UNT Music Library - 7,181 Matching Results

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Alceste

Description: This is a ca. 1774 score of the opera "Alceste" by Anton Schweitzer based on a libretto by Christoph Wieland. The work premiered in Weimar in 1773. The plot was based on the Greek legend of Alcestis, on the subject of female virtue and conjugal love. The library's copy contains an engraved illustration that portrays a domestic scene. The score does not indicate the musical instruments and the music, which is notated in two, three or four staves, contains the German text underlaid with indication of the character who sings.
Date: 1774
Creator: Schweitzer, Anton, 1735-1787.

Alceste: tragedie opera en trois actes

Description: According to Grove Music, "when Admetus, King of Pherae in Thessaly, is ill and about to die an oracle announces that he will be saved if someone else is willing to die in his stead. His wife Alcestis displays her conjugal devotion by offering herself; she dies and Admetus recovers. Under the influence of tragédie lyrique, Calzabigi enriched his libretto with choruses, ballets and opportunities for impressive scenery."
Date: 1776
Creator: Gluck, Christoph Willibald, Ritter von, 1714-1787; Calzabigi, Ranieri de, 1714-1795 & Du Roullet, François Louis Gaud Lebland, marquis, 1716-1786

Alexander's Feast or the Power of Musick.

Description: A secular choral work in two parts for four soloists (SSTB) and mixed chorus (SATB) with orchestra acc. (2 oboes, 2 bassoons, 2 trumpets, 3 violins, viola, violoncello, and continuo). The names of the vocal soloists (Mr. [John] Beard, Signora [Anna Maria] Strada, Miss. [Cecilia] Young, and Mr. Erard) are printed at the top of their designated songs.
Date: 1743
Creator: Handel, George Frideric, 1685-1759. & Dryden, John, 1631-1700.

All for One

Description: Recording of Scott Wyatt's "All for One" for solo percussion with electro-acoustic music performed by Thomas Siwe, percussionist. The piece was composed for a unique arrangement of percussion instruments and loudspeakers within the performance area, creating a large sound sculpture.
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Date: 1979
Creator: Wyatt, Scott A.

Amadis, tragedie en musique

Description: Libretto of the 1684 opera "Amadis," by Philippe Quinolt. The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of "Amadis" at the Opéra in Paris on 18 January 1684. It was an immediate public success. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King.
Date: 1684
Creator: Quinault, Philippe, 1635-1688.

Amadis; tragedie, mise en musique

Description: The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of Amadis at the Opéra in Paris on 18 January 1684. It was an immediate public success.
Date: 1684
Creator: Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688

Ambience

Description: Recording of Richard Orton's Ambience. Ambience for solo bass trombone and tape was written for the American Trombonist James Fulkerson and first performed by him in the Wigmore Hall, London, on 17th May 1975. He has since included the work in many recitals during his tours in Scandinavia, Canada and the USA. The title, Ambience, here refers to the imaginative sonic environment surrounding the sounds of the trombone, including the most "artificial", synthesized sounds, instrumental ensembles which incorporate the trombone, and environmental recordings including public sounds we will recognize and share. Within this sonic environment the trombone at times asserts itself, at times merges most imperceptibly, and eventually complements it and achieves a harmonic and dynamic balance.
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Date: 1975
Creator: Orton, Richard, 1940-2013

Ambiversion

Description: Recording of Tera de Marez Oyen's Ambiversion performed by Harry Sparnaay, bass clarinetist.
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Date: 1983
Creator: Marez Oyens, Tera de 1932-1996

Amore fra' gl'impossibili

Description: According to Grove Music, Gigli's 'Amore fra gli impossibili' is an eccentric work where "the pastoral setting is disturbed by mythological references and the addition of the characters Don Chisciotte and Coriandolo, in an ironic and grotesque atmosphere."
Date: 1693
Creator: Gigli, Girolamo, 1660-1722 & Campelli, Carlo

Amour au village : opera-comique, en un acte, et en vaudeviles

Description: Libretto for Charles-Simon Favart's 1754 opera L'amour au village. Charles-Simon Favart gained prominence for his parodies of extant operas during the middle of the eighteenth century. His L’amour au village (1754), a typical example of the genre, was based on Carolet’s L’amour paysan (1737). The parody technique consisted of setting new texts to existing melodies and writing new dialogue based on a familiar plot. L’amour au village includes a typical vaudeville finale. In the Virtual Rare Book Room’s volume, the melody is included along with the first verse’s text. Because vaudeville finales are strophic (with one repeated melody), the subsequent verses are numbered to indicate each time the melody should begin again.
Date: 1754
Creator: Favart, M. (Charles-Simon), 1710-1792

Les amours des dieux : ballet heroique

Description: Mouret’s Les amours des dieux is classified as a ballet-heroïque, a type of opéra-ballet that was popular during the first half of the eighteenth century. Although the term ballet-heroïque suggests the prevalence of dance, drawing on the divertissement tradition, singing and acting are also integral parts of this genre. What distinguishes the opéra-ballet from the tragedie en musique is the use of separate plots for each entrée (comparable to an act). The segments are not entirely independent, however, in that there is typically a central, overarching idea.
Date: 1727
Creator: Mouret, Jean Joseph, 1682-1738

Ange

Description: Recording of Jean Piché's Ange for tape or radio performance. It is a timbral work in which the main goal is the total acoustic mixing of natural and synthetic sound material. In addition to the synthetic sounds that are created through a digital synthesizer, four voices - two men, two women - are introduced in the final mix and are hardly distinguishable from the synthetic sounds.
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Date: 1979
Creator: Piché, Jean, 1951-

Anna

Description: Recording of John Edward Cousins's Anna. This piece is based on recordings made in 1974 at the ISME Research Seminar which took place at the Department of Music of the University of Canterbury. The subject of the seminar was Music and the Preschool-aged Child. Among the invited speakers were two specialists in the field of Musical Therapeutics. As an example of the power of musical sounds on an extremely retarded child, their article defends all therapeutic positive aspects inherent in musical nature. The composer tried to capture, by means of sound, the feeling of both joy and pain that the experience of music gives to a person, disabled or not.
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Date: 1974
Creator: Cousins, John Edward

Anna's Magic Garden

Description: Recording of Trevor Wishart's Anna's Magic Garden. It is an impressionistic work that attempts to recreate from the view of a three-year-old child the agitation of the world. The voice is that of his daughter, Anne Ruth. The piece contains sounds both concrete and synthesized.
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Date: 1982
Creator: Wishart, Trevor

Anticredos

Description: Recording of Trevor Wishart's Anticredos performed by Trevor Wishart. It is a live-performance piece for six amplified voices using extended vocal techniques, but no electronic modification of the voices. The piece, commissioned by the English group "Singcircle", takes the word "Credos" and slowly dissolves and changes its sound-constituents through processes of gradual transformation. This recording is a studio version of the piece, "sung" entirely by the composer.
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Date: 1980
Creator: Wishart, Trevor

Any resemblance is purely coincidental

Description: Recording of Charles Dodge's "Any resemblance is purely coincidental" for tape. The piece aspires to represent the voice of Enrich Caruso in much the same way that Andy Warhol represented the figures of contemporary popular culture in his silk screen portraits: the voice is unmistakably that of Caruso, but with a difference. In "Any Resemblance is purely coincidental," an operatic voice searches for an accompaniment: with the original orchestra, with copies of itself, with the piano, and with other computer sounds. The initial attempts are humorous; subsequently, other emotions are evoked until the loneliness of the "great performer" emerges. The voice is made with computer synthesis based on a 1907 recording of the aria "Vesti la giubba" from Ruggiero Leoncavallo's I Pagliacci sung by Enrico Caruso.
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Date: 1980
Creator: Dodge, Charles, 1942-