Collection
Serial/Series Title
19th century American music periodicals
59
New-York Musical Review and Gazette.
58
Oeuvres de J. Haydn
14
Grand quatuor pour deux violons, alto e violoncelle: œuvre posthume
4
Repertoire de Léopold de Meyer
4
Six quintetti pour piano, avec accompagnement de deux violons, alto et violoncel
4
Dictionary of Music and Musicians
3
Quatours de Boccherini - Mozart
3
Le nozze di Figaro: dramma giocoso in quattro atti
2
El teatro: colección de obras dramáticas y líricas
1
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Harmonia Sacra
This collection of six anthems for various combinations of voices employs a figured continuo accompaniment. Instrumental interludes labeled "symphonies" can also be found interspersed among the choral selections. Though the music cites no particular scriptural passages, the text seems inspired by - if not directly derived from - the Bible.
Date:
1730~
Creator:
Purcell, Henry, 1659-1695
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Devil to pay: or, The wives metamorphos'd
English libretto to Charles Coffey's ballad opera The devil to pay or, The wives metamorphos'd. The Devil to Pay is an adaptation of Thomas Jevon’s play The Devil of a Wife (1686). Nearly fifty years later, the ballad opera appeared at Drury Lane with Charles Coffey and John Mottley each responsible for half of the three acts. However, a much shorter and more well-received one-act version, edited by Theophilus Cibber, is represented in the printed libretto. Today Coffey is generally the only name widely attached to The Devil to Pay. The opera’s popularity is attested by the frequent performances and a translation into German, which contributed to the development of the Singspiel.
Date:
1732
Creator:
Coffey, Charles, d. 1745; Mottley, John, 1692-1750 & Jevon, Thomas, 1652-1688
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Le triomphe des sens
This opera (ballet héroique) is comprised of five acts with a prologue. It was premiered on 29 May 1732 at L'accademie Royale de Musique in Paris. This score opens with a letter of dedication from the composer "A Son Altesse Serenissime Monseigneur Le Prince de Dombes." Next, Mouret includes two tables of contents: one of the dances (Airs de Simphonie) and the other, of the arias (Airs à Chanter). The following pages lists other publications by Mouret including prices and where these items may be purchased. Vocal lines are set apart from instrumental ones by text underlay and, in the case of high voices, the use of the standard treble clef. (The violin parts use the French clef.
Date:
1732
Creator:
Mouret, Jean-Joseph, 1682-1738
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Achilles. An opera.
John Gay is credited with inventing the ballad opera, a genre that blends spoken plays and previously composed songs to new texts. Although The Beggar’s Opera (1728) was his most successful endeavor, he continued to compose English musical dramas. Achilles was finally performed in 1733, one year after Gay died. In this story, Achilles appears as a girl named Pyrrha, unknown to most of the inhabitants of the island of Scyros, in order to circumvent a prediction that he will die in battle. Deidamia (the king’s daughter) knows the secret, however, because she is carrying the disguised man’s child. After Achilles’s identity is revealed, he and Deidamia are able to wed. Then, in a fateful twist of irony, Achilles plans to join the Greeks in the Trojan War.
Date:
1733
Creator:
Gay, John, 1685-1732
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Beggar's opera
This is a 1735 fourth ed. of the three-act ballad opera "The beggar's opera" by John Christopher Pepusch and John Gay. It includes the score for the overture (for violins (2), viola, and bass ensemble) and the melodies of each song. The inscription, "Nos haec novimus esse nihil" (transl. as, We know these to be nothing) that appears on the t.p. is an epigram by Marcus Valerius Martialis from his Books of Epigrams. On the back of the t.p. appears the advertisement of these works printed by John Watts: Fifty one new fables in verse; The tunes to the songs in the Beggar's Opera, transposed for the flute; and Gay's opera "Achilles." A table of songs shows the first lines of text for each act. The item includes a list of characters.
Date:
1735
Creator:
Pepusch, John Christopher, 1667-1752 & Gay, John, 1685-1732
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Ode on St. Cecilia's Day
A sacred work for mixed chorus (SATB) with orchestra acc. (2 oboes, 2 violins, viola, and basso continuo). A contents index is given on p. 74. Plate no. 105.
Date:
1736
Creator:
Handel, George Frideric, 1685-1759
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Nouvelles Poesies Morales sur Les Plus Beaux Airs de la Musique Francoise et Italienne avec la Basse.: Fables Choisies Dans le gout de M. De La Fontaine, Sur des Vaudevilles & petits Airs aisés à chanter, avec leur Basse & une Basse en Musette. Recueil I. 6 liv. broché.
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.
Date:
1737
Creator:
La Fontaine, Jean de, 1621-1695
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Judas Maccabaeus
This is a [ca. 1740] score of Judas Maccabaeus, a sacred oratorio by Handel. It contains a table of songs for each of the three acts of the oratorio and a descriptive catalog of music composed by Handel, which includes: Italian operas, English oratorios as well as concertos, chamber music and transcription of vocal music for instruments. The performance forces include: vocal soloists (SATB or SATB), strings (violins, viola, violoncello and contra bass), oboes, traverse flute, and bassoon. It also includes figured bass for continuo playing. The names of singers (Gambarini, Galli, Reinhold, and Beard) appear at the heading of each aria. Page [73], incorrectly numbered 48, contains a keyboard march identified as: No.484 Marche.
Date:
1740
Creator:
Handel, George Frideric, 1685-1759
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
XII solos for a violin
This English edition of Corelli's Op. 5 sonata for violin and continuo is, aside from an engraving of the composer and the title page, printed on both the recto and verso sides of the leaves. The bass line contains figures. A note by the publisher states: "These Solos are Printed from a curious Edition Publish'd at Rome by the Author."
Date:
1740~
Creator:
Corelli, Arcangelo, 1653-1713
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Les Elemens
This four-act ballet was premiered on 22 December 1721 at the Tullieries and, later, performed at L'Academie Royale de Musique on 29 May 1725 and 27 May 1734, and at the Theatre on 22 May 1742. Various dramatis personae present an allegorical depiction of the French court.
Date:
1742
Creator:
Destouches, André Cardinal, 1672-1749
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Acis and Galatea
This is a ca. 1743 score of Acis and Galatea, a musical masque (also considered an English pastoral opera) by Handel to a libretto by John Gay. The performance forces include: oboes (2), flauto [recorder], violins, basso continuo, and chorus of mixed voices (mostly soprano, three tenors and bass) and vocal soloists. On the front cover the name Morgan appears imprinted on a red stamp with golden ornaments and letters. The names Anna Maria [Lawes] and Mary Anne Morgan were written at the top of the title page and the inscription, "the gift [of] her uncle T. Morgan, 1808." Underneath the dedication: WH London, 1890.
Date:
1743
Creator:
Handel, George Frideric, 1685-1759
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Alexander's Feast or the Power of Musick.
A secular choral work in two parts for four soloists (SSTB) and mixed chorus (SATB) with orchestra acc. (2 oboes, 2 bassoons, 2 trumpets, 3 violins, viola, violoncello, and continuo). The names of the vocal soloists (Mr. [John] Beard, Signora [Anna Maria] Strada, Miss. [Cecilia] Young, and Mr. Erard) are printed at the top of their designated songs.
Date:
1743
Creator:
Handel, George Frideric, 1685-1759 & Dryden, John, 1631-1700
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Giulio Cesare : opera in tre atti
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)."
Date:
1743
Creator:
Handel, George Frideric, 1685-1759
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Dardanus : nouvelle tragédie
Dardanus went through a number of revisions from the time of its premiere in 1739 until its final eighteenth-century run at the Opéra in 1771. The version in the Virtual Rare Book Room was first performed in 1744; the last three acts exhibit extensive plot changes from the first edition. The final version in 1760 received the most positive acclaim, especially compared to the criticisms that were made about the nonsensical plot of the first version. By this point, however, the polemic between the Lullistes and the Ramistes, which had surrounded the premiere, had subsided.
Date:
1744
Creator:
Rameau, Jean Philippe, 1683-1764 & La Bruère, Le Clerc de, 1714-1754
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
La favola di Orfeo
Libretto of the opera "La favola di Orfeo" in several verse forms. Poliziano's version of the legend of Orfeo differs from the story in Monteverdi or Gluck's operas. In Poliziano's ending, Orpheus is torn to pieces by the maenads (or Bacchantes). This copy includes Bernardino Baldi's eclogue "Celeo e l'Orto," a culinary poem that describes the production of polenta.
Date:
1749
Creator:
Poliziano, Angelo, 1454-1494. & Baldi, Bernardino, 1553-1617.
Object Type:
Book
System:
The UNT Digital Library
Platée : comédie-ballet
Jacques Autreau’s play Platée, ou Junon jalouse was based on a story by a second-century Greek author named Pausanias who chronicled his travels (including rituals and traditions) in ten books that represent the different regions of Greece. At the time Le Valois d’Orville appropriated Autreau’s drama for a libretto, it was uncommon for French court operas to include comic features, and even Autreau’s spoken play lacked the comic tone of the opera. Yet, the humor extends beyond the plot; for instance, the sounds of frogs and birds are represented instrumentally. Platée was first performed at Versailles for the wedding of the dauphin and Princess Maria Theresa of Spain in 1745.
Date:
1749
Creator:
Rameau, Jean Philippe, 1683-1764 & Le Valois d'Orville, Adrien-Joseph
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Le piacevoli poesie
This is a ca. 1750 copy of "Le piacevoli poesie di Giuseppe Baretti" (The Pleasing Poetry of Giuseppe Baretti). Although Baretti is primarily remembered for his frequent travels throughout Italy, England, France, and Portugal, which he recounted in his "Lettere familiari ai suoi tre fratelli," he was also a scholar, linguist, poet, translator, and journalist. He wrote "Le piacevoli poesie di Giuseppe Baretti" in 1750. The poetry imitated the style of Fancesco Berni, a 16th-century Italian poet who wrote parodies and burlesque letters-much of it obscene in nature. The introduction of this work was written by the Venetian Count Gasparo Gozzi, himself a poet, prose writer, journalist, critic, and also the brother of Baretti's friend, Carlo Gozzi. The library's copy of "Le piacevoli poesie" is bound with the following librettos: "Ifigenia in Aulide" by Vittorio Amedeo Cigna-Santi; “Catone in Utica,” by Pietro Metastasio; "Sofonisba" by Mattia Verazi; and "Arianne e Teseo" by Pietro Pariati.
Date:
1750
Creator:
Baretti, Giuseppe Marco Antonio, 1719-1789.
Object Type:
Book
System:
The UNT Digital Library
Æglé: ballet en un acte représenté devant le roi sur le Théâtre des petits appartemens, a Versailles, le 13 janvier 1748, et repris le 25 fevrier 1750, et mis au Théâtre de l'Académie royale de musique, le 18 fevrier 1751
Reduced score of Pierre de Lagarde's Æglé.
Date:
1751
Creator:
Lagarde, Pierre de, 1717-approximately 1792
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Fileuse: parodie d'Omphale
Lyrics for the opera "Fileuse: parodie d'Omphale" comprising 11 scenes, with a melody for one of the last pieces.
Date:
1752
Creator:
Vadé, M. (Jean Joseph), 1719-1757 & Destouches, M. (André Cardinal), 1672-1749
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Vocal Melody Book IV
This collection of songs from the pantomime "Harlequin Sorcerer" and the play "The Oracle" are scored for various voice types with obbligato instruments and basso continuo (with figured bass). A "Mrs. Cibber" is credited prominently on the title page. Some songs also have alternate parts for the solo line (conflating obbligato and vocal parts) for German flute (sometimes simply designated as "Flute").
Date:
1752
Creator:
Arne, Thomas Augustine, 1710-1778
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Titon Et L'Aurore
This three-act opera (Monsigny's Op. 8) is dedicated to Monseigneur le Prince de Soubise and was premiered at L'Academie Royalle de Musique on 9 January 1753. This full score opens with a letter of dedication from the composer to his patron and closes with a document describing royal publishing privilege.
Date:
1753
Creator:
Mondonville, Jean Joseph Cassanea de, 1711-1772
Object Type:
Musical Score/Notation
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
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Le trompeur trompe, ou, La rencontre imprevue. Opera-comique en un acte. Represente pour la premiere fois sur le Theatre de la Foire S. Germain, le 18 fevrier 1754.
In the mid-eighteenth century, comic opera librettos served a dual purpose, as evinced by the libretto to Vadé ’s Trompeur trompé (1754). Although the primary function of the publication was to allow audience members to follow along with the text of the opera, solo airs were printed in the back of the book. Not all the melodies are included, but those printed in the libretto enhance our understanding of an opera the music of which was never published as a comprehensive musical score.
Date:
1754
Creator:
Vade, M. (Jean Joseph), 1719-1757.
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Oeuvres de M. Vade, ou recueil des opera-comiques, & parodies qu'il a donnes depuis quelques annees; avec les airs, rondes, & vaudevilles notes; & autres ouvrages du meme auteur.
Jean-Joseph Vadé’s popularity as a composer and librettist is evident in the publication of his collected works, which first appeared in 1755 but was expanded in 1758, a year after his death. Vadé’s œuvre consists of mostly opéras comiques, some with original music rather than preexisting tunes. The collected works editions include fictional correspondence and poetry. Vadé’s interest in capturing the bustling atmosphere of fish markets is evident in such works as Les quatre bouquets poissards and the poem La pipe cassée, which is classified as a “poëme epitragipoissardiheroicomique.” Melodies for operatic airs are also printed in this volume. Although Vadé claimed authorship of the music, some were familiar tunes that had existed before Vadé appropriated them.
Date:
1755
Creator:
Vade, M. (Jean Joseph), 1719-1757.
Object Type:
Musical Score/Notation
System:
The UNT Digital Library