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Roland; tragédie mise en musique
Roland is one of three operas by composer Jean-Baptiste Lully and librettist Philippe Quinault based on the medieval legends of chivalry (the other two are Amadis and Armide). Roland sets episodes from Ludovico Ariosto's Orlando furioso. And, like its sibling Armide, Roland centers on the conflict between duty and love. Acts I-III portray this conflict within Angélique, Queen of Cathay, while the remaining acts concern Roland's unrequited love for Angélique, which is resolved only when the goddesses Glory and Fame show him that this too is a struggle between duty and love.
Romeo et Juliette, opera en trois actes, en prose
This is the score of Daniel Steibelt's first opera "Roméo et Juliette" composed in 1793 to a libretto by Vicomte Alexandre de Ségur. According to Grove Music, Steibelt submitted this opera to the Académie Royale de Musique, but it was rejected. The work was performed as opéra comique at the Théâtre Feydeau on 9 October 1793, after Steibelt replaced the original recitatives with spoken dialog. The opera is in three acts and the orchestral forces comprise: woodwinds (flutes (2), oboes (2), clarinets (2), and bassoon (2)), brass instruments (horns in E-flat (2), trumpets in C (2), and trombones (3)), timpani in C, and strings (violins, viola, violoncello, and bass). On the t.p., the publisher advertised Steibelt's arrangement for the piano of arias and overture of this opera.
Rosamond
This three-act opera is to a libretto by Joseph Addison. Content is printed only on the recto side of each leaf. The score features two title pages: the first, with an engraving and small print describing the contents; the second, with large font. The work opens with a three-part "symphony or overture" for an ensemble of unspecified instrumentation: two treble instruments and one bass instrument. The indication "with Violins" on some the songs suggests the nature of the high instruments. No figures are included on the bass line. All the songs are followed, on the same page, by a version of the vocal line for flute.
Le roy et le fermier
This three-act opera was premiered at the Comédie Italien on 22 November 1762.
Rutzvanscad, il giovine
This is a copy of Cattuffio Panchianio's "Rutzvanscad, il Giovine," a parody of Greek tragedy. The library's copy is bound with the libretto of Giovanni Battista Casti's "Prima la musica e poi le parole." Clarification notes relating to terms and characters of the tragedy appear on the back of p.79 together with a list of printing errors.
Saul : a sacred oratorio, in score
This is ca. 1792 musical score of Saul, a sacred oratorio by Handel composed in 1738 to the English text by Charles Jennens. The composition year 1740 given in the t.p. might refer to a performance of the oratorio that took place that year. The performance forces include: vocal soloists (SATB), mixed chorus, and orchestra (2 oboes, bassoon, trombones (3), horns (2), strings (violin, viola, violoncello, bass), timpani, organ, harp and continuo). A content index with the incipits of recitatives and arias appears on a separate page at the end of the score.
Saul : Oratorium
This is ca. 1820 vocal score of Handel's oratorio Saul. The orchestra reduction for piano is credited to J.F. [Johann Friedrich] Naue. The hand-written date 1738 that appears at the top of the t.p. underneath Saul corresponds to the year when Handel composed the oratorio. The music parts for the soloists (soprano alto tenor, bass) and the chorus appear at the top of the piano reduction staff.
Serva padrona : intermezzo
The intermezzo La serva padrona first appeared between the acts of Pergolesi’s Il prigioniero superbo in 1733. This was the standard way in which to present an intermezzo. The work served as comic relief in the midst of more solemn opera serie, and incorporated elements of the improvisational commedia del’arte tradition. For instance, the few characters are drawn from stock types, such as the servant Serpina.
Servante maîtresse : comédie en deux actes mêlée d'ariettes
The intermezzo La serva padrona first appeared between the acts of Pergolesi’s Il prigioniero superbo in 1733. This was the standard way in which to present an intermezzo. The work served as comic relief in the midst of more solemn opera serie, and incorporated elements of the improvisational commedia del’arte tradition. For instance, the few characters are drawn from stock types, such as the servant Serpina.
Signale für die musikalische Welt, Volume 9
Issues for the ninth year of the magazine Signale für die musikalische Welt.
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.
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.
Songs in the new opera call'd Arsinoe, queen of Cyprus
Thomas Clayton’s first opera, Arsinoe, Queen of Cyprus, premiered at Drury Lane in London on 16 January 1705. The opera initially enjoyed success, but two years later, Clayton’s second opera was not well-received. Part of Arsinoe’s popularity may have been due to Catherine Tofts' portrayal of the title character; Toft would later become a star of the English stage.
Sosarme
This item is a copy from [ca. 1790] of the score of Handel's opera Sosarme to a libretto by Matteo Noris. The performance forces include: oboe, horns, strings (violin, viola, bass), continuo, and soloist singers. A list of important musical numbers, solo arias and duets of each act appears on p.116. The names of the subscribers appear on pp.[119-120]. The title page contains an engraving showing two mythological figures [possibly, the god Apollo and the Muse Erato] and musical instruments signed by the London engraver [John] Strongitharm of Pall Mall.
Storia della musica
This is a copy of the second of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. Each volume bears a different dedicatee: v.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The t.p. of this volume is printed in red and black ink and decorated with a border that depicts various musical instruments. It also features an illustration of a minotaur and a young boy (presumably, the god Apollo) holding a lyre. This volume is divided in nine chapters and three dissertations. The start of each chapter and each dissertation features, within an ornamented oval-shaped frame, the notated music of a canon in a five-line staff with underlaid text taken from works by Hesiod, Homer, Anacreon, and Sophocles. The book contains maps of Greece and Asia Minor, as well as a table that summarizes the divisions of the breve and prolations translated to 18th century musical notation practice. Chapter 1 discusses the origins of music according to precepts passed down from antiquity and Greece as well as the theory of musical intervals. Chapter 2 discusses several Greek mythological figures and a history of the invention of the lyre per Homer. It also mentions Greek authors and use of instruments in Greek festivities. Chapter 3 presents stories of Greek gods and demigods by Ovid and Homer, among others. Chapter 4 includes Virgil's story of Orpheus (the son of Apollo) and his attempted rescue of his dead wife Eurydice from Hades. The chapter contains references to the role of music in that story. Chapter 5 is about the role of music in the cult of Cybele (in Greek mythology, the mother of all gods). It also mentions names of people mentioned by Plutarch ...
Storia della musica
This is a copy of the first of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. Each volume bears a different dedicatee: v.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The t.p. of this volume is printed in red and black ink and decorated with a border that depicts various musical instruments and includes a pastoral scene depicting Euterpe, the muse of music, holding a lyre and a horn as allegory of a scepter, and accompanied by various putti singing or playing musical instruments. Each page of the book is decorated with an ornamented border. The volume is divided in eleven chapters and three dissertations. The start of each chapter and each dissertation features, within an ornamented oval-shaped frame, the notated music of a canon in a five-line staff with underlaid text taken from passages in the book of Psalms and other books of the Old Testament. This volume includes an engraved portrait of Martini by an unknown engraver and one illustration by Nicolaus Valleta depicting Queen Maria Barbara of Portugal in the company of several mythology figures, such as Apollo and Minerva, among others. At the center top appears a crown and a banner with the Latin inscription, "Hoc offer Regina, Tibi Lectum undique manus. Et vult esse tuum Musica quid quid Habet." At the bottom appears the coat of arms of the Spanish crown. The first chapter explains the purpose of the volume and defines three classifications of music as defined by Boethius in the medieval ages: mundana (produced by the motion of planets and celestial bodies), humana (loosely translated as music of the body and soul), and instrumentalis (this kind produced by the human voice and musical ...
Storia della musica
This is a copy of the third of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. The t.p. of this volume is printed in red and black ink and each page is decorated with an ornamented border. It contains numerous figures, musical examples demonstrating theoretical concepts of Greek music, and footnotes. Each one of the volume bears a different dedicatee: V.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The present vol. 3 is divided as follows: ch.1 - Greek music (pp. 1-24); ch.2 - Poetics, music and drama (pp. 25-90); ch.3 Dramatic poetry (pp. 91-148); ch.4 - Medieval and new dramatic poetry (pp.149-169); ch.5 - Music in Greek tragedy and drama (pp. 170-197); ch. 6 - Illustrious Greek music teachers (pp.198-268); ch.7 Greek philosophers on music (pp.269-369); ch.8 - Greek music theory practice (pp.370-440); Dissertation on the prodigious effect produced by antique Greek music (pp.[419]-440); Index of people mentioned in the volume (pp.441-445); Index of authors with short biography, in alphabetical order (pp445-458); Errata (p. 459).
Tancrède: tragédie
André Campra’s Tancrède, which premiered on 7 November 1702, is his best-known tragédie en musique, with a run of performances until 1764, and high praise by noteworthy music personalities such as Rameau. While the music critic La Cerf de la Viéville wrote positive comments about Tancrède, he was bothered by the opera’s use of low voices, which defied the tradition of employing castrati parts. Additionally, the role of Clorinda was written for a well-known contralto named Mademoiselle Maupin; although the range is that of a mezzo-soprano, the powerful quality of Maupin’s voice seemed to be a prime consideration for Campra.
Tarare : opéra en cinq actes avec un prologue
Antonio Salieri’s French debut Les Danaïdes (1784) led to additional commissions, Les Horaces (1786) and Tarare (1787). Although Les Horaces was not well-received, Tarare was popular both in Paris and Vienna. Beaumarchais supplied the libretto for Tarare, basing his plot on the third volume of the exotic English collection The Tales of the Genii, or The Delightful Lessons of Horam, the Son of Asmar (1764) by James Ridley, (pseudonym for Sir Charles Morell), who claimed the stories were translated from a Persian source.
The Theater of music
A note at the bottom of the final page reads, "In the Title Page of this Book, instead of Theorbo-Bass, read Thorow-Bass." Although this seems to suggest that chordal accompaniment should be used, bass lines are unfigured and meant for either a plucked or bowed string instrument per the suggestions on the title page. Three-part ritornelli are interspersed throughout this volume. All vocal lines (the top one of each system) use the treble clef. Only the text of the first stanza is underlaid; any subsequent stanzas are printed under the music.
Thesee : tragédie
Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory.
Thesée; tragedie mise en musique
Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory.
Thesée; tragedie, mise en musique
Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory.
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).
Thetis et Pelée; tragédie en musique
Pascal Collasse was one of the few opera composers able to secure successful performances in the years following Lully’s death. Collasse then went on to supply the music for the entire opera, Thétis et Pélée, which was premiered at the Paris Opéra on 11 January 1689. Thétis remained popular throughout Collasse’s lifetime, in spite of its rather weak plot. Owing to its success is primarily the music, including a significant storm scene in Act II. This departure from the Lullian tradition is perhaps Collasse’s most significant contribution to the tradition of French opera.
Thomas and Sally
1782 vocal score of Thomas Arne's opera Thomas and Sally, or the Sailors return. Dramatic pastoral in two acts by Thomas Augustine Arne to a libretto by Isaac Bickerstaff; London, Covent Garden, 28 November 1760. Thomas and Sally can claim to be the first all-sung English comic opera. It is noteworthy as well for the introduction of clarinets into the orchestra (Grove Music Online).
Three Cantatas
It is upon this set of three Italianate cantatas - "Martillo," "Thyrsis and Neptune" and "Amymone" that Hayden's reputation mainly rests. The second and third works include unspecified obbligato instruments. Content is printed only on the recto of each leaf. The bass line contains no figuration.
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.
Tom Jones; comedie lyrique en trois actes
Philidor’s Tom Jones is representative of the continental interest in English literature. Henry Fielding’s homonymous novel served as the foundation for Philidor’s opera, but Philidor pared down the story quite a bit, especially downplaying Tom’s philandering ways. Many secondary characters and situations were also cut, a common technique that librettists employ when adapting prose writings to the stage. Thus, a central plot unfolds in a manner that the audience can follow, and the length remains manageable for an evening’s entertainment.
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.
Tractatus de musica
The present volume is a 1875 compendium of various Latin music treatises by Johannes Tinctoris gathered from manuscript sources from Brussels, Bologna and Gand. The present edition, edited by Charles Coussemaker, comprises ten of the twelve surviving manuscripts of Tinctoris's theoretical works. According to Oxford Music, these were written in the first few years of his employment at Ferrante's court and demonstrate Tinctoris's intellectual and pedagogical mastery of music theory. They also demonstrate his acquaintance with contemporaneous composers of the early Renaissance Burgundian composers like Antoine Busnoys, as well as with the music of Franco-Flemish composers such as Johannes Ockeghem. Below is a table of content listing the titles of each treatise and a brief description of the concepts they treat. Treatises and Description: "Expositio manus" - this treatise is divided in 10 chapters consisting of: definitions, places, clefs, voicing, properties, deductions, mutations, conjunctions, conclusion; "Liber de natura et proprietate tonorum" - this treatise is divided in 51 chapters containing: definitions and name of tones, concerning the species diatessaron and diapente, formation of first throughout the eighth tone, authentic and plagal modes, ascending and descending perfect/imperfect tones; "Tractatius de notis et pausi" - this treatise is divided in two books. Book one contains a prologue and 14 chapters devoted to definitions of note values (e.g., long, breve, semi-breve, minim) and the use of ligatures. Book 2 explains the notation of note rests; "Tractatus de regulari valore notarum" - this treatise is this treatise includes a prologue and 32 chapters devoted to explanations of the musical notation of tempi and modes and the use of prolation (i.e., symbols used to indicate perfect and imperfect subdivisions of the breve; "Liber imperfectionum musicalium notarum" - this treatise is divided in two Books and a prologue. These are concerned with the notation of perfection ...
Le triomphe de l'amour
Le Triomphe de l'Amour, a ballet de cour created by composer Jean-Baptiste Lully and librettists Isaac de Benserade and Philippe Quinault, was danced for the first time at Saint-Germain-en-Laye on January 21, 1681. Several setbacks, including the illness of the dauphin and the reluctance of court ladies to attend the ballet, postponed its premiere for nearly three months. Benserade, one of the creators of the ballet de cour, was drawn out of retirement to create verses in celebration of the dauphin's marriage to Marie-Anne-Christine-Victoire of Bavaria. The first public performance at the Palais Royale in Paris took place May 6, 1681.
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.
Le triomphe de l'amour : ballet royal
Le Triomphe de l'Amour, a ballet de cour created by composer Jean-Baptiste Lully and librettists Isaac de Benserade and Philippe Quinault, was danced for the first time at Saint-Germain-en-Laye on January 21, 1681. Several setbacks, including the illness of the dauphin and the reluctance of court ladies to attend the ballet, postponed its premiere for nearly three months. Benserade, one of the creators of the ballet de cour, was drawn out of retirement to create verses in celebration of the dauphin's marriage to Marie-Anne-Christine-Victoire of Bavaria. The first public performance at the Palais Royale in Paris took place May 6, 1681.
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.
Le trompeur trompe, ou, La rencontre imprevue. Opera-comique en un acte. Represente pour la premiere fois sur le Theatre de la Foire S. Germain, le 18 fevrier 1754.
In the mid-eighteenth century, comic opera librettos served a dual purpose, as evinced by the libretto to Vadé ’s Trompeur trompé (1754). Although the primary function of the publication was to allow audience members to follow along with the text of the opera, solo airs were printed in the back of the book. Not all the melodies are included, but those printed in the libretto enhance our understanding of an opera the music of which was never published as a comprehensive musical score.
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.
Variations à quatre mains pour le piano-forte sur une theme de Monsieur le Comte de Waldstein
No Description Available.
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.
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.
Vocal Melody Book IV
This collection of songs from the pantomime "Harlequin Sorcerer" and the play "The Oracle" are scored for various voice types with obbligato instruments and basso continuo (with figured bass). A "Mrs. Cibber" is credited prominently on the title page. Some songs also have alternate parts for the solo line (conflating obbligato and vocal parts) for German flute (sometimes simply designated as "Flute").
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.
XII solos for a violin
This English edition of Corelli's Op. 5 sonata for violin and continuo is, aside from an engraving of the composer and the title page, printed on both the recto and verso sides of the leaves. The bass line contains figures. A note by the publisher states: "These Solos are Printed from a curious Edition Publish'd at Rome by the Author."
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.
Zéphire et Flore; opéra en musique
Zephire et Flore, the only opera attributed to Louis and Jean-Louis Lully, sons of Jean-Baptiste Lully, sets a libretto by Michel Du Boullay based on episodes from Greek mythology. It was performed for the first time 22 March 1688 at the Palais Royale in Paris. There is no record of a court performance, and it was revived only once, in June of 1715, with revisions by Destouches. We know of no modern performances, nor recordings of the opera in whole or in part.