It’s time once again for a quick tour of the latest additions to our collection of Digital Scores and Libretti. For this week’s post, I’ve chosen one 18th century collection of keyboard works and four vocal scores by Giacomo Meyerbeer. Enjoy!
Keyboard works
C.P.E. Bachs, Nichelmanns und Händels Sonaten und Fugen fürs Clavier. 2. Aufl. Berlin : Wever, 1774.
Merritt Room Mus 460.69
A collection of keyboard works by C.P.E. Bach, Nichelmann, Handel, and Kirnberger, first published in 1762 as Tonstücke für das Clavier.
Giacomo Meyerbeer
Margherita d'Anjou. Title vignette: "Salvi amico la regina, salvi il figlio del tuo re." Mus 743.3.61
- Margherita d’Anjou : opera semiseria in due atti / Composto e ridotto per il cembalo da G. Meyerbeer. Paris : M. Schlesinger, [1827?].
Mus 743.3.610 BMeyerbeer’s first opera for La Scala, premiered on November 14, 1820. This edition includes the title vignette: “Salvi amico la regina, salvi il figlio del tuo re,” from Act I, scene XV.
- Il crociato in Egitto; opera seria. Ridotto con accompagniamento de pianoforte. Paris, Chez Pacini, [18–].
Mus 743.3.650
- Le pardon de Ploërmel : opéra comique en trois actes / paroles de J. Barbieret M. Carré ; musique de Giacomo Meyerbeer ; partition chant et piano. Paris : G. Brandus et S. Dufour, [1859?].
Mus 743.3.692.5
- Les Huguenots : opéra en cinq actes / paroles de Scribe ; musique de G. Meyerbeer ; partition chant et piano. Ed. définitive et complète. Paris : Ph. Maquet, [1888?].
Mus 743.3.624
Stay tuned for our next batch of scores, featuring early editions and copyist’s manuscripts from a 19th-century album of Mozart’s works.
-Kerry Masteller
I would love to be able to hear some of the 18th and 19th century bel canto work of Niccolo’ Zingarelli. This opera is supposed to be his greatest work of more than 35 operas, but I have been unable to find any recorded examples, except for the aria where Romeo dies at the opera’s conclusion.
Thank you.
mike Simon
Giacomo Meyerbeer in the 1830s and 1840s, he was the most famous and successful composer of opera in Europe.
I love his music so much.
Years ago, I created a web site about a slightly different version of an opera, Il Crociato in Egittoone by Meerbeer from the one Harvard digitized and posted online: https://meyerbeeropera.wordpress.com/
My copy came from a book dealer, who got it after a university had deaccessioned, after it had been given from the estate of a Dr. Meyer, who was given the book as a gift for lecturing with the music director of the Boston Public Library before the operas in 1930s.
Sometimes the connections and stories of how we become the caretakers is as interesting as the objects themselves. I have always appreciated how helpful the lady at Harvard was who directed me to the original source so I could verify my copy was not stolen. Again, thanks and I hope this is interesting.