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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360 Matching Results
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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
Object Type:
Musical Score/Notation
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
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Armide : tragedie mise en musique
Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.
Date:
1686
Creator:
Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Artaxerxes. An English opera.
1763 English libretto for Thomas Arne's opera Artaxerxes. Thomas Arne most likely wrote his own libretto for Artaxerxes, which enjoyed a successful run at Covent Garden beginning on 2 February 1762. Artaxerxes follows the structure of Metastasio’s Italian libretto on the same subject; no other English-language opera has been recognized as following the principles of Metastasian opera seria.
Date:
1763
Creator:
Arne, Thomas Augustine, 1710-1778
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Astrée
Libretto of the 1691 opera "Astrée" by Jean de la Fontaine. Pascal Collasse composed the music of the opera which premiered under the title "Astrée et Céladon" on November 25, 1692.
Date:
1691
Creator:
La Fontaine, Jean de, 1621-1695
Object Type:
Book
System:
The UNT Digital Library
L'Atalipa: dramma per musica
Libretto for L'Atalipa by Girolamo Gigli.
Date:
16XX
Creator:
Gigli, Girolamo, 1660-1722
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Atys : tragedie
Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to conclude with a tragic ending. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is placed more highly than honor, it will bring unhappiness even to one of the immortals.
Date:
1708
Creator:
Lully, Jean Baptiste, 1632-1687
Object Type:
Musical Score/Notation
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
Object Type:
Musical Score/Notation
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
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Atys : tragedie mise en musique
Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals."
Date:
1720
Creator:
Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Atys; tragedie mise en musique
Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals."
Date:
1709
Creator:
Lully, Jean Baptiste, 1632-1687 & Quinault, Philippe, 1635-1688
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Aurora che Sorgereai with Brilliant Variations for the PIano Forte
This is a digital copy of the ca. 1830 edition of Henri Herz's Brilliant variations for the piano forte on the cavatina "Aurora che sorcerai" from Rossini's two-act melodrama "La donna del lago," (i.e., The lady of the lake). The library's copy is part of a bound collection of piano music by variopus nineteenth-century composers. The pianist, and Herz's friend, Franz Hünten adapted several passages of the music to suit the range of the contemporaneous piano fortes. A note on the t.p. indicates that "Mrs. [Lucy] Anderson had the distinguished honor of performing this piece before their Majesties at Brighton." Plate no. 476.
Date:
1830?
Creator:
Herz, Henri, 1803-1888.
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Ausführliche theoretisch-practische Anweisung zum Piano-forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung
"Detailed theoretical and practical instruction on playing the piano-forte," issued in four parts.
Date:
unknown
Creator:
Hummel, Johann Nepomuk, 1778-1837
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Ausführliche theoretisch-practische Anweisung zum Piano-forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung
A piano method book by Johann Nepomuk Hummel, with three parts bound in one volume.
Date:
1828~
Creator:
Hummel, Johann Nepomuk, 1778-1837
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Bajazeth
Musical score containing the piano part for "Bajazeth: air national [sic] des turques pour le piano forte" by Leopold von Meyer.
Date:
184X
Creator:
Meyer, Leopold von, 1816-1883
Object Type:
Musical Score/Notation
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
Object Type:
Musical Score/Notation
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
Object Type:
Musical Score/Notation
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
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
Bellérophon; tragedie mise en musique
Although not the first of the Jean-Baptiste Lully's tragédies lyriques, Bellérophon was the first of Lully's opera scores to appear in print. The Ballard first edition was printed in 1679 to accompany the premiere, on January 31 of that year, at the Palais Royale. Bellérophon was the second of two operas (the first was Psyché) created by Lully without librettist Philippe Quinault after the scandal associated with Isis that led to Quinault's temporary dismissal as royal librettist. After an extended illness during which he did not compose, Lully collaborated with Thomas Corneille and Bernard le Bovier de Fontenelle for the second time to create one of his most unqualified successes. Following the first performance in January 1679, Bellérophon played for nine months at the Palais Royale.
Date:
1679
Creator:
Lully, Jean Baptiste, 1632-1687; Corneille, Pierre, 1606-1684; Fontenelle, M. de (Bernard Le Bovier), 1657-1757 & Boileau Despréaux, Nicolas, 1636-1711
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Belshazzar : a sacred Oratorio in Score
A sacred oratorio in three acts for soloists and mixed chorus (SATB) with orchestra acc. (2 oboes, 2 violins, viola, and basso continuo). A contents index is given on p. 219. According to the Grove Dictionary of Music and Musicians, Handel composed this oratorio from 23 August - 23 October 1744. Charles Jennens wrote the libretto on the Biblical story of the downfall of the King of Babylon with details taken from "Cyropaedia" (a political romance about the education of an ideal ruler) by Herodotus and Xenophon's.
Date:
{1744-08-23,1744-10-23}
Creator:
Handel, George Frideric, 1685-1759 & Jennens, Charles, 1700-1773
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
La Bohème: scene da La vie de Bohème di Henry Murger: 4 quadri: opera completa per canto e pianoforte
Piano-vocal score for Puccini's La Bohème, autographed by Puccini.
Date:
1896
Creator:
Puccini, Giacomo, 1858-1924 & Giacosa, Giuseppe, 1847-1906
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
The Booke of Common Prayer
1611 edition of the Book of Common Prayer, with psalms. The psalms include incipits in Latin, and occasional notated settings, along with the traditional canticles (Benedictus, Magnificat, Nunc Dimmitis) for morning, evening, and night prayer, Te Deum, the Athanasian Creed, and other hymns and prayers.
Date:
1611
Creator:
Church of England
Object Type:
Musical Score/Notation
System:
The UNT Digital Library
Booke of Common Prayer and The Whole book of Psalmes
A 1611 Booke of Common Prayer, bound with a 1609 book of Psalms with notated settings, "collected into English meeter by Thomas Sternhold."
Date:
{1609,1611}
Creator:
Church of England
Object Type:
Musical Score/Notation
System:
The UNT Digital Library