Diable à quatre, ou La double métamorphose opera-comique en trois actes

Philidor, Francois Danican (1726-1795) À Paris,Chez Duchesne, Libraire, rue Saint Jacques, au-dessous de la Fontaine Saint Benoît, au Temple du Goût, 1757, Avec Approbation et Privilège du Roi Francois Danican Philidor came from a talented musical family, including his parents, siblings, aunts, uncles, and cousins. He began his musical education while a page-boy at Versailles, where he began singing with the Royal choir of Louis XV. During this time he also learned chess. A few of his early musical compositions were performed at Versailles, although he supported himself as a young man by copying and teaching music. In 1745, stranded in the Netherlands, he played chess to make his living. British officers escorted him to London where he established his reputation as the best chess player in Europe. A decade later he returned to Versailles to apply for the position of court composer, but he was turned down because his work was considered "too Italian." Ironic, since he was known for his aggressive chess playing in the Italian school. Nevertheless, Philidor established a fairly successful career as a composer of comic opera. Eventually, however, discouraged by the greater success of others, he returned to a career at chess

Analisis del juego de ajedrez ...

Mode of access: Internet

Te Deum laudamus /

In a third hand on t.p.: C. J. J. Tuerlinckx à Malines. 1809.In another hand on t.p.: Duquénoy a Bruxelles le 15 juin 1787.Copyist's name, on t.p. and at end, is illegible.For soloists (SATB) chorus (SSATB) and orchestra.Manuscript.Mode of access: Internet.Stellfeld purchase 1954.Book-label: Hector Colard

Tom Jones

Philidor’s Tom Jones is representative of the continental interest in English literature. Henry Fielding’s homonymous novel served as the foundation for Philidor’s opera, but Philidor pared down the story quite a bit, especially downplaying Tom’s philandering ways. Many secondary characters and situations were also cut, a common technique that librettists employ when adapting prose writings to the stage. Thus, a central plot unfolds in a manner that the audience can follow, and the length remains manageable for an evening’s entertainment