You limited your search to:

  Partner: UNT Music Library
 Collection: Virtual Music Rare Book Room
Les deux chasseurs et la laitière; comédie en un acte
Undated score of Egidio Duni's opera Les deux chaussures et la laitière. Duni’s French style was shaped by the developments of the War of the Buffoons, which pitted French tragic opera against Italian comic opera. The newly emergent opéra comique genre, for which Duni is still considered to be one of the major contributors, combined elements of both styles. His significance in the development of opéra comique is evident in the long-term success of Les deux chasseurs et la laitière, which was performed at the Comédie-Italien until 1792, almost twenty years after the composer’s death. digital.library.unt.edu/ark:/67531/metadc8/
Les deux chasseurs et la laitière; comédie en un acte
Duni’s French style was shaped by the developments of the War of the Buffoons, which pitted French tragic opera against Italian comic opera. The newly emergent opéra comique genre, for which Duni is still considered to be one of the major contributors, combined elements of both styles. His significance in the development of opéra comique is evident in the long-term success of Les deux chasseurs et la laitière, which was performed at the Comédie-Italien until 1792, almost twenty years after the composer’s death. digital.library.unt.edu/ark:/67531/metadc7/
Les deux comtesses : opera bouffon imité de l'Italien et parodié sous la musique
Paisiello’s comic operas were some of the most successful of the time. In point of fact, his operas enjoyed 251 performances in Vienna between 1783 and 1792, compared to 63 performances of Mozart’s operas. The intermezzo Le due comtesse, which first appeared in Rome (with an all-male cast) on 3 January 1776, was translated to French and parodied by Nicolas Etienne Framery, who also adapted Paisiello’s Il barbiere di Siviglia for the Parisian stage. digital.library.unt.edu/ark:/67531/metadc27/
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/
Devil to pay: or, The wives metamorphos'd
English libretto to Charles Coffey's ballad opera The devil to pay or, The wives metamorphos'd. The Devil to Pay is an adaptation of Thomas Jevon’s play The Devil of a Wife (1686). Nearly fifty years later, the ballad opera appeared at Drury Lane with Charles Coffey and John Mottley each responsible for half of the three acts. However, a much shorter and more well-received one-act version, edited by Theophilus Cibber, is represented in the printed libretto. Today Coffey is generally the only name widely attached to The Devil to Pay. The opera’s popularity is attested by the frequent performances and a translation into German, which contributed to the development of the Singspiel. digital.library.unt.edu/ark:/67531/metadc2/
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/
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/
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 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 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/
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/
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/
Echo et Narcisse, drame lyrique en trois actes
After the resounding success of Iphigénie en Tauride (1779), Gluck set out to compose his last of the seven Paris operas, which turned out to be his final opera. Whereas Iphigénie en Tauride is often considered Gluck’s best opera, its immediate successor, Echo et Narcisse (1779) was ill-fated and quickly disappeared from the repertoire. Echo was premiered a mere four months after Tauride, and the Parisian audience was not prepared for the differences between these two operas. Although the music resembles that of his other French operas, the pastoral story lacks the dramatic intensity that viewers expected in a Gluck opera. Thus, the serene music—though it is at times quite beautiful— lacks dramatic impulse. digital.library.unt.edu/ark:/67531/metadc13/
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/
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/
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/
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/
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/
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/
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/
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/
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/
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/
La fede ne' tradimenti
This is a 1689 copy of Girolamo Gigli's three-act libretto for the opera "La Fede ne' tradimenti," set to music by Giuseppe Fabbrini for the 1689 Carnival season at the Collegio Tolomei in Siena, Italy. digital.library.unt.edu/ark:/67531/metadc25954/
Fileuse : parodie d'Omphale
When Vadé’s first opera comique, La fileuse, appeared at the Foire St Germain on 8 March 1752, the tragic opera that it parodied—Destouches’s Omphale (1701)—had recently been criticized by Friedrich Melchior Grimm in his “Lettre sur Omphale.” Soon after this attack on “bad taste” in French music, the Querelle des Bouffons heated up, with debates about the merits of Italian comic opera versus French serious opera. Many mid-eighteenth-century French comic parodies were based on familiar serious operas, but following the Querelle des Bouffons, lyrical Italianate melodies were incorporated into the opera comique genre. Vadé’s La fileuse follows the older model of reworking existing tunes to new texts, including a vaudeville finale; later in his career, he composed some original airs. digital.library.unt.edu/ark:/67531/metadc79/
Finta pazza, drama.
Although Sacrati’s La finta pazza (1641) was immensely popular and influential, the opera has received little discussion in modern scholarship, due in large part to the absence of the music (even the number of extant copies of librettos is very small). Since Lorenzo Bianconi discovery of a score that was used for traveling productions, the opera has received increasing attention. digital.library.unt.edu/ark:/67531/metadc44/
Forza del sangue, e della pietà; drama per musica
1686 libretto for Giuseppe Fabrini's opera La forza del sangue, e della pietà. The music for all of Giuseppe Fabrini’s operas, including La forza del sangue e della pietà, is lost. However, the libretti by Gerolamo Gigli, have been preserved for these dramas that were performed at the Collegio Tolomei in Siena. La forza del sangue e della pietà translates as “The Force of Blood and Pity.” digital.library.unt.edu/ark:/67531/metadc9/
La Geneviefa
This is a ca. 1685 copy of the three-act libretto of "La Geneviefa" by Girolamo Gigli. The work was dedicated to Prince Francesco Maria of Toscana. The Sienese composer Giuseppe Fabbrini set the libretto to music for an opera staged at the theater of the Collegio Tolomei in Siena. Although the music of the opera is lost, the remark, "Il Sign. Giuseppe Fabrini, che ha data l'anima al verso con l'armonia della musica ..." in the preface of the libretto confirms Fabbrini's setting it to music. Concerning Fabbrini's operas, the Grove Music states that, "His operas to librettos by Gigli were all written for the college theatre which opened in 1685." The opera "La Genefieva" premiered that same year in February. digital.library.unt.edu/ark:/67531/metadc25956/
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/
Giulio Cesare : opera in tre atti
This is a [ca. 1743] score of "Giulio Cesare," an Italian opera seria in three acts by Handel. The performance forces include: flute, oboe, horns (in A and D), strings (violin, viola, violoncello, bass), continuo (theorbo and viola da gamba), harp, chorus of mixed voices (soprano, alto, tenor, bass), and soloist singers. A list of solo arias and duets of each act appears on p.170 followed by a list containing the names of the subscribers on pp.[171-172]. Two mythological figures [possibly, the god Apollo and the Muse Erato] and musical instruments signed by the London engraver [John] Strongitharm of Pall Mall appear on the title page. The name of each character appear at the top of p.3 with the names of the actual performers inscribed with pencil. The names of the casting coincide with those listed in the Oxford Dictionary of Music (online, 2009): "the castratos Senesino, Gaetano Berenstadt and Giuseppe Bigonzi (Caesar, Ptolemy and Nirenus), Francesca Cuzzoni (Cleopatra), Margherita Durastanti (Sextus), Anastasia Robinson (Cornelia), Giuseppe Boschi (Achillas) and John Lagarde or Laguerre (Curius)." digital.library.unt.edu/ark:/67531/metadc25950/
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/
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/
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 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/
Handel's songs, selected from his oratorios
This is the second of a five-volume anthology featuring 160 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 in the t.p. announced the availability of instrumental parts are available separately for concerts. The table of content that follows after the t.p. indicates the titles of the oratorio from which the arias and songs were taken. The songs are numbered continuously from 81-160 paginated from 172-332. digital.library.unt.edu/ark:/67531/metadc25952/
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/
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/
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/
Le Huron : comedie en deux actes, et en vers
Grétry’s Le Huron takes as its source a short story called L’ingénu (Geneva, 1767), written by Voltaire under the name Dulaurens. The story was banned two months after its publication due to anti-government themes. For instance, the young man raised by the Hurons (the title character of the opera) was imprisoned for expressing his radical ideas about issues such as the treatment of the Huguenots. Voltaire’s character is derived from another source, the novel Bélisaire by Marmontel, in which a man is framed for a crime and awaiting the death penalty before being released. Marmontel, who corresponded regularly with Voltaire, created the libretto for Grétry’s opera. However, most controversial aspects of the story were eliminated or downplayed for the censors, and as a result, the anti-religious message is absent from Le Huron. digital.library.unt.edu/ark:/67531/metadc20/
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/
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/
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/
Iphigénie en Tauride. Tragédie lirique en quatre actes
The contrast between Piccinni and Gluck can perhaps best be illustrated with Iphigénie en Tauride, as Piccinni’s opera appeared just two years after Gluck’s work on the same subject. In fact, supporters of Piccinni (“Piccinnistes”) hoped that the Italian composer would demonstrate the superiority of his style with Iphigénie, and scholars have used these settings to illustrate the difference between the two composers. digital.library.unt.edu/ark:/67531/metadc35/
Isis : tragedie
Isis, which premiered January 5, 1677, at St. Germain-en-Laye, was the fifth of Jean-Baptiste Lully's tragédies lyriques written with librettist Philippe Quinault. The plot is loosely adapted from one of the episodes in Ovid's Metamorphoses. In many of its essentials, the plot of Isis resembles that of Lully's previous opera, Atys. In Isis, the nymph Io, daughter of the river Inachus, is promised in marriage to Hierax, just as the nymph Sangaride, daughter of the river Sangar, was promised to Celoenus. Like Sangaride, Io is pursued by another love and yields to this love in spite of her feelings of guilt. Like Sangaride, Io has a goddess as a rival and is vulnerable to her jealousy. Lully's contemporaries interpreted this story as representing the volatile situation between two of the King's mistresses. The subsequent scandale of the premiere ended the collaboration between Lully and Quinault for a time, and led to the dismissal of a number of members of Lully's artistic circle. digital.library.unt.edu/ark:/67531/metadc74/
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/
Isis; tragedie mise en musique
Isis, which premiered January 5, 1677, at St. Germain-en-Laye, was the fifth of Jean-Baptiste Lully's tragédies lyriques written with librettist Philippe Quinault. The plot is loosely adapted from one of the episodes in Ovid's Metamorphoses. In many of its essentials, the plot of Isis resembles that of Lully's previous opera, Atys. In Isis, the nymph Io, daughter of the river Inachus, is promised in marriage to Hierax, just as the nymph Sangaride, daughter of the river Sangar, was promised to Celoenus. Like Sangaride, Io is pursued by another love and yields to this love in spite of her feelings of guilt. Like Sangaride, Io has a goddess as a rival and is vulnerable to her jealousy. Lully's contemporaries interpreted this story as representing the volatile situation between two of the King's mistresses. The subsequent scandale of the premiere ended the collaboration between Lully and Quinault for a time, and led to the dismissal of a number of members of Lully's artistic circle. digital.library.unt.edu/ark:/67531/metadc59/