This partbook contains the "quinto" part for "Il Primo Libro de Madrigali a Cinqve Voci, con Tre Sesti, et Tre Dialoghi a Otto, Nouament e da lui Composti, & per Antonio Gardano dati in luce." Carli dedicated his First Book of Madrgials "all' Illustrissimo Signor Conte Alfonso Gonzaga Conte di Nuuolara." A table of contents at the end of the partbook lists the madrigals alphabetically in three categories: five-voice pieces, six voice pieces, and eight-voice dialoghi.

Although Sacrati’s La finta pazza (1641) was immensely popular and influential, the opera has received little discussion in modern scholarship, due in large part to the absence of the music (even the number of extant copies of librettos is very small). Since Lorenzo Bianconi discovery of a score that was used for traveling productions, the opera has received increasing attention.

1686 libretto for Giuseppe Fabrini's opera La forza del sangue, e della pietà. The music for all of Giuseppe Fabrini’s operas, including La forza del sangue e della pietà, is lost. However, the libretti by Gerolamo Gigli, have been preserved for these dramas that were performed at the Collegio Tolomei in Siena. La forza del sangue e della pietà translates as “The Force of Blood and Pity.”

Libretto for Il martirio di S. Adriano. Grove Music Online and similar items in WorldCat point to authorship by Girolamo Gigli for a composition by Giuseppe Fabrini, circa 1690.

Libretto for Giuditta. The preface is dated May 10, 1697. Gigli is identified here under the name Amaranto Sciaditico.

Contains songs by various composers with figured bass. French or Italian words. Issued in 12 monthly installments.

This score is a collection of poetry and set to music including moral fables (marked on the table of contents with an asterisk). Each piece has words written with musical lines in treble, bass, or a combination of both. Includes a preface ('Avis.') and table of contents for the movements prior to page 1 for each of the seven collections ('recueil'). The pagination restarts for each collection and for the fables which fall at the end of each section.

This is a [ca. 1743] score of "Giulio Cesare," an Italian opera seria in three acts by Handel. The performance forces include: flute, oboe, horns (in A and D), strings (violin, viola, violoncello, bass), continuo (theorbo and viola da gamba), harp, chorus of mixed voices (soprano, alto, tenor, bass), and soloist singers. A list of solo arias and duets of each act appears on p.170 followed by a list containing the names of the subscribers on pp.[171-172]. Two mythological figures [possibly, the god Apollo and the Muse Erato] and musical instruments signed by the London engraver [John] Strongitharm of Pall Mall appear on the title page. The name of each character appear at the top of p.3 with the names of the actual performers inscribed with pencil. The names of the casting coincide with those listed in the Oxford Dictionary of Music (online, 2009): "the castratos Senesino, Gaetano Berenstadt and Giuseppe Bigonzi (Caesar, Ptolemy and Nirenus), Francesca Cuzzoni (Cleopatra), Margherita Durastanti (Sextus), Anastasia Robinson (Cornelia), Giuseppe Boschi (Achillas) and John Lagarde or Laguerre (Curius)."

Goldoni turned to Samuel Richardson’s novel Pamela, or Virtue Rewarded (1740) as the inspiration for his La buona figliuola. In 1750, he wrote the play Pamela nubile and then turned it into a libretto for Duni. Although Duni’s La buona figliuola (1756) was a failure, Piccinni’s setting in 1760 was a huge success. The hilarious comedy coupled with Piccinni’s sentimental treatment of Cecchina contributed to the popularity of the opera, which still receives performances to this day. Typical of opera buffe, La buona figliuola features chain-like finales that propel the plot and characters to the end of the act (at that time, sectional finales were new to Rome). Other features of his music that receive praise are the beautiful, Italianate melodies, energetic accompaniments, and the variety of musical treatment throughout the opera.

One page of musical score written in black ink.

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.

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.

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.

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.

This item is a copy from [ca. 1790] of the score of Handel's opera Sosarme to a libretto by Matteo Noris. The performance forces include: oboe, horns, strings (violin, viola, bass), continuo, and soloist singers. A list of important musical numbers, solo arias and duets of each act appears on p.116. The names of the subscribers appear on pp.[119-120]. The title page contains an engraving showing two mythological figures [possibly, the god Apollo and the Muse Erato] and musical instruments signed by the London engraver [John] Strongitharm of Pall Mall.

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).

Bound compilation of sheet music compiled by Mrs. Bright. Almost all selections in the volume were published in London, with songs in English, German, and Italian. Six out of the forty-six titles in the volume are by Henry R. Bishop, with several works by J. Augustine Wade and Peter von Winter as well, among others.

Piano-vocal arrangement of Mozart's La Clemenza di Tito, with German and Italian lyrics.

Though the cover of this volume is in French, the title page gives the same information in German. This latter language also receives pride of place in the text underlay: Most songs are solely in German but, when lyrics are given in two languages, German is immediately below the musical staves with either Italian or French in italics below the German. Songs use one to three voices with the voice part sometimes integrated into the top staff of the piano part with text underlay indicating when to sing. Several songs are set for three-part Männerchor or four-part chorus with piano accompaniment. In strophic settings, only the first stanza of poetry appears in the score; the rest are included as addenda at the end of the piece. The volume concludes with a table of contents given the name and first line of each song in all languages used for each entry.

This volume contains fifteen sacred and secular songs for one to four voices with piano accompaniment. Contrary to the title page, the titles of each song are given either in German or German and Italian. When both languages are present in the text underlay, the Italian text sits directly below the staves with German below the Italian. Most songs either give "Singstimme" or a voice part for the vocal staves; some give names of characters, possibly indicating a theatrical or semi-dramatic performance context. Songs for one voice tend to be strophic while part songs are through-composed. Authors such as Gellert, Metastasio, and Shakespeare figure among the authors (most anonymous) of the texts. As with the other binlingual pieces in this volume, the scene "Arianna a Naxos" is set in Italian and German. The interaction of the soprano voice and piano accompaniment as well as the structural alternation between arioso/aria and recitative reveals this piece to be a solo cantata. The volume concludes with a four-page catalog of all of Breitkopf und Härtel's publications in Leipzig complete with price in thalers for each piece and a table of contents. The positioning of the Inhalt at the end of the volume reflects …

By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague.

By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague.

The intermezzo La serva padrona first appeared between the acts of Pergolesi’s Il prigioniero superbo in 1733. This was the standard way in which to present an intermezzo. The work served as comic relief in the midst of more solemn opera serie, and incorporated elements of the improvisational commedia del’arte tradition. For instance, the few characters are drawn from stock types, such as the servant Serpina.

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.