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Prélude à l'après-midi d'un faune
This is the orchestral score of Debussy's Prélude à l'après-midi d'un faune. The copy was presented to Edouard Colonne with the inscription by the composer on the title page, "à Monsieur E. Colonne en hommage d'infinie gratitude artistique, Claude Debussy, Oct. 1895." The score contains performance markings in pen, pencil and crayon; possibly by Colonne. In original green wrapper. Preserved in green cloth-and-marbled-paper chemise with matching slipcase.
Date:
1895
Creator:
Debussy, Claude, 1862-1918
System:
The UNT Digital Library
Amour au village : opera-comique, en un acte, et en vaudeviles
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
System:
The UNT Digital Library
[Collection of Eleven Operas: Le triomphe de l'amour; Coronis: pastorale heroïque; Isis: tragedie en musique; Amadis: tragedie en musique; Phaeton: tragedie en musique; Proserpine: tragedie en musique; Zephire et Flore: opera; Thetis et Pelée: tragedie en musique; Enée et Lavinie: tragedie en musique; Astrée: tragedie; Roland: tragedie en musique]
This book contains a collection of librettos for ballets, tragedies and opera staged for Louis XIV from ca. 1680-1691. The works reflect the collaboration of Jean-Baptiste Lully and dance masters and librettists in the court of Louis XIV. The following French dramatic works are included in the collection: Le triomphe de l'amour; Coronis; Isis; Amadis; Phaeton; Proserpine; Zephire et Flore; Thetis et Pelée; Enée et Lavinie; Astrée; and Roland.
Date:
1681
Creator:
Quinault, Philippe, 1635-1688; Benserade, Isaac de, 1613-1691; Beauchamp, Pierre, 1631-1705; Benserade, Isaac de, 1613-1691 & Lully, Jean Baptiste, 1632-1687
System:
The UNT Digital Library
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.
Date:
1821
Creator:
Mozart, Wolfgang Amadeus, 1756-1791.; Varesco, Giambattista. & Danchet, Antoine, 1671-1748.
System:
The UNT Digital Library
Barbe bleue : comédie en prose et en trois actes
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
System:
The UNT Digital Library
Orphée et Euridice; tragédie; opéra en trois actes
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
System:
The UNT Digital Library
Colinette à la cour ou La double épreuve : comédie lyrique en trois actes
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
System:
The UNT Digital Library
Iphigenie en Aulide; tragédie. Opera en trois actes
Although he did not have a production planned, Gluck composed the music for Iphigénie en Aulide for Paris, with the intention (along with Roullet) of establishing himself at the Opéra. He initially had difficulties convincing the Academy of Music to arrange for the production, but with the support of Marie Antoinette, the opera was finally realized in 1773. Gluck revised Iphigénie for performances in 1775. The most significant change was the addition of Diana as a character, whose appearance serves as the deus ex machina of the plot. He also altered and expanded the divertissements.
Date:
1811
Creator:
Gluck, Christoph Willibald, Ritter von, 1714-1787 & Du Roullet, François Louis Gaud Lebland, marquis, 1716-1786
System:
The UNT Digital Library
Iphigenie en Aulide; tragédie. Opera en trois actes
Although he did not have a production planned, Gluck composed the music for Iphigénie en Aulide for Paris, with the intention (along with Roullet) of establishing himself at the Opéra. He initially had difficulties convincing the Academy of Music to arrange for the production, but with the support of Marie Antoinette, the opera was finally realized in 1773. Gluck revised Iphigénie for performances in 1775. The most significant change was the addition of Diana as a character, whose appearance serves as the deus ex machina of the plot. He also altered and expanded the divertissements.
Date:
1811
Creator:
Gluck, Christoph Willibald, Ritter von, 1714-1787 & Du Roullet, François Louis Gaud Lebland, marquis, 1716-1786
System:
The UNT Digital Library
Chimène, ou, le Cid: tragédie lyrique en trois actes
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.
Date:
1784
Creator:
Sacchini, Antonio, 1730-1786; Guillard, Nicolas François, 1752-1814 & Guillard, Nicolas François, 1752-1814
System:
The UNT Digital Library
Partitione della Nina, osia, La pazza per amore
Score for Giovanni Paisiello's opera Partitione della Nina, osia, La pazza per amore. A handwritten page in French is pasted onto one of the front end pages; there is no title page or other such identifying information. Listed as 1.78 in the Robinson thematic catalog, it premiered on June 25, 1789 at the Belvedere, S. Leucio (Caserta).
Date:
1790~
Creator:
Paisiello, Giovanni, 1740-1816
System:
The UNT Digital Library
Grand quatuor pour deux violons, alto e violoncelle: œuvre posthume - violin 2
Second violin part for Franz Schubert's String Quarter in D minor, D. 810. This is the first edition of the "Death and the Maiden" quartet.
Date:
1831
Creator:
Schubert, Franz, 1797-1828
System:
The UNT Digital Library
Grand quatuor pour deux violons, alto e violoncelle: œuvre posthume - cello
Cello part for Franz Schubert's String Quarter in D minor, D. 810. This is the first edition of the "Death and the Maiden" quartet.
Date:
1831
Creator:
Schubert, Franz, 1797-1828
System:
The UNT Digital Library
VII sonates pour le pianoforte
This volume contains Mozart's piano sonatas in A major (K. 331), F major (K. 332), B-flat major (K. 333), D major (K. 284), A minor (K. 310), and D major (K. 311). It is a later issue of an 1810 edition, with a new plate number added.
Date:
1825~
Creator:
Mozart, Wolfgang Amadeus, 1756-1791
System:
The UNT Digital Library
Grand quatuor pour deux violons, alto e violoncelle: œuvre posthume - viola
Viola part for Franz Schubert's String Quarter in D minor, D. 810. This is the first edition of the "Death and the Maiden" quartet.
Date:
1831
Creator:
Schubert, Franz, 1797-1828
System:
The UNT Digital Library
L'infante de Zamora: opéra comique en trois actes
Full score for Giovanni Paisiello's L'infante de Zamora.
Date:
1782
Creator:
Paisiello, Giovanni, 1740-1816 & Framery, Nicolas Etienne, 1745-1810
System:
The UNT Digital Library
Le nozze di Figaro: dramma giocoso in quattro atti, volume 2
Volume 2 of a score for Mozart's Nozze di Figaro, published between 1806 and 1809. Most recitatives are in Italian only; arias and ensembles include interlinear French translation.
Date:
1806/1809
Creator:
Mozart, Wolfgang Amadeus, 1756-1791 & Da Ponte, Lorenzo, 1749-1838
System:
The UNT Digital Library
Sonate pour le pianoforte à quatre mains, oeuv. 6
Sonate pour le pianoforte à quatre mains, op. 6, in D major, published during Beethoven's lifetime. The name of Ludwig Dreyer is written inside the front cover, dated 1936.
Date:
1816~
Creator:
Beethoven, Ludwig van, 1770-1827
System:
The UNT Digital Library
Le nozze di Figaro: dramma giocoso in quattro atti, volume 1
Volume 1 of a score for Mozart's Nozze di Figaro, published between 1806 and 1809. Most recitatives are in Italian only; arias and ensembles include interlinear French translation.
Date:
1806/1809
Creator:
Mozart, Wolfgang Amadeus, 1756-1791 & Da Ponte, Lorenzo, 1749-1838
System:
The UNT Digital Library
Grand quatuor pour deux violons, alto e violoncelle: œuvre posthume - violin 1
First violin part for Franz Schubert's String Quarter in D minor, D. 810. This is the first edition of the "Death and the Maiden" quartet.
Date:
1831
Creator:
Schubert, Franz, 1797-1828
System:
The UNT Digital Library
Roland. Tragédie mis 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). This is the second edition. 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.
Date:
1709
Creator:
Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
System:
The UNT Digital Library
Ballet du Temple de la paix
The elements that make up the Jean-Baptiste Lully's Ballet du Temple de la Paix have some parallels to the plot of Roland, which premiered in the same year. Both celebrate the expanding influence of France and Louis XIV through the introduction of exotic characters. The flexibility of the ballet de cour format, which was more a progression of loosely related scenes and spectacles than an organized plot, allowed librettist Philippe Quinault more freedom in his elaboration of that theme.
Date:
1685
Creator:
Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
System:
The UNT Digital Library
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.
Date:
1681
Creator:
Lully, Jean Baptiste, 1632-1687; Benserade, Isaac de, 1613-1691 & Quinault, Philippe, 1635-1688
System:
The UNT Digital Library
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.
Date:
1711
Creator:
Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
System:
The UNT Digital Library