This is a [ca. 1788] score of one of the arrangements Handel made of his "Music for the Royal Fireworks." The caption title gives indication that this version contains the music as performed in 1749. The Grove Dictionary of Music lists two other arrangements from ca. 1746. The performance forces of this edition include: trumpets (3), horns (3), timpani, oboes (2), bassoon, and strings (violin, viola, violoncello, and contrabass). The plate no. appears in both Roman and Arabic forms: No. XXIV and No. 24.

1789 edition of Musikalischer Almanach für Deutschland.

1782 edition of Musikalischer Almanach für Deutschland.

1783 edition of Musikalischer Almanach für Deutschland.

A music theory book, giving basic instructions for singing scales, intervals and chants.

This is a copy of the third of three volumes of "Storia della musica" (Music History), including numerous figures, musical examples demonstrating theoretical concepts of Greek music, and footnotes. It 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).

The tenth edition of J. Joseph Hart's collection of hymn lyrics.

Full score for Giovanni Paisiello's L'infante de Zamora.

A 1784 edition of Sacchini's Chimène, ou, le Cid. A label is pasted over original publishing imprint, and reads: Chez Imbault marchand de musique au mont d'or rue st honoré et la rue de Poulies NO. 627.

The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.

The plot of this oratorio centers around Hercules's death by an inadvertent action of his wife Dejanira. Handel set to music the English libretto by Rev. Thomas Broughton's English, based on Sophocles' Trachiniae, and additions from Ovid's Metamorphoses. The performance forces include: soloists (SATB) and mixed chorus with oboes (2) violins (2), viola, Bass (unspecifdied) and continue. The index that appears on p.248 contains the incipits of arias, recitative and choruses for each of the three acts.

The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.

The contrast between Piccinni and Gluck can perhaps best be illustrated with Iphigénie en Tauride, as Piccinni’s opera appeared just two years after Gluck’s work on the same subject. In fact, supporters of Piccinni (“Piccinnistes”) hoped that the Italian composer would demonstrate the superiority of his style with Iphigénie, and scholars have used these settings to illustrate the difference between the two composers.

As with many French operas, Rousseau’s Le devin du village was first staged for the court, appearing at Fountainebleau on 18 October 1752. The work was then performed at the Paris Opéra on 1 March 1753. The historical importance of this short intermè is closely tied to its role in the famous Querelle de bouffons, a debate about the merits of French serious opera in comparison to Italian comic opera (especially Pergolesi’s La serva padrona).

Second violin parts for Sei quartetti per due violini, alto e violoncello obbligati, Dedicati a veri dilettanti e conscitori di musica, opera I ; Sei divertimenti per due violini, alto e violoncello, opera XI, libro quarto di quartetti ; Six quatuors à deux violons, viole et basse obligés, oeuvre XXXII / Boccherini. Trois quatuors nouveaux pour deux violons, alto, et basse, op. 37 ; Trois quatuors pour deux violons, alto, et basse / Mozart. Bound subsequent to publication.

First violin parts for Sei quartetti per due violini, alto e violoncello obbligati, Dedicati a veri dilettanti e conscitori di musica, opera I ; Sei divertimenti per due violini, alto e violoncello, opera XI, libro quarto di quartetti ; Six quatuors à deux violons, viole et basse obligés, oeuvre XXXII / Boccherini. Trois quatuors nouveaux pour deux violons, alto, et basse, op. 37 ; Trois quatuors pour deux violons, alto, et basse / Mozart. Bound subsequent to publication.

Viola parts for Sei quartetti per due violini, alto e violoncello obbligati, Dedicati a veri dilettanti e conscitori di musica, opera I ; Sei divertimenti per due violini, alto e violoncello, opera XI, libro quarto di quartetti ; Six quatuors à deux violons, viole et basse obligés, oeuvre XXXII / Boccherini. Trois quatuors nouveaux pour deux violons, alto, et basse, op. 37 ; Trois quatuors pour deux violons, alto, et basse / Mozart. Bound subsequent to publication.

Basso parts for Sei quartetti per due violini, alto e violoncello obbligati, Dedicati a veri dilettanti e conscitori di musica, opera I ; Sei divertimenti per due violini, alto e violoncello, opera XI, libro quarto di quartetti ; Six quatuors à deux violons, viole et basse obligés, oeuvre XXXII / Boccherini. Trois quatuors nouveaux pour deux violons, alto, et basse, op. 37 ; Trois quatuors pour deux violons, alto, et basse / Mozart. Bound subsequent to publication.

A sacred oratorio for mixed chorus (SATB) and orchestra (2 violins, viola, "principale", 2 oboes, 2 trumpets, timpani, and continuo). The score includes a list of subscribers and an index for each of the three sections of the oratorio. The anthem "God save the King" is included on pp. 164-26, each page bearing an additional sequence number from 14-26.

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."

Antonio Salieri began work on Les Danaïdes upon the recommendation of Gluck, whose health prevented him from fulfilling a commission for the work. Although Salieri was living in Vienna, the tragedie-lyrique was written for the Opéra in Paris, with a libretto by François Louis Gand Leblanc Roullet and Ludwig Theodor Tschudi based on Calzabigi’s Italian libretto.

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.

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.

Sacchini’s first opera for the French stage was Renaud. Although he had the support of Marie Antoinette, Sacchini quickly learned that foreign (especially Italian) composers in Paris faced difficulties. The premiere of Renaud was intentionally delayed in an attempt to highlight Sacchini’s privilege with the queen, and the opera did not enjoy immediate success, even from Piccinni’s supporters. However, Renaud went on to be performed frequently, appearing as late as 1815.