart” by William Horsley, pp. 134-135; Song, “Tell me, lovely shepherd” by [William] Boyce, pp. 136-137; Duet, “Deh! ti conforta, o cara” from “Il matrimonio segreto” by [Domenico] Cimarosa, pp. 138-142; Romance, “Ah! lorsque la mort” from [Etienne Henry] Mehul’s “Joseph” [ i.e., the opera “La legend de Joseph”], pp. 142-144; Canzonet, “O tuneful voice!,” [Hob. XXVIa: 42] by [Joseph] Haydn, pp. 145-149; Glee, “Tell me, then, the reason why?” by [Luffmann] Atterbury, pp. 150-151; Cavatina, “Soave imagine d’amour” by [Saverino] Mercadante, pp. 152-153; Canzonet, “Hast, my Nannette” by [John] Travers, pp. 154-159; Madrigal, “Since I first saw your face” by [Thomas] Ford, pp. 160-161; Canzonet, “I told my nymph, I told her true,” op. 13 by [John Julius] Graeff, pp. 162-164. digital.library.unt.edu/ark:/67531/metadc39288/
The musical library, vocal
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. The contents of each volume are given below: Vol. 3: Glee, "Desolate is the dwelling of Morna" by Dr. [William Hutchins] Callcott, pp. 1-5; Cavatina, "Col sorriso d'innocenzo," from the opera "Il pirata" by [Vicenzo] Bellini, pp. 6-7; A Brazilian Air, "And are these the mountains," U.A., pp. 8-9; Quartet, "Pieta di noi," from the comic opera "L'arbore di Diana" by Vicenzo Martini, pp. 10-13; Cantata, "From rosy Bow'rs" by [Henry] Purcell, pp. 14-19; Air (de trios notes), "Que le jour me dire!" by [Jean-Jacques] Rousseau, p. 20; Aria, "Infelice in tanti affani" by Carl Friedrich Zelter, pp. 21-23; Elegy, "Ye woods and ye mountains" by [William] Jackson (of Exeter), pp. 24-27; Romance, "Oh! forbear to bid me slight her" by [Johann Nepomuk] Hummel, p. [28]-29; Song, "No flower that blows," from the opera "Selima and Azor" by [Thomas] Linley (Senior), p. 29-31; Duetto, "Caro! Bella!," from the opera "Giulio Cesare" by [George Frideric] Handel, pp. 32-35; Madrigal, "Sweet honey-sucking bee" by [John] Wilbye, pp. 36-47; Ballad, "The brooks lullaby" by [Carl Gottlieb] Reissiger, pp. 48-50; Round, "Here is sweet sleep" by [William] Horsley [(1774-1858)], p. 51; Rondo, "La Verginella come la rosa" by [Ferdinando Gasparo] Bertoni [(1725-1813)], pp. 51-53; Ariette, "Le doux mal" by [Etienne Nicolas] Méhul [(1763-1817)], pp. 54-55; Song, "The hardy sailor," From the opera "The castle of Andalusia" by Dr. [Samuel] Arnold pp. 56-57; Duet, "Italian queen," pp. [58]-[60]; Recitative; Aria, "Alma del gran Pompeo; Piangerò," from the opera "Giulio Cesare" by [George Frideric] Handel, pp. 61-63; Prize-Glee, "Swiftly from the mountain's brow" by [Samuel] Webbe [(1740-1816)], pp. 64-69; Song, "Gentle youth, ah! Tell me why?," from "Love in a village" by [Thomas] Arne, pp. 70-71; Coronach (or Dirge), "He is gone on the mountain," from "Scott's Lady of the lake" by [Thomas] Attwood [(1765-1838)], pp. 71-73; Glee, "In holiday gown" by Thomas Fitzherbert, pp. 74-77; Arietta, "Or son d'Elena invaghito," from the comic opera "Un' Avventurata di Scaramuccia" by Luigi Ricci, pp. 78-79; Duettino, "Tendre fruit des pleurs d'aurore" by [Jean-Jacques] Rousseau, p. 80; Duet, "Dolce dell' anima," from the opera "Sargino" by [Ferdinando] Paer, pp. 81-83; Song, "'Tis not wealth, it is not birth," from "Love in a Village" by [Felice] Giardini [1716-1796], pp. [84]-85; Song, "O had I been by fate decreed," from "Love in a Village" by Dr. [Samuel] Howard, p. [86]-87; Russian air, by U.A., p. 87; Four-part song, "Enjoy thyself howe'er thou art" (Ermunterung) by [Carl-Maria] von Weber, p. 88-89; Canzonet, "The fortune land" (Das glückliche Land) by [Ludwig van] Beethoven, pp. 90-93; Madrigal, "The nightingale" by Thomas Weelkes (1600), pp. 94-97; Rondo, "Down, down a thousand fathom deep" by [Karl] Keller, pp. 98-100; Terzettino, "Angiol di pace all' anima," from the opera "Beatrice di Tenda" by [Vicenzo] Bellini, pp. 101-103; Cavatina, "Piu Bianca di giglio," from "La cosa rara" by [Vicente] Martin [y Soler] (also listed as Vicenzo Martini), pp. 104-105; Song, "The sapling oak," from "The siege of Belgrade" by [Stephen] Storace, pp. 106-108; Prize-Glee (1773), "In the merry month of May" by Benjamin Cooke, pp. 109-115; Song, "The letter of flowers" by Franz Schubert, pp. 116-117; Duet, "The neighb'ring convent's bell," from "The padlock" by [Charles] Dibdin, pp. 118-120; Elegia, "Sulla tomba di Bellini, l'amico dolente" by [Jules Eugene Abraham Alary (1814-1894)], pp. 121-123; Song, "An address to a Locket" by Dr. [Samuel] Arnold, pp. 124-125; Glee, "Oh! Tarry gentle traveler" by Dr. [William Hutchins] Callcott, pp. 126-131; "Romance and Duet," from the opera "Fortunatus" by [Xavier] Schnyder [von Wartensee, (1786-1868)], pp. 132-134; "A spring song" (Fruhlingslied) by [Felix] Mendelssohn, pp. 134-135; Caliban's song, "The Owl is abroad" from "The tempest" (as altered in 1756) by John Christian Smith, pp. 136-137; Song, "Henry cull'd the flow'ret's bloom," as sung in the opera "Rosina" by [Antonio] Sacchini, pp. 138-140; Round, "[Se placar volete amore / Nel contrasto Amor si rende]" by Vicenzo Martini, [words by Pietro Metastasio, from "Strofe per musica," aria L], p. 140; Canzonet for four voices, "Canst thou love and live alone?" by Ravenscroft, pp. 141-143; Air, "Le secret" by Franz Schubert, [from "Zwei Lieder," Op. 14, No. 2 Geheimes, D 719], pp. 144-146; Song, "Come, dear Maria!" by [Sigismund Ritter von] Neükomm, pp. 146-147; Arietta, "The country wedding" arr. by Thomas Joseph Ritson, pp. 148-149; Cavatina, "Tu sai qual oggetto," from the opera "Constanza e Romilda" by [Giacomo] Meyerbeer, pp. 150-151; Cantata, "Let the dreadful engines," from the opera "Don Quixote" by [Henry] Purcell, pp. 152-157; Terzetto and chorus, "O come o bella" by [Samuel] Webbe, pp. 158-160; Cavatina, "Sgombra I miei dubbi, o cielo!," from the opera "Ismalia" by [Saverino] Mercadante, pp. 161-163; Glee, "The seasons" by Dr. [Samuel] Arnold, pp. 164-169; Duet, "Soft is the Zephyr's breezy wing" by [Thomas Augustine] Geary, pp. 170-173; Romance, "Expectation" by [Felix] Mendelssohn-Bartholdy, pp. 174-175; Song, "Peaceful slumb'ring on the Ocean," from the opera "The pirates" by [Stephen] Storace, p. 176; Vol. 4: Duet, "O what various charms unfolding," [from] "Seasons" by [Joseph] Haydn, pp. 1-3; Song, "No, 'twas neither shape nor feature" (introduced in "The flitch of Bacon") by [Giovanni] Paisiello, pp. 4-5; Romance "Ma belle Ange" by Théodore Labarre, pp. 6-7; Trio, "When the rosy morn appearing," from the opera "Rosina" [by Antonio Sacchini], pp. 8-10; Cavatina, "Si, lo sento," from the opera "Faust" by [Louis] Spohr, pp. 11-13; Round, "The dumb peal" by Dr. [Benjamin] Cooke, p. 13; Cantata, "Alexis" by John Christopher Pepusch, pp. 14-19; Glee, "Melting airs soft joys inspire" by Dr. William Hayes, p. 20; Canzonetta, "Vita felice" by [Ludwig van] Beethoven, pp. 21-23; Song, "How hardy I conceal'd my tears," [music from Das Traumbild by Wolfgang Amadeus] Mozart, pp. 24-25; Duettom "Unito a un puro affetto," in the opera "Teseo" (Theseus) by [George Frideric] Handel, pp. 25-28; Glee, "Mark'd you her eye of heavenly blue?" by [Reginald] Spofforth, pp. 29-31; Madrigal, "Cynthia! Thy song and chanting" by Giovanni Croce, pp. 32-37; Song, "With lowly suit and plaintive ditty," from the two-act opera "No song, no supper" by [Stephen] Storace, pp. [38]-40; Canzonetta, "Aure amiche" by Georg Müller, pp. 41-43; Quartetto, "Dal tuo stellato soglio," from the opera "Mosè in Egitto" by [Gioachino] Rossini, pp. 43-[47]; Song, "Encompass'd in an angel's frame," from the [opera] "Lord of the Manor" by [William] Jackson, pp. 48-49; Canzonet, "I my dear, was born to-day" by [John] Travers, pp. 49-55; Canzonetta, "In questa tomba oscura," [WoO133] by [Ludwig van] Beethoven, pp. 56-57; Recti[ative] and Air, "How gentle was my Damon's air! / On every hill in every grove," from the masque "Comus," [music by] Dr. [Thomas] Arne, pp. 58-60; Song, "What makes this poor bosom" by [Louis] Spohr, pp. 61-63; Trio, "An argument" by I[gnaz] Moscheles, pp. 64-65; Ballad, "Ere around the huge oak," from the comic opera, "The farmer" by [William] Shield, pp. 66-67; Canzonetta, "La contraddizione" by Gabriello Piozzi, pp. 67-69; Prize Glee, "Awake! Aeolian lyre" by [John] Danby, pp. 70-73; Duet, "Dopo cento affanni," from the opera "[La Grotta di] Calypso" by [Peter von] Winter, pp. 74-77; "The spirit song," [H 26a, no. 41] by [Franz Joseph] Haydn, pp. 77-80; Aria, "Adelaide," [op. 46] by [Ludwig van] Beethoven, pp. 81-87; Madrigal, "Fair! sweet! cruel! Why dost thou fly me?" by [Thomas] Ford, pp. 88-91; Rondo, "While the lads in the village," from the opera "The quaker" by [Charles] Dibdin, pp. 92-95; Glee, "Peace to the souls of the heroes!" by Dr. [William Hutchins] Callcott, pp. 96-100; Cavatina, "Lungi dal caro bene," in the opera "Giulio Sabino" by [Giuseppe] Sarti, pp. 101-103; Duet, "Hark! my Daridear!" from [John] Dryden's tragedy "Tyrannick love" (i.e., The royal martyr) by [Henri] Purcell, pp. [104]-111; Song, "Her image ever rose to view" from the opera "Nettley Abbey" by [Carl Friedrich] Baumgarten, pp. 112-115; Prize glee, "A gen'rous friendship no cold medium knows" by [Samuel] Webbe, pp. 116-117; Song, "There the silver'd waters roam" from the opera "The pirates" by [Stephen] Storace, 118-120; Song, "From glaring show and giddy noise" by [Samuel] Webbe, pp. 121-[123]; Round, "I loved thee beautiful and kind" by [Jonathan] Battishill, p. 124; Catch, "O let the merry peal go on!" by [John] Danby, p. 125; Duetto, "Guarda qui, che lo vedrai" by [Joseph] Haydn, p. 126-131; Song "On board the valiant!" from the comic opera "The shipwreck" by Dr. [Samuel] Arnold, pp. 132-133; Prize glee, "Return, blest days" by John Stafford Smith, pp. 134-137; Romanza, Una furtive lagrima" from the comic opera "L'Elisire d'amore" by [Gaetano] Donizetti, pp. 138-140; Madrigal, "Ev'ry bush new springing" by Michael Cavendish, pp. 141-[144]; Duettino, "When first I saw thee graceful move" by Nicolo Pasquali, p. 145; Aria, "Per pieta, non ricercate" in the opera "Il curioso indiscreto" by [Wolfgang Amadeus] Mozart, pp. 146-149; Duet, "Amor gioie mi porge" [music by George Frideric] Handel, pp. [150]-153; Elegy, "While grief and anguish rack my breast" from "Selima and Azor" by Thomas Linley, pp. 154-155; Song, "Light as thistle-down" from the opera "Rosina" by [William] Shield, pp. 156-157; Son, "Fair Liela" by [William] Linley, pp. 158-160; Duetto, "Io lo so" [i.e., Canzonetta: Io lo so, che il bel sembiante, W H4] by Johann Christian Bach, pp. 161-163; Ariette, "Oiseaux, si tous les ans" [K.307/K.284d] by [Wolfgang Amadeus] Mozart, pp. 164-165; "The waits" by Jeremiah Savile, p. [166]; General index to the vocal music, with short biographical notices, pp. [167]-172; General index arranged according to the titles and also the first words ..., pp. [173]-174. digital.library.unt.edu/ark:/67531/metadc39290/
Fantaisie pour le piano sur un air de Bellini
This is a digital copy of the "Fantaisie pour le piano sur un air de Bellini" 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 composer Frédéric Chopin. "Fantaisie pour le piano sur un air de Bellini" 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/metadc39268/
Richard Cœur de Lion : opéra comique en trois actes
No Description digital.library.unt.edu/ark:/67531/metadc22/
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/
Orfeo ed Euridice
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. digital.library.unt.edu/ark:/67531/metadc25951/
Idomeneo : dramma eroico in tre atti, volume 1
This score is special edition of Mozart's opera "Idomeneo" issued by subscription by J. Frey in ca. 1822. The cursive signature J. Frey appears in ink at the bottom of the t.p. This edition is in two volumes. Volume 1 lists the names of subscribers and has a table of contents for each of the three acts with the incipit of first lines of texts of arias, recitatives and choruses. Volume 1 also contains the overture of the opera and the first act. Volume 2 contains the second and third acts. According to New Grove, in 1780 Mozart received a commission to composed a serious opera on a libretto by the Salzburg cleric Giambattista Varesco, which the latter based on Antoine Danchet's Idoménée. digital.library.unt.edu/ark:/67531/metadc11797/
Idomeneo : dramma eroico in tre atti, volume 2
This score is special edition of Mozart's opera "Idomeneo" issued by subscription by J. Frey in ca. 1822. The cursive signature J. Frey appears in ink at the bottom of the t.p. This edition is in two volumes. Volume 1 lists the names of subscribers and has a table of contents for each of the three acts with the incipit of first lines of texts of arias, recitatives and choruses. Volume 1 also contains the overture of the opera and the first act. Volume 2 contains the second and third acts. According to New Grove, in 1780 Mozart received a commission to composed a serious opera on a libretto by the Salzburg cleric Giambattista Varesco, which the latter based on Antoine Danchet's Idoménée. digital.library.unt.edu/ark:/67531/metadc11798/
Saul : Oratorium
This is ca. 1820 vocal score of Handel's oratorio Saul. The orchestra reduction for piano is credited to J.F. [Johann Friedrich] Naue. The hand-written date 1738 that appears at the top of the t.p. underneath Saul corresponds to the year when Handel composed the oratorio. The music parts for the soloists (soprano alto tenor, bass) and the chorus appear at the top of the piano reduction staff. digital.library.unt.edu/ark:/67531/metadc11795/
Didon; tragédie lyrique en trois actes
With Didon, Piccinni demonstrated his ability to combine both Italian and French styles to create a compelling tragédie lyrique. The opera includes lyrical Italian melodies and a second-act finale, as well as French choruses and numbers that transition continuously without pauses. Didon was premiered at Fountainebleau on 16 October 1783, and it remained one of Piccinni’s most popular French operas, with performances through the first part of the nineteenth century. The story of Dido had been realized on the operatic stage before Piccinni’s setting, including Cavalli’s Didone (1641), Purcell’s Dido and Aeneas (c. 1689), and Vinci’s Didone abbandonata (1726) with a libretto by Metastasio. digital.library.unt.edu/ark:/67531/metadc33/
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/
Armide: drame héroïque
Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment. digital.library.unt.edu/ark:/67531/metadc67/
Iphigenie en Aulide; tragédie. Opera en trois actes
Although he did not have a production planned, Gluck composed the music for Iphigénie en Aulide for Paris, with the intention (along with Roullet) of establishing himself at the Opéra. He initially had difficulties convincing the Academy of Music to arrange for the production, but with the support of Marie Antoinette, the opera was finally realized in 1773. Gluck revised Iphigénie for performances in 1775. The most significant change was the addition of Diana as a character, whose appearance serves as the deus ex machina of the plot. He also altered and expanded the divertissements. digital.library.unt.edu/ark:/67531/metadc15/
Iphigenie en Aulide; tragédie. Opera en trois actes
Although he did not have a production planned, Gluck composed the music for Iphigénie en Aulide for Paris, with the intention (along with Roullet) of establishing himself at the Opéra. He initially had difficulties convincing the Academy of Music to arrange for the production, but with the support of Marie Antoinette, the opera was finally realized in 1773. Gluck revised Iphigénie for performances in 1775. The most significant change was the addition of Diana as a character, whose appearance serves as the deus ex machina of the plot. He also altered and expanded the divertissements. digital.library.unt.edu/ark:/67531/metadc14/
Serva padrona : intermezzo
The intermezzo La serva padrona first appeared between the acts of Pergolesi’s Il prigioniero superbo in 1733. This was the standard way in which to present an intermezzo. The work served as comic relief in the midst of more solemn opera serie, and incorporated elements of the improvisational commedia del’arte tradition. For instance, the few characters are drawn from stock types, such as the servant Serpina. digital.library.unt.edu/ark:/67531/metadc29/
Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 1
By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague. digital.library.unt.edu/ark:/67531/metadc84/
Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 2
By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague. digital.library.unt.edu/ark:/67531/metadc85/
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/
Matrimonio segreto : dramma giocoso in due atti = ou, Le mariage secret : opera comiLe mariage secret : opera comique en deux actesque en deux actes
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). digital.library.unt.edu/ark:/67531/metadc82/
The gentle shepherd, a pastoral comedy
This is a copy of the libretto of the pastoral opera, "The gentle shepherd" by Allan Ramsey. It includes an engrave image bearing the inscription "Alan Ramsey Scotus," and "A. Ramsey, ad viv. del." (translatable as, drawing of the living subject) at the bottom left. It also bears the disclaimer and engraving signature, "Published according to Act of Parliament by D. Allan Edin, July 12, 1788" at the bottom right. The libretto includes twelve numbered plates depict various scenes from scenes of each act and include corresponding portions of text or dialog, melodies with figured bass, and a 15-page glossary at the end. digital.library.unt.edu/ark:/67531/metadc39/
Hercules : an oratorio in score
The plot of this oratorio centers around Hercules's death by an inadvertent action of his wife Dejanira. Handel set to music the English libretto by Rev. Thomas Broughton's English, based on Sophocles' Trachiniae, and additions from Ovid's Metamorphoses. The performance forces include: soloists (SATB) and mixed chorus with oboes (2) violins (2), viola, Bass (unspecifdied) and continue. The index that appears on p.248 contains the incipits of arias, recitative and choruses for each of the three acts. digital.library.unt.edu/ark:/67531/metadc11796/
Esther, a sacred oratorio in score
This is a ca. 1794 score of "Esther," a sacred oratorio by Handel. According to the Grove Dictionary of Music, the English libretto of the oratorio was probably a collaborative work between John Arbuthnot and Alexander Pope with additional words by Samuel Humphreys. The engraved frontispiece that precedes the t.p. bears the title "Apotheosis of Handel," and the inscription, "The portrait from an original picture of Hudson's in the possession of Dr. Arnold. Designed by Rebecca [Biagio]. Engraved by [James] Heath. Published the 26th of May 1787, being the anniversary of the commemoration of Handel." A table of contents appears on p. 185 with incipits of first lines of text of recitatives and aria. The performance medium includes: oboes (2), flute, bassoon (2), trumpet, strings (violins, viola, violoncello, and bass), harp, soloists (S) and mixed chorus (SATB), and basso continuo. The choral number that appears in the appendix on p.183, contains a note, "This chorus comes in page 122." digital.library.unt.edu/ark:/67531/metadc25948/
Esther, a sacred oratorio in score
This is a bound copy of a ca. 1794 score of "Esther," a sacred oratorio by Handel. The cover contains the inscription, "The works of Handel, edited by Dr. Arnold." It does not include the frontispiece preceding the t.p. According to the Grove Dictionary of Music, the English libretto of the oratorio was probably a collaborative work between John Arbuthnot and Alexander Pope with additional words by Samuel Humphreys. A table of contents appears on p. 185 with incipits of first lines of text of recitatives and aria. The performance medium includes: oboes (2), flute, bassoon (2), trumpet, strings (violins, viola, violoncello, and bass), harp, soloists (S) and mixed chorus (SATB), and basso continuo. The choral number that appears in the appendix on p.183, contains a note, "This chorus comes in page 122." digital.library.unt.edu/ark:/67531/metadc25949/
Romeo et Juliette, opera en trois actes, en prose
This is the score of Daniel Steibelt's first opera "Roméo et Juliette" composed in 1793 to a libretto by Vicomte Alexandre de Ségur. According to Grove Music, Steibelt submitted this opera to the Académie Royale de Musique, but it was rejected. The work was performed as opéra comique at the Théâtre Feydeau on 9 October 1793, after Steibelt replaced the original recitatives with spoken dialog. The opera is in three acts and the orchestral forces comprise: woodwinds (flutes (2), oboes (2), clarinets (2), and bassoon (2)), brass instruments (horns in E-flat (2), trumpets in C (2), and trombones (3)), timpani in C, and strings (violins, viola, violoncello, and bass). On the t.p., the publisher advertised Steibelt's arrangement for the piano of arias and overture of this opera. digital.library.unt.edu/ark:/67531/metadc49/
Saul : a sacred oratorio, in score
This is ca. 1792 musical score of Saul, a sacred oratorio by Handel composed in 1738 to the English text by Charles Jennens. The composition year 1740 given in the t.p. might refer to a performance of the oratorio that took place that year. The performance forces include: vocal soloists (SATB), mixed chorus, and orchestra (2 oboes, bassoon, trombones (3), horns (2), strings (violin, viola, violoncello, bass), timpani, organ, harp and continuo). A content index with the incipits of recitatives and arias appears on a separate page at the end of the score. digital.library.unt.edu/ark:/67531/metadc11802/
Tarare : opéra en cinq actes avec un prologue
Antonio Salieri’s French debut Les Danaïdes (1784) led to additional commissions, Les Horaces (1786) and Tarare (1787). Although Les Horaces was not well-received, Tarare was popular both in Paris and Vienna. Beaumarchais supplied the libretto for Tarare, basing his plot on the third volume of the exotic English collection The Tales of the Genii, or The Delightful Lessons of Horam, the Son of Asmar (1764) by James Ridley, (pseudonym for Sir Charles Morell), who claimed the stories were translated from a Persian source. digital.library.unt.edu/ark:/67531/metadc47/
Barbe bleue : comédie en prose et en trois actes
Although the story of Bluebeard was familiar to French readers from Charles Perrault’s 1698 collection of children’s tales, transferring it to the operatic stage was problematic due in large part to the gruesome nature of the plot. Other violent works had appeared in Paris, but in this instance, the drama was to be performed at the Comédie-Italienne, which typically featured lighter plots than that of Raoul and Isaure. Nevertheless, the opera had a successful run, receiving over a hundred performances in the decade after its premiere. After its initial popularity, Raoul Bluebeard was staged less frequently, but it still made an impression on nineteenth-century composers, particularly Weber. digital.library.unt.edu/ark:/67531/metadc17/
Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes
No Description digital.library.unt.edu/ark:/67531/metadc26/
The musick for the Royal fireworks
This is a [ca. 1788] score of one of the arrangements Handel made of his "Music for the Royal Fireworks." The caption title gives indication that this version contains the music as performed in 1749. The Grove Dictionary of Music lists two other arrangements from ca. 1746. The performance forces of this edition include: trumpets (3), horns (3), timpani, oboes (2), bassoon, and strings (violin, viola, violoncello, and contrabass). The plate no. appears in both Roman and Arabic forms: No. XXIV and No. 24. digital.library.unt.edu/ark:/67531/metadc11801/
Sosarme
This item is a copy from [ca. 1790] of the score of Handel's opera Sosarme to a libretto by Matteo Noris. The performance forces include: oboe, horns, strings (violin, viola, bass), continuo, and soloist singers. A list of important musical numbers, solo arias and duets of each act appears on p.116. The names of the subscribers appear on pp.[119-120]. The title page contains an engraving showing two mythological figures [possibly, the god Apollo and the Muse Erato] and musical instruments signed by the London engraver [John] Strongitharm of Pall Mall. digital.library.unt.edu/ark:/67531/metadc11803/
Le mariage d'Antonio. Divertissement en un acte et en prose
Lucile Grétry’s opera Le mariage d’Antonio premiered in Paris when she was a mere fourteen years old. As the second daughter of André-Ernest-Modeste Grétry, she was afforded lessons at a young age in counterpoint and declamation. Her father supplied the orchestral parts for her comédie mêlée d’ariettes after Lucile had composed the vocal, bass, and harp parts. Although Le mariage d’Antonio was a modest success, Lucile’s second endeavor, a divertissement mêlée d’ariettes entitled Toinette et Louis (1787), did not receive the same positive attention. The young composer died from tuberculosis before she could establish herself further at the Comédie-Italienne. digital.library.unt.edu/ark:/67531/metadc24/
Prima la musica e poi le parole
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." digital.library.unt.edu/ark:/67531/metadc25963/
Le devin du village
As with many French operas, Rousseau’s Le devin du village was first staged for the court, appearing at Fountainebleau on 18 October 1752. The work was then performed at the Paris Opéra on 1 March 1753. The historical importance of this short intermè is closely tied to its role in the famous Querelle de bouffons, a debate about the merits of French serious opera in comparison to Italian comic opera (especially Pergolesi’s La serva padrona). digital.library.unt.edu/ark:/67531/metadc40/
Handel's songs, selected from his oratorios
This is the third volume of a five-volume anthology featuring arias and songs from various oratorios by G. F. Handel. The vocal score contains musical selections arranged for 1-2 voices with unrealized figured bass intended for harpsichord (continuo), oboe, or flute accompaniment. The English text is printed between the treble and bass, or alto staves. A publisher's note on the t.p. announced the availability of instrumental parts sold separately. The table of content indicates the oratorio from which the arias and songs were taken. The songs are numbered continuously from 161-240 paginated from 334-498. digital.library.unt.edu/ark:/67531/metadc25953/
Panurge dans l'Isle des Lanternes : comédie lirique en trois actes
No Description digital.library.unt.edu/ark:/67531/metadc21/
Les Danaïdes, tragédie lirique en cinq actes
Antonio Salieri began work on Les Danaïdes upon the recommendation of Gluck, whose health prevented him from fulfilling a commission for the work. Although Salieri was living in Vienna, the tragedie-lyrique was written for the Opéra in Paris, with a libretto by François Louis Gand Leblanc Roullet and Ludwig Theodor Tschudi based on Calzabigi’s Italian libretto. digital.library.unt.edu/ark:/67531/metadc46/
Dardanus : tragédie lyrique en quatre actes
Like Renaud, Sacchini’s second French opera, Dardanus, faced problems due in large part to the composer’s Italian heritage. The opera is based on Rameau’s Dardanus, which had been a topic of earlier dispute between the Lullistes and the Ramistes. After an initially disappointing reception, Dardanus was reduced from four acts to three. In its first form, the opera received only six performances, but the three-act version was performed more than thirty times during the eighteenth century. Dardanus went on to enjoy several productions in the first decade of the nineteenth century. digital.library.unt.edu/ark:/67531/metadc42/
Épreuve villageoise : opéra bouffon en deux actes en vers
L’épreuve villageoise started out as Théodore et Paulin before Grétry convinced Desforges to rewrite the libretto. The original three-act opera was reduced to two acts, and the improbabilities of the original plot were reworked. Théodore et Paulin received one performance at Versailles on 5 March 1784, but it was never published. L’épreuve villageoise appeared at the Comédie-Italienne on 24 June 1784. This revision remained one of the most popular of Grétry’s opéra-comiques, receiving performances throughout the nineteenth century. digital.library.unt.edu/ark:/67531/metadc19/
The Occasional : an Oratorio in Score Composed by Mr. Handel
A sacred oratorio for mixed chorus (SATB) and orchestra (2 violins, viola, "principale", 2 oboes, 2 trumpets, timpani, and continuo). The score includes a list of subscribers and an index for each of the three sections of the oratorio. The anthem "God save the King" is included on pp. 164-26, each page bearing an additional sequence number from 14-26. digital.library.unt.edu/ark:/67531/metadc11079/
FIRST PREV 1 2 3 4 NEXT LAST