Copy of transcript for a letter from Delassus de Luziere to Moses Austin, on July 28, 1799, assuring Austin that he has his best interests in mind, and discussing an upcoming land survey and his opinions about it.

Copy of transcript for a letter from Delassus de Luziere to Moses Austin, on May 14, 1799, discussing the claim of the Austins to mine for minerals at Mine a Breton in Sainte Genevieve, Missouri. He attempts to solve the issue of who should receive the money from the mine.

Map shows six continents and political boundaries. Shows Australia as "N[ouvel]le Holland," and [French] "Louisiane" [territory in North America]. Includes five hemispheric circles explaining gridlines on map. Prime meridian: Paris. Scale not given.

Domenico Cimarosa’s Il matrimonio segreto premiered at the Burgtheater in Vienna on 7 February 1792, just two months after Mozart’s death. It received immediate accolades, particularly from Emperor Leopold II, and the opera was performed a second time that day for a private audience that included the Holy Roman ruler. Il matrimonio segreto enjoyed a successful run that lasted almost a hundred years, with revised versions appearing in the second half of the nineteenth century; in 1933, the work was performed at the Library of Congress. Although the harmonic language is largely diatonic, Cimarosa’s beautiful melodies and exciting rhythms complement Bertati’s direct text. The opera presents the predicament of the secretly married couple without resorting to stock plot conventions such as characters in disguise, conveying the dramatic naturalness and simplicity promoted by Rousseau. The inventive orchestration, which includes clarinets, was another aspect of the opera that was praised by some (while Schumann appreciated the orchestration, Berlioz was unimpressed).

This volume includes six piano sonatas, three sets of theme and variations, one fantasia, and one capricio [sic] with incipits for all pieces.

This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.

This volume includes eight piano sonatas, preceded by pages featuring a portrait of the composer, a letter of dedication from the composers to the consumers of this item, and incipits of all eight sonatas.

This volume includes the piano parts for six piano sonatas and one arietta (for solo piano) and the piano parts to a trio for piano, flute, and 'cello. Incipits are included for all pieces.

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 includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.

This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.

This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.

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 …

This volume contains the piano parts to eight piano sonatas - five accompanied by violin and 'cello, three accompanied by violin - all with incipits.

This volume contains twelves piano sonatas with incipits for each piece.

This volume contains the piano parts for eight piano sonatas (some accompanied either by violin or violin and 'cello) and one adagio. Incipits are present for all pieces.

Copy of transcript for a letter from Girouard, in 1799, noting the receipt of a shipment of lead to be used to pay Mr. Hostin, in exchange for beef.

Copy of transcript for a letter to Zenon Trudeau, on June 8, 1798, discussing the life of David Strickland, who works as a farmer for someone else but wants to farm for himself on the Bois Brule River in order to establish his family. A second letter, from David Strickland, asking that he be granted the land on the river to farm.

Copy of transcript for two letters, written in January 1798. The first, from Delassus de Luziere on January 15, 1798, asks that land belonging to the king be given to an unnamed man because he has proven himself to be a good farmer on land belonging to Mrs. Beauvair. The second, from Zenon Trudeau on January 21, 1798, informs the recipient that he will receive the land he has requested.

The colored etching depicts a group of people in front of many presses.

The painting depicts a man straining the bourgeois from a pot of Jacobins.

This is the score of Daniel Steibelt's first opera "Roméo et Juliette" composed in 1793 to a libretto by Vicomte Alexandre de Ségur. According to Grove Music, Steibelt submitted this opera to the Académie Royale de Musique, but it was rejected. The work was performed as opéra comique at the Théâtre Feydeau on 9 October 1793, after Steibelt replaced the original recitatives with spoken dialog. The opera is in three acts and the orchestral forces comprise: woodwinds (flutes (2), oboes (2), clarinets (2), and bassoon (2)), brass instruments (horns in E-flat (2), trumpets in C (2), and trombones (3)), timpani in C, and strings (violins, viola, violoncello, and bass). On the t.p., the publisher advertised Steibelt's arrangement for the piano of arias and overture of this opera.

Map shows political divisions for South America, eastern and southern portions of North America; major settlements, areas of Indian habitation. Includes informative notes and text which discuss mention the discoveries of Captain James Cook. Map extends beyond sheet size to show Cerque Polaire Arctique [Alaska]. Relief shown pictorially. Scale not given.

Map shows "Isle de Californie" however dividing sea appears to be oblilterated by engraver and coloration; political divisions, major cities, and notable physical features for northeastern, eastern, southern, and southwestern portions of North America, Central America, and the West Indies. Relief shown pictorially. Scale [ca. 1:18,500,000].