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La fileuse: parodie d'Omphale
"A parody in one act on André Cardinal Destouches' opera, Omphale."
La clé du caveau: à l'usage de tous les chansonniers française, des amateurs, auteurs, acteurs du vaudeville, et de tous les amis de la chanson
Extensive collection of French poetry and songs.
Exultate Deo: petit motet nouveau a voix seule et grande simphonie: chanté pour la premiere fois par Melle, Jet au Concert Spirituel le 4 Avril, 1755; Ch. d'Herbain
Sacred solo cantata for high voice, with orchestra.
Oeuvres de Haydn, Cahier II contenant XI Pièces pour le Pianoforte
This volume includes six piano sonatas, three sets of theme and variations, one fantasia, and one capricio [sic] with incipits for all pieces.
Oeuvres de J. Haydn, Cahier IV contenant VIII Pièces pour le Pianoforte
This volume includes the piano parts for six piano sonatas and one arietta (for solo piano) and the piano parts to a trio for piano, flute, and 'cello. Incipits are included for all pieces.
Oeuvres de J. Haydn, Cahier XII contenant 9 Pièces pour le Pianoforte
This volume contains the piano parts for eight piano sonatas (some accompanied either by violin or violin and 'cello) and one adagio. Incipits are present for all pieces.
Oeuvres de J. Haydn, Cahier I contenant VIII Sonates pour le Pianoforte
This volume includes eight piano sonatas, preceded by pages featuring a portrait of the composer, a letter of dedication from the composers to the consumers of this item, and incipits of all eight sonatas.
Oeuvres de J. Haydn, Cahier VI contenant V Sonates pour le Pianoforte
This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.
Oeuvres de J. Haydn, Cahier VIII
This volume contains fifteen sacred and secular songs for one to four voices with piano accompaniment. Contrary to the title page, the titles of each song are given either in German or German and Italian. When both languages are present in the text underlay, the Italian text sits directly below the staves with German below the Italian. Most songs either give "Singstimme" or a voice part for the vocal staves; some give names of characters, possibly indicating a theatrical or semi-dramatic performance context. Songs for one voice tend to be strophic while part songs are through-composed. Authors such as Gellert, Metastasio, and Shakespeare figure among the authors (most anonymous) of the texts. As with the other binlingual pieces in this volume, the scene "Arianna a Naxos" is set in Italian and German. The interaction of the soprano voice and piano accompaniment as well as the structural alternation between arioso/aria and recitative reveals this piece to be a solo cantata. The volume concludes with a four-page catalog of all of Breitkopf und Härtel's publications in Leipzig complete with price in thalers for each piece and a table of contents. The positioning of the Inhalt at the end of the volume reflects the influence of Italian publishing practices.
Oeuvres de J. Haydn, Cahier VII contenant VI Sonates pour le Pianoforte
This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.
Oeuvres de J. Haydn, Cahier V contenant V Sonates pour le Pianoforte
This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.
Oeuvres de Haydn, Cahier III contenant VI Sonates pour le Pianoforte
This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.
Oeuvres de J. Haydn, Cahier XI contenant XII Sonates pour le Pianoforte
This volume contains twelves piano sonatas with incipits for each piece.
Oeuvres de J. Haydn, Cahier X contenant VIII Sonates pour le Pianoforte
This volume contains the piano parts to eight piano sonatas - five accompanied by violin and 'cello, three accompanied by violin - all with incipits.
Oeuvres de J. Haydn, Cahier IX contenant XXXIII Airs et Chansons
Though the cover of this volume is in French, the title page gives the same information in German. This latter language also receives pride of place in the text underlay: Most songs are solely in German but, when lyrics are given in two languages, German is immediately below the musical staves with either Italian or French in italics below the German. Songs use one to three voices with the voice part sometimes integrated into the top staff of the piano part with text underlay indicating when to sing. Several songs are set for three-part Männerchor or four-part chorus with piano accompaniment. In strophic settings, only the first stanza of poetry appears in the score; the rest are included as addenda at the end of the piece. The volume concludes with a table of contents given the name and first line of each song in all languages used for each entry.
Variations à quatre mains pour le piano-forte sur une theme de Monsieur le Comte de Waldstein
No Description Available.
Le voyage de Cythere
This secular cantata for soprano and basso continuo features obbligato flute and violin. The introductory letter addresses not a royal patron but a commercial one - the women that would sing this cantata.
Extrait des airs françois de tous les operas nouveaux, qui ont eté representés: Appropriés pour le chant ou la flute avec la basse continue., Partie I.
This collection of opera arias is scored for either one or two voices with continuo (with figures) and, for some songs, obbligato flute.
Extrait des airs françois
This collection of opera arias is scored for either one, two, or three voices with continuo (with figures). Some songs call for an obbligato violin. An alphabetical table of contents is located at the end of the volume.
Titon Et L'Aurore
This three-act opera (Monsigny's Op. 8) is dedicated to Monseigneur le Prince de Soubise and was premiered at L'Academie Royalle de Musique on 9 January 1753. This full score opens with a letter of dedication from the composer to his patron and closes with a document describing royal publishing privilege.
Le roy et le fermier
This three-act opera was premiered at the Comédie Italien on 22 November 1762.
Le déserteur; drame en trois actes representé par les Comediens italiens ordinaires du roi le 6 mars 1769, Gravé par Mlle, Vendôme et le Sr. Moria
This three-act opera is dedicated to His Most Serene Highness Monseigneur Duke of Orleans and premiered on 6 March 1769 at les Comediens italiens ordinaires du roi. This full score opens with a letter of dedication from the composer to his patron.
Le cadi dupé, opéra bouffon en un acte, representé sur le Théatre de l'opera comique
The figured bass is unrealized in the full score of this one-act comic opera. Sung French text is underlaid; spoken text is printed before and after each song.
Le triomphe des sens
This opera (ballet héroique) is comprised of five acts with a prologue. It was premiered on 29 May 1732 at L'accademie Royale de Musique in Paris. This score opens with a letter of dedication from the composer "A Son Altesse Serenissime Monseigneur Le Prince de Dombes." Next, Mouret includes two tables of contents: one of the dances (Airs de Simphonie) and the other, of the arias (Airs à Chanter). The following pages lists other publications by Mouret including prices and where these items may be purchased. Vocal lines are set apart from instrumental ones by text underlay and, in the case of high voices, the use of the standard treble clef. (The violin parts use the French clef.
Cantates françoises a voix seule et basse-continue, avec et sans symphonies, Livre second
This item comprises two books of secular cantatas for soprano (indicated by the consistent use of the soprano clef in the vocal line), obbligato strings and winds, and (unrealized) basso continuo. The first book was printed in 1706; the second, in 1708. Since the two volumes were bound together, the later date is used for this item. The subtitle for the first volume indicates "a voix seule avec symphonies" while the subtitle for the second volume gives "a voix seule et basse-continue, avec et sans symphonies."
Cantates françoises à I. et II. voix: avec simphonie, et sans simphonie, V. 1-2
This item contains volumes 1 and 2 of Clérambault's "Cantates Françoises." The second volume bears the subtitle "Mellées de Simphonies." Volume 1 contains the cantatas "L'amour piqué," "Le jaloux," "Orphée," "Poliphême," "Medée," and "L'amour et Baccus." Volume 2 contains "Alphée et Arethuse," "Leandre et Hero," "La musette," "Pirame et Tisbé," "Pigmalion," and "Le triomphe de la paix." The continuo line is figured.
Silvain
This one-act opera to a libretto by Marmontel is dedicated "a son Altesse Royale Monseigneur Le Prince Charles de Pologne." This full score features a catalogue of Grétry's music on the verso of the title page. The opera was premiered in Paris on 19 February 1770 at the Comédie-Italiènne.
Prodromus Musicalis
"Prodromus Musicalis" (published in 1702) is bound, here, with "Motets à une et deux voix, mélez de symphonies, livre premier" (1704); thus, the latter gate is used for this item as a unit. Both sets of motets consist of Latin-texted music preceded by a title page in French. A Table of Contents either at the front or back of each collection describes the motets contained therein. Content is printed on both sides of each leaf. "Prodromus" also has a note from Brossard informing the reader that a Dictionary of Music, published at the same time as "Prodomus," contains French translations of Italian, Greek, and Latin terms, knowledge of which is vital to the understanding and performance of the present music. The contents of "Prodromus" are as follows: "Ave vivens hostia," "O Jesu quam dulce," "Congratulamini filiae Sion," "O vos aetherei," "Festivi martyres" "Angele sancte" "Sonitus armorum," "Quemadmodum desiderat," and "O plenus irarum dies." "Motets à une et deux voix" contains the following pieces: "Venite exultemus," "Gaudete Mortales," "Ad mensam caelitus paratam," "Ave Regina coelorum," "Animae Amantes ad Deum esurientes," "Ite gemmae, Ite flores," "Anxiatus est super me spiritus meus," "Festivi Martyres, festivae Virgines," "Nisi Dominus aedificaverit domum."
Les Elemens
This four-act ballet was premiered on 22 December 1721 at the Tullieries and, later, performed at L'Academie Royale de Musique on 29 May 1725 and 27 May 1734, and at the Theatre on 22 May 1742. Various dramatis personae present an allegorical depiction of the French court.
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.
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).
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.
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.
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 ...
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.
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.
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.
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.
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.
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.
1er quatuor, pour deux violons, alto et basse, oeuvre 5
Musical score containing the four parts of Charles Dancla's first string quartet, op.5 in F minor, written for two violins, with alto and bass.
Airs russes, [op.20]
Musical score for "Airs russes" written for piano by Leopold von Meyer, as part of opus 20. This piece was issued as the second of four pieces published under the title "Repertoire de Léopold de Meyer."
Bajazeth
Musical score containing the piano part for "Bajazeth: air national [sic] des turques pour le piano forte" by Leopold von Meyer.
Fantaisie sur Les Hirondelles
Musical score containing the piano part for "Fantaisie sur Les Hirondelles" by Leopold von Meyer.
Fantaisie pour le piano sur un air de Bellini
Musical score containing the piano piece for "Fantaisie pour le piano sur un air de Bellini" by Leopold von Meyer.
Fantaisie sur L'elisire d'amore, op. 32
Musical score containing the piano piece for "Fantaisie sur L'elisire d'amore," part of opus 32 by Leopold von Meyer.
Fantaisie sur Norma, [op.40]
Musical score containing the piano piece for "Fantaisie sur Norma," part of opus 40 by Leopold von Meyer.
Le depart et le retour, deux nocturnes
Musical score containing a piano part for 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."
Zephire et Flore
This is a digital reproduction of the 1688 libretto of the opera "Zephire et Flore" by Michel Du Boullay. The music of the opera is attributed to Louis and Jean-Louis Lully, sons of Jean-Baptiste Lully. It was performed for the first time on March 22, 1688 at the Palais Royale in Paris.
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.