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SCHIRMER'S LIBRARY OF MUSICAL CLASSICS
Anthology of Italian Song Of the Seventeenth and Eighteenth Centuries
Selected and Edited with Biographical Notices by
ALESSANDRO PARISOTTI
English Translations by
DR. THEODORE BAKER
BASSANI GASPARINI
BONONCINI GIORDANI
CACCINI MARCELLO
CAVALLI MONTEVERDE
CESTI PARADIES
DEL LEUTO PICCINNI
DELUCA RONTANI
DURANTE SARRI
FALCONIERI SCARLATTI
FASOLO STRADELLA
TENAGLIA
Boolc I • library Vol. !90
Boolc II • Library Vol. 291
G. SCHIRMER, Inc., NEW YORK Copyright, 1894, by G. Schirmer, Inc.
Copyright renewed, 1922, by Theodore Baker
,...._d 111 the U. S. A.
\ l \
BIOGRAPHIES OF AUTHORS REPRESENTED IN THIS VOLUME.
0. B. BASSANI.
I657-I7I6.
HE was born at Padua in 1657 ; became maestro di cappella in the church of San
Petronio in Bologna, and in I685 accepted
a similar position at Ferrara, where he died
in 1716. He was entered as a member
of the Philharmonic Academy of Bologna
in 1677, becoming its president in 1682. He was also a member and the director
of the celebrated A ccademia della Marte at Ferrara. He was an eminent violinist,
one of his pupils being Corelli ; and like
wise a very skilful organist and a distin
guished and gifted composer, having writ
ten six theatrical works, besides thirty other
vocal and instrumental compositions. His
teacher in music was Father Daniele Cas
trovillari.-From an extremely rare work
entitled Languidezze amorose-cantate a voce sola, etc., the songs '' Dormi, bella"
and '' Posate, dormite" (fragments of the
Cantata called La Serenata), and "Se
guita a piangere, povero cor" (fragment of the Cantata L'Amante_placata), were
taken-three pieces in which natural grace and simplicity are united with deep emotion and exquisite artistic taste.
0. B. BONONCINI.
1672-1748.
A soN of Giovanni Maria Bononcini (or
Buononcini), the celebrated theoretician
and composer already mentioned in Vol.
I of our Collection, the date of his birth
is in doubt, being given variously at 1672 and 166o. He attended the school founded in Bologna by Gian Paolo Colonna, and
. II
speedily gave evidence of his talent by pub
lishing instrumental compositions, Masses
in 8 parts, and other noteworthy composi
tions. Proceeding thence to Vienna, he
was admitted to the court orchestra in the
capacity of violoncellist. Here he wrote
the opera Camilla, which had extraordina
ry success both in Vienna and at the Italian
theatres, and later at the Haymarket in Lon
don. At Rome he composed, in I 694, the operas 'Tullo Ostilio and Serse. In I6oo he
brought out at Vienna La fede pubblica, and in 170 I, at Berlin, Poltfemo. Being
invited to London in 1716, Bononcini, un ..
der the protection of the Duke of Marl
borough and others, and Handel, whose
cause was espoused by the reigning family.
became bitter rivals; their rivalry was the
occasion of the proposition, that these two
eminent composers, in conjunction with a
third (Attilio Ariosto), should write an
opera together, each composing one act.
The libretto chosen was Muzio Scevola,Ariosto took the first act, Bononcini the
second, and Handel the third. Handel's
victory was decisive; but Bononcini's patron, far from being discouraged, heaped new favors on him, received him into his
own house,, gave him a pension of £500 and afforded him every opportunity for the prosecution of his musical work.-His downfall, however, was approaching, and was hastened by the story, which he was
too proud to contradict, that he had ap,
propriated a madrigal by Lotti and given
it out as his own composition. The re
sulting loss of prestige was never made
good. The date of his death is uncertain,
but is assumed to be I 748 .
The aria "Per Ia gloria d'adorarvi,"
which we print herewith, is from his opera
Griselda, written in London in 1722 ; it has many fine effects and an agreeable and
flowing melody.
OIULIO CACCINI.
1546-1614.
HE was born about 1546 in Rome, and
was known under the name of Giulio Romano. From Scipione Della Palla he
received instructton in singing and lute
playing, and had already distinguished him
self in his art when he sang, in 1 579) the
part ot Nt"gbt at the celebration of the
nuptials of Francesco De' Medici and Bianca
Capello, in an intermezzo composed by
Pietro Strozzi. The renown of this gifted
Roman composer, who, in coOperation with
Jacopo Peri, Monteverde, and Emilio del
Cavaliere. had so large a share in the crea
tion of the musical drama, renders it easy
to dispense with a long biographical sketch.
Only a few of his principal works will be
mentioned : It Combattimento d, Apolli.ne .. on a poem by Bardi ; La Dajne and L, Euritlke.. on verses by Rinuccini ; It Rapiftlento di Cefalo .. on a poem by Chiabrera,
written for the wedding of Maria de' Medici,
the niece of Grand Duke Ferdinand, with
Henry IV of France, which took place
Nov. g, r6oo.-We may also add a collection of Monodie.. Canzoni e Madrigale for
solo voice, from among which latter the
song "Amarilli" was selected by reason of
the rare artistic treasures which it reveals.
-The precise date of Caccini's death is un
known; but one of his dedications estab
lishes the fact that in 1614 he was still
Uving in Florence, advanced in years. His
daughter Francesca was a · distinguished
writer of music and the authoress of the
celebrated ballet La Libera1_t"one di Rug,.,.o 41111• Isola d" Alcina. Francesca Cac
clni enJoys the honorable distinction of
being the first lady who devoted herself,
III
with brilliant results, to the study of musi
cal composition.
FRANCESCO CAVALLI.
I 599-1676.
PIER FRANCEsco, known under the family
name of his protector Federico Cavalli, a
Venetian nobleman, was born in I 599 (or,
according to other authorities, in I 6oo), as
the son of Giovanni Battista Caletti-Bruni,
maestro di cappella at the church of Santa
Maria in Crema. His patron, who was the
sheriff of Crema, being transferred in 1616
to Venice, took the youthful Caletti with
.him, entertaining him with splendid hos
pitality at his own palace, and furnishing
him with amplest means for the cultivation
of his musical gifts. In I 6 1 7 he was re
ceived into the choir of San Marco, then
conducted by Monteverde ; in I 640 he was
appointed organist of the second organ of
that cathedral, obtaining the post of first
organist in 1665. In 1668 he became
conductor of the ducal musical organiza
tion, holding this position until his death,
which occurred on jan. 14, 1676. He was
an extremely fertile writer of opera, com
posing within the space of 32 years (I 6 37-1669) thirty-nine dramas, all of which were
successfully produced in the principal the
atres. Cavalli continued Monteverde's re
forms, imbuing his operatic works with greater breadth and power by means of
increased variety of harmonization, the de
finitive establishment of the string-band,
development of dramatic effect and rhyth·
mic intensity. In 1 66o he was summoned
to France by··· Cardinal Mazarin, to assist
at the nuptials of Louis XIV and Maria
Theresa of Spain, on which occasion he
brought out his "festival opera" Serse (Nov. 22), though with poor success,
owing either to the then prevailing ignor
ance of the Italian language in France, or
to a lack of musical culture at the French
court The introduction of the Aria into
opera has been ascribed to Cavalli, but
wrongly, for Monteverde has a prior claim
to the merit of this innovation. Neverthe
less, Cavalli gave the aria greater freedom
and elegance of form, developing it artis
tically on the lines laid down by Monte
verde. The arias in Giasone (Teatro San
Cassiano, Venice, I 649), Did one (I 64 I),
Serse (I654), and Romilda (I65I), ar~ note
worthy examples of their class. Giasone
(Jason), the most successful of his operas,
from which the aria '' Delizie contente" is
taken, was produced with extraordinary
applause first in Venice, then in Florence
( I65 I), Bologna ( I652), Naples ( I65J),
Rome (I654), Vicenza {I658), Ferrara
{I659), Genoa {I66I), Milan (1662), and
finally returned, with equal success, to
Venice in I666. At his death, Cavalli was
the possessor of a considerable fortune, a
portion of which he left to the descendants
of his patron, and the remainder to certain
religious foundations in Venice ; he had
no direct heirs, his wife and his two sisters
having died before him.
MARCO ANTONIO CESTI.
162o-16~.
THE aria '' Tu mancavi a tormentarmi"
is worthy of special notice, among Cesti's
compositions, on account of the interesting
variety which it exhibits. The author of
Orontea, of whom mention is made on
p. VI of Vol. I of this series, was born at
Arezzo (or Florence ?) about I 620 ; he was
a pupil of Carissimi and, in I 646, maestro
di cappetta at Florence ; in I 66o he was
admitted to the papal choir. He subse
quently became maestro di cappetta at the
court of Emperor Leopold I. He died
at Venice in I 6~.
ARCANOELO DEL LEUTO.
I5--16-.
THE charmingly suave song '' Dimmi,
Am or," accompanying this sketch, is at-
IV
tributed to Arcangelo Del Leuto, con
cerning whom no positive facts could be
found. The appended biographical notice
consequently rests upon induction alone.
Pietro Della Vaile, the author of the poem
Carro di fedelta d' amore, which was set
to musk by Paolo <2!Jagliati, inserted, in
the 'Trattato di Musica scenica by G. B.
Doni, a lecture of his own entitled ~etta
Musica dell' eta nostra. In this essay he
mentions a certain Cavalier Del Leuto as
an esteemed composer and player in Rome,
together with Gio. Francesco Del Leuto,
both highly skilled musicians ; these two
names cannot have been used to designate
one and the same person. He also speaks
of G. F. Del Leuto as one of the inter
preters of the Carro. Now, this Carro di
fedelta was printed at Rome by Robletti in
I6I I ; consequently, it must have been
given in some subsequent year-that is,
early in the I 7th century. In respect to
both poetry and music, the style of our
song would indicate that it belongs to pre
cisely that period. It is therefore very
probable that it was composed by Gio.
Francesco Del Leuto, who, by reason of
his virtuosity in playing the lute, first as
sumed the cognomen of Arcangelo, by
which he may have been best known later
on from its appropriateness in expressing
his masterly command of the instrument.
In the absence of any certain data, these
more or less plausible conjectures are of
fered ; authoritative statements regarding
this amiable lutenist would be gratefully
received. In any event, " Dimmi, Amor"
is unquestionably a piece of most delicate
workmanship, wherein refinement of taste
is wedded to moving effect.
S. DELUCA.
15--16--.
THE atietta "Non posso disperar," which
was discovered among old manuscripts of
the I 7th century, exhibits very noteworthy
features in its leading and harmonization; its construction is remarkable for elegance,
fluency, and pleasing effects. Despite most
patient research, it was impossible to obtain data concerning this composer, who is ignored by the biographers of musicians. Probabilities, however, favor the assumption that he was a Neapolitan by birth, and lived in the first half of the 17th century.
FRANCESCO DURANTE.
!684-1755·
A PUPIL of Alessandro Scarlatti, he became one ofthe most eminent composers of the 18th century, and the head of the Neapolitan school of music. He was born at Frattamaggiore, a village not far from Naples, on March 15, 1684. He was admitted to the Conservatodo dei Poveri di Gesit Cdsto, and in January, 1742~ was appointed professor at the Conservatory at Loreto, at a monthly salary of ten ducats (equivalent to 42Yz francs), to replace Porpora, who had departed to Germany. He succeeded Scarlatti as professor at the Conservatory of San Onofrio, and numbered among his pupils the finest musicians of the period, such as Fiorillo, Guglielmi, Speranza, Sacchini, and G. B. Pergolesi. Though endowed with a less powerful imagination than his master, he was nevertheless highly skilled in the development of themes and the art of harmonization. His compositions are models of scholarly construction in the above particulars, and for the smooth and cantabile leading of the vocal parts. His manners were rustic and awkward, his mind cool and reflective, his soul simple and ingenuous. Although his compositions never brought him in a large income, he practised such strict economy that he was enabled to erect a chapel at his own expense in the church of S. Antonio at Frattamaggiore, which he dedicated to St. Michael, and in which he was laid to rest after his death, which occurred at Naples on the
v
IJth of August, 1755· The tomb bears the inscription Franciscus Durante-Cappel/ce ... magister-Musicce fecit.-Piain to negli
gence in regard to his attire, he took par
ticular pains with his curled and scented wig, to prevent deranging which he always wore his cocked hat. He was thrice married. With his first wife he lived in incessant warfare, as she spent his meagre earnings in the lottery. The second, whom he dearly loved, and who had been one of his servants, he himself laid in her coffin. A few months later he celebrated his third wedding, with another domestic.
The Prayer and secular Aria accompanying this sketch are pieces well calculated to show, in their different genres, the skill and taste of their author.
ANDREA PALCONIERI.
15--16--.
THE musical library of the Royal Academy of St. Cecilia at Rome possesses a valuable work entitled Libra Prim(}--di VillaneUe-a 1, 2 et J voci-con l' aifabet(}--per la chitat·ra spagnuola-d' Andrea Falconieri--. napoUtan(}--dedicate-all 'ill. mo et rever. ma
sig.r Card. De' Medici in Roma-Appresso G£o. Battista Robletti !616-con licenza de, superiori.-This volume, also valuable as a fine specimen of typographical art, contains 17 villanelles for one voice, 1 1 for two voices, and 4 for three voices; in all, 32 compositions remarkable for their simplicity and elegance. The second villanella was selected for publication because it appeared best calculated for effective interpretation, and the most graceful of all; a facsimile is annexed.
Andrea Falconieri receives no more than a scant mention in Fetis' Dictionary, which does not even give his proper name; the other biographers ignore him. It may be conjectured that he was born near the close of the 16th century; for the dedication of the book in question commences: " Hav-
h I
mg resolved to give to the press these, my
Musical works, Part the First of my feeble
conceptions. . • . ", and bears the date of
March 21, 1616. In the National Library at
Florence may be found the Qut'nto Libro
delle Must'che di A. Falconieri, published
by Pignoni in 1619-a rare and interesting
work.
O. B. FA.SOLO.
16--16-.
A VER.Y rare book in the possession of Dr. Oscar Chilesotti bears the title: u M£stican
za di Vigna alta Bergamasca; t1 Canto del
la Barchetta et altre cantate et art'ette per
Voce et Chitarra. "-From this work is
taken the aria "Cangia, cangia tue voglie,''
which appears peculiarly adapted for publi
cation in this collection by reason of its
charming naturalness and spontaneity.
In Vol. XLI, No. 48, of the Gazzetta
Musicale of Milan, dated Nov. 28, 1886,
Dr. Chilesotti gives a few vague notes con
cerning Fasolo, and remarks on the rarity
of the above-mentioned work, of which
even Vogel, in his researches in the Italian
and German libraries, could discover no
second exemplar. It was published in
Rome by Robletti, in 1627. Biographers in
general make no mention of Fasolo; but on
p. 48o of A. W. Ambros' History of Music
(Leipzig.. Leuckart, 188 I) he is noticed as
"a Franciscan monk in a monastery at
Padua, whose Annuale Organistt'co was
published in 1645 at Venice," the excellence
of whose musical workmanship shows him
to have been closely related (intellectually)
to Frescobaldi.
FRANCESCO OASPARINI.
1665-17.37·
AccoRDING to Fetis, Grove, and Reiss
mann, he was born at Lucca in 1665; ac
cording to Florimo, at Camaiore near Lucca,
in 1665; according to Riemann's Diction
ary, and the Annuart'o of Paloschi, in the
VII
latter place on March 5, 1668. He excelled
as a writer of both sacred and secular mu
sic, and produced no less than 3.2 dramatic
works, besides numerous cantatas, inter
mezzi, etc. The work upon which his
fame chiefly rests is entitled ~'The Practical
Harmonist at the Harpsichord" (L'Armonlco
pratico at cembalo, ovvero regale, osserva-
1_ione ed averHmenti (sic) per ben sonare tl
basso e accompagnare sopra il cembalo~
spt'nefkt ed organo), Venice, 1683; an in
struction-book in thorough-bass followed
by Fenaroli in the compilation of his Parti
menti. Gasparini's teachers were Corelli and Pas
quini; among his pupils may be mentioned
Benedetto Marcello, who dedicated some of
his compositions to him, and wrote of him
with the utmost veneration. He was a philharmonic academician, and professor in
the Conservatorlo della Pletd at Venice;
later he was appointed maestro di cappella
at the Lateran in Rome. The two arias
here selected are fragments of his Second
Cantata.
The weight of authority sets April, 1737, as the date of his death.
OIUSEPPE OIORDANI.
1743-1798.
THE family of Giordani, who was also
known as Giordanello or Giordaniello, com
prising his father, three sisters, and two
brothers, formed a company which gave
representations of comic opera in the smaller
theatres of Naples. In I 762 this company
traveled to London, and was received with
great favor at the Haymarket Theatre.
Giuseppe, however, returned to Naples for
the purpose of prosecuting his studies at the
Conservatorio della Madonna di Loretto.
He afterwards rejoined his family in London,
where he composed a centone entitled Ar
taserse, followed by a serious opera, Anti
gono. From 1744 to 1782, devoting him.
self to teaching, he wrote only the opera.
t>uffa ll Bacdo {by some erroneously at
tributed to his brother Tommaso ), which
was given in London wtth marked suc
cess from I 744 to I 749· Again returning to Italy in 1782, he composed a great
number of operas for all the Italian theatres,
as well as many pieces of chamber-music,
among which latter was the aria here re
printed, wherein fine effects are happily
wedded to flowing melody. In I79I he was called to conduct the Metropolitan
Orchestra of Fermo, and while there
wrote a large number of sacred composi
tions. Fetis and the Marchese Di Villarosa
make a sad mistake in confounding Gior
danello with Carmine Giordano, who was
born about 1690, and was likewise a master
of the Neapolitan school. Other errors
with regard to his birth and death have
been masterfully confuted by Florimo, in
his great work on the Scuola musicale di NapoH. There is an inscription in the C~
thedral at Fermo, according to which vixit dnnos LIV dies XXVI and decessit pientissimus-Pridie Nonas januaris An. MDCCLXXXXV/11. This inscription, worthy of cre
dence from having been written for the sol
emn obsequies of Giordanello, celebrated in January, 1800, show with the most scrupulous exactitude that he was born on Decem
ber the 9th, I 743·
BENEDETI'O MARCELLO.
I686-I739·
THE autograph manuscript of Benedetto
reproduced below in facsimile is dated jan.
2 I st, I 713. The volume containing it, which
is entitled Cantate per camera-Poesia e Musica-di-Benedetto Marcello-composte per la Sigra Ricci dilett., is apparently the
very exemplar intended for said dilettante, for whom both verses and music were
written, it being elegantly illuminated in
gold and colors. None of the biographical
notices on Marcello mention, as far as I am
aware, this work so valuable both from a
VIII
musical and literary point of view. The
fragment "Non m'e grave morir per amore"
forms a part of the second cantata ; it is replete with peculiar novelty and charm, and
is noteworthy on account of the harmonic
leading in the recitative.
Marcello was born at Venice on Aug. I,
I686, and died july 24, I739, at Brescia,
where he held the position of Camerlengo (Chamberlain). Further notices concerning
him may be found on p. IX of Vol. I of this
Collection.
CLAUDIO MONTEVERDE.
I568-I643·
BoRN of indigent parents at Cremona, in I 568, he early attained to musicianly re
nown, and was admitted while still very
young to the court of the Duke of Mantua
in the capacity of a viola-player. Here the
maestro di' cappella, Marco Antonio Ingeg
neri, gave him lessons in counterpoint, and
when but sixteen years old he published a
collection of Canzoni for three voices. In a
brief time his mastery of his art became
such that his fertile and daring genius in
augurated a series of the boldest innova
tions. He aided powerfully in bringing about the transformation of the medieval modes into the modern chromatic system, by adopting the dissonance of the dominant seventh in such wise as to exhibit the harmonic relation of the fourth degree to the seventh, and by endowing this latter with
its true character as the leading-note, with
a regular resolution to the tonic. This im
portant fact-which his genius intuitively
felt, perhaps all unconscious of the grand re
sults which were to follow-finds gradual
development in his books of madrigals; arriving at the fifth book, he no longer hesi
tates to take without preparation the tritone, the chord of the fifth and sixth, the
dominant seventh and ninth, and the diminished seventh. Herewith the transforma
tion of the tonal system was completed, and
Monteverde, profiting by his new system of
harmony to continue his course as an inno
vator, created the forms of the eAria and
Vuetto, skilfully employing the resources of instrumentation according to the scenic situation, and developing the musical
drama, properly so called, in an expressive and dramatic form. But the fame of this eminent musician is so great, that many words are unnecessary. We deemed it proper to emphasize one remarkable feature in the work of this great genius. The Lamento di eArianna which we print is a shining exemplar of his gifts as a compos
er; it is taken from the opera eArianna, brought out in I 6o8 at the court of Mantua, and in 1641 in Venice, it being the first melodrama produced at the T eatro San
Moise. The National Library at Florence possesses the manuscript of the entire scena, the principal part of which is given
here ; this manuscript appears to be the ' author's original.
Monteverde died at Venice in 164.3; near the end of 1613 he was appointed maestro di cappella at St. Mark's; he was buried in the church dei Frari, in a chapel to the right of the choir.
PIER DOMENICO PARADIES.
171D-1792.
THIS distinguished composer and excellent player on the harpsichord was born at Naples, where he studied under Porpora. He wrote eA lessandro t'n 'Perst'a, performed in Lucca in 17 38; It CJJecreto del jato, given at Venice in 1740; La lMuse in gara, a cantata represented at the Conservatorio de' Mendicanti in Venice in the same year. In
1747, he took up his permanent residence in London, and on December 17 of that year he brought out the opera Fetonte at the King's Theatre, which was given nine times with indifferent success. After this he abandoned composition, devoting himself to teaching the harpsichord ; in his ca-
IX
pacity as a teacher he regained his laurels
by publishing the Studies and Sonatas. Clementi and Cramer used his works with
great benefit to themselves. Cassandra Frederick, his pupil, played at the age of five and a half years, in a concert given at the Haymarket, compositions by Scarlatti and Handel, being the same who performed in 176o, in the double capacity of an organist and singer, the celebrated oratorios
of the Saxon master. Paradies returned late in life to Italy, and
settled in Venice, where he died in 1792.
NICCOLO PICCINNI.
1728-1800.
Alessandro nelle lndie, a melodrama in
3 acts, set to poetry from the pen of Pietro Metastasio, was represented for the first time at Rome in I 758, and thereafter at
Naples in 1774 and 1792. In the archives of the Royal College of Music of Naples are to be found 2 copies of this opera. One was donated to the College by Maria Carolina, and is in 3 acts ; the other was among the autographs collected and acquired by Florimo, and has but 2 acts. The former
is the score executed in 1758 and 1774: the latter is the same, revised and corrected, which served for the representations of
I 792. The aria of Cleofide which we print herewith is one of the most salient numbers of the opera. The verses of the recitative were substituted, by Piccinni himself, for those written by Metastasio, but the aria. following is that which is found in Act II, Scene IJ, of the drama of the imperial poet. The form of this recitative, rich in dramatic features, the admirable construction, and the effectiveness of the whole composition, render this aria a veritable artistic gem.
Piccinni, of whom a further account ap· pears in the first volume of this Collection, was born at Bari, on Jan. 16, 1728, and died of bilious fever at Passy, near Paris, on
March 1~ 18oo.
RAFFAELLO RONTANI.
15--16-.
Le varie-musiche-di-~ajfaello ~n
tani-a una, due e tre voci-per cantare net cimbalo o in-altri stromenti simili con L#eAlfabeto per Ia Cht'tarra-spagnola in queUe piu a proposito per-tale strumentoin Roma~ppresso Gio. Battista Robletti, I623-e/Jd instantia di Antonio Poggioli. Air insegna del Martello i11. Parione-Con Licenz a de, Superiori.-The work bearing
this title belongs to the valuable collection of the well-known cultivator of ancient music, Dr. Oscar Chilesotti, whose courtesy permitted it to be copied. The song so transcribed and harmonized is charming in its graceful simplicity, and forms a most sweet and admirable setting to Chiabrera's celebrated verses. Its composer was born in Florence towards the end of the 16th century, and was in the service of the Marquis of Capistrano, Antonio De' Medici, a
natural son of the Duke Francesco Maria
and Bianca Capello. He is mentioned by Q!Iirinus van Blankenborg in his Elements of tJvfusic, who notices a book of canzoni published in Rome in 1632. The work by Rontani cited by Fetis in his biographical dictionary, and published at Florence by Zanobi Pignoni in 1614, may be found in the National Library in that city. The title differs very little from that heading this sketch, but it contains wholly different compositions.
DOMENICO SARRI.
1678-174-?
DoMENICO SARRI (or Sarro), was born of indigent parents at Trani, in 1678; his musical studies at the Conservatorio della Pietd
in Naples were finished in 16cj7. In 1712
he was appointed vice-conductor of the Royal musical organization, and wrote an
oratorio for the festival of San Gaetano. As
early as 1702 he had composed a sacred
X
melodrama, L, Opera a· ,Amore. He subse
quently wrote many serious operas, and
numerous oratorios, serenatas, comic inter~
mezzi, cantatas, concertos for various in
struments, and church-music. His Didone abbandonata deserves special mention; the
music was set to verses by Metastasio, then a young man hardly 26 years of age, for the
theatre of San Bartolomeo in 1724. This opera, which was enthusiastically received,
was sung by the poet's friend Marianna
Benti-Bulgarelli and Niccola Grimaldi (call
ed Nicolt'no).-ln 1741 Sarri was still at his post as first conductor; the precise date of his death is unknown.
ALESSANDRO SCARLATTI.
1659-1725.
IN the first volume of this Collection we published a few arias, full of grace and ex
pression, by this distinguished and fertile composer. For this present volume we have again had recourse to him, and print herewith four more pieces in different
styles. " Sento nel core" is a tender and expressive melody, extremely effective and not difficult of execution. The aria of 7; .. grane in the opera of the same name is a
marvelous exemplar of its class in the truthful expn!ssion of feeling. In Tigrane Scarlatti tried, for the first time, the blending of the wind-instruments with the strings; and the harmonies of the horn, in the aria given here, are a most original device of the great Trapanesian. The little dialogue "Su, venite a consiglio," wherein the author feigns
to conve:rse with his own f~ncies and to listen to their reply, is replete with novel features. The canzonetta '' Gia il sole dal Gange" is spontaneous and genial. The
annexed fac-simile is taken from a small manuscript volume of the period, in which the above-mentioned dialogue is also found.
For further notes concerning Scarlatti, the reader is referred to VoL 1.
I --I
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)
. i:'
~ J .! II• II
ALESSANDRO .STRADELLA. 1645-1681.
·• EvERYTHING ts obscure," writes Cate
Iani, " in the life of Stradella." Although
some give Venice as his birthplace, pre
ponderant evidence shows that he was
born in Naples about 1645. It is not
known where and under whom he prose
cuted his studies ; it is certain, that he
speedily became a distinguished composer,
and passed the greater part of his life as a
musician at Venice. While there, he fell
desperately in love with the flame of a
Venetian noble, having been engaged by
the latter to instruct the lady in his art ; in
the course of this instruction he found time
to lay siege to her heart, and this so suc
cessfully, that one night the pair fled to
gether to Rome. The betrayed Venetian
swore vengeance .. and despatched two as
sassins to waylay Stradella ; but his pur
pose (so runs the legend) was this time
frustrated in a most remarkable manner ;
the assassins, going to church with the
intention of murdering the musician after
the performance of an oratorio composed
by him~ were so moved by the pathetic
beauty of the music, that instead of carry
tog out their plan they disclosed it to their
intended victim, who immediately repaired
to Turin (1676), where he hoped to find
efficient protection from further designs
upon his life. But here, on a public prom
enade in full view of the populace, he was
set upon by three hirelings of his implaca
ble foe, and desperately wounded ; during
his recovery he was wedded to the fair
Ortensia, for love of whom he encountered
such deadly peril. The wily Venetian,
though twice foiled, persisted in his at
tempts, which were finally successful, Stra
della being found murdered in his bed one
morning in Genoa (1681?).
A fertile and distinguished composer,
Stradella is also fabled to have been an
eminent player on the harp, violin, and
XIII
organ, and a facile writer of Italian and
Latin poetry. At that period, but little
music was printed in Italy, and besides,
the unsettled life he led hardly permit
ted his attention to details of publica
tion ; hence the major part of his works
is still in manuscript. In Modena 148 of
his com positions are preserved, among
them being 6 oratorios and 1 1 dramas. In
the library of San Marco in Venice there is
a collection of 2 1 songs entitled a Cante a
voce sola dell~ insigne A. Stradella legati
alta biblt'oteca S. Marco di Venezia dalla nobile famigUa Contarini. , , Of these,
from which the song '' Se Amor m'annoda
il piede" is taken, a complete edition is in
process of preparation. The aria '' Ragion
sempre addita" is from the Serena/a a tre
voci; this composition is noteworthy from
the circumstance, that in it the orchestra
is divided into two independent groups,
called the Concertina and Concerto grosso, an arrangement also adopted in the oratorio
reputed to have saved Stradella's life (S.
Giovanni Battista). In this score a contrabbasso of small size appears for the first
time.
ANTON FRANCESCO TENAGLIA.
J6--t6-.
BuT few data are obtainable concern
ing this distinguished writer of music for church, theatre, and chamber, who was
born in Florence early in the 17th century.
He appears to have been the conductor
of some choir in Rome, probably that at
the Basilica of S. M. Maggiore. Certain
it is, that he spent a large part of his artist
life in Rome, where, in 1661, he com
posed the opera Cleano, which was per
formed at the house of a personage whose
name has not been preserved. In this
opera is found indubitable proof that he
was the inventor of the form termed the
aria with da capo ; a form copied in 1686
by Carlo Pallavicini in his Gerusalemme
Uberata, and further developed by Alessandro Scarlatti, who has been erroneously credited with its invention down to this very day. It would seem that none of Tenaglia's compositions have been published, as in all my researches I have never met with a printed work by him, or discovered any notices of editions of his compositions at any time or place. Yet his music is extremely charming, picturesque, and effective, and is shown in the two arias given here, which are excellent specimens of chamber-style, and exhibit, considering the period at which they were
penned, a notable advance as regards form. They were found in the Chigiana Library at Rome, which possesses not a few manuscripts of his in a crabbed and incorrect caligraphy. It is likely that others might be discovered in other Roman libraries, Rome having been, as observed above, the residence of this Florentine musician for many years; and it is hoped that these may also be published at some future ttme. -Under an old portrait of Tenaglia stands the legend : 'Jenalia Florentinus musicus in rebus excellens.
XIV
CONTENTS PAGE;
BASSANI. G. 8., Dormi, bella, dormi tu? • Art thou sleeping, fair one ( • • • 79
" " Posate, dormite, • • 85 Sleep on, then.
" " Seguita a piangere, • 89 Mourn with temerity.
BONONCINI, G. B., Per Ia gloria d'adorarvi, For the love my heart doth prize.
IOJ
CACCINL G., Amarilli, mta bella. 19 Amarilli, my fair one.
CAVALLI, F., Delizie contente, • 2J Ye blisses, that ravish.
CESTI, M. A., Tu mancavi a tormentarmi, 40 Wilt no longer thou torment me.
DEL LEUTO, A., Dimmi, Amor, J Tell me, Love !
DELUCA, S., Non posso disperar, 6 I do not dare despond.
DURANTE, F., . Vergin, tutto amor, 114 Virgin, fount of love.
.. , " Danza, danza, fanciulla gentile, Dance, 0 dance, maiden gay.
lf7
FALCONIERI, A., . V ezzosette e care, 12 Charming eyes so wary.
FASOLO, G. B., Cangia, cangia tue voglie, • • 55 Change, o change thy fond wishes.
GASPARINI, F., • Caro laccio, dolce nodo, • • • 96 Dainty meshes, net enticeful.
" " Lasciar d' amarti, • • • 99 • Love's bond to sever
GIORDANI, G., • Caro mio ben, • • • • lJI Thou, all my bliss.
MARCELLO, B., Non m'e grave morir per amore, • 121 For my Jove thus to die.
MONTEVERDE, C., Lasciatemi morire ! • 2.2 No longer let me languish.
PARADIES, P. D., . M'ha preso alia sua ragna, • • 127 'Tis Love, that rogue so wilv
PICCINNI, N., Se il del me divide, • • • • IJ4 Since Heaven has tom me.
RONTANI, R., Se bel rio, . • • • 16 When the murm'ring.
SARRI, D., Sen corre l'agnelletta, • • • loS As when a lamb confiding.
SCARLATTI. A., Sento nel core, • • • 6o My heart doth languish.
" " Su, venite a consi~lio. • • 64 Hey ! come hither, ye andes. ., u Gia il sole dal Gange, • • 70 O'er Ganges now launches.
" u All' acquisto di gloria, • 74 To win glory.
STRADELLA, A., Ragion sempre addita, How dearly are prized.
. • 46
" " Se amor m'annoda il piede. • • 50 • • If love my feet enchaineth.
TENAGLIA. A. F ••• E quando ve n'andate, • • • • 28 0 when will ye e'er leave me. .. " Qpando sara quel di, • 34 • • • • When will the day e'er be.
English Version by Df Th. Baker.
3
Dimmi, Amor. (Tell me, Love.)
Cantata.. 0.
Andante cantabile. cJ = 69.) ARCANGELO DEL LEUT
(1!; ••• _16 .•. )
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a La mi Where my
co -me,
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pi en so
di __ rude -Iy
a ru - i - ne Non l'h for - sak - en Nev-er
Copyright, 1894, hy G. Schirmer, Inc. Copyr-ight renewed, 1.922, h.1J Theodore Baker
Printed in the U.S. A.
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6
Non posso disperar.
(I do not dare despond.)
Arietta.
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11568
12
Vezzosette e care. (Charming eyes so wary.)
Villanella. English Version by
Df Th.Baker.
Alfegretto quasi Gavotta. cJ:to4.) ANDREA FALCONIERI.
(HS ... -16 ••• )
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cen- ti; chi v'ha fatto a "-"
splendor?Where-fore now so ! I
- .1111 - - "-- _; > >
f p
~ I ...
. -
1 ..... ..... -,.,..,
- 1---"' ......_ -----
J -r---.., -- ---- I I ...
rit. l
I ....... I -· I r r - -
de' bei rai lu t•? - va- re - cen - I.
char-y Of your ra - diant splen - dor?
.... . ~ Jrr i -rit. -~
I.I.J 1J.Jn
ii r r p
l I I
S'io ri - mi -rQ.j vo - stri When for kind. -ly looks en -
~ I I
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ff
I
J
l.l. / I
....
Ufi69
fl J,), ++. -· -.... ~- """
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ri - so pres -ag·e,
11 ~ ~. I~ - .........__ j
s -""" tJ l I r1 I
IJ. . . 7 "!" » ' ...
~ . _ ...
11569
14
- minLe are my greet
-------------~>
l .:::::>
~--: - - -- . - ~·.l -che ren - dea Sl va .. g~ vi
That so sweet - ly light the vis ..;.. .~~ j . ~~ . - """ . . -~ ~~ ~ -- r.
- - - -- I ~
Ioiii""'
I I I
- go Light - nings and
-----...
.:::::>
.-1 - r - so, ne ve--age, Ne'er I
I ~
~ I ~ ""-"'
-, a
I
Ah! ___ _ Ah! ____ ~
15
ah! Vez- zo- set-tee "'--"
ah! ___ Charming eyes so ca-re pu-pil-let - tur
tender,Eyes so bright and !":\
~~~~~~~~~
~~~~~~~~~
t..,
~ ~H.
\ ~ }
1..1.
{, 0
•oiii'L '1111' I "" T"
"l ~+f. ,,. I'\ T" '-CLI
t..
~ ... ~.
t.
iJ. . .
11569
sempre ore so l
- h' I
denti, c 1 v'ha fattu -tender, Where-fore now so
.... - -- ' -- .... ~ ----- -sempre ot·eso.
--- --- -.... r-" -- I I
a.f.lrett ~ ;:::.... rt.
J . r r
l l I
va-re chary
I I --:._...-/
-llllr-" II
I
-
- -....
de' b~i r1
ai lu -Of your ra-diant
I I -- .... ' -
I *
-va -re de' bei rai lu - cen- ti?
char-y Of your ra - diant splen-dor? - 1":\ ;:::...._.- -..... .... . - -- .
---------41::...._/ rr'- i .~
, _ _. v p affrett. /"':\ rit.
f-""
"-_i r
- -I t' chi v'ha fatto a-cen- 1,
"'--" splendor?Where-fore now so
I I --..-1 ll -- - ~ -fj col oallto
~ I ..
I I
• I I ~
oresc. A¥ - ..:. ..:..
\ ) ~
~ I
English Version by Df Th. Baker.
16
Se bel rio. (,.Vhen the murm'ring.)
Canzonetta.
Andante (JJ- H6) RAFFAELLO RONTANI.
~ . - (15 ... -16 ... )
Voice. f... I
fl dolce~~ ~ I r-., I _I 1'1 -r--,.._,
~ ... --. ...._ .... - .. f... 1"-- ___,~ I "'r 1 J '--VI "---._ . .. -p n .b-~ JJ J }:- -
' ~ -~. I.!
Piano.
.. UP . f .... II""
II' ., r
fJ l
"r - ~et ~~
!I I F p p I II'"" v ~
t)
1. Se rio, se bel - l'au -
p-~======~~-------
2. Se gia mai tra fior ver -1. When the mur - m'ring brook - let 2.When o'er cnm - son flow - 'ry
fj --- - ~I /~ I I ... 0
II ho ... ... - -""" .... . - - - I -' -· . - - .... _ .... f... r I f. -v 'j. .. 1-:--_
-~ ~~~ p ---- -
'~ ~~ J; •• .~l j . . . . .... I"'\'
I, v
'
fJ ~ l l
J Jg II.. b_ - J) I ~ r II"" :./ t)
fj II
'-.:V t)
. .. / ....
"
lfl'l70
I
fa~ ret - ta_ fra l'er - bet - sul mat - tin mor- mo - ran-mi - gli,_ se tra gi - gli_ ves - te l'al - b~n au - reo
gush - es_'Neath the bush - es,_ And the morn - ing breeze be -val - leys,_Glist'ning Iii - ies,_ Gold -en rays of dawn are
r--.,_.. J I ~ I I l
- - - I---- - • - - .... _ '-"I • .. '-------I r-' I p I <:r I ~ ~- -
r
~ . I
Oopyrz'ght, 1894-, by G. Schirmer, Inc. OopyrJ'ght renewed, 1922, by Tlwodore Baker
Printed in the U. S. A.
.... r •
fj
': tJ
rJ ~ r-t:
. 7.L,;
-v
rJ -, --.;;;:
IJ'jl ~v '[7 t:
~
l I h.
I" "'v -~
-.:;~. .. , h.
V'
11
111)70
17
L = --- f
I"!' II~
Ji I _r I r l r
d'er - ra; se fio - ri un pra - ti -'-"" ve - lo e su ro - te di zaf -
guil - eth, When the sun from bloom - ing trail - ing, And 4u - ro - ra ris - es
- ___..- :-...... .. ~ ., --· tJ ... - .. "'!"' ~ - ... A - Ill ... - - - --- .... ... - - ......
• ~~ ~wr ' ""'--- .__-/ / "-"'
.r-J .l~ 6h _, ']llf" ,,
.-I • A Ul' v .... '-t-- r I
.D -rit. -
I
fl A ..... !'"'[ ..... _/ -r
fa r. ----eel - lo si bel - lo, llOl di- ciam: ri - de __ la ter - ra.
fi - ro mo -vup gi - - ro, noi di-ciam, che ri - de il cie - lo. '-""
meadows Drives the shad - ows,Then we say, that Na - ture smil - eth. blushing, Earth o ,erfl ush - ing,Then we say, the sky_ is smil - ing.
I I I ~ .----- -L! - 'lJ .... A u .. :Ill _. _.. ---- _. .... '-t' .. ./ - - -J • - ..... . -/r~~ 1 • ,. I ., ~ ~r r ~ •• ~
J.. rit. - - l -
~
/1
-
- . r-'
L! 'lJ'
"' ~ ~ - -... ---· ~ - ~ if ~--------------~
~
-- J
Quan-d6 av - vfen che un Zef - fi Ben ~ ver: q~~-d~e __ gio
- 1. r r r - ret - to__ per di -- con - do__ ri - de il
"--" When to shore a zeph - yr stray-ing __ Wan -ton Tho' f(Jr joy the moon so queenly __ Smiles se -
I - ~ I t----,...----.........._ r----~ I / .
I --:_ __ rJ ~---,--->----- jj I
~ 1J Ji J -· ...
I-
fJ
-i]
fl
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I~= 7 I.. \" v
111170
18
l l -..-.!!!!!!!I
I! f • - a I t4 -- r-" - • """""-··· l'"f r-" '-""--' --- - / ------ r I r I
let- to __ bag-1!01 pie __ nell' on - de_ chi are, mon-do, __ ri -~1 ciel __ quan<!~.} gioi - 0 - so; play-ing,_ Laves our feet __ with gen - tle_ motion, rene-ly, __ And the laugh - ing skies be - guile,
I ~ I I l_ J. -. . . - - ... - - r-"
I r 1 p I I r I r u ~ ~ ----- -==-------------------- --. ,,.
l'"f _, . r ll
I r ..
ll!t ~ rit.
l p ~~ §112 si che l'ac - qua su_ l'a - re - na scher~a pe
ben e ver: rna
When the wave -let Tho' all Na - ture
na, noi di - ciam che i, fa - re un ri so
'--"' ing, Then we say,- how er Match the sweet -ness
non_ san light - ly may_ en
ri de i1 '---"
gra - zi
r rna
- 0
po - i, co -me vo dancing Sparkles glanc deav-or, She can nev
J) - re. - so.
smiles_ the o - cean. of __ thy smile.
II
English Version by Df Th. Baker.
19
Amarilli, mia bella. (Amarilli, my fair one.)
Madrigal. GIULIO CACCINI.
~Ioderato affettuoso. C~ = 66)
Voice.
Piano.
I'll~ ' -Til
• tJ
cor doubt
~ .~
>- -,.,. --II I ,.. I I
dol - -e'er
~ .... I
..... ce de- si
IL mia bel li, my fair
__11 _ _t"'C
I
- o, sur - ren - der,
=t~l I
la, non credi~o dPl one,Canst thou thine heart
>
' >--:::::::= ---I I
d'es - - ser tu Doubt of my love
t - I I I
""t I
~ ~ -... . - .... --u u -
J:WJ .. ......._ ~~ ~, -u
f~- J ) <
It
l
I
----, J j .,.------.. . . , v .
I I I I I....____ I ---fJ ·~ ' l
l I 11. >- c=- I
1# [I.-_ " " L "" I{ k"
""" I .,.. o " } ,._ " ,... - II .-II \:IJ - -tJ I I
- l'a-mor mi - o? Cre - di-lo pur: e se ti -- true and ten - der? Do but be - lieve, for shoulde'er
fl I ~I > I ~ I .. -.......... ~ . l
t) I r f' vr ff ~~~ r r'-['t,- r'--"' i.J-.J. j -
I I -------------------------------I I
fj I --= = ' l J __ 1"1. flo.
" -. - 1..1. I .I""' ..a!._ - ... ""' •: ~ '[,. I - - .. <I
tJ T1 - I T -mor t'as- sa - le, du - bi- tar non ti va - le. fear as- sail- thee It can nev-er a - vail_ thee.
fl I - I -:---. Jil •
If
n~~:;· '-.'I -tJ
~ r r rl ,., ~ 11~
>- I doll·e -.... ~ ~ I . . I I - I ... -
Copgr'ighf, 1894, !JgG. Sch'lrme1) Inc. f Oopgr'ight ren6wed, 1922, hy TA11odor6 Baker Printed in the U. S. A 1t571
~0
f p , I > l ' IJ •#U qJ ~J lj
lt.J , r T
A - primijl pet - to e ve-drai scritto_in co - re: A-ma-Ope thou niy bo - som, and see thy fears re - prov - ed· On my .J
1\ I ~ ~ ..------;-----.
' .
' tJ "1 .. ., ~ .. ¥P ,- 'r· ,-"r ~ ~ rr t!' :J:
-&
f - "--....--·
I p s1llorz. dolce===-- i
,.. .,.. . ..... ... I ..,.;. I I 1!:
1
ere~~ •'
1\ I -- ~ I --.. pill cre~·c. __.": ' .... ~ • u• --. . .. ~-
·- ' J -.1 I
tJ TT-....._/ T I ~
I r r
ril - - li A-ma- ril - - li A-ma-' ' heart 'tis_ writ, ~J On my heart 'tis_ ·writ: "A-rna-
IJ I I I J I I~ I I I
J tJ • .... !Tl::.. ~ r ,r i 1., ... .... ~-< pp - cresc. - phi cresc.
f ''",~ -- I
~ __LL
~ ... -,} I - '-....:.. . ~
1\ I j. > ' . poco rit a tempo > l - "" "" -.
""" ,.. - . 1 _..,.,_ I
l I
tJ y I
ril - li e il mio a - mo - - re. Cre - di -lo - -ril-=- li, my be - lov - - ed!" Do· but be-1\ I 4"'1"'-, t-.. ~---I - :---_..._ ...!
\ ..
"IT -tJ ~ i J:'. Ti .. -~! ~ i r~
) j poco rit. .P dolre
~ _.... 1 I
- .... .Jt~ - I I -- I
1\ I I l
)J l,J>I I U. 1/ - ...! II I r· '[L- - - I n• ... tJ TT TT -
pur: e se ti - mor t'as·- sa - le, du- hi-tar non ti lieve, for should e'er fear as-sail 1thee, It can nev-er a -
IJ I - --. --------=------t .,
) tJ '-1 Tr .,- r, l:,r r r'- fT .,, ~ rr~
>
f > dolce - ~
-, I I I -r} - I -.J
111;71
2t
~ f_ f > _j_ l '
psmorz "_t . I " 1 l "' I
I """ -- --- I " " I
"~ \ l"f 1 r~ -· I .,
I -~ lL J I 1- • t) r r Tl ""J ., .....
va - le. A - prim~jl pet - to e ve-drai scrit-to,jn co -vail thee. Ope thou my bo - som,andsee thy fears re - prov -
fl f_ ~ > ~
I - I
~ ... ..... It tJ
.r~ - ·• .,._. r~
~ Tl~ -, ... i -*" • ~TT .,- lr . .,- ~r -&
< - f -I ~ I l l ....
~ _6.10 _1ft_ IIJII It
I . ..... r~
y _.... '-- ~71 I I
11 pp___- --- --== l ,......- - l l -
" " J -~ r~ . -· - ·~ ~ lL ·- __,_ @,) Ul TT Tl TJ I -...I
re: A-rna- ril - - li '
A-rna- ril - -ed; On my heart 'tis_ writ,
~J On my heart 'tis_
f1 '----..... I I l I I~ I
I • -. .... ..... ~-
It _.Il'D_ - .... - -- ..: ~IL - - ...... ....
"' ~ ~ Tl~ ~ .. ~· ":: ~~ r .,r i < ~· :::::::::::::::·
t' pp dolmss. cresc. -......
'\
"l: I - -r} I -
~ L ,.......__ piu cresc
' rz. ' ppp-==
_._ I II .. - - -__.,_ h- r~ • 1:.- - I """ ... ~ _I
_Lf"''t_ .. .. 'I" I It ~IL .J
..... _j
t} I r r
e~ li, A-rna- ril - li mioy. - mo - - re; A- rna--writ: "A- rna- ril - li, my be - lov - - ed; A- rna-
fl I I I I I I ~ I I I
It v
.. -. ~ .,- - r;, r F". Tli
Ul ~
< f ~do!ciss.
I~~ , -I I ,..--......... -~_IlL_ _L """ ~ _l 1'""'
---- ~ f'tu~- ?1 - I
li __ ijl miQ,_a - mo re.
li,__ my be- lov ed!"
flllo.,f
~ <
I
. ~ I
I
English Version by nr Th. Baker.
~ I
Voice.
""
~ t I
' ' tJ <
I . Piano.
\
fJ I ~
.. ~ .... tJ I I
for-te mo-ment
11 L.~J
.... -""
... -,......._ . .
I
/] I I > ~ r1. h
...:1. r~~· X
~"" f)
sci a -long -
11 L . =t..---..
f) I r
.2.2
Lasciatemi morire! (No longer let me languish.)
Canto from the Opera
Lento. (J = 68) "Ariana."
CLAUDIO MONTEVERDE. dolettfe (1568_ 1643)
p >..-:.. I .L
L fl- 1-- _I
"J . _I l I "I
La- scia - te- mi !][10 - ri - re! la - scia - te -No long - er let me lan.:.guish! ~ I ~I I I I I L
~" lii!'L
_'::"'!_
- r i'=::" ~--'t-~ . .,- I I
p dolente. --=== I
~ ...____ -
ri re! E che vo- le te --- che mi conIan - guish! What dost thou can stay
•'
f I I Plt!; cresc. ..........-;: > --=.
"··- " . - .... _ , ........ -... IIIIJ-1 1 ..... ..... I J oA I - -r r I - I
in co-si du-ra sor-te, in cosi gran mar- ti-re? La-So despair-ful a torment, So un-r.e - lent - ing_ anguish? No
I I r--. I ~-I =r~l l . ·- .... -- -- IIIII. - -- r I I r r r I ~i r r ~~ ,-- p I I I I 1 ,
• -.,. I ....
- PP. rit. ~ I 1 l ...... . ±::
te - mi mo-ri - re, la - scia -te - mi mo - ri - re! er let me languish! no long~er let me Ian - guish! ~ r. L I. j ) -- -~ ...
I . I .
"r~
r~,~/ f',- I I I i .. rir ,r ~ cresc. assal. pp
.r~ . - .... I .... - - .... ..., .....___..- I ---- - r-' > u
OopyrigAt, 1894, hy fl. Sckirmer, Inc. CtJpyri8·A.t renewsd. 1922, fi.'l TAeodflrs Bak(llr I Fi'7:.? r Pl'fnted ia the U. S. A
' ' I
l
23
Delizie contente, che !'alma beate . (Ye blisses,that ravish.)
English Version by
Df Th. Baker.
Aria from the Opera
"Giasone!'
Andantino mosso.cJ, = 132)
Voice.
Piano.
~ t I ,.....-....,.
tJ
It t I
tJ
---"'-lllo• _l_
~ y" -'" IJ'
. . I
- - te.
.?::::;. - v~!
L1 L~ t: • t - ll- ,_ ,. _l_
I f . .. - a
,/
Jl ~~~~ .
J
l
. Su que- sto De-lig-hts yet
L• ~ :-- Jl
p' .. ;:~ •
-----
te,
l
mio un -
t
tJ '. ' r 't·l I t I r rd ~, ti r p1u non s 1..; a- e e_ gw-te a - mo - re, e
not to discov-er, Your trouble were wast- ed,your
.---. I I ~ I ,.---1"'"""'"' l ~ ---.......
• --
FRANCESCO CAVALLI. (1599-1676)
fer- ma
-l"f ~
v r r I •' r
deh co-re deh ptu, tast- ed Seek not, seek
I --k I~ .-1· - -
L.......J. 1.
- -v
I r ----~ • rd' gw-1e a- mo -troublewere w~
r 1 1 ·~ .D
r v I ~ II_ ~ ~T. l -~
~ __, - --
' CopyrigA.t, 1894, h!J C. Scll:i'rmer, Inc. Copyright r.enswed, 1922, h!l TA.eodore Baker 11573 Printed in the U. s. A.
~ I • j j Jy - Jl • rl .... -· p ~ I p I -,11£ h-1_1"' - .. -- ~- ~--.,._.. v [# .. _...
t) I r re. De-li - zie mie ca-re,_ fer - rna - te - vi ed. Ye dear-est of I!leasures2Here let me ex-
~ -=.
r~:::::--._ fJ I • >...- I ~. I ., ., r- I , . - . - .... - . . . _..__ -yv L J - I I p .,-f <
I ~- ,_ ~ ~- >..-.. a * - .. .... -. ,.. _, - I -
~o pili bralong not
~ I I . l > 11 rl. h "" p· , I ~ p r P P v· Q
' :.11'1 .... _ .. - ., ... -,._ I" v ~ ,-.:-\.'U' -· u r r. h t r r r
rna- re, rm a-s a co- si; non so phi bra-ma-re, mi ba-sta co-treasures, Nomorei de- sire; I long not for treasures, Nomore I de-
tl L I -• ~ >-- --..
~ . . . -· -:tJ ~l I - - _llf ...... J I I I .I -----~
I .,.-- ~ f:-. -----..,. ----- - ----...- -L---a. _. --. .
U1'78
1
si. De - li - zie mie sire. Ye dear- est of
ca- re,:pleasures, ~
' I i fer - ma - te - vi
Here let me ex -
, I Ill' ~ ... II'
~
IJ I •
It v
<
~~
IJ I • _. ,olft
IJ L.
'· v ~
,II~}! . L _L
\ _,_ --~
Ul78
qui: pire;
I
J ......._.,
.._ ,_ l .I .. .I I
> > ,.~
> ~ Jill"
v I "1.
fj l J)-'J
~ • ]L~ llll-1111""'
'I I.
j
l I. .. ... , _I_
'I I
non so piu bra-I long not for
> ,.,. .~ IIIJ.. -
I
f > .
r --
-
. l ... - . .
y .r:- ba- sta rna- re, IDl
treasures, No more I
.r I, .- ..J . . . - 1 . I l .........J I I -j ril.
j_
•
>I':', . -· - ...._.. I
ff ___ ..._ rit. ~ I':\
..:::-----_---------•......... i. ,--;:: • -.,. .;:---.,. .,
I L.C - • - -
L. .. , J
co-de-
J
..
__. - _11 _I __. , In En-
B
26
II r . . , I I ~ p p ~ ' -~--\: J t) r I I
mo-rir, mo-rir mi con-To die, ~ •: ... I. t "' '-
I If
It ~
II '
t)
.. u
"' I I • 1 r~- h If til" Ll'
~ J )> J. .
-·
~
--y ~
_.-- :s -~die were a l: t! -a t l• .P; a .. _
""" 1::- Ill Ia - '"" l
l I f p
"" ,. - • 1'- ~r1'-. Ia !"" -.. l"r
I
vie - ne, dol- cezza.,_,o - mi - ci- da a mor - te, pleas - _::u~re;:;;..J·:...-------To mer.-cies so ten-der, so ten - der
fJ I. /~ I' i: ... t l • ,;--. - l I ~ ~ \~"~~~~@~m~~~~l~~~~~~~~~~~~~~:....~4:._.~1~ ~ f p
~~~~~L~~~~~~~t-~~-~~~~~>~~~~~~~~~~~~=~~~~~~~-~~~:~~ [I I r
fj 1 I ~ ~ _,..-..,., l -----~ I !"" . ·- - --_I""'
II"[ I ....
tJ r • ~ r. . ~ r ~ . r r ~ a morte mi gu1- a, m1 gu1- ~a In brac-cio al mio be -My life, my life to sur-ren-der, Em- brac-ing my heart's treas -
~- - ~ .. ~ "' t -.. I l 1 r- I
~: ""' ""'
l"'l' - -I _JI Jl y I .........___./- • ~r- r
< ~ = I ----- .. !;". -~ ------ ---
\ -.... I --tJ l_ I > l
~ ~- i J; I J I I , I ~ " r r r ne. Dolcez-ze mie ca-; re,_ fer- ma-te-vi qui: ure. Ye dearest of pleasures,Here let me ex-pire; >
tJ ~ >-.. I t.. ~9', ----~ >~ t ,=-h I I
I
""' .... ~ - .. -l tJ
- I I v ,-< J.~
I - >
~ ---~ ! .. . 1lt > ~ ~. • .... - • 1/t . \
..L..ooolllll I -f11)78
!
!
!
-fJ t l l
" .... I .. ~~'ln. v rl - l .u . J
1.1 -· - I V, .I! I
tJ . ' r. r . . ba- sta bo-non so p1u bra- rna- re, IDl
~> . I long not for treas-ures, No more I de-fJ I .. &- J -~ -!- k- - • .....
M..-11 - - . . ~ v ~~ ~· F "..l--. I I I
- . .. . . r
fJ r , II ll I'll " If .... ~ " ... .
"-I'll .... ,. J I"'!' -~ r r r
si; . ' non so p1u sire, I long not
fJ r ~~- ... > -.. f)' h.~
II. I" frl"\ V' ,.. .... . \:1.1 - .... tJ - -
•• .,.-..__ .. .. . _,
fJ , . .U rit. assai. 1. .. . v r Kti ba-sta ma-re,
treasures, No morel -fJ I r I J j j I - .
"- .... fl .
" tJ I 1 ......... I I
ffrit. mol to. I . . -·
-!"':' v
I
·- I - l!H -· 1""1 I eA por· .A I
[/ ~I T I .A J r r r r r r I
bra- rna- re, mi ba ~ sta si; co -for treas-ures, NomoFe I de- sire,
- -- - -- .... ,.. -,.. .. ..... I I I .. I ~
• - ~ ~- -,.,
fer- rna -~te-vi qui. Here let me ex-pire;
>
l !"':\
I
co - .si. de- sire. >-
'J .,~ >~ J I : .... ,. "((Ii-. ~--1"1
• I I
'1 f~ ,---. >- ==-->_.- • .,. ~.,. .,.
~
• v --
·' . I - - I l"r 1 ....., 1
r r r-. dol-cez- ze mte Ye dear- est of
>m= ::::-.... I .'{........., ..... - - - ... - -.. ·v t
f.---~ -l"r v
f espressz'vo.
Non so pili braI long not for
>~
f
~--........ >-•: - .............
l .. - I 'I I
> .c=> ~ ,.. I'""
~
l
English Version by
Dr Th. Baker ..
~ I
Voice. tJ
fl I
t ~ tJ
Piano.
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28
E quando ve n'and.ate. (0 when will ye e'er leave me.)
Scherzo.
Quasi recitativo. ANTONIO FRANCESCO TENAGLIA.
(16 ... - i6 .. .)
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'\\·hen will ye e'er leave me? But when, but when, when will ye e'er ~ I I I rr• I"'T'• r;-.
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E.nglish Version by Dr Th. Baker.
34
Quando ' sara quel d!. (When will the day e"er be.)
Strofette.
Allegro g·iusto. <J.- fit..) fJ - I
ANTONIO FRANCESCO TENAGLIA. (16 ... - 16 ... )
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rat - te -
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ri di ro - se che sul lab - bro a - mor ti '--"
signs so ten - der On thy ros - y lips e'er fJ I I --- ::::.... >
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""TJ'I"'£T ,.. - A ""' -~'I;' -...- - - .... u tJ -- fai 'I r T ! r • t' ? pQ- se mi leg- ger: ser- Vl- U.
ren-der Me a hap- PY slave to thee? l'l I I I I I I
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"IJ rt.J Lamia fe de ' 0 - mas-si-Yet my heart tells me, that
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tJ m~i non ptio, che fe bel ~~
la la na - tu - ra. ness as thine, Can with "no" for aye_ per- sev - er.
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39
a tempo.
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s~' ca- rat - te - ri di ro - se che sul lab- bru- mor '1
Shall the love writ signs so ten- der On thy ros - y lips e'er
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English Version by Df Th. Baker.
Voice.
U176
·1",u t)
I ~ I .
za, ing?
40
Tu mancavi a tormentarmi.
(Wilt no longer thou torment me.)
Aria.
Adag·io. <J = es-t.) .P>....--._
MARCO ANTONIO CESTI. (t61t0- t669 .)
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- lis - si - ma spe - ran -hope, no wish ful - fill -
ri - mem e con Of fond
ce mem - 'ries art thou_ dis -
CopyrigM, 189#, IJg (}. ScAit-fll,6r, Inc. CopyrigAt r611.6to6d, 1928, IJg T118otlor6 Baker
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dol - ce rimern- bra.n mem - ,rtes ar1 rlis - till
p
za, ing,
di
. rni, me,
- - -. -1~~~~~~
·--------U•
vuoi Of fond mem-'ries, fond
crrsc.
I I
I
~ I. r--1 \.. . JI II . -- .h
~L I t) r r r !
nuo - vo av- ve - le -memries art dis-till-ing
A l ,......, ~ r---1
JL __t II. ~ _h
...l.l"'"l_ J!' 11'_ LL • ;-
' t) • • • ":""
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I ~:: -,..-..... ----y II
'7
Moderato cJ - 96 > 11 I
- . ["'\.
t)
An- cor du - ra Mor-tal an - guish
11 I
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? 11/f
. -. Ia
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f'1 I
4!:J ~ ce - ne - ri - ta, love_ con- sum - ing,
~ I ~
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v - ...... par_ m'avver - ta soon_ are_com- ing
_fAJ I ~I
( .. ..-t ...
) tJ r r t r I I I _I
..... I. r~ - -f r i r
11576
42
-f~
Q Ei I r· P 'r. II.; ·- . _loll,..
v I r •
nar- m1, av- ve- le - nar - - mi. new poi- son to pre- sent me? ~ ---- r--~> ...-t r 1 . . . . . . . --- - -lll.olll. ... - --- _._.... il.,
Ill!_, .., Ia Ia ._ • -- ... ... ,... ,... ,... . ........ ... --- ... ~ ~ ":"' ":"' 1.....1 u u u "!"":"'~ ....
f rit. :::::::-- p rit. ~ .
;
-~ - ~ :f§• :r;
- It> «[? gJ l J; - I -· ... - .... -... - - I -..._... s~n-tu la_ - ra d'u - na_ fiam- ma in -
So_ to_ Ian guish In_ the_ flames of a .... :::r_....-..._ l ~ ./"""" ..;;;;. t - r .... ... -
.d -.. - .. -
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-
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la fe - ri - ta an -And my burn - ing
::i ~
co - ra a-per- ta Wound fore-bodes how ,_..... ,..., I '
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nuo- ve_ pe - ne. Dal ru-Woes re - turn - ing. Tho' my
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i I I .... -~ '! -~
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I I
-
43
non ve- do al - Ion- ta- nar - mi, '-_./
re main,what e,er_ be - fall me;
,_... ,..... ~ _><...., f.-;. - -.... ... ~
·- ~ f IP' - - ~ te - ne_ mai non ve- do al
gall me,_ I re - main, what
l I I I
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11176
Tempo I.
p doke . .
I •
tar - m1, ment me,
r-1 ~ ~
~
"":"" "":"" "':' "":"" ":" ":"
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I
-· ,. I I •
bran- za VUOI
till - ing A
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•• .. .. ~ .. ... - .. • • .. ... • • • • ..... ..
44
-- ~ l -· . - '· r I cru-de - lis - ~n- rna spe - ran - .. Cru-el_ hope, no wish ful
~ r- ~ - - ~ "':" "":"" "':" "": "": "':" '!' '!' '!' 4!' ~ ~ -----
I
.
. y
-
e con Of fond
II -r- -J
--------ftU----
dol mem
l -1""1'
-
ce 'ries
--I
di I r r ..._....
nuo- vo av-ve- h~ - nar new poi - son to pre - sent
-:- ~ ~ .... h.- •J .. .,. .. ,. .• -- • ~ - Jl .. .. -r .. ~ --
- fill - -,....,
~ ...... , "":"" "':" ~:ii :iii l' ~ ...
~ --I I
ri - mem art thou_ dis -
- mi; me?
- ... fllllll
• • • • • ~ ~ ~~ .. iri i i -1·-1·,. ,.. v~ ! ~~"*! 4!- ,~~ ~t~~~'"~'!" ·-.:.__:___:___, ~~ ........___- --------I
u - it U•
il I
11 '-
tll'76
45
dol ce l'i-mem- bran mem - 'ries art dis - till
bran vuoi di nuo
za, ing,
ri of
nar- mi, za 'ries, mem- 'ries to pre-
p
vuoi Of
di fond
r r 1 r. ... nuo - vo av- ve - le - nar- m1, av- ve - le - nar -
cresc.
nuo- vo, mem1ries,
eresc.
r ' • - mi.
mem~ries art dis-till-ing new poi-son to pre- sent ___ _ me?
,....., ...., r---, ~ .~. ~ -... • IIIII ...... -... ·~.o . .. . - - - ......-~ IF
!!"!" -: L...l L.:I u u j rit.
• • • . . 7 ·~ -
-... ll - • - .::
i~ ;::...
di fond
I
\ <
I \
tt <
I
46
Ragion sempre addita. (How dearly are prized.)
Aria.. English Version by Dr Th. Baker.
Alleg·ro. <~= ss.)
ALESSANDRO STRADELL~ (164&-f68L)
Piano
/ ~ ~ f! .. >.- I - r I ., \~
. . - -T
- . : - - ...lo - ...._ ~ ;:- • r • r I 1 J >
-< f t ;: L.L - > > > . . Ct _I
I I ....! Ll I r 1 '---""' -
v; ic IJ ~ +t 0 ~- l
" li.. I r'\ 1 - ;=-c I IPI l :p JJ I • I .... - p ~ - llr -\ 1 'J - I j
t) - r r
Ra- gion sempre ad- dita ad al- mil~ gen - ti - le che a-mata o scher-..__, ..__, ..__, How dear- ly are priz-ed True souls that per - sev- er, Or lov'd or de-
IJ ... ~ 1-- " - ~ --, - .. ~IJ = t) [ T r -r· >
..1.1. - ----- ..... • -.. f!:.~ . \. llr - ~ ... ,
IL» tl f p do!re. l l l >
Jr j!ll'lolil ' .. 1'\ I r'\ -~ - -..-;;a ..... -.. -'-1. Li I I - I - - l/11111' -.-..... -- -Jill' -1 . _IIn n -- ...... - I llr -· llr f j
.XV - I I y f' ... J y
tll s[a- bil
r r T - r r r. ni- ta lo suo sti - le non ean -gi., no, no. Io pur se- gu1-
spis - ed, In faith-ful en - deav- or, Ne'er changing, no, no. It fol-lows, I
IJ ~ft-----.. ---- .. ---- I r T I I I 11 •1o1.r .
_6f Li - ... - - _;;;j ,..-. . f!} r· -r· - - T r· -~· .
f p -----jJ,~ --- - ---.... • I ........... -•• ~I I -,- .
_, Li_
l .... l ----CfiP!In!JAt, 1891, !Jg C. BcA.~ Inc.
Hl'17 Copyr•8M renewd, 1!122, hg TIIB4Jdortl JJuer P.rillted in the U. S. A.
47
fl ~ ti > l > I l I I l
• I I
II I lr'- - ..... .
I - o I . .. ..
\.'IJ - I/
I!) ~ - ., ro,_ io pur se- gui ... ro, trow, it fol-lows, I trow,
_;;;;:...._
~ ~_.lt ~ r T , .. -
\ 11 •• , • I -ll - ..,. - .
lr'- - . . - l
lJ .. - .._ -.. - . v -----·~ j:: _, - r· .....__
>..........._ / - ~ ....... --- >"--/·>~
) p L.L .-I I I I I I I . _, . -... - ... -· -· .
-.. -... - .. -· -"'--"' --- T
fJ ~ f! f I L. p ~ .
I ..... I - - /
tJ r . { rl . ' dr. r Y ---Che SCIO- g I ere 1 p1e a1 lac .. ci di f€ non~ .....__.,
>~ That faith- less a- stray, A - far from Love's way, I_
fJ~+t I ... I ~ L _ ____.-; ---. .. • .. - - .. ~ ....... - ~- • ·- _. .,..
v - i i ... .f'l' ... • ff-1 .j t'f-1'- .. • . .. ll
------- ---1..1. I -. .... -
/ "' _/ - -.. ~ poco rail
fl.l.t~ I. > l .,_
-,- I \. _V .ll'l' -,- -
J \U/ - --· tJ
ten-to, non vo; Che ·nev-er shall go; That
I fJ~~- ----- L.L~. J-~~ -~ - -\v
r- - -.r r- • ~ - .. ...... ,... ... .. -· ... - .... --~ -~. Jill' ,.. I""'• • ... f'-j ttrr ,._ !II!!!!!!!! ._ I U I • I r
) - poco rall.
{ J.....-...l ... ~ I -" -.... - - _.
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pH~ stray,
-
48
-· pp a t e:,!J!!!.:. ' --
d'ai· I • d1' l.:e' -ac - CI 1; non_ A - far from Love's way, I __
I
I I -pp a tempo.
I - ~ I"'[ "-. l'"'l ~ II' .L L .r 1
ten- to, non nev- er shall ~
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- - -
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r:. -vo, no, go, no,
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r non
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ten- to, non nev- er, I
. ..... j
I
nhn no, no, I ~
........ - -·-"r. ~
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I
- -l"f ./ I r r r
ten- to, non nev- er shall
- • .. ll .. i i ~
,/
r .. > > >
- -. ten- to, non nev- er shall ~
---• .,.... . . 1 I
"- ..L -vo, no,_ no, trow, no,__ no,
> ~ . ...... ~ .,..
~-. . --. . ., ---.,.... I -- I ~ - pp - ,............ I . . I r ..._......-
~·
- ......-. - > ·- --,,.... .___...... ._
vo, __ no, no,_"_ non vo, __ non go, __ no, no, __ I_ trow,_ I
l
M1 ... .. '*' • i- .. i-----==
~ .:---~ -,.... - I
1 . ... -~-vo;---go; ___ ~ > ~
. -
I
49
Poco 1/tetzo. ll~ft I':\ VD - l I .. , . "l I "" .. I .. - ..: "-· - - . 'If T7 ~·
" r r r ._.... - -.-r J~ io pur se - gui - ro,_ io pur se - gui - ro, ___ It fol-lows, I trow, from Love'sway a - far __
f ll~tt > t:'\ Poco tJteno.
. J tJ ..... v• J: -s: L-•;_ ~----
....__. ....-......:__. 1.--
I .. LL----..1 I ~":;'\ I I I 1.-. . . . . . 1
\ "T1 "-. - ---· . -· .
~~~tt I I I I _., rit motto. I
I ' I • - . . . . . ~~
tJ - - - ! r r r. 10 pur se - gu1 - ro. I nev-er shall go.
, II ~ ft >_....--...,_, I .. l I
\~ I --. ... - ""l: . - --- ~· --- ..... I I - --- --. -- ---..-. T
>'----v ;.'-....._ [:J'"-~·"· ~·
• .. t t .... ) >~
col canto. L1 -1 I I I ~ I ( • . -· ---· . .... . . --· -· -- """ I ....__. ------- ...____........ ..........____. T .. ,..
ll»fi .1\Ioderato . Allegro . T T -'{"'17 ~ • v
~~~ft .....--....., > ,...., I >.
>~ I ....... r IIIII I
( I = T T ._.
;ii/1" .. T .... , . ~ 7 .. --- -- -- .. "U"iT -- - -- - "::;.I n
J ltJ • 1 - ~ 11"' ""'--"' r r r .... I'
I L1 i > --- -..,_ -. I ._. I I - . .....__.., r 1 '-""' -- - ....... •• :::;
~ . tti'J'J
I
English Version by D! Th. Baler.
ISO
Se amor m'annoda il piede. (If Love my fe.et enchaineth.)
Cantata.
Allegretto. cJ = fOO.) ALESSANDRO STRADELLA.
(1611:6- 1681.) ,. 't'
Voice. ~ I
p con semp zm a -= ;~> I r II' "'"
.._
p J t p I ~ h •• fT ., ~ 1"\. I - ~ ~ r-~ " ..... ' ... 1 I -,..
~' lo"
t,; I I f
S'a-mor m'an- no-dailpie-de, co-me dun-que, co-me If Love my feet ell'-chain-eth,Can I ev- er, can I
~ l I I ~
[, ..... - ..... ... - ,. ... .... • .,
t- u . ....__...... > 1 • \.._+ p
~ > -~ -t:J. •
.6...11.• - - ~ .. IJ' _A. - ... / h '1. I I_ ...... .. -.,.
Piano. ! - --- ---
fl I. - ,_.... t±~lb-) J It J>q~ ~-~ 1"\. l_ _l p I -~ "' .,. • ..... -..... - I 1
lJ . - -- -""
--..-" - - • dun- que fug- gi - ro, co-me dun-que fug-gi- ro? Da quel cor che
ev- er_ flee a - way,can I ev-er flee a -way? From a heart that ~ I
I IJ'
• .... --· .... ,.,
I ~ -- 1111- • ,~ .. ..... .. .,..., 1 r r ""'
,~ r r ..........., <
i . . '
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= -I ;Pea ,, §J 1 Ill .... l_ I'" I"[ - ..tl - -I I r r r
non ha fe - de li - her - ta, li - ber-ta_ non spe-ro.,..--- no, faith dis-dain- eth There's no hope, there's no ho.pe of_ free-dom,_. nay!
!,......-...... I >~ ;:--..___ I --_l - 11'1.-l ...._ "1"":
It
r I ,r r r r yr'-"r ~ 1.1 r .. I . ...---...,. ,..... I . - ,_ I -- -_ _t•• - -.. L -
I :L I I ... - ~
_l
]> ~~ " ;p I J J) J> J
A _, -- L
J I r I r . .....-'
da quel cor che non ha fe -de, li - her - ta, li - ber-tL non
From a heart that faith dis-dain-eth'rhere's no hope,there's no hope of_
~ > ---... __..--..... -
:. - .. i" ... ~ .. '--~ ...
- i r r r - ,. -.......-' r'--"
I - -- I -- .. ..... _ ... ... I I
·' ~ - ... CopyrtgAt, 1891, by (}. ScAzrmer, Inc.
Oopyrigll.t f"BNJtPBd, 1922, by .TA.eodore Baker Printed in the U. S. A.
I
I
51
Un poco me no. cJ = sll.)
~ = fJ I 'lll -11 II •J 1£ (..." ,. , r- " " .. ~' iJ ....... ~
Sian Yet
fJ I ,; II •J .... t r- v-
~ tJ
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fl L 11
1£ .... r- .. 'Cl.l t)
f1 I I 11 II • ... -It ~ <
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Ufi78
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-6-· pp
-. '"r
Col •
le mie woes de -
)
~ r.J Ul'loo-r· '1r
I
:::::....
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le mie woes de -
>
r r -
.., >
.....--..... - . - ;;a -- .... -I""" . . -r I "'--"' I r
pur du - re le_ ca - te - ne, the fet - ters }_ am wear-ing
I
-· . ,. -'""' r~. . r~ • ljo 6-·
I ----~· ..... , ~. ...
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-- ~ r.J •
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scan in
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•
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sem- pre crease my I I
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..... - - - ..... l
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~ - . l"r - - ~ ' ~ .,- ......__.,. ~ -pe - - - ne, le mie_ pe - - - -
spair - .. - ing, my woes_ de - ·- spair -I J - ---...
!II..
"""'' I - ' ....,. ....... - - ..,. ~~~~
r i'-., ... ., r·, r r .,r t I ~ .,r ~
---- • ~--.......__ - I ~ - ,.. Cl- ... r.J -t:i •
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52
p I
....... - -' . tl'
J I r r· ~ I ~ ;I co - stan - te, ch'in ser - vi - tu co-chin ser - VI - u
In slav - 'ry e'er con - fin - ing, In on-
. --- --...... I .
I
- r --.........
~ .~ -I
p l--=== == .. I ~
I
go- d'< .. P- gno- ra lan-guen -And tor-ment-ing a heart,
I II. L .... 11 r~ • 1'1. ... lll'l"
r· r f lf. p r~
I
~ ,-.....
• I' -.... .... I - -~ ... I
P----\. , "
• r~ •
r· p .... I
- I " ... I - I ..... ..__/I - • 4- u•
go-de,_p - gno - ra lan-gue n Tor - ment-ing a heart
I I
I
--I
settza ra I! t en are
J. I JF J J] I tJ '--' doun co-re a - man -
love - lorn and pin- -
....... ... ... r· r
~ r r-T i ~JIJ I I .. ...
T~ . " -I~ I r I I
- do un l~e
4-"
I ...... ....... -
co-re, un co-re a -lorn, love -lorn and
I I
I
I
11!/"------fJ I
------ h J. I J. I I I I . - r " .LJ
...............
u -man - te, go-de o - gno-ra lan-guen - doun - l'O've pin - ing, Tor - ment-ing a heart -
fl I _L
....... .l ....t• u 111. ... ......
t... r ,~ 1 r· ~r g• P· ., ... • l!J I f --.....r--.. ~.
"' .... 'j -•• I II .. I I ... I , ..... n - - I -....
y . - .... • I
.... • -Ul78
fJ I r1 I I
I
4f .J i r~
co- re a - man lorn and pin
" I
r~.
... I -. .... ~·
te, ing,
-
53
cresc. I
I
.... -1-t:L
I I I
un co-re a - man -love - lorn and pin -
_L ~ ....
~ ! creso .
. - I
II
- "
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If h J ,... II. ,_ ... - ... t· _....__ - t"' - t"' ' \:I~
t) '-"' ...... ..__.. - ., ...._,. I I I '-...._/
- te, a - man - - te, un co-re a - man - te. - ing, and pin - - ing, love - lorn and pin - in g.
'1_ I ...... ::::::-..... ~ 1 I I I:"\
( '" If __.... _.. Ill ,_ '""I - ... 'I...J -- -~ ---- __...._ __...._
) t.. r r u- =-- r· r it -.,_..,., r· t;·
~ ~ -= :::::::=-
l .... I:"\ .~. ... ... LL .
•• r1 _. "' _ .... _, -6" c.. - .. -41"' i .. ... c.. I
'1 I
Come prima. fll'D __l
'" - I -- .I .. - f""[ --- - -l"i - .... ...,; I I
t.. I r r I r r
4o stral, ehe por -to al co - re d'un bel guar-do, d'un bel The shaft my heart iiD -pal-eth/Twas a bright glance, 'twas a
f)_ l J J ,....... '"
..... 1 ... - - .... "" " .... - .. -. --.... u .___...., > 11 • "--* col canto ;;:.
n ----..___ • ..;;. -........ - -_j . _j .... o• .... .... - --- -
----- ---fJ I ...... -_L l _,.
_....__ I " ... ["'.
~-·..!: ---__l_ .... - - ..... ~ .. ' I
~ --- - - JL.flll/ - n _ ___) v .__,/ --- -.___/
., ,-guar- do_ col - po_ fu, d'un bel guar- do col- po fu. bright glance from thine eye, 'twas a bright glance from. thine eye.
" L ...- --- --- --" • -~~
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' ---- -- --
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.... .. • .. , .. r r r r r ,-~ <
I - • .,. I
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I -- --'-" I J l r t i tR'78
54
fJ I 11 ,,
~r ~~ )J J> II ""' I"'\ _j_ --- p """' v v y
t) r Piu non cu - roil mio do lo - re, vi - vo
'-" As no art to cure a - vail - eth, I live
l'l I l~.J >..- ::::::---..,_
I -~ ~ h - "" ' "; v
r.J -r.J !"" Jill.
r r t I ,r r ~
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- ..... ,. ,... ,, / ..... ~· v
I I ~~ -
II I ====--
I - l
II ,, -- I If ...... - -,_ v •·· ,...
" tJ r --...-" r ' I "-.._./ r r
lie- to, vi - vo lie - to in ser- vi - tu; piu non cu- ro il
glad-ly, I live glad-ly ln slav- e - ry; As no art to II I I II , = P""
If , ......_ - lolo 1'1. .. - - n..lJA -- •• .., ,...
t) i i yr t ' f' t -i -,.._ It: I ~
~ I '-'• I .. , - -/ ... ,..
-- ' I ... - - ~· ... I I
fl I l
J] l)ll "' 1.. ["\ .. 11~J J I """'
,.. - roo; J
v -f., I r - - --..../
mio do- lo - re, vi-vo lie - to, vi- vo lie - to in -._; . t' in ser - VI - u,
poco rat/
cure a- vail- eth2 I live glad-ly, I live glad-ly in slav-e - ry, in
I I'J I I >.- ::::::--..... ------ --- ..--.....
~u _.-.... f , ......_ ... ... - - - - ... ... - - - -- ..... ----r l i t r - ~ - r *r r·f f r
( /: ~ ------ :::::::--..... I 1..---... I ~ - ... -- ... _l"" -I -- 11 r i ~ cr affrett. ralt. 1":'\
Fr ..--------....
"' I II p p ~-e
ser - vi - tu., in ser - - VI tu. slav- e - rr~
slav - - e ry. 1":'\
English Version by Dr Th. Baker.
55
Cangia, cangia tue voglie. (Change, 0 change thy fond wishes.)
Moderato. cJ = 60.) ~
Piano.
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change thy fond >-
vo - glie, wish-es,
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o mio 0 my ~
-
1
don -mourn- ful, Faith-ful to a fair one scorn -
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56
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can- gia tue vo - glie, 0 mio cor, che fe change thy fond wish-es, 0 my heart, now so
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t1179
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fl l cresc.
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fin - g.e col ri - so, col mo - strar--ti il bel vi - so, col mo-snare_ thee by smil - ing,Lur'd thee with a fac~g, lur'd thee
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" 1'1. ..... ·~ j .. !"'!: ... - ...... , -Non t'ac - cor - gi, me- schin, che Feel- est not, thou poor fool, she
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English Version by Dr Th. Baker.
80
Sento nel core. (My heart doth languish.)
Arietta.
Adagio. cJ = 76.)
ALESSANDRO SCARLATTI. (16119 -1721.)
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sen-to nel co - re languish,doth lan - guish
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pa - ce tur -ban - do va, che la mia pa - ce -
dwin - dles All peace for me, Hour byhour dwin-dles
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I an - guish, ev-er 111
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ce __ dies_
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r .r ___., ..._ _ tur-ban- do_ _ All peace for_
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lo wt :::..__.;; .._, _,
sen-to nel co - re cer-to do - - ~e, cer - to_ do- lo - re
I
my heart doth Ian- guish Ev-er in an-guish, ev - er_ in an - guish, ,~ I I I ...........--.. I
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tur-ban- do va. AIJ peace for me.
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English Version by
64
Su, venite a consiglio. (Hey! come hither, ye fancies.)
Dialogue between the Author a11d his Fancies.
Df Th. Baker. ALESSANDRO SCARLATTI.
Alleg·ro. cJ.= ~»2.) (t6.!l9- 1725 .)
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~ ~ "J! ~r t_:)' Piano.
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-~ ~ Voice.
Me no. (d·= 5o.) (Th A th ) e u or. '
_I "'"'
I Su, su,
Hey, hey, I
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• t I su, ve - nt- ~a con- si-glio, ve hey! Come hith- er, ye fancies, ye
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I'---.• '!I '!' ~ "!' '!' II!'
~tr leggero • • .;. • .;.
"-.../
>
.<J> ~ r r r I si-glio~,o pen - sie - - ri, ve - ni.- tfL_a con-
come to be -
II!' ~ ~
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guile me, Come bitb- er, 0 I I I ....
'~-*!" 1t '!' ~ '!' '!"
• • ..;.
1 I "':""
Cop!/rigltf, 1894, h!J fJ. BcAi~r, Ind. Copyrrgld rtJJUJwed, 1922, 66 1'Juodort1 .1/oAsr
Priated.bl the U.S. A.
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J J J si- gli~ pen-
come to be -
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65
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sie - ri. Co- m'es - ser mai puo, co-
guile me. How can I, 0 say, How
I l 1 >
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pp legatissimo errs c.
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nies- ser mai puo ch'io ser-vaa Se- mi- ra, che '-"'
can I, 0 say, Serve Lau-ra for ev-er, The
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poco a poco - -----~ t - --. - • - ;.. -"-ll._. --- -- .._, -~·-
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~~ -- - piu -- > --_1>. - --- . I' l""'
t... sco _ pQ._,e del- l~i • ra di chi i. . ' m 1nf1am- mo; se sco-p~ del- I'i - ra di
cause of this fe-ver That wears me a - way; The cause of this fe-ver That
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ID1n-f1am- mo. No, no, no, no!
wears me a - way? Nay, nay, nay, nay!
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66 Moderato. <J = 76 .)
(Th F . ) e anc1e~ ::>---.. ~ ~ > > eresc. • · • - - . - I ; J U I J.p1 ~ F I
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I • h • • • h E meg 10 so - r1- re, pe - na- re, mo- r1- re, c e ma1 r1-m1- ra-re, c e '1\vere bet-ter to suffer,
I -• .. ~ut ~~
grave I'--( P. legatiss. -§!
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si - gli, 0
fan - cies, seek
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sciat~j con - si-glho pen-fancies, now seek to be -
l L
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to toil, or to perish, Than longer to cherish, than
~- 1t ~t~
"M - .. I > >
I . ~ I I '· pen - Sle - ri!
to be-guile me!
I
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Eh! la- sciat~J con-. Ah! No longer, ye
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La - scia- te, la -No long- er, ye
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= -
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0 >
F I r F r I sie - ri, la - scia- te, la - scia-te i
'-' con-
guile me, no long-er, ye fan-cies, now I I I I I I
......
--~~ ~ .... / - ~ "':"' I. ~ '!" > > ._
p -- -- .... ~- I I I I ..........._; >----=-.__· > "":'
67
~,u. ff ritard. assai
I a tempo
.\.
_ll • • -= -_l.rl"\ ~v '-"' t)
si-gli,o sie ri. '-..,../
pen -seek to be - guile me.
~~ >. >. > > =t.-1 I > I ..rl .... ~ ~ --l'rl"\ - .... _...._ --_\: v -~ • .. .. ... .. ~ ... t ~ ~ !~-rf -rr (!r ~r t_:/ L ff ritard. assai a tempo
fl 'f > > > j l . •• 1111 - -_, ,., ... . ... - - -- .M .
I > ~ >- "":" ·~ ~
~~ -~
fj~ -1 I I _I I I rita rd. I
\ ~ .. 1111 - ... - ....... ... .. .,..j .. -~ 'lllll 1111'lllll .... ..._ - .., 'lllll -- "'"'! . - - - ,. . . .. - - ,. • • • i' .!;r ... :it..,. ~~ ~ > > > > > > ... > > >-
~ > >
> v~ I I . . • _, - .... ... ... - - - - ... > "-....-- > '---'- > "-....-- >~ I > >>> "':' -
1\'Ieno. cJ= oo .) f fj~ -£ , JJ,.
J - - - -_ll , _..,..,_ ,., I"'" - - I JIO"" -- ~ ,., - -~ ,., I .... --
~ I I I I • r
No, no, no, tor- na-tt_,a con - sig lio, tor - nate__..a con- s1g I<cP pen-Nay, nay, nay! Re-turn, 0 ye fancies,ye fancies, re-turn to be-
fj~ I I I -~ I I I I I I 1111 \.
\t , .... , "" ...... "" .., .., .... • 1'-• '!' '!"' ~ '!' '!"' '!"' '!' '!"' '!"' ~ ~ ~ , f rlf leggero . . . ...;,. • ..;.. •- _..;. .
_, k ~
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f,;, i> 1~
II .... _ ... _ - r~ .,..j
-~ "-"" "'"' ·~ I
sie - ri, tor - natf(_,a con- sigli~p pen- sie - ri. guile me, Ye fancies, re- turn to be- ·guile me.
fll), I I I I~
\ ~ .. ... - ... i -- - _......_ ....
---_....._
--- ---'~ ~ ~ ~ ~ ~ ~ '!"' ~~ '~~ ~
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11581
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I
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t.. I c..
68 ... , > I
•2? J J I j I -I L
Chiil se - no m'a - prl con dol- ce fe - ri - ta, '-"
Who o- pen'd my heart With WOUilldS so de- light- ful, I r -....... ...;o .........--...1 1- - >........--...l I .. ,
~
I r_ .. .. ~· l(;j I II' • • J• ,~ l_r' .. _ .. ~· - -- -~
a .JIOCO pzu eresc. cresc. poco - - -_... _p --I I
-L
con dol - ce fe - ri - fa, ve - dra ch~ scher- ni - ta sua fe - e co -with wounds so de-light-ful Will mark how de- spite-ful My faith does de-
I I I I I I
. - ~ .. • o!t4 .. -- -
H I r' 1/lr r· -- -~---
-j - ..
- . - --- - . -. ' I
~» - -> I -:;::.: - > piu f..
--t..J si, ve - dra cht.-e scher - hi - ta sua fe- de co - si, sl, part; Will mar
1
k how de - spite-ful My faith does de- part! Nay, ~-~ - I I l 1 - I I~ 1--::;;,._
t.. u --'piit f: - _L - • r r • >I
ff~~ -~ 11- ~- ..;: --- __ .e.__ . • .... I I
?t'Ioderato. cJ = 76.) ~J.f (The Fanciefl.)V >
~ si, si, si. 11 cie - lo per- met- ta men nay, nay, I..-;.. nay. May Heav'n ne'er fore - cast a More
'l» -~ 1---.::.. I -t.. • ~~~ ut f ~
.ritnrd. lP /ega iss. \ D ~ .... .
• I ... ... ... _1'
> I -'l~ > ,....... > ....-..... > >- -..... .
~-
... _I ven- det-' tal de stin p\u. n - ve, de - stin piu. gra-ve - so - so-
dire-ful dis - as-ter! For_ kind - li - er for- tune, For kind - li - er ,J.f .- -~ ......_
~ ....... . ... ~ ~ r~ tt • ~ f • 1t
·~ ~~ r
-----:- -r-.J t r > ~J Jill" _, ..
• I I ---------- I~ Ul8t
I
' <
'
~~
t: a ve e -
----....
for - za cllio
69
poco rit. ->
spe-
Alleg·ro. cJ.: 52.) (The Author.) ..,.>
! . - ri. Oh, la - sbiat~J con-for- tune The Fates I'll im - por- -tune! Oh, no longer, ye
~ ~--- I I --.......... I- I I I ----...... I I
~ • - - I___./~ I ~
~--~J J J poro rit. • ~---........ . .
----..:. I "!" "-~ ~ ~.,..-.,. > > :::r :::::;;o; ---I'm . 1 .
~- I I I. •. la - scia- te, la -si - gli, 0 pen - s1e - r1,
~~ fan - cies, seek to be- guile me, No long-- er, ye
> I ~I 1- T--... . I_
~'~• .. ~ . -~ t:l) .. (!I ~ I r' r l_C) .. . .. "'!' "":' "':'
~ I
I Cl .... .....__ - • ...... :!fi- .. =------ --- - ~ ~,. > :::r-- I > - > -~
scia-tv I
si-glh;-pen - sie ri, la- scia- te, la - scia-t~J I
con - - con-fan-cies, now seek to be - guile me, no long-er, ye fan-cies, now
~~~, ,....-- -..... ....--;-- I I I I ~
' ~ .... .. - WL
''!' ! ~ I!' ~ ~ ,~~~ "~~ "':' "'!" ""!"" ·~ Ill!' ~
• -,....,
\ I I I "':"' ":
~---------------------------------I'J ,.. ff. rit. assai lfr
-~
si-gli,o pen- sie - ri. ..:..../
seek to be- guile me! ~ ... > > > ~if"> =t- I I _I _l_
. . "-V ~ • -i-• t~t' .. ~ ~ ~"*!-r!lrrt ~r ~r t_:/
H rit. ossfli I I ~i .fl....-/ If
~ I I""
'> > > >>> ~ >- ~ •--.:..,.....-- ~
~-~ I !-I I I L1 f I
. ""' ~ - - - ..... - - - •· .... ~Ur •:it~ ~:: JJ > > > > > > > > - - - 'ff. rit.
1 I >-I
>.___..... ~- ~ ~- I >>> ._ :>> ~
Ul8t
English Version by Df Th. Baker.
70
Gia il sole dal Gange. (O'er Ganges now launches.)
Canzonetta. ALESSANDRO SCARLATTI.
(1649.., 1725.)
All t cJ ~ fJ I I
egro ~pus o. =126. - J > ~ .I"":: ..l j_ I
Piano.
fl I
tr-V TT
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fl I
f} I
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fl I
fl I I
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f} I
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J15R2
I ll n. v ·' \ ~· " A '-t"
) f.. 111• L •• v. h ,, / h .v A
'-t" I
Voice. -
1__._1 I .... - - ....
I
-
so- le Gan-ges
dal now
I I ..
-
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fr ==f --------------~ . ... "' r'---"i
. II"
I> I I 'Ill ::::::-------.._
.,. _._ .1!-.. --- • ,.. -~ ,~
.... -Giail
"--"" O'er
11(/' brillante
IDDBIF J F so - le_ dal_ Gan- ge, gii01 Gan .. ges no-w_ launch-es, der
-- -~ kggero j j - --- -_LI_
I
G '.,
an- ge p1u launch-es The
I
--- --
~ -. - l"'r
r
-- -
I
chia-ro, pili sun-god, the
I ~
- - ...... II"
::> J'""'
-I
>·
I F r· chia- ro sun-god
l ~
sfa - vii - la, piu his splen-dor, the
l I - -
I r'
"t poco r~ . > .... - "' I"" - I"" ~
I I ~' h" chia- ro sfa - vii - la, pili chia- ro, p1u c 1a- ro sf a - vii -sun- god his
. -I I I
- -I I I
splen - dor, the sun-god, the sun-god his I I I I I I I _...._ - -- - .."'!': --- ...... I ..
• --- --- --- - -- • -......_ . " . ~ '----------
> --;--. poco rit. ....
I r' I .... ~ Copyr'igltf, 1894, by G. 8f:ltirmer, Ine.
Copyr·igltt renewed, 1922, bJl Theodore Baker Printed in the U. S. A.
I
splen -I I I
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a empo
r.J •
la. dor, ~~
-~tn1tpo t_ ..... - --...
del -With
- -- -~ -4!~4!-p~
'!'
l'al- ba che teaFdrops he
71
> l . II'""
_ .... - _... ~
I stil- la del - 1'~1 - b:· - -gni che piange, ter-g~9-
With touch warm and ten-der Morn's tear-drops he_ staunches, > !- - I ~ ~
"
~1 ~ r ~ ~~ - .. .. ~ r ~f ~~ ~ ~ ;:;:---..._ - - '---"-
~ -~ ~
cre~v. poco a poco e lt->gatiss. _..._
l'al- ba che pian- ge, del -touch warm and ten - der Morn's
... .. .. ~ cresc . ..f!_Oco a poco e legatiss. - .... - _.
I
- I ..
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.._ -~
l'al- ba che pian- ge, del-tear-drops he staunches, Morn's
... -= "i" _. ... 9f i-..~ ~
- ..... ~ -- - >
-
Giail o'e'r
-
so- le_ dal Gan-ges now
> l
t... Gan - ge, gifUI le d~l Gan-ge 1,, h' I . ' h' I sfa-so- piu c Ia- ro, piU c 1a- ro
launch-es, o'er Gan-ges now launches The sun- god, the sun-god his fJI I l I I I I~ l~l
IL h:
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._ ..:n _ ia, piu h o 'r '1 r l"r r 0' hi I r 0
' h'l 0 1f 'l e. Ia-ro sa- VI - a, piu c a-ro, piu c Ia-ro sa- VI
splen-dor, th1
e II\ I I
! ~. ->
Hfi82
sun-g-od his splen-dor, the sun-god, the sun-god his splen ·~Ill. 111·1 II -- -I I I - -->
rit. - -. - -- -I I I I - .. ., > I
-
-I
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I - I - I - I . t. la. -~ L
dor. J I h Ll ,.
> -· I I l ~ . --. -"' f .iJ a tempo- }> ~._I -- r"--'i
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:. Ul82
'-" t
"U rt an_!.. - - > I b n t .
T ~~
C~1 rag- gio_ do - ra- to, (~01 rag- gio do - ra- to ln -His rays gold-en_ beam-ing, his rays gold- en beam-ing De-
.-... I
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~ ~
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r I I ....__.. T T ...
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I • I, ~ . r:. I !_ iln - gem-mi!:P- gni ste io, gem-ma, In- gem-m~o-gn1 ste- 1o, - m-
throne, de- throne nightly shadows, de- throne night-ly ~had- ows, de-
I I r :::::,... -.........l I~ I I I . "':"' "':"' "'!" r r ~i z.__::___:! I I
- -- _.....--......._ >- . . I
r I
I ==j ~ poco rit. > a tempo
~ I T, T f
lo, gem-ma, In- gem-m~o-gn1 ste -throne, de-throne night-ly shad - 010\'S,
I I I I I I I =r~-. ~ I!' .. ~
"':' "':' ~ ~~ tempot._ .......__ . 1JOCO rif. I ~
I
* ·~ I .. .. .... .::_~
>
-
. 1 di - '· ~ -1 t cte - o p1n - ge_ ne _ pra- o; J ' meadows With stars bright-ly_ gleaming;
I Q. ~
r r
-..__., •
T
- .• I ~
- > ---.. . . I y
> l . e glijts-tri del
While gemming the I I
~-~ r c· > ~~
I
-~ -- -cre~c poco a
I it J J i. · di - pin- ge nel
While gemming the
.. 'i" .. C'rCSC..;.POCO a
.,
73
~ L I poco - f 't rz .
t.. di - nel -pra- to, di - pin- gf nel pra- to, pin- ge pra -
II) I_ I
meadows, while gemming the meadows with stars bright - ly gleam -> >
~
' t. ~ ~. ~ .:; .. ... ~ ~, ~ ..; .. .. "i.; ~t
< .........__.. •-----.:...----- ~ ~ ~ I poco ~rit.
> - - > - - >
II) I I a empo .. --.. - - > . t.. ro:-
_.., Col rag- gio do- ra - to, col rag-gio do-
ing. ~~
His rays gold-en beam-ing, his rays gold - en ~I I > ~==r :::>I
l _...
J '-' j - r _t_ iiJ"i" .. .. .. t___!_J' ,. lF'" -F < ?it'- ~
a tempo - > --- --- -t .
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i
t. ra- to,
! I t I I • I -in - gni m- gem-ma, In- gem-m~ - gn1 ste.lo, gem-m~-
beam-ing De- throne, de-throne night - 1y shadows, While gem-ming, while
~ I I J I I I I ~~ .. -t
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t.. ste r
fo, !: r. ~ . I ' ste1
lo. - In- gem-ma In- gem-m~o- gn1 -gem- ming the merdo'rs With stars bright-ly gleam - ing.
I fJ I I
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< > > 'f a teml!.._O > I poco rit. I ~-,. •:tf. . . .
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t.. >- I I I I I ~-,, j ....... •• < f brt11ante
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Ul81
74
Alracquisto di gloria. (To \Vin glory.)
Aria from the Opera
"Tigrane'! English Version by
Df Th. Baker. ALESSANDRO SCARLATTI. (16119 -1725.)
~ Alleg·ro cJ 132 ) = Voice. - I
~
~ ~ fJ ~---.,., :::---~ ..-: ilt t: • - -·
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, .... pJ .. . l'ft'\ v A .. t) ~ ....... ~ ............ --- .........
f
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Piano.
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H583
> >
Copyright, 1891, by (}. Sclu:rmer, Inc. Copyright renewed,.1922,.by 2"'/teodore Baker
Printed in the U. S. A.
>
t
>
- ;ggq > .. > -
--I >
-.
..........
> -Al - l'acTo_ win_
75
~ ~ >. > I - ....... .., ..., -~ hi - .... - I"' ,_ "'~ .... - ""!"
r-.... -
'- ~ - I I .___. - -4!- ~ -~ ':__/"
qui - sto_ di _ glo-ri~e di fa- rna tra bel- li - che schie- re_ di _ glo-ry_ in_ far- a - way re - gions, 'Mid con- quer- ing le - gions, The
'l - ..,.._ #.
, "" "'
t... .. .. > .,.,......_______ . • : I
" , J hi "" "" i, II"
~ ,........ L.· I. - ,------. -r-, hi ....... -rr "'" .... IIIII!-. \:L/ _..... -'- - - I ~ r
trorn- be_ guer - rie- re rni chi a - rna,rni chia- - rna, rni war-trumps ap - pall-ing Are call - ing, are call - - ing, are
fj ~- -- - I I I -- ---· .......... ...
\ ~ ft
1"" - - - - ... l .... .... I II" ..oil .... , -- 1..1 ~ -t
- r I I r I .. 6t- ~ 1*- 1*- -!- ,. ~ ~
~ . .. r~
J hi CJ ~ _l_
I r
~
't. I
chia-rn~Jl fra - gor. call - ing: "De - part!"
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\ ~ - """' r Iii '"'! u - 1....1 w I I - ............ r t.JU
) 6:-~ ff ~ .::>
p ::> ::>
~ . .
.r-".
~
~ PP ....... ...... -.....
"' .... I I I I !
Al- l'ac - qui - sto_ di_ glo-ri~e di fa-To_ win_ glo- ·ry_ in_ far - a - way re -
I -...... • I
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il -I tJU .. • .. :t· 4 .. ~~~~~:~~~~~~~~~~~~~~~ • -- ,... _I. \. -,.. , I-
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Ul88
76
~ - - .... - ......... -~ I-
I ....., ..... - ..._....
- ma tra bel- li - che schie- re_ di __ trom- be_ guer- rie- re_ mi_
- gions 'Mid con - quer- ing le - gions, ThE, war-trumps ap - pall-ing Are
• • ...
.... ..._
chia- ma, call - ing, ---. r r
.. -• _.
rna ing,
~ -• _.
--mi_ are_
:::;;;..
r
mi are
--· f
_l_ -"'IL_ -chia-rn~i1 call- ing:
..
chiacall -
...
di ' _.,
trornbe the war-trumps
. r f ~
....._
fra .. gor, "De - part!!'
I
.. ' >
f >
i •
., -guer- rie - re,
ap - palling,
- 1- - =--. - -.... ..._ ... ' - t r r i i r-
I J. I J l F ---- <:::::::::: - mi
Are I I I I I t-... I
. > > > > >~
>. >
•
IF ·-rna, - ing,
> > ~ .
mi _ chiaare_ call -
-~
~ 1r JJD IJJJJJJ rni chia- - -are call - - -
> ........-... ..-----... .-.... I I I l I
~
~·~r'- .. J r- ., i ~ /~ ' ~ r'--v• ..._ ----' > ~ ::;:: ..
l l l ~ _.,.
~ - ... -
I
I
77
~ ....... .... - r1 a -roll 't rd p _l
-:. .... , - .., ' r'\.l' - .. -- .., -.r '\: Lf -- . ._.- -- -.,-. t ~ -- -
rna, rni_ chia- rna, rni_ chia-rn~Jl fra- gor, il_ fra - gor,
ing, call ing, call- ing: "D de part!" are_ - are_ e- part, -
fj I I IJ h.
I - - • -. t~_... -, '- .. ... • f ~ :i < colla voce
I ... .
I I'll -.,- --- ----- -- •
rit
~ 1":\f> I .,;;;;: --- ..... l _\._ _l_
.JL. •- _L ----- --.,--. ~IL --'- ~~
rni chia- -...:.:::: - rna_il fra- gor. Are call-ing, call-ing: "D , are e- part!
11 > > ==t>-I I ... - >
\ " '--' .. • .. .. -r :tl I ... ) pp f rit. fa tempo
> I I > > > >
f --"-'• -.. , ,... --" .h.
,. I > 4
.. ., >
fj . ll ...... I
t)
>
~ . ..,.. .,.. ~ ~-~ -· -· > lir •• ••• • • • t: : .. . -. -- ---· - jM_ -· . . .A L -r: ~ t I .I I .I r ,. -
>-- - .. > 1 L -. . . . ---- --_.._
• I
fJ r:---.
~
1:, >-
~· >- ::r· :::r f1 • • It: • ... : .... >- !"':'---... . ....;. - :::>:.
IJ ... ,... - . . ) '- ...... ........ I I I ... r·r.c·rr i >- >- > > > I I
~
• !"':'---. . I I'll - - • \ .... '"" -- .. • - .. • - • • • • u .. .. .. P-ine.
tti88
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t..
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f1
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tUS~3
78
Sostenuto assai cJ- 69 ) -1
~ I J ib ~~ j) . r J) I I r r I r
Ma por. tan. do del ca. ro rnio be-ne I ' fis- SfLal- lal- rna le g·ra- vi sven-
But, a las! for my war-like en - deavor! E'er doth love to restrain me per-
71 p
I
T
tu - re a -sev. er, With ~
... - V'f
#r· ~
-
!IIIII
- , pe - ne nel do - ing my ~
·-rr f nr .... .... I I
--du re_ le woo-ing_ un
I~
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.Jit..ool ,.~
J!UIIIIL
r· - . .: .. ql ..::;; .::....
~~ ~ #1! .(15 r· r~
.... I I I I
~ l l l
~i~ J]!~ J qlj I l -vro sem-pre du- re le pe - - ne, le-wil - i - est woo-ing Un do ing, un -
........... ~
~
~ +=- • "=- • v.... ... l'# .... 11 1 r ~ • ,___..,. ,:....__/
I --- - r-,..
-- 1""
I I lJ6- ......,
qlll I J j J J> J r I I
cor, del ca- ro mio be-ne a - vro sempre heart! E'er love doth per- sev- er, With wil - i -est
I~ fr_ ----=:::::--..
• f' 'f'C!~ ....... r I -f
ppp
pedo
p----- • -.,..
-- ne,
ing,
-
I I
rn/1. > >
y ....... -1e pe- ne nel un-do- ing my
I
-
-
I ~
• t
I I
·-.....v
COl'. Al - l'ac -heart. To_ win_
r.-,
./Jal Segno ~ ol Pine.
I
I
79
D ormi, bella, dormi tu·? (Art thou sleeping, fair one?)
Fragment from the Cantata
"La Serenata." English Version by
Dr Th.Baker. GIOo BATTISTA BASSANI. (J6li7 -1716.)
Voice.
~ I IJ ,, 1"\.V
l/
'-
( ~fl \,' ,_ \.
' t) ) ( .
. fl I I
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fj I
l \. t)
. -~· L.
lft)84:
1\Ioderato. <il = too.)
_........__ --- _l If' I
~-:rhi, dor-mi tu? fair one, steepest thou?
L If'
J 0 or-m1 sleepest
-
tu? thou?
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d'esser men cru - da, sleep-ing, be thy dream not all too cru - el;
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Copyright, 1894, by G. s~h£rm,er, Inr. Copyright renewed, 1922, by Theodore Baker
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qual-che pie-ta; se ve-g 1 por- gi ·· mi qua-l- che pie-ta,_ se some pit - y_fee11 If waking, let thine heart some pit - Y- feel, If
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English Version by Dr. Th. Baker.
85
Posate, dormite. (Sleep on, then.)
Fragment from the Cantata "La Serenata.~'
Recitativo.
GIO. BATTISTA BASSANL (161)7- f7t6.)
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t... Ah se tu dor- mi an - co - ra; e se dor '--" -
Ah, if tliou still art sleep .... ing, and e'en ln
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.I ~- ..- - I - -men- do tan - te pe .. he ~i slum-ber All my rest so hast
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da - i, non de - star - ti giamma - i. tak-en, Thoushould'stnev-er a-wak-en.
che More
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stern-ly must be fashion'd,To en- durethywak'ningcharm, A heart so a-man- te. im-pas- sion'd.
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di- te, ul vo-stro ri -close ye, And may your keen
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86
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r r I r r r I r J J I ..... le, pu - pil - le gra - di - te, pu- pil- le gra-ye, Sweet eyes:, nor un - close ye,sweet eyes, nor un-
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art, and may your keen art Grant a
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wrath thou mightst feel That I va;:_.:..-==---._ -::!_sh, I van -
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English Version by D!' Th .. Baker.
~ l Ll'.h.
Voice. ~ h LV
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lL_h._
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t. Piano. <
89
Seguita a piangere. (Mourn with temfrity.)
Fragment from the Cantata "L' Amante placata."
Recitativo.
GIO. BATTISTA BASSANI. (1657 1716.)
l I - -l ~ -I r - pian- ~h r
No, non te- me- t~p ti; non ve-Nay, have no fear, my griev- ings, ah, mark ye
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90
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spe. a fran- ge- re her se - ver - i - ty
....--:::::::::
il tuo ri- gor, will soon de- part,
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e spe - ra fran - ge • re il ri-gor; all her se-ver- i - ty will soon de-part; ~ -r
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Mourn with te- mer - i - ty, pen- i - tent, pen - i -tent heart,
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se- gui.ta a p1an - ge- re, po - ve- ro, po-ve-ro cor, '-"'
mourn with te - mer - i- ty, pen - i - tent, pen - i - tent heart,
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f .r. t . se- gw.- V pian- ge- re, po - ve- ro cor:, mourn with te-mer- i - ty, pen- i- tent heart,
se- gui-tu pian - ge- re, mourn with te- mer - i - ty,
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Recitativo.
r f r l'r t Un ve- ro duol Ill- e - ne -
To true re-morse her heart will I
4 it col canto -- -!-...
~
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so di Fll-l!Jlcor quanfo sia dol-ce. knowthatPhyllis'heart is warm and tender. --
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su1re-ly sur-ren - der, I
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Se in-fe- de-le mi ha sof-..._., '--"'
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SI p a.c e-ra, s1 p a-che- ra, SI-p a- c e-ra, Can not re-sent, can not re -sent, can not re-sent,
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94
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Se in- fe - de - le mi ha sof -..._.. '-"
All the wrongs I've done, her I I
•
p ~ l se in- fe - e - le mi ha sof -. ..._, All
'--" the wrongs I've done, her
I
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spir-it Can not re-sent, can not re- sent, can- not re-sent; I ~
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· 1 h K · I y ', . '1-l h ' SI p a-c e-ra, SI p a-che-ra, SI p a- c e - ra. Shewill re-lel)t,shewill re-lent,she will re- lent!
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lo.
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t I I r. piu Vo- lea Tir - SI
Yet more Thyr - sis would
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~-......... --t) • I. - -----.::::::- ::::::---< rit. rol rw1llo ===- r.'\ --- -~ -e-----I . ... ~ .
'(" lh .Jill ! V'
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F"'l r . t r. t ~ k' ·' r d:h, dis- se, di- re rna I - I In- e - ne - ri - a Sl dol-ce par- Iar: .....__,.
say, but Phyl-lis, all com- pas- sion for his sor- row, re- plies: "Ah, cease thy
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col suon de' ba - ci. sigh-ing!'' And with kiss-es ar- rests his woe-ful cry-ing.
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English Version by D!" Th. Baker.
96
Caro laccio, dolee nodo. (Dainty meshes, net enticeful.)
Fragment from the Second Cantata.
fl I Moderato. <J = 69.)
FRANCESCO GASPARINI. (t66~ - t737~
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Printed in the U.s. A.
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mesh-es, net en- tice- ful That en - tan - gles_ my_
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e pur ne I yet am
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go - do, bliss - ful,
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son con -Held a
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ten- to cap-tive,
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flee, -~u~blisS-ful, held a cap- five, I would
~ ! gw- n1er, not flee,
so ch'io E'en tho'
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pe- no e pur ne go- do, son con-ten - to, con - ten- [o e pri - gio-
woe-ful I yet am bliss-ful, Held a cap-tive, a
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cap - tive, I would
..
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flee, woe-ful, bliss-ful, held a cap- tive, I would gio - nier. not flee.
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t
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99
Lasciar d' amarti. (Lovts bond to sever.)
English Version by Dr Th. Baker.
Fragment from the Second Cantata.
FRANCESCO GASPARINI.
Allegro moderato <J- 84) (1666 - 1737.)
~ fl ~ -~ ~ '- -~ I - I I I -
I - '-'
Piano. ' !""' -t I ...... ,... - - - -'t) it !Jasso telrnto catt!nttdo
.,- - I e f 111p
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. .oil'l h. LY T- I r- Y 11 .-ll - ,_ I . -'- r I I
Las-ciar d'a - mar- ti per non pe -Love's bond to sev- er, my heart to
f} t I I • ,..._ I ... I ...
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v , ........ - ........ >"-..._~ • I
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rit. con grazfa
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nar, ca - ro mio be- ne, non si puo far, no, free, Mine own be - lov- ed, it_ can not be, no,
11 L I " l I " ..1 I I I L. I I " ~ J .. .I'" ... - - --...- . ...., t II'- 7 -, I'- .,~ ~ - ~:-< rit. con grazia.
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'-' ca- ro, nbn si , :fi I • ' r. I r: puo ar; la- sc1ar d a - mar - t1 per non pe - nar, ca .. - rom1o
it can not, can not be, I..ove's bond to sev - er, my heart to free, Mine own be-fl I I I I " I I to... I n - -,...
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H688 Oopgrzgld, 1894, by G. Sckirmer, Inc.
Oopgrzgkt renewed, 1922, by T46odor8 Baker
> ::;:.... Printed in the U.S. A.
too
fl I C 'eSC.
ln" "'-Y .II I"'[ .. ...... §J j~ I r- F r· p I ~II' ..... .... t.r~ .. I b r . be- ne, ca- ro mio e-ne,nons1 puo far, ca- ro nno be- ne, ca - ro,
f
lov- ed, mine own be - lov-ed, it can not be, mine own be- lov- ed, my be-fl I -~ I I I - - - ~
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< cresc . ...- ~-f ~- ~
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Meno cJ 72~/f - . r '
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ca- ro, non si puo far. A for-lov- ed, it can not be. In spite
I I I
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rV rtt.
------. ~ ~ .--::::c
....._ • .., .-!
--- .... :---- r I. te - ne, non vo - glio sorrows, I e'er will
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----
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la- sciar- ti; per- sev- er,
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dore on- ly thee, on - ly thee, .a - dor,e, a - dore, a- dore on - ly ~ _I J ~ ~ I ... _ ... I .... - -- - ....._
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1Ui88
rar. thee.
tot
z'l basso legato e cantando
'' l I 1/ifdol e legato
I I I .
r I I
Lasciar d'a - mar- ti per non Love'sbond to sev - er, my heart
I ~
I
pe -to
l
• ."-". 1llt .... .... .. ~
a tempo ~ -· ---,. l"""
~
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~ rz . con grazza - I ::::>
il -. r I
be- ne, non si puo far, no, lov- ed, it_ can not be, no,
- I I 1 L I I ~ -"""! ~~- • • - -
rit.
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nar, ca - ro mio free, Mine own be-
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ca- ro, non si pub if can not, can not
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cresc molto
I I
far, la- sciar d'a - mar-be. Love's bond to sev-
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--.......... - 1'-.. - .,...
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ne, ca - ro mio ed, mine own be_
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J non pe -
er, My heart to
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f J. qJ ~ jJj be- ne,non si puo far, ca - ro mio lov - ed, it can not be, mine own be-
=======-l >- rit.
.:EEfttj) I J :±±I r be - ne,
ed, ca my
ro, ca - ro, non si ' puo far. be! lov - be - lov - ed, it can not
11 .. ---
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t_:a. p motto rit.
-
103
Per la gloria d'adorarvi.
(For the love my heart doth prize.)
from the Opera
"Griselda!'
English Version by
Df Th. Baker.
Andante. (J =so.)
G. B. BONONCINI. (1672-1748.)
Voice.
Piano.
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Per~ la glo I '· - ria
.....,.... ......... . fr For_ the love_ my
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"--"'- - ....._ .......
rar - vi vo -g li o,_,a - mar- vi0 o lu - ci ca - re; prize, 0 charmful eyes, I_ would a-dore ye;
- I~ I -I I I ---r - r r rr r r r i r r #
--~ ----- -----* T • I :iii
., __.,., Copyright, 189#, by G. Schirme'l'; Inc.
Copyright renewed, 1922, by TAeodore Baker Pl"lo.ted ill the U. S. A.
~ - J
d'a- -do-heart_ doth
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J - ~-
-
pp -. r per __ la
For_ the
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•
104
lJ ~ ,..._ ,..._ -tJ I,
d'a .......__.- - ....__.
glo - ria ... do - rar - vi vo- gli~a - mar- vi,1p_ lu -love_ my heart_ doth prize, 0 charmful eyes, I_ would
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. ~- ~- pp dolrP. . . ~I • I'
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.._, ..... v-
ci ca - re. A- man-do pe- ne - ro,_ rna sem - pre v'a.- - me -
f
a-dore ye. For me, my love is pain,_ I_ know 'tis all 111
~ l .... ~
rlf-~ •r # -41 .. ~ v ( __ j r • • ~if -
~-- - ·-· ~ . - -'- .... .1"" ~
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'_jj;h. ;, J .I I I J ' I t) ~""' I'
ro,_ sl, sl, nel mio_ pe- na- -re; vain,_ vain, vain, Yet kneel.- be-fore ye~
fJ ~ :::::: .,.....-......_ r 1 I I I I ......
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sl, A-man-do pe- ne - ro,_ rna sem- pre v·a- me - ro, _ Forme n1y love is pain, !_know 'tis all m vain,_ vain,
fJ ------I I -- ~
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Sl, ne mto __ pe-na - re, pe - ne - ro, v'a - me- ro,.
vain, yet kneel_ be-fore ye • Love is_ pain, all in_ vain
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lu- ei ca - re, pe - ne- ro, v'a- me- ro, lu - ci ca -I im-plore ye, love is_ pain, all in_vain I im-plore
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v I ,.. l I Sen - za spe - me di __ di-
~n Hope-less 'tis __ to look_ for
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spe - ke 'tis_ to
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-spi-ra - re, t'implore ye;
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106
~
3. ~~-- .L =1 di __ di - to va.- no
look_ for kind - ness, Fool -
-
re, ye,
1€0 f-af - fet
pp
t I F=j J I sen - za Hope - less
'~~- QJ - oe_ so -
'-"
ish fond-ness with sighs
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Pl' dolce. p
I .. I
11 l
j) ~ra lET? ) J) I -- p r r ... -
rna 1 vo- stri dol- ci ,chi va-gheggiar pub But who-e'ermightwooyour gaze, Bask in your sun-ny
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L""-........ - ~ 6.
:j
~ mal_ rays,_
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~ ,... -
-e no-;-_ Ja - rna -
and not__ a - dore re? ye?
L --
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107
t.1 l - l .-. _j
--- -"''IL "" '"" I
tJ ,. r v-v fa:fi - ~-gheggiar puo
'--." rna 1 vo- stri dol-ci chi mal_ e
But w·ho-e'er might woo your gaze, Baskin yoursun -ny rays,_ and ~
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tl t---1r I I
b. ~ ~ ..}. "11
f
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pe - ne-ro, va- me-ro, Love is_ pain,all in_ vain
··-~~ -lu -ci ca -I im-plore
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p ,.......__ .:. l fr _j_---·
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ye, love is_ pain, all in_ vain I im-plore ye. ::::>~
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• .. • .. ~ ~ ~ I ~ .... .. -41 • .. ~
U589
I
~
English Version by Df Th. Baker.
108
Sen corre l'agilelletta. (As when a. lamb confiding.)
Ca.nzonetta..
Andantino. (J = ao.)
DOMENICO SARRI. (i6'78-f'71&0.)
Piano.
fJ 1 I Voice.
fJ I •
Sen :or- ;e l~a. - ~el-1:1'- ta As when a lamb con - fid - ing
~'- ~ ~
.
a.l cen - no del pa. ~ 0 - beys the shepherd's
k
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al cen - no del pa -o. - beys the shep-herd's ...........
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da T
~' lui par - 1 - re, ne_ sa from him will part,_ nor_ e'er
...---
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l
l - { . da_ u1 par -from him will
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I I I
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Copyrigld, 189#, !Jy G. ScAif'•mer, Inc. Copyrigld rMUJtDild, 1933, IJg TA.eotlore Baker
Printed ill t1le U. S. A.
r
IL
lir, al cen- no part; o - beys the
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-
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del "-: -spor puo mio co - re a vi - ve -'-'
trol my will-ing heart, May life or_
11r.
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- _ _,___ ~ ~ I spor puo del mio trol my will-ing
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p di-con--
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111
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~ ....... - ,_~r r' lab- bro che m'al - let- -ta di - spor puo del mio co- -re a
f1L lips so sweet-ly guid- - ing, Con - trol my will-ing heart, __ May
I ..._ fl ....
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- TT vi - ve - re, a mo - rir, __ a life or de~h be - fall,_ may
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a may
Sen As
112
.~. L I I l L
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t.J r r r -cor- re I' a- gnel-let-ta al cen-no del pa - s - re, al cen-no del pa-
when a lamb con-fid-ing 0- beys the shepherd's call,_ o - beys the shepherd's !Jw. ~ ' ~~ l ...
t [ff· 4 .. -411~,.J ... .,- .. '1-1 -IL. .. ,~
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ne sa, __ ne sa d. a lui par - ti - re, ne_ call,_ Nor e'er,_ nor e'er from him will part,_ nor_
..fl. t .1.
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sa da_ lui par - tir; al cen- no del_ pa - sto-re, ne_ e'er from him will part; o - beys the shep - herd's call,_ Nor_
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e'er from him_ will_ part. r-:-.......... ~~
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l tJ •. -r!
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ti3
l > _1. . - . " . . - r . - r y
,~' cor- re l'a- gnel- let- ta al cen- no del pa - ne when a lamb con-fid-ing 0 -beys the shep-herd's
" -
,
" _....
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ne sa da lui par - ti-re, nor e'erfromhim will part,
ten.
.
ten. f rail.
call,_ Nor .~ )-. I h
,-~
~
ne_ sa da_lui parnor e er from him will
a tempo.
' <
English Version by
Dr Th. Baker.
114
Vergin., tutto amor. (Virgin, fount of love.)
Preghiera.
FRANCESCO DURANTE. (!684- t'71SIS.)
Largo religioso. (J.: 110.)
Voive. _jjj_
(f r· r· ijr. Ver- gin, tut - tQJ~. Vir- gin, fount of
~. I ., T- p p p ~ r ~ I . '-' I r -r
mor, 0 ma-dre di bon - ta - .de, 0 ma-dre pi - a, rna- dre love, Dear Moth-er, thou of mer- cy,whoseheart was riv-en,whoseheartwas
~ .1_ ,........... ~
,_,_ ,........, ...,..., I 1 I I -, -~
v -4f-4f":" !!! ~ ~ i!~ ~~~ -- - - - - - • .. ·---~ .
simiU. ..-- ~ .---r-- ----...... -:-- ............ I ~ ,. j_ ~ " - . . . UIS9f
Copyrzgkt, 189#, by fJ. Sclu~rmer, Inc. Copyrigld reMwetl, 1922, by TJ.I.eodore Baker
Printf'd in the U.S. A.
11691
115
a, a- scol- ta, ia- ri - a, la __ vo en, 0 heat.rk-en, Queen of Heav-en, Hearken to a sin
tor,:....del pee - ca t . ' cry,_ o a sm - ner s
-
to~. cry.
te_ i suoi hear hersad
Il pian-to suo ti Let kind compas-sion
la - men - ti, suo duol, suoi tri-sti acla - ment - ing,Hermourn-ful moan as
~
i.
cor,_pie -to- -so, pie -to -on high,thy throne_ of_ grace __ _
ta mer -
de, cy,
116
._gt
gin, tut - to _,a-gin,fount of
o Ver - gin, tut - to~a -0 Vir - gin, fount of
rnor, love,
mo- re, love, 0
0
0
rna- dre di_ bon-0 mother thou of
p
rna - dre di_ bonmoth - er thou of
gin, tut - to._.,a-mor, __ Vir -gin, fount of love,_
117
Danza, danza, fanciulla gentile. (Dance, 0 dance, maiden gay.)
Arietta.
English Version by
Dr Th. Baker. J<"RANCESCO DURANTE. (1684 -1755.)
Voice.
Piano.~
fJ I '
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t)
tJ,
t)
16..11.•
y
11592 r
Allegro con spirito. (J = 1as.) IJ I I
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t)
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t) ... v I ~ .. v --- ::;:r:... ::;::,... ::;::,... -. ._, - -.... -- I -------
., ~ = = = /""' = = = p
-~ - I -- ,., ... ,., - -~
dan - za, fan ciul- Ia: al_ mi - o can - tar; - ......
Dan-za, - dan- za, Dance,O_ dance, maid-en gay, to_ the song that I sing; dance,O_
...----::----_
l l ~
l
I I ~. j "' I I ~ I I
-~ -~ - - - .. .. p
• ~I
j '-- ., ~ ~ ~ !"-
mi - o can - tar. to__ song,to the song that I sing.
~ Copyrt"gAt, 189#, hy (}. ScA.J'rmer, Inc.
CopyrigAt renewed, 1922, by TA.eodore Baker Printed in the U. S. A.
~:':!"'"
....
.,.,
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'""' V' I'J I'll •n -if sdo- no ing
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I > . ~
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tJ va - go
hear the
I
---
al bound-
118
leg ge - ra, sot - ti-azr - i - ly fly
suo- mg,
r~
-no, re-
al -sound-
P. .
dt>l '· ~-- I'on- de_ del_ mar. Sen-ti il '-"
the bil lows out ring! Dostthou l I ~ I ' I I. i j
"'!'! .... ~ .. .. ... ... ·~- i i r ~----- ~
> >_ p > -.....
I q•~·- I I I --........
- - ~ ....--... I ~ - .... = ... - I ~ -
ru - mo-re del - l'au - ra scher-zo - sa che par- la_ al low voic-es of breez-es soft blending Ap peal to_ thy_
IJ I_ • ~--~ T r ---.... T "'j 1 .... Jl fl_ .... Ill" - • - r T 1
1 r r ~-t) I l I l l II i r r r ....._ - ~-
L..-. -,. I. I~ .;.. . ----- -. a • pll" .
y 11 -- - ~"'-._____.-:r- ~ . -------11592
119
cresc. IJ I I
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- Ill. ~ --- lif
... - I ' ~~~-,u I I ..... .._..... .......__..).-""-- ~
co - re con lan - gui- do_ suon,_ con lan- - -heart with their blan - dish-ing_ tone? their ___ blan- - -
IJ I. I T ~ ---------I
l ..11.. -... .._
.Jil-
'-' i I I ~r i .. I .. ..
~ r T r r rl ~ "- ____.-' cresc.
'1:"'1 I I ~ -----._,_ -- - I ,. L "'"' - ...
r.- -- -. vs ~4_· •
./Jt I I" rit. fr. a t .empo. /!_ _,.--..._ v .. .. T ~-
tJ I I "'--"' ...... - - gui- -do suon, e_ ch~_}n-- - dish - ing tone? They in -
Jj1_ I I I !"':\ ~ ~
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tJ
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tempo. rit. f -- -
I - - - I • . _, . -...-
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-...__.....
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T ~-Y'
I _ ____.J
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vi - ta a dan - zar sen- - -za po- -'-"
vite to a dance nev- - - er end- -
t\ _,/
....__
I --------"' I J ~ I I r 1 1 T I ~
! II fJ."" - .-I
.It .... = - -.!_ -..... ..., t) ~ • r r p ---~ i i ~ p
I.-~ >-~ .....--...... >- _---....._
...:.. • - _....._ . --. \
V' l - I
!J L .I I ./", PP>- -. tJ I I 'q r ~·~
sa, sen- - -.za po - sa, chejn - vi - a a .dan-ing, And whis- - -per,_ "Dance on!___:::_ dance
IJr j..._
.----...., ~ ~f I I t l
: ... t
tJ ·~-- r ~ ~ ... - - • r
< f pp >- ..........-.... ------' -'-. . _, .... •-
'" - I I - - I ~
Ui92
I
1.20
.zar. Dan - za,__ dan - za, fan -on!'' Dance,O__ dance, maid- en
~
::::>--lfj rj • ~
ciul - Ia_ gen gay, To_ the_
I J J J - ti - le, fan -
song that I ,.....
---I~ ~·"~~ ~
jJJJ. ~ J JJJ ~
.. -.t
- _y -¥ tJ ----~ --+--- / - - r
p - I -.... _ .. 1-"' ·- -" ./ .. , __ --
t;, > ~// _____ cresc.
I
J :J JJ;I tJ -~ - J J r "-----' ~ ':"" -f!- "":"" ~
~ ciul - la_ gen - ti - le, al mi - 0_ can - ta - re, al sing, Dance,O_ dance, maid - en gay, to_ the_ song, to the
------....
~ ~ l ~ J L.J /~ . .. ~ l""'
" r I tJ ...
I
""-'" _j_
L h' _v -.. 1 ------:_ _____.,- I I
f. rail _/]_ j_ I ::r--- - - ::::::. ~ ,--..._ ..-.. fr.
I .. I- J'F- -· ·-I
~ .- I dan- za,
I • I
IDI- 0 can - tar, dan- za,_. al_ ffil - 0 can -song that I sing, Dance,O dance to_ the song that __ I_
1J J .l. ~ I l _h ~~ ..... ...- ----._ I
v .,._* ... ·~
r I ~ I I t" ~......[" -_£rail. - - - - -
>- ..---. ~ • ~ .:.. II I 1 - J I '", . _)_ .. ,... l""' . L
... .._.___ I '"--1 I .. ~ ~
u ::::::. ::::::.
I'll t":\ ...:L _h. LY I - I - II .... f) t!ar.
sing!
~-- ~ fJ I_ I J ~~ I I i. t":\ ..IL .".._
I UftY ...... tJ • .. v ~ ~
u
< f a tempo. ff - -- ::::::. ::::::. !":\ ~ - -
' . - - - -•• ...-.--... -------- I I ---- ~ i i
v i 11592 v
,
121
Non m'e grave morir per a more. (For my love thus to die.)
English Version by
Dr Th. Baker.
Fragment from a Cantata.
BENEDETTO MARCELLO. (1686 - 1739.)
fl Recita.tivo .
Voice. .~ Ll
t) ~ot ~ r r -Mi - se - 10 ven- go me - no
Hap - less one! my strength is fail - ing, 1'1 ..-=--- -
t ~ I. ......, 1..1.
""' • r~ r. ~~.~ ~ ~ -t) ~~~ r::J4 l ~~ r~
~ Piano. - >---- -t
r~ .1/!l.~ _.._ ll!ll-"'
L ._
fl A .
lr- .... ~
e) - - l r f· r I
e mi ri - du- co al - - l'ul - I - mo mo- men - to
and fast is near-ing the a - wait - ed, fi - nal mo - ment fl _____ ,
I "--"" ,_ L
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fl l ~ l l >-..-..., .!l!t. - - -.... - J-1. l"f
~IL -e) (li -Fn- fi I
mia vi - ta do - len - te sen - za che on-of a life so dis- tress- ful; Yet ne'er will she, for whom_
fl ~I I I ~
t lr- . -' eJ ___./
h -1'1 f4' u ft ~: --q~
\ -..... L.L ---- - ----=======::::-
fl.- '- ~ l -J# r1• - l ... II_ _!-t h-- - [Pi'- - - '\
.I'~ VJ-" ,... Vl"f ..... u. .... .... .... ~
e) r . I I r .. - - I I T .. r r
- de mi struggQ_,ed ar-do mi-ri que-sto tro-fe- o del __ suo belguardo.
-__6_
t -~ r~ lL
J e) 9~ } --;;;z;::::-( "ll• -. .. t"'
/
11593
I thesewoes am bearing,Seethistrophy of her sweet glanc - es I 1---
lh-.1 t:,L
"""' Ill"~ _L~
1111<11 ,r~
~~~ u I!" .... TlU
~ r--... ---------
I Li
~ ~
r.J "-"
Oopy'rz"ght, 1894, by G. 8chz"'rmr1~ Inc. Oopy'rz"ght renewed, 1922, hy Theodore Baker
Printed in the U. S. A.
ensnar-ing! - ... I ·-.... _h__,d
v .~ ,..,-~ .r~ ...... '-) .r~
u u ,.,.g
··--
122
Andantino. (J = 66.)
pro - vo Yet one sor-row haunts
tJ p L t.. ;::.... ;::.... .. - -· - - ~
_, ,_ ... ~ 1'"'1 I""' -. - -1 \.'lJ
v ..... r r \ I r .r : ~ , -re per.:.che Fil - li moru non mi ve- de, per-che Fil - -me: 'Tis that Phyl-lis does not see me per-ish,'tis that Phyl -
tJ --- I I I ~---,_ ! I
) If -r- 401 .... .... .... - .-1 \: .-1 -
.... v - - - .. ~-1 ., ., .,
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1'1 l l I I
If -,_ .... ~ - ....... -...... u '"'-"' r
n~mi z r r -- - li morir e- de,nonmi ve - - de.
- - lis, thatPhyl- lis_ does not see me per - - ish. tJ - >r--!!1. . .-~-- .. - ·- _l_ w: -\: - /
~"" -v - ."'---.. ~ • ....._ - / ~~ -1 I -
......-.... 11---- .,..-r~ ;::.... , . -" . "'~""' -
~-
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tlfi93
~ ..-111.!!!1 _. """ . . t) I , I
mo- re: sol pro daunts me, Yet one
~ ---I
-"~"] • -- --- hM
t L.f""- -J. _...,_ -' _...,_ _...,_ 11""-:
It~ -~ -.. .. .. ~
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II lr'"- _!"'I
r f) I r • I
- nonm1 ve - -- see me per - -
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fl >
--rr~ ~~
tJ 4 ,
123
l
. N
- ..
morir to die
·--llll"'r ./ r
per anoth-ing
:::::> --" .r.J
I
- vo do- lo - re per-che Ffi - ii mo- rir sor-row haunts me',Tis that Phyl-lis does not
-- -'
"-----.. - .. ~
.,. bo --- ~"---> -~ ..
t\ ... t- -' "' ..
r· I ~. te-
- r. ~ - de, mo- rir nonnn de, non ffil -- ish, that Phyl - lis does not see me per- -
I I I - _.....----. -::::;;;.
-' .... _...,_ _, ...._ •-· - ....,_ -' - - - • -~ ...: ...: -- __. .......... -• -- • ~i _tj ~
--=- --. -::---..., ~ . -->
l I ... -- •---· r-1 )0,-. - --.-1/ ..1111"1'"'1' -n_ • lllr-1 - .L u r r r r r
-,
I I
de, sol pro _ vo do - lo - re per- che Fil - - - li IDO-
ish, yet one sor-row haunts me~Tis that Phyl - - - lis does
fl I I I ~ - ~ I -' - h.__,_
• . ..., -' .... V"-J. -' - - -I -t.J ~ .. ~ .'---. • -~ I I ~ -- n~ ~
~
-----.::=::-. -- _,......-......
~ " ... . ·- -- ·- -..... ,.. -,.. ,.. ,.. .. ,.. ._.. - I
11198
1.24
fl 11
ll -· -r-. ..-1 r-1' - v. ..-1 t) r r -~· &
rir non mi ve - - de. not see me per - - ish.
~---~j ---....
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ll 1.- ,.. 1.-- --. - - - .... ~ r"" ,.. ,.. ..-1 ... .... - - ~ -
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_.. -· -L ~ - .... \ -. .. - ...... ---~ JL
_..olr'l
~ ~
\. , l
J1 ~I tJ
Che sa - reb - be mia pro - spe- ra
fl > ~ I
0 how wei- come were death, if 1n ~~-~~~ ~~--.-1~1 J~~J--~1~1
~ .
v rl r ~ --. . .
L ....!!I
..-1 -
- • "': ~ '7~7
P> ----- .----. r~ ...
- - -- ---
--- -fl ..._,. I I
J - ""' I J I ll r- - ~· Fo
111..-1 r-1' ..-1 ..-1 u.
tJ ~ r m~-sor - te sof - fri - re la - te, s'u -dy - ing, To my gaze re -_ply - - ing, Came one
- ~ .~. fl I J I I _i
\: - --- ... ~ ... _._ _. -- .. -- ... -- - I""'
~· II '!' • • "':" "':" ,., • - • r r r r • .. .. .. ~-
? -~· ~ .~ ....-..... ---- --. ~ . ~ . L ... -..:::::1 ..
II I. l. I _1
~'=--~ " ) ~ "" J). I ~
_.., . CI'!"\ . .. ... ...
\. iL ....: .... ---. -tJ I l
sguar-do mi dasse in mer- ce - de, mi ·das - - se in merce - -.......... ..........
glance from the eyes that I cher- ish, the eyes that I cher - -
Ll ·- ---JL ll r-. -J - -- .-1
-- u.• - .• --t) -- - - - .. . .. .. ..... , ....... ..... ,~ .. Tl·~: ------1 -- --- -- • ---. --...... -,_. r-_.. ....._ ... ,,_ - , __ ..
L r..L ' , r- ..-1 r~ .. ._.... I .......
11698
125
~ l ~ I _l . -'LI'I"'t. .. . .a !-" -. -~ j l'l .'<r -t)
,_
s~e- fa r r ' . fa de, che sa - reb- be mia pro- sor- te soffn - re
ish; 0 how welcomeweredeath, if in dy - ing, To my gaze re-
1'1
\ 1.-
rrn ...-t ~ ""' ""' .... ---__ _.... ____ - --- -
t, iJ ~ ~ •.J "':~"';" ":"~":" ":"~"';" ·~·
) - ft (J. iJ. • I ~ ,
I I
~ l 11 .... ~ - I
I
~ .. _ """ I
t) r • J
das-svn merce - - de. eyes that I cher - ish.
.,~ ::> -~J r--= ~ u~
r -, I I I . - - --- ~ -- - ---II! "' - - --~ - .... .... - - -.rw .... - -"": "": "": ":" "'!' "': 4! '!' ,~ ... I I I I I I I I L l [J "':" ~ l
-....-· I
) p >-_
p
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.,. .. ~
... 1*-f'- .... ~ -{ . .. -- 'i . , r.J .
l .. ........
n p l I .... .-....-.. JJL T . 1 -~
...... - !'"'( -- .... . ., _ ......
t.J Nonnie gra-~e :rhorir p~r a- mo - re: sol For my lovethusto die noth-ing daunts me, Yet
I r--. l r~ ~ I I I I I
I • .... -.. -I ""' -\t.J
.... .... - • • _, ""' _, ..... ... ....
tl r - • "':" ......___...,- ~ .. • -~ < p r --- ............___
I >_ >~ ---I "' .... - --.. r-" -. r-" J_ -· -, r.J "'
.. ...... - I ...... I
11693
1.26
~ J l ... l >-- >~-1'\ .. lr ~- :; 'I ~ h..-1 .... N . I\. .. -... _
~ ,.,.. "' v- .... . l'lo.l llllr-1: ..... r ~ - .,,
Fh r r
pro - vo do-lo - re per.che - li mo- rir non mi ve - -one sor-row haunts me?Tis that Phil - lis does not see me per - -
11 Jl _I
~ ....... - - -..... - -.... - .... v
-----.. - .... ~__-/ ~
-,_ 1*- ~n ---. .
fl ------ --------;-~--...
..11. -,._ 1/
v I
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....... ,.. ?.- ........
"' .... --======--~---J ve -per -
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- de, - ish,
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' I
~ l I
~. ~p I J . -. lr'"- ... - .... r~ • '-'I/ u 1 t) I r r r r,
pro- vo do - lo - re per- che Fil - - li mo- rir one sor.row haunts me;'Tis that Phyl - - lis does not
~
.til. 1"'[ -· -,_ ........
>
J r I sol
This J I I .... - -• - • -.. ~
~ . ~- J'--J I non m1 ve - -see me per -
11 ~ --~ -~ \::
~ ....... ... ..... ... . ... .., ... - .... ...... v- ... - - - ...... ""!' - •. .. • .. .. I l..J-.1 - .. -- -
( ~
-..-.._ --.........._ - ~· t~ :::>..-= ----....... . . . -. - - . ,_ .._. I I ---= -
II
t 1593
1:27
' M ha pre so all a sua ragna.
English Version by Dr Th. Baker.
('Tis Love, that rogue so wily.)
Arietta.
Allegretto mosso. cJ = 76.)
PIER DOMENICO PARADIES. (1710 - 1792.)
Piano.
1. M'ha
1. 'Tis
11594
~- :::::>:
preso~al-la sua dormQ_,a-mor mi guido,_il greggtt.-al
mor tra mil - le
Love, that rogue so sleep doth Love me fol- lows on the cru - el ar-rows
ra - gna, m'ha de - sta, s'io mon - te, se
ne, a -
preso'--'al - la sua dormo'--'a-mor mi guido--)1 greggt_,al mor tra mil - le
wil - y, 'Tis Love, that rogue so wak - en, From sleep doth Love me moun-tain, Love fol- lows on the hurl - ing, His cru - el ar- rows
~ . . .
Oopyrzght, 1894, hy {f. Schirmer, Inc. OopyrzgA.t renewed, 1922, by TA.eodore Baker
Printed in the U.S. A.
11694
ra - gna quel de sta, op man- te ho pe ne mi
wil y, Has wak en, Or moun- tain While hurl - iug, Love
mor,_ che gnar; ch'e
•' p1e;_ se dl:_ per
hold,_ Who stray, In fare,_ And day, __ For
128
p
¥ r 10 iJI fur - bet - tel_ d'a - mor,quel fur - bet-tel d'a-pur_ mi fa_ so - gnar, op - pur_ mi fa so-sem- pre:._/a-mor_ tra' pie, ho sern- pr~amor tra' tie - ne not - tee dJ., mi tie - ne not - tee
'--"' "--"'
p~ L
J ~±r r I b r Ci J' I caught me 111 his __ hold, has me in llis thro' my dreams doth stray, or my dreams doth with my herd l __ fare, while my herd I plies me night and day, Love me night and
gi - ra la_ earn pa gna, co -gli . ' in te sta di s1 e mes - so
"--"' vo l\__,ba - gnar - Dli al fon te, si te~ Tir - si,_ :mio_ be ne, mi
~ p roves the world as- sly ly As to his head- he's_ tak en To
bathe him in __ the_ foun tain When thee, Thyr-sis,_ my_ dar ling, He
129
me f;(l cac - cia tor,_ co me_ f~l- cac cia-far- ml ..... )nna - mo rar,_ di far - mi in - na mo-
'-.../
ba- gna;__,amor_ con me,_ si ba - gna'--'a - mor con fa Ian- guir_ co si, __ mi fa_ Ian guir (' :; -
>
an - y hunts - man bold,_ as an - Y- hunts - mau steal my heart a way,_ to steal my_ heart a -
I do bathe me_ there,_ when I_ do- bathe me makes n1e sigh al way,_ he makes me_ sigh al -
~ I I p . .
• J - - -L.n. _!" u I I 1.1 I'"'!. 1'"'[ -f .A ~ - r r .... ............. - y r 11111111
tor. 1-4. Guar - da-te vi, pa - sto- ri! guar- da - te- vi, guar-rar. me. sl.
lJ I I f p . . J'~ .... u l""i 1"-\"
~ - r r liiilll __.. - r r liiill1l
bold. 1-4. Be -ware of him, the rov-er! be -ware of him, be _ way. there. way.
I IJ I I >...--...... / -..., Jl . ' ) ~ ""'
... • - - - , " fl l .. .. Jr Jr - ...
~ .... ~ j .. ---- --
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l f
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\.
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130
1'\ I ' l I ...-- ---... ,.-...._ -~ -- JW ..... p
-v "" r.. ... ·:;;:,;. - -JW
"" " v II ..1
" -t.. - r Jiiijiiiiillll' - I
da - te - vi! Fin da,_ quel_ di_ Li - co - ri
rJ I ' 1 I p
~- ---... ,.-...._ /_-----.. [\ 1:'\ ..... - JW '-
~ .... N "' ... -:;;:,;. - -JW
I"" " v ~ ....I Jill'
t.. - r ..... - I
ware of him! Who wins poor sltep - herds 0 - ver
--fl I > r"""""'T I -1 ~..:----....... I - -- . ...... ..1 -
l ·- ..1 - 'Ill -- ~ ~ -.r
"""'" ~ ,.
~ -.... - - .,. 7 ---- - 'lllll
" ---- ... f.) - ~ r r l -
~ p > •
t . \. . - W¥ • ---/
... v II •
I - .. .. -......__/ .. :j
fl I jrit. ~teJ~. k I 1. 2.3. II Pitt e. I
I I I# '~"' -· r .... --t" "' \.
I ' =II I II If 1... I ~ - •. Jill'.-. • - ,. J; - -r- v [I ~ ...I '--"""" - ... v -- ..... r
to si_ li - que- ra. 2. s'io 3. Se
fl rjt. ~ten. 4. A -
I - ... I Jl , II I.. -· --"': " \. I ' =II I II If .... v ~ -··""'·-· .. - ' l - -If'- v ~ ...-Jill' - ...
'-' liiiiiii:;2 lijiiiill r ly to_ vex them so! 2. From
3. Love :::;..__, ~ 4. His
------- J.; r: ~ 11 ~ I II !
I lit .. ~ I - 1. 2. 3. Fill e. I . ....I -""'": -. . - 1- ..1 !-" '- . ,-r- II - - . - .... - - JW . ·---- 'lllll - - - - -..,.-\ - __,. -' -....I ., ,;..I ..1
"""" -' """" I tJ L.I - --.-
~f c:....: - • .... - •• ,.: .....
> > > ~ ~ > > f rit. a tempo. ff rit.
r--... l - I I "- 111• .. , .... • - II ' / .... v
.. ... --- - " • , - .. ..... ... .. v ,.,- -·- - - • •
-41! :::± .. - 11 11 :j ... - .. > >~ -:j >- ~-/>- 4
> > 11594
131
C aro mio ben. (Thou, all my bliss.)
Arietta.
English Version by Dr. Th. Baker.
Piano.
f1 L 11 V. ll ....
t)
fJ I 11 fl t ll ..... I
ttr <
I . .
fl I. II k
f1 I. 11
fU9ll
Larghetto. (J 60.)
GIUSEPPE GIORDANI. (GIORDAt\ELLO.)
(1743 1798.)
p ~ I -· I ..... - I ""' - -· ..... ~
I ....,. - I .-I" .-I
r: I r . 1 I - '::.JI -
Ca- ro ffilO ben, ere- 1 - m~ -men, sen - za di te lan- guisct_jl Thou; all my bliss, Be-lieve but this: When thou art far My heart is ~~ I
-----I -......___
7} - -pdolce.
------I
""-"' cor_
II
If .....
~ r-L
I
--r -....
.... ':Ill. - -i r .. .. ~19-
I
j i
.. r--
_;;.j ..
~
I
-~
.-11 r ....-. -_......... "-. -ca - ro mio ben, sen- za di te_ lan- gui - sct_jl
lorn._ :::::... Thou, all my bliss, When thou art far_ My_ heart_ is
~~~ ~~ ~ ----- I ---- . - j
If.
f ...... ... - ... 1-.
F __ -_-f-_"il~ __ • __ ~ -
p- ., r r 1
.hl j -----------+---p
- .. .. -- ... -- - ... =
Cop,yr'ighf, 1894, by G. Sch.ir11un; Inc. Copyr·igll.t renewed, 1922, by Theodore Balter
Printed in the U. S A..
- ...
132
p
II tuo fe -Tlly 1 ov - er
p
/1 l -tttt~ \ Q a I 'J .. r ® f) I I
del so - spi rv - gnor_. Ces - sa, cru - del,_ tan - to ri -true Ev - er doth sigh; Do but for - go_ Such cru - el_
fJ I_ I I J J I - - - ""'1 '--\: J .~
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.::::;:.....-~ ~ r--.- .,_ .. . ~ -----a..•• . .. I --
fJ I. .::::;:.. l
j) f.::::;:..rz.
); l I JJ§J F §JJ I ~-"" - ' '-' I r' I
•t
gor! Ces - sa, cru - del, tan - to ri - gor,_ tan - to ri -scorn! Do but for- go Such cru-el scorn, such cru-el
fJ t ~~ ~~-_...., I _..--I .. _ v
\: - -. f) !~ !I' I -1~ r I - ~ r Jt .. rit.
..-----~ f'.J -... !"--., - I 6.. •
.CI.. . v
f I -.._
1Hi95
\ ) (
rit.
tJ I.
II f) <I
ppp -.
Ca - ro mio ben, Thou, all my bliss,
- -· A ~ -- I I ,...
133
ere- di-mtJll-men, sen - za di tP~ lan- guiBe-lieve but this: When thou art far My heart
~ ~
J --- -· .. II • ;.r ..... ~ Ill' r
IS
r
cor, ea - ro mio ben, ere - di- mi-3-l-men, sen - za lorn, Thou, all my bliss, Be lieve but this, \Vhen thou art
:::::... :::::... :::::...:::::...
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p creSt!. pitt f'l'f'SC.
~ ---------
r---- -~ • • "',. . . - -l I T I ........
ll L j I':"\- ==-- p . ;:;::::--
11. ,. LoP .... II . - _ __111
t) I - '""'
te Ian- gui - see il cor . ......_...
far_ My heart is lorn.
..-r-r:JJ. n ..........___:::::...
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tUi95
English Version by Dr. Th. Baker.
Piano.
fl ~ ft Recit
t)
Por-ro
fl~ff Then 'tis
~ if 'I'
tJ l.l
,, • ., '1". .. .,, ,., , ,.
fl~fi I
• r- .,. ''I'[ - ... \:IJ 'l'r
tJ me!
fl~fi me!
1:-14
Se il ciel n1i eli vi de. (Since Heaven has torn me.)
Srena and Aria fron1 the Opera
"Alessandro nelle Indie'?
I' I P"'
dun- que mo - rl. Dun-que per -true, he is dead. With him then
u colla zmce.
- ....... -....... l l l
l - - ,.. , I -Do-ve tro- var ri - po - so
Where shall I find re pose when
:--: .
NICCOLO PICCINNI. (1728-1800.)
.-I I I r' ,
- per all is lost, for
u
.... ......
-,.,. l.
' r - - - •
sen - za l'a- rna - to he, my be -lova, is
t) ----- 1-- ~·
tJ.
~ •• »'tl'l''"' , ·n ., 'l'f n
TT
1Hi96
•• •• - ---.
- I Cop,yrz{.rhl. 1894, h,y G Schz"rmer, Inc.
Copyrigkt renewed, 1922, hg Theodore Balcer Printed in the U. S. A
•
185
be - ne? ab-sent?
t1 Jof ~ ·-_II ~""---=:! .til -· f) .... ·;__"it•· ~· .IP /P rresr· .
Ll. .... , - --------.. ,, ,_ -------/ ''[ ------,. I""' I""' I""' I""' .... I""' T1
t1 ;;, ft .1.. l 11 /ill 1111 ' _1't.
If ''1": 1111 ,_ ,., - .... x• f)
no - '? I. Que- st~_3~ la pa -
~;;, H sigh'd for? This our con - tent -
Jl ., ll n: 1111 ,_ ..,.-'-'l/ ,.. ii'A. f) j- #~
p i.l. . . • • -,.,
T1 .. 1ii
vivace. (J = t3H.)
t>m-pire?
1HH16
...----.... ~~ ~· I""'
-""" ~-
•• .... ! --...;;
...... ._ . •••••••• La La -1-. --- - '- :.- i.--.. .. K -.. K -. .. .... K -K --.... • K -- .. '""''""' - I""" --~ - ~ ~
Recit.
E questQ_jl no-do so-spi-ra - to da Is this the union that so long- we haYe
l
... ... - J - liii.J.I I t1'- •
ce? Que-sto il re - gno fe -'--"
ment, and this our hap- py
-• -
-• ---
I I
IJJ.f Jl .WI
.~ 1n' _\:
~
IJJ.f I
\ oJ
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/ T: ,..
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~
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v
6o..ll•
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136
Recit
I 5 I - r ~ -~! ch'io mi Ah! how my
- - - - - - - • • • • • • • • • !lilt" !lilt" K - - -.. - II"' I""' I""' -• - I""' Ia. Ia. Ia. I""' ,...
I L 1 I""
ff - - - - - - - - --... • ,. ------ --- -IK IK --- --- --- Ia.
I"" ,... I""' ,... ,... ·~ -.....-..... - lA ~ - - -'---.1 ~ -- .. ~ -..... ., - -sen - to svel-lere il cor!
"'---"
heart with-in me doth swell! 1 a tempo.
I -.... -J , .. 1111111!!1.,... - .......... -
fP '-'!'!!...:!! ~/ fP
'-'~- ..___..,.
j J j J J j ...1 ...1 =··· ... t .. ~~ -
I f' T T I
Andante. Recit.
-1- j)]}j J>l
~ L L ·~ ... ...
'f ~ fill' .. ., ,.. r
vol- to, que- gli sguardi, quei det-ti, moments, those fond glances, those accents,
... ... ... .. .
- --r r
e quel
-fill' r.... .....
r r
Co-me scordar quel Can I for-get those
..... ., r l r
co - stume, s~ncor veggio pre-and those ca-resses While his im-age so
= ~ \;; ~u 0 u
~ ": _..,.
fHi96
137
Andante (~ 63) fa~ I Jl., - ... - -· ""- II " I - -II ''f !""' Jill': ,... II .... , - I - - - - l""'
""" l"'f llll:.t. .J II .A v. - [/ v
f) I" r r r r
sen- te il mio bel Nu-me? Ah diio ph1 nol Vf' -
dear all my soul pos sess-es? I shall see him IlO
lt~ l I I!!!!!!!!!!!!!!
t ~ : .. .. "' Ill - Sl - -· .. ..
'v '71: * :>- 1~- - ~ .. :>-
< .if p .if I . .
....
?;. - - ::; - - ... r r Recit.
Cle-o -fi-de in-fe-'--'"'
Cle-o- fi - de un-
r ~~ l • .. .. .. l - ~-
._ l ..... f) T1 ,.., r
li ce! del ca - ro be - ne; AI - me-no ac - can - to '-.-./
hap - py! Were he but near me, Mine own be - lov ed; 1'1~
l: .... ~1#
p
I
t'J~ I. ~·· - l 1.._ Jl ..,.._ - . h.
""- -... A V"'!"" -- "" ll _V ...__. f) 'h, r,. { liiJII"""' r.
pian - to. Ah! a . mIn- er rom - ptjl
Ah! Andante. He IWV- er - more can hear me! :::::::...
I'JIIi l .----....... I 1..:
I v• -· .. ~ Ill
\v , ..,. r- ,._ .......... ...... _, '[,. - • - .... ... -.,{_ --· . . .....
• ... ----- , - !"""
ff ~ C).-~~ ::::::..
• -~ "" .... , \.. !""" Ill .. ..,. , . - , _!Ill
L ... -
11£)96
138
fl . ' - I - I • • ... .._
t)
Allegro agitato. cJ = 120.)
IJ t:"' ::;::,.... ::> ::>
.::> I - - I •• ,, ~ .
1'1 .... ~ • . J'rT"\ v
v t) • ::> ·- - . I
f p f~ p t:"' - -- - - - - - -- - - - - - - - -- - ----..__ ... . -
• fl
I - I I
t)
::> fl ::;::,.... ....
... ... . .-~---- ... t) I ~
f H - - - - - - - - --. -. • • • • • v ,. • • • • •
fl 1 -II h. . 1'~.1'"
I t)
per- che spo - so, cher-ish, Why do
fl II n .. 1'-"" -- . • • ./
t) ~. ::;::,....
- -;;;;-
... ~ . - .- ., ~
p - ---- - - ..... - ..... --
I t
* ... I- -non ' . ill UC- CI - de
not I per- ish, I l
-Pr- ~:-_t==t -· --. _..__
--
1 ,=j) I j ~~ Stil ciel mi_ di -Since Heav- en_ has
··- - -j :_____.----- - ....
dal ca -from all_
~ ~J=f~ per- che why d_l
-- -·
~
-I
-- ., """' _'!"'"_~----,._.... ~
ro mio that I
lr· 4d non muc-not I
::> -1.1._
::::..- ::::..- "'- - . - , .-::::.. ·~~~:~·: j...._____,
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,..._ Y=Jg Jl ' p ~-=t=--- ~ - ... ,_ v ,... - .. ....: t) I,
che_ non m'uc Cl - de, per - - CI -de per - ish, '\Vhy do_ not I per- ish
IJ I l ....... l ~ l ,..._ ,_... I l ~ l .. 'i--:;., - ...
---- - .. -- --t) ,. .___, "--- ,..-./ ,. ._....., .__.. fT--- ..._,
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/ '"" v ,. • ./ I.- " IH)~6
139
I ~ t ' ~ J} J) I r t * ' B} J ~ r #D v I pie- to- svl mar- tir? Per - che non m'uc-Ci - de pie-
fj My sor-rows be - neath? why do not I per - isl1 mv
~ l ,..... ,....._ I ,.... ,...... t
' - ... t) "-" T "---- Tl- '---v r~ ~-4! p f~. P_r -·. -~ • -. ._ --- ~ - • "", . -- - -.. -*· l""l
tJ -- --:... -• ...... - - !"':' I 1"1: - -.... h. !"':',..,. II" I II" 1- - ..... I ~'"' v ,..
""' I !.1' 1""1: l"r \:IJ v I I J- ........ -~, I
t) I I r r - r soil - ..
to - - - - mar - tir? "--"' be neath? sor- - - - rows
fj 1\--~ ...:--... I ... --r--t-. ~ l ~ l J# .. }I_ .. • !P I""
.... h. • ·n:· .. T-V n \:V .. - -t) . ~~ • .. l)- ~V' ... • • .. ___ L..J'• • • ~· • TT -._... "'--"
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.. I ..... fj 1. ~ ... ~ l
,..... i.. l J# 1'\ I _l
... h. • I - - • ..... r""' v .. I 1""1: .. - -,, 17 I "-' tJ
Per- che- non m'uc '· a pie -to - sui mar-- CI - e Why do_ not I per-ish my sor..- rmvs be-
1'1 ,...... l ~
..._ J i. ,...... .1 _lllllllll!t l ~ ........
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p~ f :--;, ..[ -. p --.. • - . - . - • • - -~ "" . - ·- -- - .. . -IIIli'!' ... ... I
v
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r-v ... ..., \ 17
..., I
tJ t- ? h' ' '. de '· I
Ir. Per- c e non m UC- CI - pie - to - - -neath? Why do not I per ish my sr- - -
fj I ...... I ~ l I. i I I ~ • ."\ LolL ..... - ...
It .. ...... ...... .. .. ..... :• .., .. -.. - v t) , . ._ .......___ v T
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..., I I
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1 .A .. - I I / - ..... I
t) r r - r so n - '· - -- - - mar - tir,........._ p1e - to - so il Inar-'-" '-"'
- - - rows be- neath,_ my sor rows be-IJ -~ I I I l-- ?'-- l .. ;.:=: J# - .. l..
~; II h .. [J- .IIIIC'I ..... ~'""' .... - -. -t) '---' ~ • • • .JI • • • ~· ~--~' ~~ • ~~ -
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11096
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rit.
I . j_
t)
tir,-I.
to "1 - t? pie ~ - SQ_J mar- Ir.
I - 'm'r ~~~ Di - vi - sa un mo -,_,
neath, my sor - rows be - neath? ~
fJ ~ I I ~ -·· -Di - virl - ed one_
I ~ .. I _w .
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r I
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fJ -- J ,JJIDr _JI I
' l I -<llrl_ _j_ - ' ~ v I,
lal I ..... - I
men- to dol - ce_ te - so - ro, non vi - vo, non
moment From him, my heart's treasure, I live not, I ...-.._ ~ ~ ~
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l - .., .ollll
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ere so. ~ --1~ p
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:::; i~ ~i 4 • r - I!) ..
- rir, ma pro - vul tor-but feel all the
tHS96
141
fJ I I .. 11 I l'l ho --- -· - ,
& ..... I ... -I'~ I' !!" 111" A ~ I -.,...
1:7 I ---'-" I
d,r I T I I"
men- to un vi - ver pe - no - so, rna pro - vQjl tor-tor- ment of life void of pleasure, I feel all the
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l 11 I
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. .... r '\:1/ ..... -v ....... I -~ -
men-to d'un vi - ver pe - no - so, d'un lun - go mo- rir, d'un· tor-ment of life void of pleasure, of lin - ger-ing death, of
.::::::.... =t" .::::::.... ' fJ ::::- I I I
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if p if f • I I I I I I . : - -•- I
,... ..... ---- Jill"',...'""",...
e.;r; ... ... fJ- • ~ .::::::....
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Jill" I
If .... -· .-:- . l • - I ,.~ ...
-'
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t:'\ .::;:::....
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l 11 I
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I +- ~ ~ I I I I I I I :;§
HI'J96
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fAJ •I l l
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che nruc - ci - de, non per -do not I per- ish, why
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11ll96
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per-ish,
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L .• !h' ' I 'd r_ r. per c e non muc-c1 - e p1e
wily do not I per - ish my l pllllllll L ~ 1'\
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• -
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n~n I. r men- to dol - ce_ te - so - ro, VI - vo, non mo-ment From him, my- heart's treasure, I live not, I
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live~ not, ~
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vid - ed oue mo-ment, di - vid - ed_ one moment From ~ ~ ~ ~ ~ I
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men - to dun vi - ver pe - no- so, dun lun- go mo - rir,_ ',
dun tor - ment Of life void of pleas-ure, Of lin -ger-ing death,_ of
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crese. _ ~~~~@~~~~i-~-;:~~ab~J~) ~r ~@p~p I
- to d'un vi - ver
rz"t.
Of life
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1 , II
T , If. h . -- T
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J
I ---- F • t) ,. ,r no- so, dun lun-go mo- rir, _ d'un lun - go mo - rir, d'un pleasure, Of lin-gering death, of lin - ger-ing death, of l'l--- -~ ~ ~ - - - -Jill' Jill'
---· ...
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- - - - A .. .. . .. Jill' . -... • -= -.. .. --.. ... .. -. ... ... .. ... I 1 ~ ~ ~
». u 96
SCHIRMER'S LIBRARY of Musical Classics
VOCAL STUDIES AND EXERCISES SERIES ONE
The Library Volume Number is !liven In bra~ckets: [45l)
ABT, F. Op. 474. Practical Slnting Tutor. For all
Voices (Spieker). For Soprano or Tenor. Complete [453} 2.00
Part I: Production of Tone. Intervals [454} .75
Part II: Exercises for the Cultivation of Fluencyj455J . . ............... 75
Part II I: 20 Solfeggi [ 456} . . . . . . . . . . . . 7 5 Part IV: 12 Exercises on Vocalization
[457}. .75 For Mezzo-Soprano or Alto. Complete [458}. 2.00
Part 1: Production of Tone. Intervals (459] .75
Part II: Exercises for the Cultivation of Fluency [460] . . . . . . . . . . . . . . . . . . . . . . .75
Part Ill: 20 Sotfeggi [461].............. .75 Part IV: 12 Exercises on Vocalization
(462) .75 For Baritone or Ba~s. Complete (463] .... 2.00
Part I: Production of Tone. I ntcrvals [464] .75
Part II: Exercises tor the Cultivation of Fluency (465]. . . .. . . .. .. . . .75
Part Ill: Solfeggi and Exercises on Vocalization [466). . . . . . . . . . . . . . . . . . . . . . . . . . .75
BEHNKE, E, & PEARCE, C. W. 30 Voice-Training Exercises.
For Soprano (1090] ........................ 1.25 For Mezzo-Soprano [1091).. . . . . . . . . . . . . . . . . 1.25 For Alto {1092).. .. .. . . . . . . .. . . . . . .. . . . . . .. 1.25 For Tenor [1093] . . . . . . . . . . . . . . . . . . . . . . . . 1.25 For Baritone [1094]. . ................. 1.25 For Bass [1095]. . .. . .. . .................. 1.25
BONA, P. Rhythmical Articulation. A Complete
Method [1170]. . . . . . .. .. . . . . . . . . . . . . . . . . . 1.00
BONOLDI, F. Exercises in Vocalization.
Sop. [117); M.-Sop. [118]; Alto [119]......... .75
BORDOGNI, M. 25 Easy Vocalises in Progressive Order (82). . 1.00 36 Vocalises in Modern Style (Spieker)
For Soprano {432] ........................ 2.50 For Mezzo-Soprano or Baritone [433} ....... ,. 2.50
CONCONE, J. Op. 9. 50Lessons. H(l468];M[242];L[243) 1.25 Op. 10. 25 Lessons. M [244]; L [246].. . . . . . . 1.00
CON CONE, J .-Continued Op. 11. 30 Daily Exercises. H [29-lj; L [55 5] Op. 12. i5 Vocalises. Finishing Studil's.
H [275]; l\1 or L [276] ........... .
Op. 17. 40 Lessons. Alto [2-17]; Bass or Bar. [248] ............................... .
The School of Si~ht-Sin~in~. Practiol Method for Young Beginners (Lutgen) [2-!5]
DANNHA USER, A. L. Solfege des Solfeges.
Bk. I [1289]; Bk. II [1290): Bk. Ill [129I].ea.
The same. sp. Bk. I 11085] .............. .
ESLAVA, D. H.
1.00
1.00
1.50
1.25
1.00 1.00
Metodo de Solfeo (Carrillo). sp. Complete (1366] 1.50
The same. Bk. I [1376]: Bk. II [1377]; Bk. JII [1378]; Bk. IV [1379] .......... ea. .60
LAMPERTI, F. The Art of Sin!?,ing [1587}.. . . . . . . . . . . . . . . . 1.00
Daily Exercises in Sin!?,in!?, [570}.. . . ... . . . . . . . .75
Vocal Studies in Bravura (Liebling) [1633]. . . 1.00
LAMPERTI, G. B. 30 Preparatory Vocalises. Sop. [568]
19 Preparatory Vocalises. Alto [569]
LOTGEN, B. Vocalises {Spieker).
Bk. I: 20 Daily Exerdses. H [654]; M [655]; L [656]................... . .
Bk .. II: 20 Opera1ic Vocalises. M [93of:
MARCHESI, M. C. Op. 1. Elementary Progressive Exercises
[384}
Op. 2. :Z4 Vocalises for Soprano or Mezzo· Soprano [391] .......................... .
Op. 3. 24 Vocal'ises for Soprano [597] ..... .
Op. 21. The Art of Singing. Bk. I: Ele· mentary and Gradua·ed Exercises [793); Bk. II: 30 Vocalises for 1\lezzo-Soprano [794) ...... ea.
Op. 32. 30 Vocalises (Liebling) H or l\1 [126} ..
1.25 1.25
.75
.75
1.00
1.00 1.50
1.00 1.25
~l;i;.1u0~1se~ra\:b::v~!ii~~~~~:J: s~~~J~~~e,raM!; ;t~t~';~ lt:.-L1~!1;ia8~r ~~ a:r't:~~:~·M:~,~.e-t~i~;z~~S~p~~~~~ iS~~~~t~~nPr~~~? i~~.i~ i~!~:.~
'~ '~ ,, '~" '~ ,, ,,
~ ~~ ._,
:;
Any Schirmer Library volume may be obtained in cloth binding. Prices will be quoted on request. , Prices Subject to Change Without Notice.
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