Recent acquisitions from the André Meyer Collection

Houghton Library Blog 2013-03-04

André Meyer (1884-1974) began buying music and music-related materials at an early age, and at his death left a spectacular collection, a portion of which was recently sold at Sotheby’s. Houghton Library was lucky enough to acquire ten lots.

Joseph Bodin de Boismortier (1689-1755). Les voyages de l’Amour : ballet en quatre actes.

M1520.B692 V6 1736 Dedication

This Boismortier score was dedicated to Victor-Amédée de Savoie, prince de Carignan (1690-1741), who was extensively involved with the Paris Opera. Included on the left is a contemporary catalog of Boismortier’s works. Documents relating to Jean-Nicolas de Francine and François Francœur.

Christoph Willibald Gluck (1714-1787). Armide : drame héroique.

M1500.G56 A7 1777a  Title page

The frontispiece to this Gluck score was certainly added later. A “physionotrace” by Quenedey, it was engraved after a bust by Houdon.

Bound together, the following three scores: Nicola Porpora (1686-1768). The favourite songs in the opera call’d Polypheme. George Frideric Handel (1685-1759). The favourite songs in the opera call’d Alcina. George Frideric Handel (1685-1759). Solos for a German flute, a hoboy, or violin, with a thorough bass for the harpsicord or bass violin.

M1505.P75 P6 1735

The Alcina score is inscribed with a familiar [mis]quotation.

Jean-Baptiste Lully (1632-1687). Bellerophon, tragedie en musique.

MS Thr 938 act 5 scene 3

This Lully copyist manuscript provides an interesting glimpse into contemporary notation practices.

Jean-Baptiste Lully (1632-1687). Cadmus et Hermoine : tragédie en musique.

François Marie Isidore Queverdo (1748-1797). Final scene from Le déserteur, opera by Sedaine and Pierre-Alexandre Monsigny.

Niccolò Piccinni (1728-1800). Printed receipt, signed and dated, for a production created for Marie Antoinette.

Jean-Philippe Rameau (1683-1764). Le temple de la gloire, feste donnée à Versailles.

Jules Massenet (1842-1912). Les Erinnyes, transcription pour piano.

MS Thr 935 p. 17

A fascinating revision to an existing printed score, this collage provides an illuminating glimpse into Massenet’s compositional process.

[Thanks to Andrea Cawelti, Ward Music Cataloger, for contributing this post.]