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[French Opéra Comique] . Recueil D'Ariettes tirées Des meilleurs Operas-Comiques - 18th Century Copyist Manuscript.
An intriguing volume of manuscript excerpts from eighteenth-century French opéras comiques in an unknown hand. The music collected here is from operas first performed between 1752 (Rousseau, Le Devin du village) and 1775 (Philidor, Les femmes vengées); the work that is represented with by far the most excerpts, Grétry's Zémire et Azor, dating from 1771. Oblong octavo, 8 x 6.5 inches (17.3 cm x 21.3 cm). 134 leaves. Title page with elaborate full-page engraving and lettering, "AU MONTPARNASSE RUE S JEAN DE BEAUVOIS PAR ROBERT BALLARD," indicating that the blank volume was likely issued in a much earlier era: the last Robert in the Ballard dynasty of Parisian music publishers, which held a royal privilege for the publication of music in France from 1752 to 1790, known as Robert III, lived from ca. 1610 to 1672, more than a hundred years before the music was entered in this album. Bound in gilt morocco with raised bands, small iron clamps and gilt edge. Initials "C.G.D.S.L." in gilt to upper and rear boards. An apparently somewhat later, Ex-libris, "Mr. le Chev[ali]er Grangier," ca. early 1800s to inside of upper board. Manuscript note, "Livre de musique pour M.D.S.L." written sideways to verso of front endpaper. Manuscript inscription to upper right corner of title, "à Mr. Grangier fils." Manuscript note, "Suite par moy [crossed out:] avec de [last word illegible] and more scribblings in the same ink to rear endpaper. A "chevalier Grangier" is mentioned as "doyen de conseil de préfecture" in the Journal des debate of September 3, 1816, p. 4.; the initials to the upper board ("C.G.D.S.L.") and the manuscript note, "Livre de musique pour M.D.S.L.", to the front endpaper seem to relate to each other but not necessarily to the subsequent owner "Chevalier Grangier."
The first approximately 12 leaves after the title have been cut from the volume, closely to the spine, with almost no remnants. Their former content is unknown, but it is likely that they were pre-lined with the same six staves of music (the first of them indented) as all the extant pages and filled with music. The following count ignores the cut leaves; the title is counted as folio 1. The first extant leaf after the title is a sub-title lettered, "RECUEIL / D'Ariettes tirées Des meilleurs operas-comiques / De Duni, Monsigny, phylidor et gretry – / appartenant à M-elle Chaptat[?]. (Collection of Marietta culled from the best opéras-comiques by Duni, Monsigny, Philidor and Grétry / belongs to Mademoiselle Chaptat[?]. The handwriting is hasty and not calligraphic. Besides the composers named here—Egidio Duni (1709–1775), Pierre-Alexandre Monsigny (1728–1817), François-André Danial Philidor (1726–1795) and André-Ernest-Modeste Grétry (1741–1813)—more composers are represented: Adolphe Blaise (d. ca. 1772), Jean-Paul-Egide Martini (1741–1816), Jean-Joseph Rodolphe (1730–1812), Nicolas Dezède (ca. 1740–1792), Jean-Jacques Rousseau (1712–1778), Antoine Albanese (1729–1800) and André-Joseph Exaudet (1710–1762). This sub-title page is followed by musical content—first, airs/ariettas for solo voice and then some duets. Only the vocal parts are given, on separate staves in the case of the duets. Any preludes or postludes are omitted. There is one instrumental piece in between (Exaudet's minuet). Only three items have text underlay, and only in a few cases the composer is identified (see below).
2v [Duni], Ariette de la fée Urgele ["A que l‘amour est chose jolie"], D major
The first approximately 12 leaves after the title have been cut from the volume, closely to the spine, with almost no remnants. Their former content is unknown, but it is likely that they were pre-lined with the same six staves of music (the first of them indented) as all the extant pages and filled with music. The following count ignores the cut leaves; the title is counted as folio 1. The first extant leaf after the title is a sub-title lettered, "RECUEIL / D'Ariettes tirées Des meilleurs operas-comiques / De Duni, Monsigny, phylidor et gretry – / appartenant à M-elle Chaptat[?]. (Collection of Marietta culled from the best opéras-comiques by Duni, Monsigny, Philidor and Grétry / belongs to Mademoiselle Chaptat[?]. The handwriting is hasty and not calligraphic. Besides the composers named here—Egidio Duni (1709–1775), Pierre-Alexandre Monsigny (1728–1817), François-André Danial Philidor (1726–1795) and André-Ernest-Modeste Grétry (1741–1813)—more composers are represented: Adolphe Blaise (d. ca. 1772), Jean-Paul-Egide Martini (1741–1816), Jean-Joseph Rodolphe (1730–1812), Nicolas Dezède (ca. 1740–1792), Jean-Jacques Rousseau (1712–1778), Antoine Albanese (1729–1800) and André-Joseph Exaudet (1710–1762). This sub-title page is followed by musical content—first, airs/ariettas for solo voice and then some duets. Only the vocal parts are given, on separate staves in the case of the duets. Any preludes or postludes are omitted. There is one instrumental piece in between (Exaudet's minuet). Only three items have text underlay, and only in a few cases the composer is identified (see below).
2v [Duni], Ariette de la fée Urgele ["A que l‘amour est chose jolie"], D major
3r [Blaise], Ariette d’ Annette et Lubin ["Pour mon Annette formons une maisonette"], A major
3v [Martini], Duetto L’Amoureux de quinze ans ["On ne peut élever l’enfance"], A major
4r [Rudolph], Duetto de L’aveugle de Palmire ["Des simples jeux de son enfance"], D major
4v [Duni], Ariette de La clochette, D major
5r [Philidor], Ariette de Tom Jones, B-flat major
5v [Monsigny], Ariette du Deserteur, D major
6r-v [Monsigny], Ariette du Deserteur, D minor
7r [composer not identified] Vaudeville, D major
7v-8v [Monsigny], Ariette du Deserteur, with text underlay, “C’est mon amant“, A major
9r-10r [Grétry], Ariette du Sylvain ["Ne crois pas qu’un bon menage"], A major
10v [Philidor], Ariette de Tom Jones ["Amour qu’elle est donc ta puissance"], G major
11r [composer not identified] Romance du Tounellies [?], G major
11v [composer not identified] Romance de Chamere [?], A major (key signature of two sharps only)
12r [Dezède], Romance de Julie ["Lison dormait dans un bocage"], D major
12v-13r Menuet d'Exaudet, G major
13v-14r [Dezède], Ariette de Julie ["Je suis simple née au village"], G major
14v-15v [composer not identified] Ariette, G major
16r [composer not identified] Ariette d’avnetiude [?] in D major (same as piece in E-flat major with RISM ID no.: 806930505)
16v [Philidor], Ariette de Femmes vengées, A major
17r [Grétry], Ariette de Lucille, with text underlay, “O bien suprême helas je touchois”, G minor
17v [Grétry], Ariette de Lucille ["Qu’il est doux de dire"], A major
18r [Dezède], Ariette de l’Erreur d’un moment, G minor
18v-19r [Grétry], Ariette du Huron ["Si jamais je prend un époux"], C major
19v [Rousseau], Rondeau [du Devin du village, "Allons danser sous les ormeaux"], A major
20r [Grétry], Ariette de Zémire et Azor ["Du moment qu’on aime"], E major
20v-21r [Grétry], Ariette du Sylvain ["Tout le village m’envie"], D minor
21v-22r [Grétry], Ariette de Zémire et Azor ["Ne vas pas me tromper"], D major
22v-23r [Dezède], Ariette de l’Erreur d’un moment, F major
23v-24r [Grétry], La Fauvette Ariette de Zémire et Azor, G major
24v-25r [Grétry], Ariette de Zémire et Azor ["Azor en vain ma voix t’appelle"], C major
25v [Grétry], Ariette de Zémire et Azor ["Rose chérie aimable fleur"], G major
26r [Grétry], Ariette de Zémire et Azor, C minor
26v-27r [Grétry], Ariette de Zémire et Azor ["La pauvre enfant"], G minor
27v-28r [Grétry], Ariette de Zémire et Azor ["Ah! Quel tourmant"], C minor
28v-29r [Grétry], Ariette de Zémire et Azor ["La malheur me rend intrépide"], E-flat major
29v-31r [Grétry], Duo du Sylvain ["Avec ton coeur s’il est fidèle"], F major
31v-32r [Monsigny,] Duo du Roy et son fermiér ["Un instant il m’attend"], A major
32v-33r Aria del Signor Gervaise [?], B-flat major (2 parts marked as "1-er dessus" and "2-ond dessus")
33v-34r [Grétry], Duo de Zémire et Azor ["Amour quand ta rigeur"], A major
34v Two false starts of the following, crossed out
35r [Grétry], Duo de Lucille ["Chantons deux époux que sous se loix"], A major
35v-37r Duo d’Albanese ["Viens dans ce verger"], G major
37v-39r [Monsigny], Duo de Rose et Colas [“M’aime tu”,] G major
39v-40r [Duni], Ariette des Moissonneurs, B-flat major
40v-42v [Grétry], Duo de Zémire et Azor, B-flat major
The remaining 94 leaves (folio 43-134) are lined with six staves like the others but left blank. An exception is fol. 109r, which contains scribblings in pencil, including the English word "love", apparently in a child's hand. These scribblings evidently from a later period. Folios 124v and 125r with small ink stains, further leaves lacking after folio 134. Overall in fine condition.
[French Opéra Comique] . Recueil D'Ariettes tirées Des meilleurs Operas-Comiques - 18th Century Copyist Manuscript.
An intriguing volume of manuscript excerpts from eighteenth-century French opéras comiques in an unknown hand. The music collected here is from operas first performed between 1752 (Rousseau, Le Devin du village) and 1775 (Philidor, Les femmes vengées); the work that is represented with by far the most excerpts, Grétry's Zémire et Azor, dating from 1771. Oblong octavo, 8 x 6.5 inches (17.3 cm x 21.3 cm). 134 leaves. Title page with elaborate full-page engraving and lettering, "AU MONTPARNASSE RUE S JEAN DE BEAUVOIS PAR ROBERT BALLARD," indicating that the blank volume was likely issued in a much earlier era: the last Robert in the Ballard dynasty of Parisian music publishers, which held a royal privilege for the publication of music in France from 1752 to 1790, known as Robert III, lived from ca. 1610 to 1672, more than a hundred years before the music was entered in this album. Bound in gilt morocco with raised bands, small iron clamps and gilt edge. Initials "C.G.D.S.L." in gilt to upper and rear boards. An apparently somewhat later, Ex-libris, "Mr. le Chev[ali]er Grangier," ca. early 1800s to inside of upper board. Manuscript note, "Livre de musique pour M.D.S.L." written sideways to verso of front endpaper. Manuscript inscription to upper right corner of title, "à Mr. Grangier fils." Manuscript note, "Suite par moy [crossed out:] avec de [last word illegible] and more scribblings in the same ink to rear endpaper. A "chevalier Grangier" is mentioned as "doyen de conseil de préfecture" in the Journal des debate of September 3, 1816, p. 4.; the initials to the upper board ("C.G.D.S.L.") and the manuscript note, "Livre de musique pour M.D.S.L.", to the front endpaper seem to relate to each other but not necessarily to the subsequent owner "Chevalier Grangier."
The first approximately 12 leaves after the title have been cut from the volume, closely to the spine, with almost no remnants. Their former content is unknown, but it is likely that they were pre-lined with the same six staves of music (the first of them indented) as all the extant pages and filled with music. The following count ignores the cut leaves; the title is counted as folio 1. The first extant leaf after the title is a sub-title lettered, "RECUEIL / D'Ariettes tirées Des meilleurs operas-comiques / De Duni, Monsigny, phylidor et gretry – / appartenant à M-elle Chaptat[?]. (Collection of Marietta culled from the best opéras-comiques by Duni, Monsigny, Philidor and Grétry / belongs to Mademoiselle Chaptat[?]. The handwriting is hasty and not calligraphic. Besides the composers named here—Egidio Duni (1709–1775), Pierre-Alexandre Monsigny (1728–1817), François-André Danial Philidor (1726–1795) and André-Ernest-Modeste Grétry (1741–1813)—more composers are represented: Adolphe Blaise (d. ca. 1772), Jean-Paul-Egide Martini (1741–1816), Jean-Joseph Rodolphe (1730–1812), Nicolas Dezède (ca. 1740–1792), Jean-Jacques Rousseau (1712–1778), Antoine Albanese (1729–1800) and André-Joseph Exaudet (1710–1762). This sub-title page is followed by musical content—first, airs/ariettas for solo voice and then some duets. Only the vocal parts are given, on separate staves in the case of the duets. Any preludes or postludes are omitted. There is one instrumental piece in between (Exaudet's minuet). Only three items have text underlay, and only in a few cases the composer is identified (see below).
2v [Duni], Ariette de la fée Urgele ["A que l‘amour est chose jolie"], D major
The first approximately 12 leaves after the title have been cut from the volume, closely to the spine, with almost no remnants. Their former content is unknown, but it is likely that they were pre-lined with the same six staves of music (the first of them indented) as all the extant pages and filled with music. The following count ignores the cut leaves; the title is counted as folio 1. The first extant leaf after the title is a sub-title lettered, "RECUEIL / D'Ariettes tirées Des meilleurs operas-comiques / De Duni, Monsigny, phylidor et gretry – / appartenant à M-elle Chaptat[?]. (Collection of Marietta culled from the best opéras-comiques by Duni, Monsigny, Philidor and Grétry / belongs to Mademoiselle Chaptat[?]. The handwriting is hasty and not calligraphic. Besides the composers named here—Egidio Duni (1709–1775), Pierre-Alexandre Monsigny (1728–1817), François-André Danial Philidor (1726–1795) and André-Ernest-Modeste Grétry (1741–1813)—more composers are represented: Adolphe Blaise (d. ca. 1772), Jean-Paul-Egide Martini (1741–1816), Jean-Joseph Rodolphe (1730–1812), Nicolas Dezède (ca. 1740–1792), Jean-Jacques Rousseau (1712–1778), Antoine Albanese (1729–1800) and André-Joseph Exaudet (1710–1762). This sub-title page is followed by musical content—first, airs/ariettas for solo voice and then some duets. Only the vocal parts are given, on separate staves in the case of the duets. Any preludes or postludes are omitted. There is one instrumental piece in between (Exaudet's minuet). Only three items have text underlay, and only in a few cases the composer is identified (see below).
2v [Duni], Ariette de la fée Urgele ["A que l‘amour est chose jolie"], D major
3r [Blaise], Ariette d’ Annette et Lubin ["Pour mon Annette formons une maisonette"], A major
3v [Martini], Duetto L’Amoureux de quinze ans ["On ne peut élever l’enfance"], A major
4r [Rudolph], Duetto de L’aveugle de Palmire ["Des simples jeux de son enfance"], D major
4v [Duni], Ariette de La clochette, D major
5r [Philidor], Ariette de Tom Jones, B-flat major
5v [Monsigny], Ariette du Deserteur, D major
6r-v [Monsigny], Ariette du Deserteur, D minor
7r [composer not identified] Vaudeville, D major
7v-8v [Monsigny], Ariette du Deserteur, with text underlay, “C’est mon amant“, A major
9r-10r [Grétry], Ariette du Sylvain ["Ne crois pas qu’un bon menage"], A major
10v [Philidor], Ariette de Tom Jones ["Amour qu’elle est donc ta puissance"], G major
11r [composer not identified] Romance du Tounellies [?], G major
11v [composer not identified] Romance de Chamere [?], A major (key signature of two sharps only)
12r [Dezède], Romance de Julie ["Lison dormait dans un bocage"], D major
12v-13r Menuet d'Exaudet, G major
13v-14r [Dezède], Ariette de Julie ["Je suis simple née au village"], G major
14v-15v [composer not identified] Ariette, G major
16r [composer not identified] Ariette d’avnetiude [?] in D major (same as piece in E-flat major with RISM ID no.: 806930505)
16v [Philidor], Ariette de Femmes vengées, A major
17r [Grétry], Ariette de Lucille, with text underlay, “O bien suprême helas je touchois”, G minor
17v [Grétry], Ariette de Lucille ["Qu’il est doux de dire"], A major
18r [Dezède], Ariette de l’Erreur d’un moment, G minor
18v-19r [Grétry], Ariette du Huron ["Si jamais je prend un époux"], C major
19v [Rousseau], Rondeau [du Devin du village, "Allons danser sous les ormeaux"], A major
20r [Grétry], Ariette de Zémire et Azor ["Du moment qu’on aime"], E major
20v-21r [Grétry], Ariette du Sylvain ["Tout le village m’envie"], D minor
21v-22r [Grétry], Ariette de Zémire et Azor ["Ne vas pas me tromper"], D major
22v-23r [Dezède], Ariette de l’Erreur d’un moment, F major
23v-24r [Grétry], La Fauvette Ariette de Zémire et Azor, G major
24v-25r [Grétry], Ariette de Zémire et Azor ["Azor en vain ma voix t’appelle"], C major
25v [Grétry], Ariette de Zémire et Azor ["Rose chérie aimable fleur"], G major
26r [Grétry], Ariette de Zémire et Azor, C minor
26v-27r [Grétry], Ariette de Zémire et Azor ["La pauvre enfant"], G minor
27v-28r [Grétry], Ariette de Zémire et Azor ["Ah! Quel tourmant"], C minor
28v-29r [Grétry], Ariette de Zémire et Azor ["La malheur me rend intrépide"], E-flat major
29v-31r [Grétry], Duo du Sylvain ["Avec ton coeur s’il est fidèle"], F major
31v-32r [Monsigny,] Duo du Roy et son fermiér ["Un instant il m’attend"], A major
32v-33r Aria del Signor Gervaise [?], B-flat major (2 parts marked as "1-er dessus" and "2-ond dessus")
33v-34r [Grétry], Duo de Zémire et Azor ["Amour quand ta rigeur"], A major
34v Two false starts of the following, crossed out
35r [Grétry], Duo de Lucille ["Chantons deux époux que sous se loix"], A major
35v-37r Duo d’Albanese ["Viens dans ce verger"], G major
37v-39r [Monsigny], Duo de Rose et Colas [“M’aime tu”,] G major
39v-40r [Duni], Ariette des Moissonneurs, B-flat major
40v-42v [Grétry], Duo de Zémire et Azor, B-flat major
The remaining 94 leaves (folio 43-134) are lined with six staves like the others but left blank. An exception is fol. 109r, which contains scribblings in pencil, including the English word "love", apparently in a child's hand. These scribblings evidently from a later period. Folios 124v and 125r with small ink stains, further leaves lacking after folio 134. Overall in fine condition.