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Armide: Drame héroique, mis en musique
Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
Date:
1783
Creator:
Gluck, Christoph Willibald, Ritter von, 1714-1787
System:
The UNT Digital Library
Armide: Drame héroique, mis en musique
Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
Date:
1783
Creator:
Gluck, Christoph Willibald, Ritter von, 1714-1787
System:
The UNT Digital Library
Atys : tragédie lyrique en trois actes
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.
Date:
1780
Creator:
Piccinni, Niccolò, 1728-1800; Quinault, Philippe, 1635-1688 & Marmontel, Jean François, 1723-1799
System:
The UNT Digital Library
Atys : tragédie lyrique en trois actes
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.
Date:
1781
Creator:
Piccinni, Niccolò, 1728-1800; Quinault, Philippe, 1635-1688 & Marmontel, Jean François, 1723-1799
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
Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes
Paisiello’s Il barbiere di Siviglia was based on the first play, Le barbier de Séville, ou La precaution inutile (1772), of Beaumarchais’s famous trilogy. The controversial commentary on aristocracy caused the play to be banned from the stage for three years. The ban was lifted in 1775 and the work premiered that same year; Beaumarchais finally saw the work performed in 1780 when he was employed by Catherine II in St. Petersburg. Although Rossini’s later opera (of 1816) is more familiar today, Paisiello’s rendition was extremely popular throughout Europe during its time. The work was first performed in St. Petersburg in September of 1782.
Date:
1789
Creator:
Paisiello, Giovanni, 1740-1816; Beaumarchais, Pierre Augustin Caron de, 1732-1799 & Framery, Nicolas Etienne, 1745-1810
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
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
Cosi Dunque Tradisci, Recitative, Aria
Access:
Use of this item is restricted to the UNT Community
One page of musical score written in black ink.
Date:
1783
Creator:
Mozart, Wolfgang Amadeus
System:
The UNT Digital Library
Les Danaïdes, tragédie lirique en cinq actes
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.
Date:
1784
Creator:
Salieri, Antonio, 1750-1825; Du Roullet, François Louis Gaud Lebland, marquis, 1716-1786 & Tschudi, Jean-Baptiste-Louis-Théodore, baron de, 1734-1784
System:
The UNT Digital Library
Dardanus : tragédie lyrique en quatre actes
Like Renaud, Sacchini’s second French opera, Dardanus, faced problems due in large part to the composer’s Italian heritage. The opera is based on Rameau’s Dardanus, which had been a topic of earlier dispute between the Lullistes and the Ramistes. After an initially disappointing reception, Dardanus was reduced from four acts to three. In its first form, the opera received only six performances, but the three-act version was performed more than thirty times during the eighteenth century. Dardanus went on to enjoy several productions in the first decade of the nineteenth century.
Date:
1784
Creator:
Sacchini, Antonio, 1730-1786; Guillard, Nicolas François, 1752-1814 & La Bruère, Le Clerc de, 1714-1754
System:
The UNT Digital Library
Le devin du village
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).
Date:
1785
Creator:
Rousseau, Jean-Jacques, 1712-1778
System:
The UNT Digital Library
Épreuve villageoise : opéra bouffon en deux actes en vers
L’épreuve villageoise started out as Théodore et Paulin before Grétry convinced Desforges to rewrite the libretto. The original three-act opera was reduced to two acts, and the improbabilities of the original plot were reworked. Théodore et Paulin received one performance at Versailles on 5 March 1784, but it was never published. L’épreuve villageoise appeared at the Comédie-Italienne on 24 June 1784. This revision remained one of the most popular of Grétry’s opéra-comiques, receiving performances throughout the nineteenth century.
Date:
1784
Creator:
Grétry, André Ernest Modeste, 1741-1813 & Desforges, M. (Pierre-Jean-Baptiste), 1746-1806
System:
The UNT Digital Library
Handel's Songs, Selected From His Oratorios: Volume 2
This is the second of a five-volume anthology featuring 160 arias and songs from various oratorios by G. F. Handel. The vocal score contains musical selections arranged for 1-2 voices with unrealized figured bass intended for harpsichord (continuo), oboe, or flute accompaniment. The English text is printed between the treble and bass, or alto staves. A publisher's note in the t.p. announced the availability of instrumental parts are available separately for concerts. The table of content that follows after the t.p. indicates the titles of the oratorio from which the arias and songs were taken. The songs are numbered continuously from 81-160 paginated from 172-332.
Date:
1780
Creator:
Handel, George Frideric, 1685-1759
System:
The UNT Digital Library
Handel's Songs, Selected From His Oratorios: Volume 3
This is the third volume of a five-volume anthology featuring arias and songs from various oratorios by G. F. Handel. The vocal score contains musical selections arranged for 1-2 voices with unrealized figured bass intended for harpsichord (continuo), oboe, or flute accompaniment. The English text is printed between the treble and bass, or alto staves. A publisher's note on the t.p. announced the availability of instrumental parts sold separately. The table of content indicates the oratorio from which the arias and songs were taken. The songs are numbered continuously from 161-240 paginated from 334-498.
Date:
1785
Creator:
Handel, George Frideric, 1685-1759
System:
The UNT Digital Library
Hercules: an oratorio in score
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.
Date:
1788/1789
Creator:
Handel, George Frideric, 1685-1759 & Broughton, Thomas, 1704-1774
System:
The UNT Digital Library
Hymns, &c. composed on various subjects
The tenth edition of J. Joseph Hart's collection of hymn lyrics.
Date:
1787
Creator:
Hart, J. (Joseph), 1712-1768
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
Iphigénie en Tauride. Tragédie lirique en quatre actes
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.
Date:
1781
Creator:
Piccinni, Niccolò, 1728-1800 & Dubreil, Alphonse Ducongé, 1734-1801
System:
The UNT Digital Library
Le mariage d'Antonio. Divertissement en un acte et en prose
Lucile Grétry’s opera Le mariage d’Antonio premiered in Paris when she was a mere fourteen years old. As the second daughter of André-Ernest-Modeste Grétry, she was afforded lessons at a young age in counterpoint and declamation. Her father supplied the orchestral parts for her comédie mêlée d’ariettes after Lucile had composed the vocal, bass, and harp parts. Although Le mariage d’Antonio was a modest success, Lucile’s second endeavor, a divertissement mêlée d’ariettes entitled Toinette et Louis (1787), did not receive the same positive attention. The young composer died from tuberculosis before she could establish herself further at the Comédie-Italienne.
Date:
1786
Creator:
Grétry, Lucile
System:
The UNT Digital Library
Mélomanie : opera comique en un acte en vers mêlé d'ariettes mis en musique
During his early career, Champein was known for church music composed while he worked as music master at the collegiate church in Pignon (in the southern Provence region of France). He moved to Paris and established himself as an operatic composer; La mélomanie (1781) is one of his most famous operas, and it remained in the repertoire at the Opéra-Comique until 1829. La mélomanie actually mocks the debate between French and Italian styles of music, with Fugantini as an Italian who is rejected by the French Elise. References to harmony (a French feature) and melody (emphasized by advocates of Italian music) abound in the opera.
Date:
1781
Creator:
Champein, Stanislas, 1753-1830 & Grenier
System:
The UNT Digital Library
Musices instructio in brevissimo regulari compendio radicaliter data, das ist, Kürzest- doch wohl gründlicher Weg und wahrer Unterricht die edle Sing-Kunst, denen Regeln gemäss recht aus dem Fundament zu erlernen
A music theory book, giving basic instructions for singing scales, intervals and chants.
Date:
1781
Creator:
Münster, Joseph Joachim Benedikt, 1694-1751
System:
The UNT Digital Library
The musick for the Royal fireworks
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.
Date:
1788
Creator:
Handel, George Frideric, 1685-1759
System:
The UNT Digital Library
Musikalischer Almanach für Deutschland auf das Jahr 1782
1782 edition of Musikalischer Almanach für Deutschland.
Date:
1782
Creator:
Forkel, Johann Nikolaus, 1749-1818
System:
The UNT Digital Library