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Barbe bleue : comédie en prose et en trois actes

Description: Although the story of Bluebeard was familiar to French readers from Charles Perrault’s 1698 collection of children’s tales, transferring it to the operatic stage was problematic due in large part to the gruesome nature of the plot. Other violent works had appeared in Paris, but in this instance, the drama was to be performed at the Comédie-Italienne, which typically featured lighter plots than that of Raoul and Isaure. Nevertheless, the opera had a successful run, receiving over a hundred performances in the decade after its premiere. After its initial popularity, Raoul Bluebeard was staged less frequently, but it still made an impression on nineteenth-century composers, particularly Weber.
Date: 1789
Creator: Grétry, André Ernest Modeste, 1741-1813 & Sedaine, 1719-1797

Echo et Narcisse, drame lyrique en trois actes

Description: After the resounding success of Iphigénie en Tauride (1779), Gluck set out to compose his last of the seven Paris operas, which turned out to be his final opera. Whereas Iphigénie en Tauride is often considered Gluck’s best opera, its immediate successor, Echo et Narcisse (1779) was ill-fated and quickly disappeared from the repertoire. Echo was premiered a mere four months after Tauride, and the Parisian audience was not prepared for the differences between these two operas. Although the music resembles that of his other French operas, the pastoral story lacks the dramatic intensity that viewers expected in a Gluck opera. Thus, the serene music—though it is at times quite beautiful— lacks dramatic impulse.
Date: 1779
Creator: Gluck, Christoph Willibald, Ritter von, 1714-1787 & Tschudi, Jean-Baptiste-Louis-Théodore, baron de, 1734-1784

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.

Description: 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.
Date: 1754
Creator: Vade, M. (Jean Joseph), 1719-1757.

Orphée et Euridice; tragédie; opéra en trois actes

Description: The Viennese premiere of Orfeo was extremely well received, and Gluck decided to revise the opera as Orphée et Eurydice for Paris in 1774, with the French adaptation and additions provided by Pierre Louis Moline. The role of Orpheus was lowered slightly for an haute-contre singer (a male operatic voice type more in line with an alto range), adhering to French preferences. The opera was lengthened, to create a more magnificent spectacle, with extra arias, ensembles, and instrumental numbers. Gluck also modified the orchestration to accommodate the orchestra at the Académie Royale de Musique. This version, Orphée et Eurydice, became one of the most popular operas in France.
Date: 1783
Creator: Gluck, Christoph Willibald, Ritter von, 1714-1787 & Moline, M. (Pierre Louis), ca. 1740-1821

Pigmalion

Description: This is the 1773 edition of the libretto to the comic opera and vaudeville, "Pigmalion" by Charles-François Panard and Thomas Laffichard. The opera premiered at the Paris Opéra Comique in 1735 . The plot is an adaptation of Ovid's story of Pygmalion, a sculptor who fell in love with a statue that he carved. Operatic and ballet representation of the subject of Pigmalion (or Pygmalion) became famous after Antoine Houdar de la Motte's entrée "La sculpture" for the ballet "Le triomphe des arts," which staged in 1700 at Académie Royale de Musique with music by Michel de la Barre. Page 16 of this edition was incorrectly numbered as number 10.
Date: 1773
Creator: Panard, Charles-François, d. 1765.

Tractatus de musica

Description: 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 ...
Date: 1875
Creator: Tinctoris, Johannes, d. 1511.

Colinette à la cour ou La double épreuve : comédie lyrique en trois actes

Description: A comparison of the scores for Colinette à la cour and Barbe-bleue illustrates the primary distinguishing factor between the genres of comédie lyrique and opera comique: the method of dialogue delivery. In Paris, the issue of genre was tied to the performance venue of a particular opera, due to government regulations. Although comic opera was traditionally presented with spoken dialogue, as in opera comique, when Grétry composed for the Opéra, where recitative was expected, he merged comic subject matter with the sung dialogue heard in serious opera.
Date: 1782
Creator: Grétry, André Ernest Modeste, 1741-1813 & Lourdet de Santerre, Jean Baptiste, 1732-1815

[Band Performing on Stage]

Description: Photograph of the North Texas State College Laboratory Dance Band performing on stage. They are wearing shirts and ties. From left to right are: a man playing a tuba; a man with his back to the camera playing a piano with its strings exposed; a clarinetist; a banjo player; and trumpeter; a trombonist; and a partially obscured drummer. Handwritten text beneath the photo says "Group simulating old style dixieland - opening number for concert in 1954-"
Date: 1954

[Photograph of Laboratory Dance Band Performing on Stage]

Description: Photograph of the Laboratory Dance Band performing on a stage with raised platforms. Behind the stage is a crude drawing of a trombonist, a drummer, and a moose to the left. Five of the dark suited men stand at their music stands, with one man in the middle playing a clarinet while the two on either side of him play saxophones. A guitarist sits at the far left seat. Trombonists can be seen performing in the background to the right.
Date: 1954

Lab Band - 1952-53

Description: Photograph of the 1952-1953 North Texas State College Laboratory Dance Band. Their director, Gene Hall, stands on the left side of the photo and addresses the young men who are arranged around music stands and playing a variety of instruments. A wide curtain serves as a background. "1953" is handwritten on the bottom of the photograph. Further handwriting appears on the back of the picture notes that this is a photograph of the Lab Band taken on April 1, 1953, and then lists the people as they appear from left to right.
Date: April 1, 1953
Creator: North Texas State College. News Service.

[Arthur Godfrey and Gene Hall on The Talent Scout Show]

Description: Photographs of Arthur Godfrey and Gene Hall sitting together during NBC's "The Talent Scout Show" that have been attached to a sheet of white paper. The first five photos features the two middle aged men in dark suits, with Godfrey sitting to the left of the bespectacled Hall. Curtains are visible behind the two. A desk microphone sits between them. On the second page, below the two photos of Hall and Godfrey, there is a photo composed of four pictures. The the top two feature Godfrey and Hall again, while the bottom two feature George Mosse playing a clarinet (left) and George Mosse, Gene Murray playing a trumpet, and Phil Elliot playing a trombone. These three men are wearing striped black and white shirts.
Date: 1957

[Photograph of Jack Petersen Playing a Guitar]

Description: Photograph of Jack Petersen playing an electric guitar on a stage with other band members behind him. Petersen is wearing a light hued blazer and dark pants. To the left, a man in a slightly darker blazer plays a double bass while standing in front of a backdrop painted with the image of a haloed woman and an angel. Directly behidn Petersen, a seated man in a dark suit is partially obscured. To the right, a man in a greyish suit sits with his back turned to the camera while playing a piano. The rightmost person is wearing a plaid shirt while playing a xylophone. A man's turned head is at the bottom of the photo is obscured by a white note taped onto the photo. The note says, "Jack Petersen."
Date: 1955
Creator: Perrin Air Force Base

[Photograph of Laboratory Dance Band Performing on a Stage]

Description: Photograph of men in tuxedos playing a variety of instruments on a stage. Three rows of musicians play brass instruments, with saxophones in the first row, trombones in the second row, and trumpets in the third row. A drum set can be seen on stage to the left. The musicians perform in front of a curtained backdrop that has been festooned with large and sparkling letters, with the word "frolic" visible above their heads. "1952" has been printed on the photograph under the men. There are handwritten notes naming the performers written on the reverse side of the photo.
Date: 1952

[Pat McCracken Playing Jazz Harp]

Description: Photograph of the Laboratory Dance Band on stage with a young woman named Pat McCracken. McCracken stands to the left side of the photo. She is wearing a light hued dress and is standing in front of a pianist with her hands behind her back. To the right, a tall harp stands in front of a microphone. Further to the right, the elder Gene Hall stands wearing a grey suit and applauding. The rest of the band is seated in the background on a series of three increasingly elevated platforms. They are holding a variety of brass instruments and, in the case of one man at the left end of the topmost row, sitting at a drum set. A handwritten note under the image says "Pat McCracken - Jazz Harp - 1953."
Date: 1953
Creator: Don Brink Studios