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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).
[Clipping: Article by Alice Hughes about Don Gillis]
Newspaper clipping
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.
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."
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.
[Operas]
This is the second of a two-volume collection containing the basso continuo accompaniment to melodies from these 17th - 18th century operas: Des quatre saisons (p.1); Roland (p.16); Hesione (p.39); Persée (p.58); L'Europe galante (p.76); Amadis de Gaules (p.107); Issé (p.126); Phaéton (p.134). The manuscript contains cues for instruments, choruses, and characters of the opera. Most of the melodies are dances of the era: minuets, saraband, passacaglia, march; rondeau, boureé, gavotte, gigue, and canaries. The hard leather cover of the library's copy includes the titles of the operas and the statement, "Apartenant à M[onsieu]r de Pimont" (i.e, belonging to Mr. De Pimont).
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.
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.
[Operas]
This is the first of a two-volume collection of melodies from these 17th - 18th century operas: Des quatre saisons (p.1); Roland (p.12); Hesione (p.29); Persée (p.46); L'Europe galante (p.61); Amadis de Gaules (p.83); Issé (p.101); Phaéton (p.108). The manuscript contains cues for instruments, choruses, and characters of the opera. Most of the melodies are dances of the era: minuets, saraband, passacaglia, march; rondeau, boureé, gavotte, gigue, and canaries. The hard leather cover of the library's copy includes the titles of the operas and the statement, "Apartenant à M[onsieu]r de Pimont" (i.e, belonging to Mr. De Pimont).
Prima la musica e poi le parole
This is a copy of Giovanni Battista Casti's libretto for the comic opera "Prima la musica e poi le parole". On the back of the t.p. appears a list of characters and names Antonio Salieri as the composer of the music. The one-act opera was commissioned by Emperor Joseph II. Members of the Burgtheater's Italian troupe premiered it at the Schönbrunn Palace on February 7, 1786. The library's copy is bound with the libretto of Zaccaria Valaresso's "Rutzvanscad, il giovine."
Proserpine, tragedie en musique
This is a copy of the libretto of "Proserpine," a tragedy in five acts by Phillipe Quinault. The tragedy was set to music by Jean Baptiste Lully, superintendent chamber composer of the court of Louis XIV, and performed in the King's presence at Saint Germain-en-Laye on February, [3] 1680. The month and year of the opera premiere are indicated on the t.p., but the day of performance was left out with a blank space. The library's copy shows errors in pagination. The number of p. 25 was scribbled with ink and rendered illegible. A second p.66 should read p. 67, and the last page of the libretto, numbered 70, should be p. 68. The libretto contains an engraving of one of the stage settings by J. Le Pautre, after a design by J. Berain. The item contains a prologue and list of characters.
Momie
This is a ca. 1778 libretto for the burlesque opera in three acts "Momie" by a Jean Étiennethat Despréaux. The opera is a parody based on Leblanc du Roullet's libretto of "Iphigénie en Aulide," an opera by Christoph Willibald Gluck. The libretto includes the titles of the tunes at the opening of each scene. Page 6 of the library's copy is incorrectly numbered as page 9.
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."
Catone in Utica
This is a ca. 1763 copy of the libretto of "Catone in Utica," by Metastasio. Gian Francesco de Majo set this libretto to music for the 1763 carnival season in Turin. In this story, Caesar and Fulvio meet Cato, Utica's ruler, and offer him a peace truce, but Emilia, Pompey's widow, suspects treachery and plots to murder Caesar. Cato rejects a Senate's order for a reconciliation with Caesar and demands that Caesar surrender his dictatorial powers. Marzia, Cato's daughter, promised in marriage to Arbace, is in love with Caesar and pleas to her father to deter him from waging war. Arbace, who feels that his love for Marcia was betrayed, is lured by Emilia into an assassination attempt on Caesar. Fulvio is led to believe that Emilia will attempt on Caesar's life as he leaves by the gate of the city and advises him to take a secret path only to discover that Emilia used him to deliver Caesar into the hands of her followers. As Fulvio announces the victory of Caesar's armies in Utica, Cato stabs himself and before dying grants forgiveness to Marcia on condition that she swear loyalty to Arbaces and hatred towards Caesar. The library's copy of "Catone in Utica" is bound with the following librettos: "Ifigenia in Aulide", by Vittorio Amedeo Cigna-Santi; "Sofonisba" by Mattia Verazi; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi.
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.
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.
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.
Lucrezia Borgia, introduction and brilliant variations, for the piano forte
This is a digital copy of the "Lucrezia Borgia, introduction and brilliant variations, for the piano forte" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. "Lucrezia Borgia, introduction and brilliant variations" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. This piece was inspired on the opera "Lucrezia Borgia" (1833) by Gaetano Donizetti to whom von Meyer dedicated the work. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure.
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.
The Padlock
This is a copy of a ca. 1768 edition of Isaac Bickerstaff libretto for the two-act English comic opera "The Paddlock" by Charles Dibdin. The plot is an adaptation of Miguel de Cervantes's "El celoso extremeño" (translated as, The Jealous Estremaduran). The t.p. features a vignette signed by IJ Taylor [possibly by the London engraver Isaac Taylor (1730-1807)] with four infants. The one at the center is holding several keys and is playing horse riding with a walking stick that has a padlock attached to it. In the story, Don Diego, a rich old man, hopes to marry the young Leonora and locks her inside his house using a large padlock on the front door. After bribing the servants, the younger suitor, Leander, climbs over the garden wall to court Leonora. Don Diego returns unexpectedly and catches the lovers, but allows the young couple to wed acknowledging that he is too old for Leonora.
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 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.
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.
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.
Le piacevoli poesie
This is a ca. 1750 copy of "Le piacevoli poesie di Giuseppe Baretti" (The Pleasing Poetry of Giuseppe Baretti). Although Baretti is primarily remembered for his frequent travels throughout Italy, England, France, and Portugal, which he recounted in his "Lettere familiari ai suoi tre fratelli," he was also a scholar, linguist, poet, translator, and journalist. He wrote "Le piacevoli poesie di Giuseppe Baretti" in 1750. The poetry imitated the style of Fancesco Berni, a 16th-century Italian poet who wrote parodies and burlesque letters-much of it obscene in nature. The introduction of this work was written by the Venetian Count Gasparo Gozzi, himself a poet, prose writer, journalist, critic, and also the brother of Baretti's friend, Carlo Gozzi. The library's copy of "Le piacevoli poesie" is bound with the following librettos: "Ifigenia in Aulide" by Vittorio Amedeo Cigna-Santi; “Catone in Utica,” by Pietro Metastasio; "Sofonisba" by Mattia Verazi; and "Arianne e Teseo" by Pietro Pariati.
[Portrait of Don Gillis]
Black-and-white portrait of Don Gillis in a suit jacket and necktie, and thick-rimmed glasses. Gillis is facing somewhat angled to the right.
[Kenton signing autographs]
Photograph of Stan Kenton signing autographs and surrounded by fans.
Stan Kenton and Al Jarvis
Photograph of two men in suits (identified as Stan Kenton and Al Jarvis) sitting together in a booth behind a table. There are dishes on the table and the man on the left (Jarvis) is pouring something into a cup. Information on the back of the photograph identifies Al Jarvis as a disc jockey and states that the photograph was taken in the late 1940's.
[Stan Kenton and unidentified woman]
Photograph of Stan Kenton sitting at the piano with an unidentified woman. Imprint on the back of the photograph: Photo by Francis Bayles, Chico State College 1959-1960.
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.
[Stan Kenton and Chuch Newton]
Photograph of Stan Kenton and Chuck Newton sitting together behind a table.
[Kenton with band boys]
Photograph of Stan Kenton with band boys Leo Curran (left) and possibly Frankie DiOrio (right).
[Kenton speaks with fans at records store]
Photograph of Stan Kenton speaking with a group of people at a record store.
[Kenton in crowning ceremony]
Photograph of Stan Kenton crowning an unidentified girl. They appear to be on a stage, next to a microphone.
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.
[Kenton autographing albums]
Photograph of Stan Kenton autographing record albums at a counter for a group of men. Behind him are shelves full of records.
[Kenton autographing record albums]
Photograph of Stan Kenton, leaning over a counter, autographing record albums. A group of people are standing around him, watching him. There are shelves of records on the wall in the background.
[Kenton greeting fans]
Photograph of Stan Kenton shaking hands with unidentified person at the record store. They are surrounded by other people and shelves of records.
[Kenton greets fans at record store]
Photograph of Stan Kenton talking with a group of people at a record store.
[Kenton at record store]
Photograph of Stan Kenton with several unidentified people at a record store.
[Kenton and fans at record store]
Photograph of Stan Kenton and a group of people at record store, lined up to purchase Kenton record albums.
[Kenton and unidentified man]
Photograph of Stan Kenton sitting in a chair, talking with an unidentified man who is standing next to him, holding a record and leaning on speakers. There are posters hanging on the wall behind them.
[Kenton and friends]
Photograph of Stan Kenton with unidentified group of people. They appear to be standing in a record store with racks of record albums around them and shelves in the background.
Hand-Written Program Lists, 1978-1981
Handwritten program lists for Music USA, 1978-1981.
[Leon Breeden Scrapbook: 1967, Volume A]
Scrapbook of materials including photographs, letters, newspaper clippings, performance programs, and various other notes and ephemera documenting the activities of the North Texas State University One O'Clock Lab Band during 1967.
[Leon Breeden Scrapbook: 1966, Volume B]
Scrapbook of materials including photographs, letters, newspaper clippings, performance programs, and various other notes and ephemera documenting the activities of the North Texas State University One O'Clock Lab Band during 1966.
[Leon Breeden Scrapbook: 1968, Volume A]
Scrapbook of materials including photographs, letters, newspaper clippings, performance programs, and various other notes and ephemera documenting the activities of the North Texas State University One O'Clock Lab Band during 1968.