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Tag: digital scores (Page 10 of 22)

Newly Digitized: Massenet’s Werther, for baritone

Jules Massenet completed his opera based on Goethe’s novel Die Leiden des jungen Werthersin 1887; its first performance – sung in German – occurred at Vienna’s Hofoper on February 16, 1892, after Léon Carvalho, director of the Opéra-Comique, rejected the work on grounds that its somber subject matter was unsuitable for his audiences.

Jules Massenet, "Pourquoi me reveiller," Werther, pg. 176-177. Merritt Room Mus 742.14.640.5

Jules Massenet, “Pourquoi me réveiller,” Werther, pg. 176-177. Merritt Room Mus 742.14.640.5 (click to enlarge)

  • [Werther. Vocal score]. Werther: drame lyrique en quatre actes et cinq tableaux d’après Goethe; poème de M.M. Edouard Blau, Paul Milliet et Georges Hartmann; musique de J. Massenet; partition piano et chant. Paris : Heugel & Cie, [1893], c1892. Merritt Room Mus 742.14.640.5

The present score belonged to baritone Vanni-Marcoux (Jean Émile Diogène Marcoux, 1877-1962). He was a dominant figure in Parisian musical life following the First World War, celebrated for his performances as Massenet’s Don Quichotte. Vanni-Marcoux’s score presents the role of Werther re-written for baritone, a project that Massenet undertook in 1902 for the Italian baritone Mattia Battistini (1856-1928), who sang the role on various European stages from 1901 to 1911 (most often in Italian, but occasionally in French). Shown here is the scene from Act 3 between Charlotte and Werther leading up to the celebrated aria “Pourquoi me réveiller.”

-Robert Dennis

Newly Digitized: Cherubini and von Winter

In this overview of recently digitized materials, we add vocal scores by Luigi Cherubini and Peter von Winter to the works already in our collection of Digital Scores and Libretti. They belong to the Ruth Neils and John M. Ward Collection of Opera Scores, a set of over 8000 scores begun by the conductor Jean-Marie Martin, expanded by collector and book dealer Bernard Peyrotte, and now held at the Music Library and the Harvard Theatre Collection1.

Luigi Cherubini, 1760-1842

Whether the peril is an avalanche (Eliza), an importunate lover-turned-kidnapper (Faniska), a burning castle (Lodoïska AND Faniska), or the smaller spectacles of simple human jealousy and ambition, Cherubini can be relied upon for operas full of high drama. See our earlier digitization posts for links to other editions of these operas (both full and vocal scores), as well as a number of others.

Luigi Cherubini, Overture, Faniska. Merritt Room Mus 637.1.618.5

Luigi Cherubini, Overture, Faniska. Merritt Room Mus 637.1.618.5

  • [Deux journées. Vocal score. German & French]. Les Deux journées = Der Wasserträger: auch unter den namen, Graf Armand, oder Die beiden gefahrvollen Tage: ein Singspiel in drey Aufzügen / von Cherubini; Klavierauszug. Neue Ausgabe. Leipzig: Breitkopf und Härtel, [1818?]. Merritt Room Mus 637.1.618.5
  • [Faniska. Vocal score. German & Italian]. Faniska: (italienisch und deutsch): eine Oper in drei Akten / von Cherubini; im Klavierauszug von Bierey. Leipzig: Breitkopf & Härtel, [1806?]. RISM A/I, CC 2028,I,234. Merritt Room Mus 637.1.618.5

Peter von Winter, 1754-1825
One of four operas that Peter von Winter, Munich’s Kapellmeister, wrote for the King’s Theatre during his stay in London from 1803-1805. Unlike the tragédies lyriques Winter composed for Paris, these works, all with libretti by Da Ponte, were considered successes. Grotta di Calipso was revived in Munich in 1807, as Calypso, and received a lengthy review in the Allgemeine musikalische Zeitung.2


Peter von Winter, Title page, Grotta di Calipso. Merritt Room Mus 637.1.618.5

Peter von Winter, Title page, Grotta di Calipso. Merritt Room Mus 637.1.618.5

  • [Grotta di Calipso. Vocal score. German & Italian]. Calipso: dramma per musica in due atti = Calypso / dal Sigr. P. Winter; im Klavierauszuge vom Musikdir. M.G. Fischer. Leipzig: Breitkopf und Härtel, [1809?].
    RISM A/I, W 1296. Merritt Room Mus 637.1.618.5

-Kerry Masteller


1. The collection includes scores in both the Loeb Music Library and the Harvard Theatre Collection. HOLLIS search results for catalogued scores in each library: Ruth Neils and John M. Ward Collection of Opera Scores (Loeb Music Library) and John Milton and Ruth Neils Ward Collection (Harvard Theatre Collection). Many thanks to Andrea Cawelti and Christina Linklater, for their help in constructing the correct search for scores from the Harvard Theatre Collection.

2. [Review], Allgemeine musikalische Zeitung 9 (1 January 1807): 560-563, http://hdl.handle.net/2027/nyp.33433069052367?urlappend=%3Bseq=299.

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