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Orfeo e Euridice by Enrico Scuri, 1842, Musei Civici di Pavia

Orfeo e Euridice [Orphée et Euridice] : dramma per musica / composto da Giusep. e Haydn ; traduit en vers français ; arrangé pour le piano-forte par Gerardin Lacour.
Paris : Mme. Masson, [1805]

Stanford University Libraries, Memorial Library of Music, MLM 495

Link to downloadable images of this work

Original title on the autograph score: Orfeo ed Euridice; title in Haydn’s catalogue: L'anima del filosofo ossia

Composed in 1791 and headed for the boards in the new Haymarket Theatre, Orfeo was cancelled due to recurring arts-patron rivalry between George III and his son, the Prince of Wales. The King and the Prince supported rival opera houses and seasons. The Prince was a patron of the Haymarket, and George III took it upon himself to refuse to grant a performing license to the Haymarket’s manager, Sir John Gallini, effectively mothballing the production of Orfeo at the new theatre. 

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Cambridge Structural Database - Annual GrowthEstablished in 1965, the Cambridge Structural Database (CSD) is the world’s repository for small-molecule organic and metal-organic crystal structures. Containing the results of over half-a-million x-ray and neutron diffraction analyses this unique database of accurate 3D structures has become an essential resource to scientists around the world.  

The 2015 version of the Cambridge Structural Database System has been released, providing access to over 700,000 curated structures.

Il Sodoma. Cupid in a landscape (1510)

Deux Duos avec accompagnement de piano forte:
Saper vorrei se m’ami, HXXVa:1

Guarda qui, che lo vedrai, HXXVa:2
À Bonn : Chez N. Simrock., [1803 or 1804]

Stanford University Libraries, Memorial Library of Music, MLM 490

Link to downloadable images of this work

This pair of pastoral duets for soprano, tenor, and piano were composed in 1796, a highly productive year for Haydn.  Other major works Haydn composed  that year include the Trumpet Concerto, the Missa Sancti Bernardi de Offida (‘Heiligmesse’), and the Missa in tempore belli (‘Paukenmesse’)The librettist was Carlo Francesco Badini, whom Haydn met while in London. Badini worked for the Italian opera house, and also supplied the libretto to Haydn's last opera, L'anima del filosofo, ossia Orfeo ed Euridice

Graduate students work on a presentation

We are pleased to announce the January 2015 digital issue of the Terman Engineering Library News.

In the news this month:

  • Knovel Challenge Begins February 2
  • Artech House e-Books Added
  • WriteLaTeX /Overleaf Training Opportunity
  • No VPN Access for Most Library Resources
  • Winter Mendeley Workshops

Read the full newsletter online.

Haydn's signature

Dernière sonate pour le piano forte, avec accompaniment de violon
À Paris : publiée par Naderman ; À Londres : par Clementi & Co., [1821]

Stanford University Libraries, Memorial Library of Music, MLM 498

Link to downloadable images of this work

In advance of a visit to Paris in 1803, Prince Esterházy asked Haydn to compose a new piano sonata as a gift for Louise-Alexandrine-Eugénie Moreau, the French-Creole wife of the famous general Jean Victor Moreau, and hostess of an influential Paris salon. Haydn, pleading illness, sent instead a copy of the sonata for piano with violin and 'cello accompaniment (HXV:31) minus the somewhat superfluous ‘cello part.  In an accompanying letter to Madame Moreau, Haydn apologizes for not composing something new, due to his failing health, and promises to fulfill his duties once he regains his strength.

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The Stanford University Libraries are sponsoring a one year free trial of Overleaf/WriteLaTeX for all students, faculty and staff who would like to use a collaborative, online LaTeX editor for their projects.

Winter in the Viennese woods

Die Jahreszeiten (The Seasons)
Leipzig : Breitkopf & Härtel, [1802]

Stanford University Libraries, Memorial Library of Music, MLM 494

Link to downloadable images of this work: volume one | volume two

Composition, performance and publication of The Seasons quickly followed the resounding success of The Creation. The libretto, also provided by Baron von Swieten, was a fragmented adaptation of James Thompson’s epic poem, first published in the 1730s and which enjoyed broad popularity at the end of the century. The private premiere took place at the Schwarzenberg Winter Palace on April 24, 1801, and the public premiere took place in the Redoutensaal at the Hofburg Palace, on May 29 of that same year.

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