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Operas. Musical compositions.

 Subject
Subject Source: Art & Architecture Thesaurus
Scope Note: Dramatic musical compositions in which singing forms an essential part, chiefly consisting of recitatives, arias, and choruses, with orchestral accompaniment, usually documented by a libretto and musical score.

Found in 41 Collections and/or Records:

Collection of music by Hector Berlioz., Early 19th century-mid 19th century.

 File
Identifier: MS.3428 [HB.MS.1-9]
Scope and Contents The following is based on the fuller description in Cecil Hopkinson, ‘A bibliography of the musical and literary works of Hector Berlioz’.HB.MS.1. 'Romance de Nina, ou la folle par amour.' Full score of the song from Dalayrac's opera 'Nina', copied by Hector Berlioz. (Folio 1.)HB.MS.2. "Air de Cellini, transposé pour voix de Basse par l'auteur." Full score of No. 15 from the opera 'Benvenuto Cellini'. This transposition is unpublished. (Folio 2.)HB.MS.3....
Dates: Early 19th century-mid 19th century.

Contemporary copy of the score of acts III-IV of ‘Il Trovatore’ by Verdi., 1853.

 Item
Identifier: MS.21858
Scope and Contents

A leaf has been torn out after folio 87 but without loss of text.

Dates: 1853.

First violin part of 'Anagilda', an opera in three acts., 1717.

 Item
Identifier: MS.9473
Scope and Contents

This is a composite work, being a collection of arias by various north Italian composers, interspersed with anonymous recitatives.

Dates: 1717.

Full score and piano reduction of ‘Cleopatra’ by G W Crawford, a miniature tragic opera in one act, with libretto by Graham K Maude and Harold Simpson., [?1892-?1941.]

 Sub-Series
Identifier: MSS.21944-21945
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: [?1892-?1941.]

Full score of acts I and II of ‘The lady of the lake’ by G W Crawford., [?1892-?1941.]

 Item
Identifier: MS.21953
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: [?1892-?1941.]

Full score of acts III and IV of ‘The lady of the lake’ by G W Crawford., [?1892-?1941.]

 Item
Identifier: MS.21954
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: [?1892-?1941.]

Full score of ‘Celia’, a pastoral opera in two scenes and a tableau, by G W Crawford., 1895.

 Item
Identifier: MS.21936
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: 1895.

Full score of ‘Cleopatra’ by G W Crawford., [?1892-?1941.]

 Item
Identifier: MS.21944
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: [?1892-?1941.]

Full score of 'Segue il suo fido La Rondinella', an aria for contralto, accompanied by oboes and strings, dated Bologna, November 1717., 1717.

 Item
Identifier: MS.9474
Scope and Contents From the Series:

MSS.9447-9458 consist of Scottish and English music, and French lute music, all dating from before 1675. MSS.9459-9469 consist of French music brought to Scotland by James and Harie Maule after their visits to France between 1678 and 1683. MSS.9470-9475 are opera scores and parts acquired by James Maule when in exile in Italy after the 1715 rising.

Dates: 1717.

Full score of the overture of ‘The lady of the lake’ by G W Crawford., [?1892-?1941.]

 Item
Identifier: MS.21952
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: [?1892-?1941.]

Full scores and vocal score of ‘The lady of the lake’, an opera in four acts adapted by G W Crawford from the poem by Sir Walter Scott., [?1892-?1941.]

 Sub-Series
Identifier: MSS.21952-21955
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: [?1892-?1941.]

Italian operatic manuscripts collected by James Maule, 4th Earl of Panmure, during his exile after the 1715 Jacobite rebellion., 1717.

 Sub-Series
Identifier: MSS.9470-9475
Scope and Contents From the Series:

MSS.9447-9458 consist of Scottish and English music, and French lute music, all dating from before 1675. MSS.9459-9469 consist of French music brought to Scotland by James and Harie Maule after their visits to France between 1678 and 1683. MSS.9470-9475 are opera scores and parts acquired by James Maule when in exile in Italy after the 1715 rising.

Dates: 1717.

Manuscripts, typescripts, and related working papers of other creative works of Ian Rankin., 1977-2016, undated.

 Sub-Series
Identifier: MSS.50516-50523
Scope and Contents

This series contains manuscripts and typescripts of, and associated working papers for, various other creative works of Ian Rankin. The working papers include development and editorial notes. Administrative papers and correspondence relating to some of the works are also included.

Dates: 1977-2016, undated.

Music books of John Davidson containing parts of arrangements for string quartet of Davidson's own compositions originally for other combinations of instruments, of operatic and other pieces by various composers, and of some songs., [?1871-?1926.]

 Sub-Series
Identifier: MSS.22038-22041
Scope and Contents From the Sub-Series: John Davidson, a member of the family of J & A Davidson, coal merchants and shipping agents, Aberdeen, was an amateur musician and composer. His preferred medium appears to have been the string quartet, but he composed and arranged pieces also for other combinations of instruments, chiefly strings. A number of pieces appear in more than one form. The collection contains both full scores and parts.The earliest and latest dates discernible are 1871 and 1926, but almost...
Dates: [?1871-?1926.]

Music of G W Crawford for stage works., [?1892-?1941.]

 Sub-Series
Identifier: MSS.21936-21967
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: [?1892-?1941.]

Opera and ballet music of Ian Whyte., Mid 20th century.

 File
Identifier: MS.22087
Scope and Contents

The contents are as follows:

(i) Sections, some partly in full score, apparently of the ballet 'Donald of the Burthens' 1951 (folio 1);

(ii) Two copies, both incomplete, of the libretto of 'The forge', an opera (or operetta) in two acts, and a fragment of music (folio 30);

(iii) Part of the libretto, some costume designs and some sections of music for the ballet 'The trout' (folio 86).

Dates: Mid 20th century.

Operas of G W Crawford., [?1892-?1941.]

 Sub-Series
Identifier: MSS.21936-21957
Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...
Dates: [?1892-?1941.]