Paris: Chez Sr. Hue ... Et aux adresses ordinaires de Musique. Avec Approbation et Privilege du Roy, 1761-1762.
1f. (recto title within decorative border, verso blank), 120, pp. Engraved. Some minor dampstaining; 5mm. wormhole throughout; large tear to pp. 11/12; pp. 119/120 lacking and supplied in early manuscript.
First Edition. Lesure p. 41. Sonneck: Dramatic Music p. 114. Hirsch II, 613. RISM M3264.
On ne s'avise jamais de tout, to a libretto by Michel-Jean Sedaine after Jean de La Fontaine’s tale of the same name, was first performed in Paris at the Opéra-Comique (Foire St Laurent) on September 14, 1761.
This opera, with text by Sedaine, "marked the beginning of a long series of successful collaborations between the two ... Like Sedaine, Monsigny had a feeling for the theatre, and devoted all his artistic efforts to the stage. He took pains to match his music to the subject and to the action, and was personally involved with the `mise en scene'. Though he never achieved the fluency of Gretry, nor the technique of Philidor, Monsigny nevertheless showed a remarkable feeling for melody (Gretry considered him `the most tuneful of all musicians') and a freshness of inspiration which is always attractive, despite its limitations." TNG Vol. 12 pp. 500-501.
MONSIGNY. Rose et Colas Comedie en un acte. Representée pour la premiere fois par les Comediens Italiens Ordinaires du Roy. Le Jeudy 8. Mars 1764 ... Prix 12th. Gravés par Le Sr. Hue. [Full score]. Paris: Claude Hérissant ... Et aux adresses ordinaires des Marchands de Musique Avec Approbation Et Privilege du Roy. [Ca. 1764]. 1f. (recto title, verso blank), 154 pp. Engraved. Light to moderate uniform browning and waterstaining; paper repair to inner margins of first ca. 10 leaves.
First Edition. Lesure p. 441. Sonneck: Dramatic Music p. 114. Hirsch II, 614. RISM M3272.
Rose et Colas, to a libretto by Sedaine after F.-G. Desfontaines's Le van, was first performed at the Comédie-Italienne (Bourgogne) on March 8, 1764.
"With Rose et Colas (1764) Sedaine and Monsigny returned to one of the standard themes of opéra comique: two young peasants crossed in love. Rather than representing a backward step after the powerful and tormented language of Le roi et le fermier, Rose et Colas was an attempt to convey the quintessence of traditional opéra comique – and perhaps to outdo Favart on his own ground. Sedaine’s and Monsigny’s liking for experiment is evident again in their one contribution to grand opéra, Aline, reine de Golconde (1766), considered too close to opéra comique by the Mercure de France (it includes nine pieces marked amoroso), yet condemned by Grimm for conforming too obviously to the conventions of the Académie Royale de Musique. In any case, this ambiguity did Aline no harm: the work was performed until 1782, surviving the revolution introduced into the repertory of the Opéra by Gluck and Piccinni." Michel Noiray in Grove Music Online.
Folio. Contemporary full green vellum with dark red decorative title label gilt to upper. With small square contemporary Parisian music seller's paper label ("Des Lauriers") to upper outer corner of front pastedown and small rectangular contemporary Parisian music seller's paper label ("Le Menu") to verso of title to Rose et Colas.
From the collection of the American composer and conductor Gene Forrell (1915-2005), with his signature and embossed London address to endpapers.
Binding slightly worn, rubbed, and stained; head and tail of spine chipped.
Price: $800.00 other currencies