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 Collection: Virtual Music Rare Book Room
Oeuvres de M. Vade, ou recueil des opera-comiques, & parodies qu'il a donnes depuis quelques annees; avec les airs, rondes, & vaudevilles notes; & autres ouvrages du meme auteur.
Jean-Joseph Vadé’s popularity as a composer and librettist is evident in the publication of his collected works, which first appeared in 1755 but was expanded in 1758, a year after his death. Vadé’s œuvre consists of mostly opéras comiques, some with original music rather than preexisting tunes. The collected works editions include fictional correspondence and poetry. Vadé’s interest in capturing the bustling atmosphere of fish markets is evident in such works as Les quatre bouquets poissards and the poem La pipe cassée, which is classified as a “poëme epitragipoissardiheroicomique.” Melodies for operatic airs are also printed in this volume. Although Vadé claimed authorship of the music, some were familiar tunes that had existed before Vadé appropriated them. digital.library.unt.edu/ark:/67531/metadc80/
Recueil d'airs serieux et a boire de differents auteurs : pour l'année 1701.
Contains songs by various composers with figured bass. French or Italian words. Issued in 12 monthly installments. digital.library.unt.edu/ark:/67531/metadc65/
Lucrezia Borgia, introduction and brilliant variations, for the piano forte
This is a digital copy of the "Lucrezia Borgia, introduction and brilliant variations, for the piano forte" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. "Lucrezia Borgia, introduction and brilliant variations" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. This piece was inspired on the opera "Lucrezia Borgia" (1833) by Gaetano Donizetti to whom von Meyer dedicated the work. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39275/
Grande fantaisie orientale, op. 38
This is a digital copy of the "Grande fantaisie orientale, op.38" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. "Grande fantaisie orientale" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39272/
Grande étude de bataille, for the piano forte, op. 35
This is a digital copy of the "Grande étude de bataille for the piano forte, op. 35" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. This piece was dedicate to the Bohemian pianist and composer Ignaz Moscheles (1794-1870). "Grande étude de bataille for the piano forte" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39271/
Le depart et le retour, deux nocturnes
This is a digital copy of two nocturnes "Le depart" and "Le retour" by Leopold von Meyer. These nocturnes were issued as the first of four pieces published under the title "Repertoire de Léopold de Meyer." 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. These nocturnes are 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/metadc39277/
Fantaisie sur Norma, [op.40]
This is a digital copy of the "Fantaisie sur Norma, [op.40]" 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. "Fantaisie sur Norma" 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/metadc39270/
Airs russes, [op.20]
This is a digital copy of "Airs russes, [op.20]" by Leopold von Meyer. This piece was issued as the second of four pieces published under the title "Repertoire de Léopold de Meyer." The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. "Airs russes" 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/metadc39278/
Hortense
This is a digital copy of the nocturne "Hortense" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. This piece was dedicate to Loise Dulcken (1811-1850), a German pianist famous for her pianistic prowess, the musical soirées she sponsored, which gathered prominent musicians, painters and literary figures, and for having taught piano to Queen Victoria. The nocturne Hortense is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39274/
Valses brillantes
This is a digital copy of "Valses brillantes" by Leopold von Meyer. This piece was issued as the third of four pieces published under the title "Repertoire de Léopold de Meyer." The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. "Valses brillantes" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39279/
Machmudier
This is a digital copy of the Moroccan march "Machmudier, air guerrier national' des Turcs" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. This piece was dedicate to Lieutenant Brownlow C. Bertie of the 2nd Regiment of Life Guards. The caption on page 1 of "No. 1 Air guerrier guerrier des Turcs" suggests that this is the first of several such piano Turkish/Moroccan marches composed by von Meyer. The one shown here is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39276/
Grande marche triomphale d'Isly, op.30
This is a digital copy of the "Grande marche triomphale d'Isly, op.30" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. "Grande marche triomphale d'Isly" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. The march was dedicated to the Marshall Thomas Robert Bugeaud, Duke of Isly (1784-1849). These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39273/
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/
1er quatuor, pour deux violons, alto et basse, oeuvre 5
This is a digital copy of the four parts of Charles Dancla's first string quartet, op.5 in F 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). The library's copy includes a list of subscribers that names amateur and distinguished musicians such as: the composers [Hector] Berlioz, [Luigi] Cherubini, [Giacomo Meyerbeer], the violinist [Jean-Delphin] Alard, and pianist [Pierre] Zimmermann, among others. digital.library.unt.edu/ark:/67531/metadc39285/
Variations brillantes sur la cavatine favorite Aurora sorgerai
This is a digital copy of the ca. 1830 edition of Henri Herz's Brilliant variations for the piano forte on the cavatina "Aurora che sorcerai" from Rossini's two-act melodrama "La donna del lago," (i.e., The lady of the lake). The library's copy is part of a bound collection of piano music by variopus nineteenth-century composers. The pianist, and Herz's friend, Franz Hünten adapted several passages of the music to suit the range of the contemporaneous piano fortes. A note on the t.p. indicates that "Mrs. [Lucy] Anderson had the distinguished honor of performing this piece before their Majesties at Brighton." Plate no. 476. digital.library.unt.edu/ark:/67531/metadc39282/
Variations sur un thême de Semiramis de Rossini, op.37
This is a digital copy of "Variations sur un thême de Semiramis de Rossini, op.37" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. This piece was dedicate to madame d'Obrescoff. Variations sur un thême de Semiramis de Rossini, op.37 is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39281/
Roland
Libretto of the opera "Roland" by Philippe Quinault; he based the plot of Roland on medieval legends of chivalry, setting episodes from Ludovico Ariosto's epic poem "Orlando furioso." Roland centers on the conflict between duty and love and the intervention of goddesses. This copy includes includes handwritten annotations of performers' names, and a frontispiece engraving undersigned by Jean Dolivar (i.e., Juan Dolivar) that illustrates one of the scenes from the opera. Jean-Baptiste Lully composed the music of the opera which premiered on January 8, 1685. digital.library.unt.edu/ark:/67531/metadc39287/
Grand galop de bravoure
This is a digital copy of "Grand galop de bravoure" by Leopold von Meyer. This piece was issued as the fourth of four pieces published under the title "Repertoire de Léopold de Meyer." The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. "Grand galop de bravoure" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39280/
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/
Proserpine
Libretto of the opera "Proserpine," by Philippe Quinolt; the plot is based on the story of the abduction of Proserpine and her descent into Hades, and also on Ovid's Metamorphoses, its original source. In the plot, Cerés, the goddess of the earth, summons the nymph Aréthuse to guard her daughter Proserpine. Aréthuse protests, and tells Cerés of her love for Alphée, the river god, but the anxious mother warns her she should not let her own feelings interfere with the assigned task. Alphée assumes that Aréthuse abandoned him to look after Proserpine. Taking advantage of the situation, Ascalaphe, Pluto's envoy, encourages Alphée's belief in Aréthuse's supposed infidelity; then, persuades both Alphée and Aréthuse into letting Pluto watch over Proserpine. Alphée and Aréthuse agree and as the lovers' attention wanders, Pluto seizes Proserpine and abducts her. Cerés learns of her daughter's abduction and in despair decides to withhold her gifts that give earth prosperity. When Alphée and Aréthuse finally reach Proserpine, they find that she has already eaten of the grain and tasted the fruit of the underworld, which condemned her to Pluto's control. Proserpine begs Pluto for mercy, but the love-stricken god refuses to free her. Pluto summons his judges and three furies, who support his claim to keep Proserpine with him, even at the cost of bringing devastation to earth. As Cerés laments, Alphée and Aréthuse approach to tell her that Proserpine is held by Pluto and that she is now the queen of the underworld. Cerés calls Jupiter and demands the return of daughter. Mercure descends and tells Cerés that the gods heard her plea and reached a compromise to allow Proserpine to be Pluto's wife and queen, while spending several months of each year with her mother. The title page contains a lithograph illustration of a winged young Pluto wearing a crown and ridding a horse chariot while holding a two-pronged spear. It includes an engraved frontispiece titled, "Proserpine" by Jean le Pautre. digital.library.unt.edu/ark:/67531/metadc39284/
Thetis et Pelée
Libretto of the opera "Thetis et Pelée" by Bernard le Bovier de Fontenelle. In the plot, the Nereid Thetis is wooed by Jupiter and Neptune, as well as by a mortal, Pelée (Peleus). When a storm caused by Neptune disrupts a celebration Jupiter gave in honor of Thetis, an oracle is consulted, which foretells that Thetis's husband will one day be less powerful than his son. Neptune and Jupiter withdraw their claims, and Thetis marries Pelée. Pascal Collasse composed the music of the opera which premiered at the Paris Opéra on January 11, 1689. This copy includes an engraved frontispiece titled, "Thetis et Pelée" by Juan Dolivar (undersigned as J. Dolivart). digital.library.unt.edu/ark:/67531/metadc39289/
7e. quatuor, pour deux violons, alto et violoncelle, oeuv.80
This is a digital copy of the four parts of Charles Dancla's seventh string quartet, op.80 in D minor. Charles Dancla was the most prominent member of a family of musicians and a virtuoso violinist, composer and teacher. In 1828, he was admitted to the Paris Conservatory of Music, where he won the first prize in 1833. At the Conservatory, he studied violin with Paul Guérin and Pierre Baillot. Dancla played solo violin with the orchestra of the théâtre Royal de l'Opera Comique and with the Société des Concerts. In ca. 1860, he was appointed professor of violin at the Paris Conservatory and retired from that post in 1892. He wrote 14 string quartets intended for professional or amateur players (opp. 5, 7 ,18, 41, 48, 56, 80, 87, 101, 113, 125, 142, 160, and 195a) and three easy string quartets (op. 208). digital.library.unt.edu/ark:/67531/metadc39286/
Phaeton
Libretto of the opera "Phaeton," by Philippe Quinolt. The plot is based on an episode in Ovid's Metamorphoses. In the plot, Phaethon, son of Climène and Soleil [the Sun], is filled with excessive ambition and pride. He abandons his beloved, Théone, and requests to the King of Egypt the hand of his daughter Libie. Climène, who after consulting the sea god Proteus knows of the demise that her son's avarice will bring upon himself, tries in vain to discourage his ambition for the throne of Egypt and urges him to renew his love for Theona. However, Phaeton goaded by the taunts of his rival, Epaphus, rides recklessly across the sky in his father's chariot. The spectacular ending includes Jupiter's thunderbolts aimed at stopping Phaethon's wild ride, and Phaethon crashing onto earth where he dies. An ensemble and chorus provide a sorrowful denouement. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King. It also includes an engraved frontispiece titled, "Le trébuchement de Phaeton" (The Fall of Phaeton) by Jean le Pautre. digital.library.unt.edu/ark:/67531/metadc39283/
Bajazeth
This is a digital copy of "Bajazeth: air national [sic] des turques pour le piano forte" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. Bajazeth 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/metadc39265/
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/
Le tonnelier
Libretto of the comic opera "Le tonnelier" (The cooper) by Nicolas-Médard Audinot in collaboration with Antoine-François Quétant. The music of this one-act opera is a pasticcio of works by Gossec and other contemporaneous composers. Typical of the genre, the opera contains a variety of musical forms (airs, romance, vaudeville, and recitatives) and the dialogues are interspersed with additional airs, possibly using popular tunes. This copy includes (on pp. 52 and 54-56) notated melodies of airs. digital.library.unt.edu/ark:/67531/metadc39261/
Fantaisie sur Les Hirondelles
This is a digital copy of "Fantaisie sur Les Hirondelles" 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 inspired by the bird song "Les hirondelles" (i.e., The swallows) by the French composer Félicien David (1810-1876). "Fantaisie sur Les Hirondelles" 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/metadc39267/
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/
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/
Andante for the piano forte, op.42
This is a digital copy of "Andante for the piano forte, op.42" 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 George Alexander Osborne (1806-1893), an Irish pianist and composer whose concerts in Paris attracted the most fashionable audiences and eminent musicians of the period, among them Chopin and Berlioz. "Andante for the piano forte" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, 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/metadc39264/
Fantaisie sur L'elisire d'amore, op. 32
This is a digital copy of the "Fantaisie sur L'elisire d'amore, op. 32" 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 the Italian composer Gaspare Spontini (1774-1851). "Fantaisie sur L'elisire d'amore" 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/metadc39269/
Le carnaval de Venise
This is a digital copy of "Le carnaval de Venise" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. This piece was dedicate to the operatic soprano Eugenie García (née Mayer; 1815-1880), who was the first wife of the famous Spanish baritone Manuel García. "Le carnaval de Venise" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39266/
Airs russes: fantaisie for the piano forte, op.43
This is a digital copy of Airs russes: fantaisie for the piano forte, op.43 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. Airs russes is included among 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/metadc39263/
Catone in Utica
This is a ca. 1763 copy of the libretto of "Catone in Utica," by Metastasio. Gian Francesco de Majo set this libretto to music for the 1763 carnival season in Turin. In this story, Caesar and Fulvio meet Cato, Utica's ruler, and offer him a peace truce, but Emilia, Pompey's widow, suspects treachery and plots to murder Caesar. Cato rejects a Senate's order for a reconciliation with Caesar and demands that Caesar surrender his dictatorial powers. Marzia, Cato's daughter, promised in marriage to Arbace, is in love with Caesar and pleas to her father to deter him from waging war. Arbace, who feels that his love for Marcia was betrayed, is lured by Emilia into an assassination attempt on Caesar. Fulvio is led to believe that Emilia will attempt on Caesar's life as he leaves by the gate of the city and advises him to take a secret path only to discover that Emilia used him to deliver Caesar into the hands of her followers. As Fulvio announces the victory of Caesar's armies in Utica, Cato stabs himself and before dying grants forgiveness to Marcia on condition that she swear loyalty to Arbaces and hatred towards Caesar. The library's copy of "Catone in Utica" is bound with the following librettos: "Ifigenia in Aulide", by Vittorio Amedeo Cigna-Santi; "Sofonisba" by Mattia Verazi; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi. digital.library.unt.edu/ark:/67531/metadc39294/
Le piacevoli poesie
This is a ca. 1750 copy of "Le piacevoli poesie di Giuseppe Baretti" (The Pleasing Poetry of Giuseppe Baretti). Although Baretti is primarily remembered for his frequent travels throughout Italy, England, France, and Portugal, which he recounted in his "Lettere familiari ai suoi tre fratelli," he was also a scholar, linguist, poet, translator, and journalist. He wrote "Le piacevoli poesie di Giuseppe Baretti" in 1750. The poetry imitated the style of Fancesco Berni, a 16th-century Italian poet who wrote parodies and burlesque letters-much of it obscene in nature. The introduction of this work was written by the Venetian Count Gasparo Gozzi, himself a poet, prose writer, journalist, critic, and also the brother of Baretti's friend, Carlo Gozzi. The library's copy of "Le piacevoli poesie" is bound with the following librettos: "Ifigenia in Aulide" by Vittorio Amedeo Cigna-Santi; “Catone in Utica,” by Pietro Metastasio; "Sofonisba" by Mattia Verazi; and "Arianne e Teseo" by Pietro Pariati. digital.library.unt.edu/ark:/67531/metadc39296/
Arianna e Teseo
This is a ca. 1764 copy of the libretto of the opera seria "Arianna e Teseo" by Pietro Pariati. From 1699 until 1714, Pariati worked in Venice as collaborator with the poet and librettist Apostolo Zeno. In 1714, Pariati moved to Vienna and from 1718 until 1729 worked as poet in the court of emperor Charles VI. He was replaced by Metastasio. Pariati wrote "Arianna e Teseo" during the first years of his appointment in Vienna. He added to the Greek mythology story new subplots and two characters, the lovers Alceste and Laodice. Giuseppe Pasqua set Pariati's libretto in music for the 1764 carnival season in Turin. The story unfolds in the island of Crete where several young Athenian men are brought to be ritually sacrificed, and Athenian maidens are to be delivered as victims to a minotaur that lives in a labyrinth. Among the Athenians is Arianna, the daughter of Minos (Minosse), King of Crete, who was abducted as a child by King Aegeus, and Teseo, Aegeus's son. Teseo is determined to kill the minotaur in order to save Arianna's friend Laodice, but Arianna believes that he loves her friend. In spite of her doubts, she hands over to Teseo the secret how to kill the minotaur and vanquish Tauride, King Mino's champion, which she overheard from Minos. The work ends with Teseo's victory over the minotaur and his reconciliation with Arianna. The library's copy of "Arianna e Teseo" 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 "Le piacevoli poesie" by Gasparo Gozzi. digital.library.unt.edu/ark:/67531/metadc39293/
Ifigenia in Aulide
This is a ca. 1762 copy of the libretto of "Ifigenia in Aulide," by Vittorio Amedeo Cigna-Santi, the principal librettist at the Teatro Regio in Turin. Cigna-Santi's libretto is an adaptation of Euripide's story of Ifigenia, the daughter of the king of Argos, Agamemnon. The goddess Diana decreed that Ifigenia had to be sacrificed in order to guarantee fair winds for the king's fleet on their journey to Troy. Achilles, rushed to save Ifigenia, his wedding bride, but Diana, moved by Ifigenia's obedience, spared her life before the priest killed her. Ferdinando Giuseppe Bertoni set this libretto to music for the 1762 carnival season in Turin. According to scholar George Hollis, the surviving arias of Ifigenia in Aulide are technically demanding and contain florid and lengthy passages in the tradition of opera seria. The library's copy of "Ifigenia in Aulide"is bound with the following librettos: "Catone in Utica," by Pietro Metastasio; "Sofonisba" by Mattia Verazi; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi. digital.library.unt.edu/ark:/67531/metadc39295/
Le cadi dupé
This is a 1766 copy of the libretto of the one-act comic opera "Le cadi dupé" (The duped judge), by Pierre René Lemonnier to music by Pierre-Alexandre Monsigny. The first performance of the opera took place at the Paris Foire St-Germain on 4 February 1761. Christoph Willibald Gluck's music replaced that of Monsigny's for the 8 December 1761 performance at the Burgtheater in Vienna. digital.library.unt.edu/ark:/67531/metadc39292/
Sofonisba
This is a ca. 1764 copy of the libretto of the opera seria "Sofonisba" by Mattia Verazi. Baldassare Galuppi set this libretto to music for the 1764 carnival season in Turin. Mattia Verazi became a court poet at Mannheim and Stuttgart in 1756. Duke Carl Eugen favored operas with French influence, and Verazi catered to his tastes by providing libretti that deviated from Metastasian opera conventions. In 1762, Verazi and Tommaso Traeta collaborated to create operas following French models. Sofonisba was the result of such collaboration. Sofonisba and Siface, king of Numidia, are married and have a child. When Siface fails to return from battle against the Romans, Massinissa, Sofonisba’s former suitor, renews his advances. Siface appears among the captives and rejoins his wife but fail in their attempt to escape from their Roman captors. Afraid that she will be marched in chains through the streets of Rome, Sofonisba poisons herself and is dying when the news arrives that all has been resolved. Baldassare Galuppi composed the music of the opera for the 1764 Turin carnival season. The opening scene includes a programmatic sinfonia that accompanies a pantomimed battle, and later, another pantomime that depicts gladiatorial games. Verazi included detailed instructions for staged actions. Verazi's dramatic ending to the opera included Sofoniba's dramatic suicide. The library's copy of "Sofonisba" is bound with the following librettos: "Ifigenia in Aulide" by Vittorio Amedeo Cigna-Santi; "Catone in Utica" by Pietro Metastasio; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi. digital.library.unt.edu/ark:/67531/metadc39297/
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/
Elements of Musical Composition; comprehending the Rules of Thorough Bass, and the Theory of Tuning.
Manual describing musical composition for beginners. The manual is divided in 9 chapters and includes 479 musical examples engraved in 59 pages at the end of the book, as well as four plates with figures (plate no. II appears at the beginning of the book. The musical examples cover the following subjects: scales, intervals (diatonic and chromatic) and their inversion, counterpoint rules, harmonic progressions, use of non-harmonic tones (suspensions, passing notes, appoggiaturas, and upper-lower neighbor. It also includes several examples taken from Handel's "Dettingen Te Deum," "Messiah," and from Haydn's oratorio "Creation," among others. digital.library.unt.edu/ark:/67531/metadc39255/
Cendrillon
Libretto of the 1759 pastiche-style comic opera "Cendrillon," by Louis Anseaume. The songs were contributed by the singer-composer Jean-Louis Laruette and Egidio Duni, which they likely adapted from fashionable tunes. "Cendrillon" (Cinderella in English) premiered in Paris at Foire St-Germain on February 21, 1759. The opera underwent two revisions before the definitive version of 1764. Anseaume adapted the plot the fairy tale by Charles Perrault. This copy includes (from pp.54-63) notated melodies of airs and recitatives. digital.library.unt.edu/ark:/67531/metadc39252/
Astrée
Libretto of the 1691 opera "Astrée" by Jean de la Fontaine. Pascal Collasse composed the music of the opera which premiered under the title "Astrée et Céladon" on November 25, 1692. digital.library.unt.edu/ark:/67531/metadc39251/
Estebanillo: zarzuela en tres actos, en verso
Libretto of the three-act zarzuela "Estebanillo" by Ventura de la Vega. The plot is an adaptation of the ca. 1634 Spanish comedy, "Fortuna te dé Dios, hijo" (May God give you good luck, son), by the playwright Tirso de Molina's. The zarzuela is also known by the title "Estebanillo Peralta." It was premiered in 1855 at the Teatro del Circo (built in 1834 and destroyed by fire in 1876). digital.library.unt.edu/ark:/67531/metadc39257/
Amadis, tragedie en musique
Libretto of the 1684 opera "Amadis," by Philippe Quinolt. The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of "Amadis" at the Opéra in Paris on 18 January 1684. It was an immediate public success. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King. digital.library.unt.edu/ark:/67531/metadc39250/
La favola di Orfeo
Libretto of the opera "La favola di Orfeo" in several verse forms. Poliziano's version of the legend of Orfeo differs from the story in Monteverdi or Gluck's operas. In Poliziano's ending, Orpheus is torn to pieces by the maenads (or Bacchantes). This copy includes Bernardino Baldi's eclogue "Celeo e l'Orto," a culinary poem that describes the production of polenta. digital.library.unt.edu/ark:/67531/metadc39258/
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/
Isis, tragedie en musique
Libretto of the opera "Isis," by Philippe Quinolt. The music of the opera was composed by Jean-Baptiste Lully's and premiered on January 5, 1677 at St. Germain-en-Laye. The libretto is a loose adaptation of one of the episodes in Ovid's Metamorphoses. The plot resembles that of Lully's previous opera, Atys. It is set in pastoral and divine realms. In the opera, Jupiter courts the nymph Io, and jealous Juno imprisons her under the hundred watchful eyes of Argus. The god Mercury helps Io to escape and turns Hiérax, Io's former lover, into a bird when he tries to interfere. Then, Juno orders a Fury to torment Io. After a series of tortures, Io invokes Jupiter who interferes with Juno promising he will be faithful to her in exchange of her sparing Io. Juno then transforms Io into the Egyptian goddess Isis. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King. digital.library.unt.edu/ark:/67531/metadc39259/
Enée et Lavinie
Libretto of the opera "Enée et Lavinie" by Bernard le Bovier de Fontenelle. Pascal Collasse composed the music of the opera which premiered on November 7, 1690. The plot, which Bovier de Fontenelle adapted from Virgil's "Aeneid, Book vii," revolves around the marriage of Enée (i.e., Aeneas) to the Latin bride Lavinia. digital.library.unt.edu/ark:/67531/metadc39256/
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/
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