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SCHIRMER'S LIBRARY OF MUSICAL CLASSICS r^
Anthology of Of
Italian
Song
and Eighteenth Centuries
the Seventeenth
Selected and Edited with Biographical Notices by
ALESSANDRO PARISOTTI English Tra nslations
by
THEODORE BAKER
DR.
BASSANI
GASPARINI
BONONCINI
GIORDANI
CACCINI
MARCELLO MONTEVERDE
CAVALLI CESTI
PARADIES
DEL LEUTO
PICCINNI
DE LUCA
RONTANI
DURANTE
SARRI
FALCONIERI
SCARLATTI
FASOLO
STRADELLA
TENAGLIA
G.
Book
I
Book
II
Library Vol. S90
Library Vol. 891
SCHIRMER,
Inc.,
NEW YORK
Copyright, 1894, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker Bilawd
In
the U. S. A.
BIOGRAPHIES OF AUTHORS REPRESENTED
Padua
at
in
i6s7
in
became
;
8 parts, and other noteworthy composi-
Petronio
Bologna, and
in
a similar position
in
1685 accepted
at Ferrara,
where he died
He was
17 16.
in
entered
becoming
1677,
He was
also
a
member and
one of
being Corelli
his pupils
wise a very
;
and
and
vocal and instrumental compositions.
trovillari.
der the
voce
so/a,
La
called
guita
piangere,
the
taken
which
pieces in
and exquisite
of Marl-
LJuke
whose
the reigning family,
was
their rivalry
bitter rivals;
occasion of the proposition, that these
eminent composers,
a
should
write
The
" Se-
(fragment
were
natural grace
Ariosto
took
the
second,
and
Handel the
victory
was
tron,
first
BONONCINI.
being
favors on him,
A
Bononcini the
act,
Handel's
third.
heaped
received
him
into his
pension of ^"'oo
a
celebrated
is
of our in
and in
Collection,
the
date
too
in
Vol.
He attended
Bologna by Gian
it
work.
Colonna,
good.
and
but II
is
that he
to contradict, a
madrigal
own
out as his
sulting
the school founded
Paolo
proud
propriated
of his birth
doubt, being given variously at 1672 1660.
musical
his
— His
was approaching, and was hastened bv the story, which he was
theoretician
and composer already mentioned I
of
for the
downfall, however,
SON of Giovanni Maria Bononcini (or the
an act.
Scevota;
Micii'o
discouragv.d,
house, gave him
prosecution
1672-1748.
Buononcini),
two
but Bononcini's pa-
decisive;
from
far
new own
artistic taste.
was
chosen
libretto
composing one
each
and afforded him every opportunity Q. B.
the
conjunction with a
in
Ariosto),
(Attilio
opera together,
and simplicity are united with deep emotion
was espoused by
third
L' Anianle.placLifa),
Cantata
—three
povero cor"
17 16,
bella"
and
Serenata),
Being
Bononcini, un-
of the
protection
became
(fragments of the
dormite"
Cantata a
cause
His
—cantatc
the songs " Dormi,
etc.,
and " Posate,
of
amorose
Langtiidene
entitled
London
in
borough and others, and Handel,
extremely rare work
an
1600 he
in
Totifemo.
Berlin,
at
1701,
in
invited to
music was Father Danieie Cas-
— From
in 1694, the
like-
ten six theatrical works, besides thirty other
in
he composed,
Lon-
in
Vienna La fede pubblica,
at
violinist,
guished and gifted composer, having writ-
teacher
Rome
at the Italian
Haymarket
operas Tutto Ostitio and Serse.
organist and a distin-
skilful
later at the
brought out
He was an eminent
at Ferrara.
and
At
don.
Mortc
delta
which had extraordina-
ry success both in Vienna and
1682.
in
Here he wrote
of violoncellist.
theatres,
he
to the court orchestra in the
the opera Camitia,
the director
Accadcmia
celebrated
of the
capacity
of Bologna
president
its
was admitted
member
a
as
Academy
of the Philharmonic in
the church of San
in
Vienna,
Proceeding thence to
tions.
maestro di cappella
compositions, Masses
instrumental
lishing
1637-1716.
He was born
by pub-
speedily gave evidence of his talent
BASSANI.
Q. B.
VOLUME.
IN THIS
loss
by
of prestige
The date assumed
Lotti
composition.
and given
The
re-
was never made
of his death
to be 1748.
had ap-
is
uncertain,
m'^ The
"Per
aria
we
which
print herewith,
Griselda, written
has
many
from
is
London
in
his opera
1722
in
brilliant results, to the
with
d'adorarvi,"
gloria
la
cal
composition.
it
;
FRANCESCO CAVALLI.
and an agreeable and
fine effects
study of musi-
flowing melody.
1
599- 676. 1
Pier Francesco,
QIULIO CACCINI.
name
known under
the family
Federico
Cavalli, a
of his protector
1546-1614.
Venetian nobleman, was born
in
He was born about 1546 in Rome, and was known under the name of Giulio
according to other authorities,
in 1600), as
From Scipione
Romano.
instruction
received
the son of Giovanni Battista Caietti-Bruni,
maestro di cappeUa
he
Palla
Maria
singing and lute-
in
and had already distinguished him-
playing,
when
self in his art
part
Delia
he sang,
in
1
Capello,
by
of his
Monteverde, and Emilio del
had so large a share
Cavalierfe,
tion of the musical
drama, renders
easy
it
to dispense with a long biographical sketch.
Only
few of
a
mentioned
on a poem by Bardi
poem by
Chiabrera, de' Medici,
the niece of Grand
Henry Nov.
a
Duke
IV of France, 1600.
9,
;
—We may
from
among which
artistic treasures
—The
Bving
;
is
in Florence,
daughter
1614 he
advanced
Francesca was
a
in
was
years.
the
celebrated
ballet
dni enjoys the being the
first
first
holding this position until his death,
He was
Jan. 14, 1676.
writer of opera,
fertile
com-
all
of which were
the principal the-
in
Cavalli continued Monteverde's re-
forms,
imbuing
operatic
his
works with
power by means
of
establishment of the string-band,
intensity.
In
effect
1660 he
and rhyth-
was summoned
nuptials
the
of Louis
still
at
His
Theresa of Spain, on
brought
out
opera"
"festival
though
Maria
with
poor
Serse
(Nov.
22),
owing
either to the then prevailing ignor-
ance of the
Francesca Cac-
his
XIV and
assist
which occasion he
Italian
language
in
success,
France, or
to a lack of musical culture at the French
court
herself.
The
introduction of the Aria into
III
P:
of
became
to France by Cardinal Mazarin, to
distinguished
devoted
he
atres.
mic
un-
honorable distinction of
who
In
development of dramatic
La Libera:(fone di Rug-
lady
1668
1665.
in
finitive
writer of music and the authoress of the
giero doll' Isola d'Alcina.
was
increased variety of harmonization, the de-
but one of his dedications estab-
the fact that in
the post
organist
greater breadth and
reveals.
it
precise date of Caccini's death
known lishes
which
in
;
that cathedral, obtaining
successfully produced
song "Amarilli" was selected by reason of the rare
1640 he
1669) thirty-nine dramas,
a collec-
latter
conducted by Monteverde
posing within the space of 32 years (1637-
tion of Monodie. Can:(oni e Madrigale for
solo voice,
re-
Marco, then
an extremely
Ferdinand, with
add
was
1617 he
In
gifts.
which occurred on
which took place also
for the cultivation
ceived into the choir of San
tion,
Rapi-
//
wedding of Maria
mento di Cefalo, on written for the
Rinuccini
musical
and furnishing
palace,
conductor of the ducal musical organiza-
be
La Dafne and L'Eu-
;
on verses by
ridice.
will
Combattimento d'Apoll'ine,
//
:
works
his principal
own
his
appointed organist of the second organ of
the crea-
in
the 16 16
in
Venice, took the youthful Caietti with
him with amplest means
The renown of this gifted Roman composer, who, in cooperation with Peri,
who was
His patron,
Crema, being transferred
pitality at
Pietro Strozzi.
Jacopo
church of Santa
at the
him, entertaining him with splendid hos-
and Bianca
intermezzo composed
an
in
to
the
of
Crema.
in
sheriff of
579, the
Nigbt at the celebration
ot
nuptials of Francesco De' Medici
(or,
1599
^'{"1
i..
.
been ascribed to Cavalli,
opera has
wrongly,
.
Monteverde has
but
a
prior claim
to the merit of this innovation.
Neverthe-
less,
for
gave the
Cavalli
freedom
aria greater
and elegance of form, developing tically
on the
verde.
The
lines
arias
Didone
1649),
The appended
music by
to
Paolo
Doni, a lecture of his
wo'lhy examples of
Musica
Giasone
most successful of his operas, from which the aria " Delizie contente" is
Venice, then
in
first
Bologna
Rome
(1654),
(1659),
Genoa
finally
returned,
Venice
in 1666.
(1652),
Vicenza
together with Gio.
both highly skilled musicians
names cannot have been used
(1658),
Ferrara
one and the same person.
and
(1662),
with
equal
success,
his death, Cavalli
of G.
the possessor of a considerable fortune, a
which he
portion of
left
161
to the descendar>ts
no
Venice
foundations in
and
direct heirs, his wife
his
printed at
consequently,
;
that
cisely
The is
worthy of
1
mancavi
his virtuosity in
tormentarmi"
a
among
special notice,
sumed
which
Oroniia, p.
of
VI of Vol.
I
on from
The author of
exhibits.
it
whom
mention
more or fered
;
a pupil of Carissimi and, in 1646, maestro
di cappella
at
Florence
;
1660 he
in
quently became maestro di cappella court at
of
Venice
Emperor Leopold
this
was
I.
is
very Gio.
by reason
playing the of
appropriateness
command
less
as-
Arcangelo,
by
in
amiable In
died
is
later
expressing
of the instrument. these
plausible conjectures are
authoritative lutenist
of
lute, first
of-
statements
regarding
would be
gratefully
any event, "Dimmi, Amor"
unquestionably a piece of most delicate
workmanship, wherein refinement of
at the
He
;
received.
He subse-
admitted to the papal choir.
therefore
is
It
the absence of any certain data,
In
was born at he was
of this series,
Arezzo (or Florence?) about 1620
its
his masterly
made on
is
of our
was composed by
cognomen
the
is,
respect to
which he may have been best known
Cesti's
compositions, on account of the interesting variety
it
in
belongs to pre-
it
Del Leuto, who,
Francesco
620- 669.
"Tu
aria
CESTI.
In
di
have been
music, the style
period.
probable that
1
century.
both poetry and
having died before him.
HARCO ANTONIO
must
it
song would indicate that
sisters
also speaks
of the inter-
—that
the 17th
in
two
these
to designate
some subsequent year
in
early
he had
;
two
1
given
of his patron, and the remainder to certain religious
was
fedeltd
Rome,
Now, this Carro Rome by Robletti
preters of the Carro.
to
was
;
He
Del Leuto as one
F.
in
Francesco Del Leuto,
(1653),
Milan
B.
^ella
entitled
Florence
in
set
In this essay he
Naples
(1661),
At
own
dell' etd nostra.
an esteemed composer and player
was produced with extraordinary
(i6si),
poem
mentions a certain Cavalier Del Leuto as
(Ja^on), the
applause
could be
biographical notice
Quagliati, inserted, in
Serse (1654), and RomiUia (1651), are note-
taken,
con-
di Musica scenica by G.
the Trattato
(1641),
their class.
Leuto, facts
Carro di fedeltd d'amore, which was
Giasone (Teatro San
in
found.
Del
no positive
Pietro Delia Valle, the author of the
artis-
it
Arcangelo
to
whom
consequently rests upon induction alone.
down by Monte-
laid
Venice,
Cassiano,
tributed
cerning
wedded
to
moving
taste
effect.
in 1669.
S.
ARCANQELX) DEL LEUTO. 15
15
—
16
The
this
sketch,
is
arietta
"Non
—
16
posso disperar," which
was discovered among
The charmingly suave song " Dimmi, Amor," accompanying
DE LUCA.
old manuscripts of
the 17th century, exhibits very noteworthy
at-
IV
.
features in
leading and harmonization;
its
construction
its
remari
is
Despite most
fluency, and pleasing effects.
patient research,
it
was impossible
data concerning this composer,
by
nored
biographers
the
Probabilities, tion that he
to obtain
who
ig-
is
of musicians.
however, favor the assump-
was
by
a Neapolitan
birth,
and
magister— Musicce
gence
FRANCESCO DURANTE.
came one the
1
he be-
Scarlatti,
of the most eminent composers of
wore
He was born
at
Frattamaggiore, a village not far from Na-
on March
ples,
He was admitted
1684.
15,
and
Crista,
With
^2%
in
January, 1742,
who
Porpora,
replace
to
francs),
He succeeded
Scarlatti as professor at the
Conservatory of
musicians of the
and G.
B.
a
than his master, he in the
powerful
was
nevertheless highly
His compositions
models of scholarly construction
above
particulars,
and
mind
were
vocal
parts.
and awkward,
rustic
cool and reflective,
and ingenuous.
in the
smooth and
for the
cantabile leading of the
manners
en-
imagination
development of themes and
the art of harmonization. are
Though
Pergolesi.
less
his
period,
Speranza, Sac-
such as Fiorillo, Guglielmi,
dowed with
among
and numbered
Onofrio,
pupils the finest
skilled
Although
practised such strict
his his
economy
enabled to erect a chapel at his
whom
he
A
her coffin.
third
wedding, with another domestic.
The Prayer Tind
accompany-
secular Aria
ing this sketch are pieces well calculated to
show,
genres, the skill and
in their different
taste of their author.
ANDREA FALCONIERI. The musical
own
was
expense
which he dedicated
to St.
and
which he was
to rest after his
laid
which occurred
at Naples
emy
of
Michael,
on the
— Royal Acad-
library of the
St. Cecilia at
Rome
possesses a val-
work entitled Libra Prima— di —a 1,2 etj vaci^can I'alfabeto—per la chitarra spagnuala — d' Andrea Falconieri—^ rever.mo napalitano— dedicate — Card. De' Medici — in Roma — Appresso Gio. Battista Rabletti 1616— con uable
l^itta-
nelle
all'ill.'"o
et
sig.''
li-
cen^a
de'
superiori.-
— This
volume,
also
valuable as a fine specimen of typograph-
contains 17 villanelles for one voice,
ical art,
two
for
II
voices,
and 4
for three voices;
32 compositions remarkable
in all,
simplicity and elegance.
was
The second
villa-
is
it
for effective inter-
and the most graceful of
pretation,
facsimile
for their
selected for publication because
appeared best calculated
compositions
that he
16
15
his
soul simple
giore,
death,
laid in
nella
the church of S. Antonio at Frattamag-
in
meagre earn-
he celebrated his
later
mar-
inces-
in
had been one of his
His
never brought him in a large income, he
in
who
he himself
was appointed
had departed to Germany.
chini,
scented
thrice
he lived
The second,
the lottery.
in
few months
a monthly salary of ten ducats (equivalent
San
He was
hat.
his first wife
professor at the Conservatory at Loreto, at
to
curled and
his
Conservator to dei Poveri di Gesil
the
to
cocked
his
ried.
8th century, and the head of the Nea-
politan school of music.
negli-
to
wig, to prevent deranging which he always
servants,
1
PUPIL of Aiessandro
— Plain
fecit.
with
dearly loved, and
684- 75 5.
— Cappettx-
regard to his attire, he took par-
in
ticular pains
ings
A
Durante
sant warfare, as she spent his
lived in the first half of the 17th century.
1
The tomb bears the
13th of August, I7SS. inscription Francisctis
all;
a
annexed.
Andrea Falconieri receives no more than a scant
mention
in Fetis'
does not even give his
Dictionary,
proper name; the
other biographers ignore him.
conjectured that he of the the
1
book
in
It
was born near
6th century;
question
which
may be the close
for the dedication of
commences: " Hav-
.
li
>4
A
b
g
«
<»
•
;i^ Vps= earePnpiHettetrdetid
Dcbciraia-
CJ»iv1>»fcittoauarc
^^^^^
Euofettf,c
b
a
\
t»
glSf::^^'"M IcntiChi ffhafiHotuireDcbti
S:iorimiroi voQrifgoardiScorgofolfulunii'i.edar-.
rii Jucenti.
iHpiiiias^
b
|»
h
*b
c
f
o c
aiiiSiieiiiiiafl detiA pill quel
jrito
C»aj^i!
viSj;
Vc uoicnc, e «a re pupiUctteK<)et|dCbir'iic
H
"TT?:
-4—-
f-rl
sg
fjRoauarc de bei ni lucentit
Cfai
v'hafatioaaaredebci rat Jue^nci.
^S^i^^i^ 1.
1 Chi v'ha
farto ofinirc
Riininr
Popilletw b(ll£ Che retcoete rare
Riflnnbraw Adlc Chi m'ha loito (4olci ni DilloAmqrfeta la(ai DiIlo.« fia qod cbe
fi
O (li4>r
vi rcglio ^
Ke pin TapCTbcce
fi»
Softrir caoco
orgogK<%
Che Tfder s'lo non
v'ofl«(i
Vofiriraidi fdcgtio accWti JPupillcttf .
^ ir
giuilo diioio iJ volo.
Ondc(r>
Vtaaofcw ii.
mg
my
resolved to give to the press these,
my
Musical works, Part the First of conceptions.
March
.
.
In the National Library at
21, 1616.
may
Florence
sic,
be found the Quinto Libra
Musiche di A. Falconieri, published
delle
by Pignoni
16 19
in
—a
works,
besides
mezzi,
etc.
fame
and interesting
rare
and produced no
work.
basso
16—.
VERY
book
rare
in the possession
Oscar Chilesotti bears the
"
title:
di yigita alia Bergamasca;
il
per ben sonare
{sic)
sopra
il
tl
cembalo,
i68_j;
an in-
of Dr. struction-book
thorough-bass followed
in
Mistican-
by Fenaroli :{a
inter-
regale, osserva-
ed organo), Venice,
spitietta
A
owero
accompagnare
e
cantatas,
Harpsichord" (L'Armonico
at the
ed avertimenti
:^ione
FASOLO.
16
and secular muthan 32 dramatic
less
numerous
pratico al cembalo,
a. B.
excelled
The work upon which his rests is entitled " The Practical
chiefly
Harmonist
He
1668.
5,
as a writer of both sacred
feeble
and bears the date of
.",
on March
latter place
in
the compilation of his Parti-
Canto deltnenti.
Barchetta
la
Voce
el
Chitarra."
et
per
altre cantate et ariette
— From
work
this
among
quini;
taken the aria " Cangia, cangia tue voglie," peculiarly adapted for publi-
his
cation
in
by reason of
this collection
He was
a
philharmonic academician, and professor
in
with Vol.
XLI,
No.
Galena
of the
48,
1886,
28,
later
Dr. Chilesotti gives a
utmost veneration.
the
Conservatorio delta
the
Nov.
Musicale of Milan, dated
Lateran
the
at
here
Pietd
Venice;
at
was appointed maestro di
he
few vague notes con-
cerning Fasolo, and remarks on the rarity selected
cappella
The two
Rome.
in
are fragments of his
arias
Second
above-mentioned work, of which
the
of
and Pas-
compositions to him, and wrote of him
its
charming naturalness and spontaneity. In
Corelli
may be mentioned who dedicated some of
his pupils
Benedetto Marcello,
which appears
were
Gasparini's teachers is
Cantata.
even Vogel, in his researches
and German
exemplar.
second
Rome by general
libraries, It
in the Italian
could
Robletti, in 1627.
published
in
Biographers
in
of Fasolo
;
QIUSEPPE QIORDANI.
but on 1
p.
480 of A.
(Leipzig,
"a
W. Ambtos'
Leuckart,
Franciscan
History of Music
he
1881)
monk
a
in
The
noticed as
is
monastery
family
known
whose
Annuale
Organistico
1
of Giordani,
who was
as Giordanello or Giordaniello, his
was brothers,
published in 1645 at Venice," the excellence of
743- 798.
at
prising
Padua,
sets April, 1737,
as the date of his death.
was
make no mention
The weight of authority
no
discover
three
father,
formed
also
com-
and two
sisters,
company which gave
a
representations of comic opera in the smaller
whose musical workmanship shows him theatres of Naples.
to have been closely related (intellectually)
In
traveled to London, and
to Frescobaldi.
great
favor
at
the
1762 this
was
company
received with
Haymarket
Theatre.
Giuseppe, however, returned to Naples
FRANCESCO QASPARINI. 1665-1737.
According to
Fetis,
mann, he was born
at
Conservatorio delta
Grove,
Lucca
He
and Reissin
1665;
ary,
according to
taserse,
Riemann's Diction-
and the Annuario of
gone. self to
Paloschi, in the
VII
Madonna di
Loretto.
afterwards rejoined his family in London,
where he composed
1665; ac-
cording to Florimo, at Camaiore near Lucca, in
for
the purpose of prosecuting his studies at the
a centone entitled
Ar-
followed by a serious opera, Anti-
From 1744
to
1782,
devoting him.
teaching, he wrote only the opera
Ouffa
Baccio (by some erroneously
II
to his brother
tributed
was given from
cess
ing to
in
to
1744
number of operas
among which
latter
wherein
wedded
to
flowing to
called
of
Orchestra
was
fine
are
melody.
conduct
Fermo,
In
the
and
per amore" re-
is
it
;
noteworthy on account of the harmonic
leading in the recitative.
Marcello
was born
at
Venice on Aug.
1686, and died July 24, 1739,
the aria here re-
effects
"Non m'e grave morir
with peculiar novelty and charm, and
plete is
pieces of chamber-music,
printed,
was
return-
he composed a great
The
point of view.
literary
forms a part of the second cantata
mariced suc-
Again
1749.
fragment
for all the Italian theatres,
many
as well as
Tommaso), which
London with
Italy in 1782,
musical and
at-
1,
Brescia,
at
happily
where he held
the position of Camerlengo
he
(Chamberlain).
Further notices concerning
1791
Metropolitan
him may be found on
while
Collection.
there
p.
IX of Vol.
1
of this
wrote a large number of sacred composiFetis
tions.
make
CLAUDIO MONTEVERDE.
and the Marchese Di Villarosa
a sad mistake in confounding Gior-
danello with Carmine Giordano,
1
who was
Neapolitan
with regard to
Other
school.
his great
work on
Napoli.
There
is
annos
LIV
dies
in
an inscription
XXl^l and
in
the Ca-
which
gave him lessons
neri,
when
vixit
MDCCL-
Canioni
such that his
augurated a series
for the sol-
He
tions.
in
show with the most scrupuexactitude that he was born on Decem-
modes
2ist, 1713. is
entitled
Musica
monic
1739.
of Benedetto
in facsimile is
it,
dilett., is
which
whom
written,
it
both verses
and
sults
being elegantly illuminated
gold and colors.
None
aware, this
work
I
perhaps
in
which were
lone, the
in
so valuable both from a
VIII
his
This im-
genius intuitively
to follow his
fifth
—
books
finds gradual
of madrigals;
book, he no longer hesi-
without preparation the
chord of
the fifth
dominant seventh and
am
with
this latter
unconscious of the grand re-
all
tates to take
in
bringing
of the medieval
endowing
—which
arriving at the
of the biographical
notices on Marcello mention, as far as
powerfully
relation of the fourth degree to the
development
music were
in-
of the boldest innova-
true character as the leading-note, with
felt,
apparently the
In a
became
such wise as to exhibit the har-
portant fact
e
very exemplar intended for said dilettante, for
art
a regular resolution to the tonic.
— Poesia — Marcello composte
Cantate per camera
per la Sig"* Ricci
its
dated Jan.
The volume containing
—di—Benedetto
in
his
the dissonance of the dominant
seventh, and by
The autograph manuscript
for three voices.
modern chromatic system,
into the
seventh
BENEDETTO HARCELLO.
reproduced below
Mantua
Here the
and daring genius
fertile
aided
by adopting
ber the 9th, 1743.
—
of
counterpoint, and
about the transformation
January, 1800,
1686
in
mastery of
brief time his
XXXXy^llI. This inscription, worthy of cre-
lous
very
still
but sixteen years old he published a
collection of
decessit pientissi-
obsequies of Giordanello, celebrated
Duke
to the court of the
in
musicianly re-
to
the capacity of a viola-player.
dence from having been written
emn
Cremona,
maestro di cappella, Marco Antoftio Ingeg-
the Scuola musicale di
— Pridie Nonas Janiiaris An.
mus
young
Florimo, in
thedral at Fermo, according to
he early attained
1568,
at
nown, and was admitted while
errors
and death have
his birth
been masterfully confuted by
1
Born of indigent parents
born about 1690, and was likewise a master of the
368- 643.
ninth,
and
tri-
sixth, the
and the dimin-
ished seventh.
Herewith the
tion of the tonal
system was completed, and
transforma-
new system
Monteverde, profiting by his
harmony
according
instrumentation
and
situation,
musical
the
But the fame of
eminent musician
We
unnecessary.
five
ed
work of this great genius. ^rianna which we
print
is
given
at
by
Scarlatti
who
perform-
double capacity of an or-
in 1760, in the
of the Saxon master.
The La-
metito di
a half years, in a concert
age of
ganist and singer, the celebrated oratorios
it
proper to emphasize one remarkable feature in the
Cassandra
at the
and Handel, being the same
this
deemed
and
Sonatas.
works with
themselves.
to
the Haymarket, compositions
many
so great, that
is
benefit
his
Frederick, his pupil, played
an expressive
called, in
and dramatic form.
great
the scenic
to
developing
drama, properly so
are
dementi and Cramer used
forms of the zAria and
employing the resources of
'Duetto, si
and
by publishing the Studies
to continue his course as an inno-
vator, created the
words
pacity as a teacher he regained his laurels
of
Paradies returned late in
and
to Italy,
life
where he died
settled in Venice,
a
in 1792.
shining exemplar of his gifts as a composer;
brought out
and
in
1608 at the court of Mantua,
1641 in Venice,
in
melodrama produced
the manuscript
possesses
of
the
which
is
entire
time at
given
Naples
at
Venice
in
1643;
Mark's; he
was
was donated
near
lina,
and
is
PIER [)OMENICO PARADIES.
which
1710-1792.
1792.
This distinguished composer, and excel-
at
Lucca
Venice
1
738
in
;
//
La (Muse
those
in gara, a
in
1747, he took in
Venice
up
his
in the
same
year.
was among
and acquired by
The former
representations
which
aria of Cleofide
Th*
the
;
and corrected,
one of the most
we
is
Scene
of the
13,
pears in the
was born
After this
that
print
numbers
salient
verses of the recitative
which
March IX
7,
found
is
in
for
Act
II,
drama of the imperial poet
this recitative, rich in
dramatic
admirable construction, and the
whole composition,
whom
first
at Bari,
i8oa
artistic
ren-
gem.
a further account ap-
volume of on Jan.
of bilious fever at
in his ca-
of
written by Metastasio, but the aria
following
Piccinni, of
which was given nine
teaching the harpsichord;
is
der this aria a veritable
he abandoned composition, devoting himself to
the other
for the
effectiveness of the
year he brought out the opera Fetonte at
times with indifferent success.
The
features, the
In
permanent residence
London, and on December 17 of that
the King's Theatre,
served
The form of
cantata represented at the Conservatorio de'
Mendicanti
;
were substituted, by Piccinni himself,
'Decreto del fata, given
1740;
3 acts
of the opera.
at
z/1iessandro in Tersia, performed
in
One
by Maria Caro-
to the College
in
the same, revised
is
herewith
where he studied under Porpora.
He wrote in
of Naples
the score executed in 1758 and 1774
latter
on the harpsichord was born
is
at
In the archives
Florimo, and has but 2 acts.
the
right of the choir.
Naples,
in
first
and thereafter
1758,
the autographs collected
buried in
the church dei Frari, in a chapel to
lent player
in
1774 and 1792.
in
of the Royal College of Music
end of 1613 he was appointed maestro St.
Rome
represented for the
are to be found 2 copies of this opera.
Monteverde died
di cappella at
melodrama
Indie, a
nelle
was
Metastasio,
author's original.
the
728-1 800.
3 acts, set to poetry from the pen of Pietro
manuscript appears to be the
this
;
Alessandro
first
San
Teatro
the
1
Library at Florence
scena. the principal part of
here
being the
it
at
The National
Moise.
NICCOLO PICCINNI.
taken from the opera n/lrianna,
is
it
16,
Passy,
this Collection,
1728,
and died
near Paris,
on
—
.
'
RAFFAELLO RONTANI.
—
16
15
—musiche—di—l{affaeUo
numerous
Le varie tani
—a una,
—
in
L'tsAlfabeto
per la
stromenti simili con
altri
Chitarra
1623
—spagnola
—
quelle piii a proposito per
Roma
—^ppresso
tale
strumento
—
—The
Licen^^a de' Superiori.
Oscar
permitted
to
it
graceful
mu-
whose courtesy
Chilesotti,
The song
be copied.
is
simplicity,
celebrated verses.
Its
quis
was
He
young man hardly 26 years of age,
for the
theatre of San Bartolomeo in 1724.
This
which was enthusiastically received, was sung by the poet's friend Marianna
opera,
and Niccola Grimaldi
Benti-Bulgarelli
(call-
ed MVo//«o).
— In
post as
conductor; the precise date of
first
74
1
1
Sarri
was
still
at his
unknown.
his death is
ALESSANDRO SCARLATTI. 1659-1725. In the first
Mar-
mentioned by
in
his
volume of
we
this Collection
Elements
who notices a book of canioni Rome in 1632. The work by
published a few
by
pression,
of grace and ex-
arias, full
and
this distinguished
fertile
we
For this present volume
composer.
have again had recourse to him, and print herewith
more
four
pieces
" Sento nel core"
styles.
different
in
a tender and
is
expressive melody, extremely effective and
in
Zanobi Pignoni
in
1614,
at
may
Florence by
be found
the National Library in that city.
very
little it
aria
of Tt-
F6tis in his biographical
and published
dictionary,
The
not difficult of execution.
Rontani cited by
sketch, but
by Metastasio, then
16th
De' Medici, a
is
Quirinus van Blankenborg
differs
set to verses
in
Duke Francesco Maria
and Bianca Capello.
published
music was
to Chiabrera's
in the service of the
natural son of the
His Didone
composer was born
of Capistrano, Antonio
of [Music,
inter-
various in-
for
struments, and church-music.
most
a
Florence towards the end of the
century, and
so
charming
and forms
sweet and admirable setting
in
bearing
cultivator of ancient
transcribed and harmonized its
work
belongs to the valuable collection
well-known
Dr.
sic,
comic
oratorios, serenatas,
mezzi, cantatas, concertos
a
Gio. Battista Rohletti,
— Con
of the
and
abbandonata deserves special mention; the
All'insegna del Martello in Tarione
this title
subse-
operas,
in
instantia di Antonio Toggioli.
t/id
serious
tre voci
cimbalo
in
many
T^pn-
—per cantare nel
due e
He
melodrama, L' Opera d'Jimore. quently wrote
The
contains wholly different
marvelous exemplar of its
is
a
class in the truth-
in ful
expression of feeling.
In
Tigrane Scar-
title latti tried,
from that heading
name
grane in the opera of the same
for the first time, the
blending of
this
com-
the wind-instruments with the strings; and the harmonies of the horn, in the aria given
positions. here, are a
most
Trapanesian.
DOriENICO SARRI.
original device of the great
The
nite a consiglio," 1
678- 74-?
DoMENico Sarri
1
in
was born of 1678; his mu-
(or Sarro),
indigent parents at Trani, in sical studies at the
to converse
Conservaiorio delta Vietd
Naples were finished
in
1697.
In
1712
little
with his
ten to their reply,
dialogue "Su, ve-
wherein the author feigns
is
own
fancies
Gange"
is
il
is
taken
manuscript volume of the period, the above-mentioned dialogue
early
as 1702
he had composed a sacred
is
For further notes concerning reader
is
referred to
lis-
VoL L
dal
The
from a small
Royal musical organization, and wrote an
As
sole
spontaneous and genial.
annexed fac-simile
he was appointed vice-conductor of the
oratorio for the festival of San Gaetano.
to
replete with novel feat-
The canzonetta " Gia
ures.
and
in
which
also found.
Scarlatti,
the
•» 1^ 1
1
.
V ^
1
'C
,
.
•
1
'
1.
•
X
;
ALESSANDRO STRADELLA. "Everything "in the
lani,
of Stradella."
some give Venice ponderant born
as
about
studies
his
1645.
speedily
became
and passed the greater part of
desperately
While
not
is
his
in
he
led
attention
to
details
manuscript.
in
compositions
them being 6
and
songs
entitled
alia biblioteca
a
Marco di Venecia Of
S.
from which the song " Se
his art
;
in
the course of this instruction he found time
and
waylay
Stradella
legend)
pose (so runs the frustrated
the
in
assassins,
was
this
going to church
intention of murdering the
with
musician
the performance of an oratorio
that in
Giovanni
in
ire
it
the orchestra
and Concerto grosso,
reputed to have saved
the after
is
aria " Ragion
noteworthy from
is
an arrangement also adopted
composed
by him, were so moved by the
The
two independent groups,
into
called the Concertino
time
most remarkable manner
a
divided
is
Amor m'annoda
from the Serenaia a
is
the circumstance,
as-
dalla these,
taken, a complete edition
is
voci; this composition
but his pur-
;
piede"
sempre addita"
to-
swore vengeance, and despatched two
Contirini."
famiglia
process of preparation.
The betrayed Venetian
gether to Rome.
sassins to
il
this so suc-
pair fled
"Cante a
voce sola dell' insigne A. Stradella legati
fell
the latter to instruct the lady
one night the
is
as a
nobile
cessfully, that
In
1
a collection of 21
Venetian noble, having been engaged by
to lay siege to her heart,
dramas.
1
in
he
148 of
among
Venice there
Marco
life
works
Modena
the library of San
his
publica-
his
composer,
there,
in
of
preserved,
oratorios
little
permit-
hardly
In
are
but
and besides,
Italy,
life
hence the major part of
;
his
he
that
At that period,
unsettled
still
is
he prose-
with the flame of
love
in
tion
It
a distinguished
musician at Venice.
ted
was
certain,
is
it
;
pre-
he
that
known where and under whom cuted
the
and
writer of Italian
facile
poetry.
music was printed
Although
birthplace,
his
shows
evidence
Naples
in
Latin
obscure," writes Cate-
is
life
and a
organ,
1645-1681.
Battista).
in
the oratorio
Stradella's
In
this
(S.
life
score a con-
trahbasso of small size appears for the
first
time.
pathetic
beauty of the music, that instead of carrying out their plan they disclosed
intended victim,
who
from
his
life.
But here, on a public prom-
in
full
view of the populace, he was
set
upon by three
his
recovery he
wounded was wedded to
Ortensia, for love of
such
deadly
peril.
though twice
foiled,
whom
;
he encountered
in
his
being found murdered
morning
A
in
fertile
Stradella
is
Genoa and
in
his
to
Maggiore.
Rome, where,
in
at the
name has
bed one
was
composer,
violin,
Rome, probably
of S. M.
that at
Certain
that he spent a large part of his artist-
is,
formed
in
1661,
he com-
is
house of a personage whose
not
been
and
In
this
the inventor of the form termed the
by Carlo
xin
preserved.
found indubitable proof that he
aria with da capo
have been an
eminent player on the harp,
have been the conductor
choir in
Basilica
opera
distinguished
to
posed the opera Cleano, which was per-
at-
(1681?).
also fabled
in
some
life
tempts, which were finally successful, Stradella
Florence early in the 17th century.
it
The wily Venetian, persisted
born
the
fair
who was
theatre,
of
during the
and chamber,
church,
He appears
hirelings of his implaca-
ble foe, and desperately
concern-
obtainable
are
ing this distinguished writer of music for
designs
further
protection
upon enade
But few data
to find
efficient
16—.
16
immediately repaired
where he hoped
to Turin (1676),
ANTON FRANCESCO TENAQLIA.
to their
it
;
Pallavicini
a
form copied in
his
in
1686
Gerusalemme
and further developed
liberata,
sandro
Scarlatti,
credited
with
very day.
has been erroneously
invention
down
would seem
It
that
compositions have
Tenaglia's
lished, as in all
met with
who
its
my
a printed
by Ales-
researches
to
none of
been I
this
pub-
have never
work by him,
or dis-
covered any notices of editions of his compositions at
music
is
any time
or
place.
Yet his
extremely charming, picturesque,
and
shown
two
and
effective,
arias
given here, which are excellent speci-
mens
is
of chamber-style,
sidering the
period at
and
in
the
exhibit,
con-
penned, a notable advance as regards form.
They were found at
scripts
of his
caligraphy.
be
It
a
few manu-
and incorrect
in
a crabbed
is
likely that others
Roman
might
libraries,
having been, as observed above, the
residence of this
many years may also be
;
and
the legend
:
Florentine it
is
published at
— Under an old
musician for
hoped that these
some
future time.
portrait of Tenaglia stands
Tenalia Florentmus musicus
in rebus excellens.
XJK
the Chigiana Library
discovered in other
Rome
which they were
in
Rome, which possesses not
—' CONTENTS BASSANI, G.
B.,
.
Dormi,
bella, dortni tu ?
Art thou sleeping, <•
4(
fair
79
one?
Posate, dormite.
85
Sleep on, then. ((
(I
BONONCINI,
Seguita a piangere, Mourn with temerity. Per
G. B..
la
89 loj
gloria d'adorarvi.
For the love rny heart doth prize.
CACCINl,
G.,
CAVALLI,
.
F.,
.
one.
a tormentarmi, Wilt no longer thou torment me.
Dimnii, Amor,
A..
me, Love
Tell
DE LUCA,
S.,
V
F.,
.
40 3
!
Non posso
.
disperar, do not dare despond.
6
Vergin, tutto amor,
114
I
DURANTE,
33
.
Tu mancavi
.
DEL LEUTO,
bella.
Amarilli,
Delizie contente, Ye blisses, that ravish.
.
CESTI, M. A..
mia my fair
Amarilli,
Virgin, fount of love. *l
_Danza, danza, fanciulla gentile, Dance,
FALCONIERI,
FASOLO,
A.,
G. B.,
GASPARINl.
F.,
.
**
(<
GIORDANI,
G..
.
.
O
117
dance, maiden gay.
Vezzosette e care. Charming eyes so wary.
12
Cangia, cangia tue voglie. Change, o change thy fond wishes.
55
Caro
laccio, dolce nodo, Dainty meshes, net enticeful.
96
Lasciar d'amarti. Love's bond to sever
99
Caro mio ben, all my bliss. Non m'k grave morir per amore, For my love thus to die.
Ljji
Lasciatemi morire No longer let me languish. M'ha preso alia sua ragna,
it£=a3
—
Thou,
MARCELLO,
B..
.
MONTEVERDE, PARADIES.
C..
P. D.,
!
.
.
.
RONTANI,
.
.
/_SARRI,
R.,
D
me
divide, Se 11 ciel Since Heaven has torn me.
Se bel rio, When the murm'ring. Sen corre lagnelletta, As when
SCARLATTI.
A.,
.
11
i<
127
a
«34 16 .
108
lamb confiding.
60
Sento nel core.
My
..
Love, that rogue so wily
'Tis
PICCINNI, N.,
1:11
heart doth languish.
Su, venite a consiglio. Hey come hither, ye fancies.
.
64 ;
!
«
<<
I
•<
STRADELLA, <<
TENAGLIA. «
A., •<
A. F., <>
70 ><
sole da! Gange, O'er Ganges now launches.
Gia
il
Air acquisto di gloria, To win glory. Ragion sempre addita,
.
74
.
46
How dearly are prized. Se amor m'annoda il piede. If love my feet enchaineth. E quando ve n'andate, .
38
O when will ye e'er leave me. Quando sara quel di.
34
When
will the
day
e'er be.
50
Dimmi, Amor
V
(Tell me, Love.) English Version by Dr Th. Baker.
Cantata.
Andante cantabile.
*^¥^
Voice
^^ Piano.'
-
me,
t
(15..._16...)
i
mor,
dim
Love,
tell
^m
t
mi
-
che
me,
i=§
t
P
ARCANGELO DEL LEUTO. 69.)
s^
^ Dim-miji Tell
(J:
La mia Where my
fa
^
pray,
I
t
^:^
^ r
i
J)
l>
za
p
t
ca lov
-
-^^
ber dear
ra er
-
li
-
-
doth
Da che_an Since he
ia? stray.
-
do,
CO
left
me.
-
:?^
1
a
E3 LU ^ f^
i
^ ^p me as
tu,
thou
dost
rrf
ken,
le A By_ a_
*PW
^^P? r^
?
s
j^j.^ h tj
? ij
f
sai.
HHH
p dolce e legato
g-ar
si
-
stray
fan
-
un
ad cy
bel _
cap
-
tive.
p^^
ip TT^.-,
m
m
cresc.
ne.
cri
-
tak
- Pii,
f^
%
Questo Tliis
poor
cor heart
ca
pien so
rude
^ ^^i ru
di -
— in — =
cresc.
Iv
for
-
-
i
sak
-
ne
Non
en
Nev-
:k
jn
li567
-
Copyright, 1894, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker Printed intheU.S. A.
^
I'ha
er
^
f.
vresc.
^ VI
_
sta_ him-
-
seen
piii!
a
^m ^
Dim-muA-mor,
g'ainlTell
-
%
b
?ra
ca
li
m m^
p
^
^
-
ta?
-
- mor, me, Love,
^E± i T=f 51.
dolce assai
^-r-
2Z2=
f^
^^ J^
>
f
tell
-
f r
mi_
che
me,
I
/
cresc.
J
I
/
ca
-
ra
lov
-
er
I JE3;
li -
jT
^
.ib^
^-r-
^^Lr — ^
-
doth
^
1
^
ber
dear_
cresc.
i
"/
^^
i'
J)
La mia Where my
fa pray.
i V.
Dimmi,A
stray; Tell
dolli
i f=Y=f J iO:
F^
^
ber
-
dear
er
l
tEE^
dim
t
r
dolce assai
La mia Where my
fa pray,
m
I
M ^m rt ^^^
/
i
che
me,
^ i
P r
mi
-
tell
i T=^~
^ ^
dim
me, Love,
cresc.
Jz
t
^^Ff
tEE£
cL
'
r
ta?
-
stray.
tempo
ca//fo r\h.
i
J:
e::^
p iEEE
i i Un pen Once my
11567
'
-
i sier
heart
^p il
sent a
'
'
^ cor
^-
man
thoug-htto
^
^
^ JJ<-
do A_ tro ex- plore, Andto
I
-
^^=^ var
-
find
la
in
him
^
ca
sue
te
ne;
-
Ma per
M ere
-
chains; But re -doiib
his.
in
^
P
cresc.
-
i
seer led
_ _
mie. niv_
le
are
M
r pe
-
ne
pains,
\x$
^-
II penFor the
^^^^
^^r
i
cresc.
3
^
tmi]
^ f
cresc.
:^ thought
re
P ^=P=f fa pray,
^ non
mai
sier
turns no
-
(fo/ce
M
'
.L'
La mia Where my
l|L|i
ca
ra
li
lov
er
dear
-
ber
dim-mi_che_
=g
me, I__
fa pray.
^
^
cresc. i
t i!
§
r
-'
La mia Where my
X
^ -
-
f ca lov
-
-
mi
che
tell.
me,
I
^
ta,
Dim-mi, A -mor me, Love^
nf.
K
'^tJ
t -ber
ra
li
er
dear
'
-
-
doth
5- ^/'. (r
r ta? stray.
tempo
^iL^
r 11567
i
dim
assdi
doth stray; Tell
cresc
t ell
Mr
r-
no! Dim- mi, A-mor more.'Tell me, Love,
tor
edz
<
iPf
r*
Non
:fs
(I
posso disperar.
do not
dctfe despond.)
Arietta. English Version by
Dr Th. Baker.
Andante grazioso.
S.DE.LUCA.
(J = so.)
(15..._16...)
M M ^%
a piacere
Voice.
(^
jt
7
P
Non posso
'iano.<
-
spe
do not dare de
I
*
di
-
-
rar',
spend,
ii
^
^ ^M
'
p
non posso I
t
ca
-
^ ^^5
trop
ra,
thou
dear,
-^=Mi=±
i
f
-
po,
art
trop-po ail
too
^^
M
do not dare de
4r#-#-
rar,
spend,
ra,
^'^'
troppo, troppo
For thou art
sei
trop
too
dear
^m
^ Copyright, 1894, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker Il5t>8
sei
^'
all
tee
^^ ^^
ca dear,
-
-
PT"P
Lr^M
i
di -spe
.i^nr?i\
Printed in the U. S. A.
-
po un
ca
-
to
-
ra_al
my
•s
J
p
^^ cor;
non
heart.
I
^^ .
J'
-so
pos do
7
di
spe de
-
dare
not
^f f
i
J),
E
-
-
trop spond, For thou rar,
sei
r-i-^-„ 7 ^ 7 1^
I
7
cresc.
_ po
trop dear
sei
f deciso
m^
e
rar, sei trop
iin
7
•m:
ca to
-
-
ra al
cor;
my
heart;
ra,
art all too
dear,
po ca
-
j-.,J^j
a tempo
non I
pos do
^
so
di
not
dare
>
^
^
cara al
ra,
un
-
to
my
spe
-
de
-
M^
m —
3sa i/-^
i^
^^ ^^
p
.
trop -po, trop -po For thou art all too sei
m^-
^
J
ife
I
3E cor:
heart,
T"
rr
7
J
ca dear.
-
w^
y* dec/so e' rail.
#_«-
-=
^
—
^
"M Sei
1»
P
^^ P
trop-po trop-po
For thou art
too
all
—
rt
l^l^fftf
lX-
I
i»
E3 ^aS
(^^^^ 11668
too
tiJ'^ j
,
rail.
spond,Forthoii
-n
^
pp
?
i i
dear, too
*
ca
all
±
^ ra,
po
art
cresc.
¥ /;/>/
^
cresc.
(^
^^^^
assoi rit.
ca
^
-
riear_
^^
ra, ti
ca
-
ra al
cor.
my
heart.
n -to
^^ uJlI U} assai '
^^iLy' rj
} n't.
^i
dutce
e
so
II
spe -ra—^re
da
-
The
fond,
fcJ
S j"
m^
^
^'••^^' r
i
i^
ra
-
w N-
'
re
il
fond,
'Tis
^ pr-
P -
-
i
i
-
p
i
re,m'e_un iii^
JThe
T?.^J
^
^
y^'p
J
'^^M
Qj
-
E
i
^r
assai
spe
Ic lo
-
g
re m'e iin dol - ce lang'ui ver a gio-i blisses of wait-intr, That soothe while creat^
ca - ro do- lor,m'e un ca pain they impart, the pain,.
II5HS
legato
on-ly hope so
'Tis
m
'
»
»
H^
—^ V
\
frPfTP/, =
J=^^^?^B
p
so - lo )n-lvhopeS()
^
wr m^^ UiuUju
r^^
(i
^
P
un ca
the
'r
^
me
ro,
f
r
j-
pain.
^r
il ro do -lor, they impart. 'Tis
f8%j
^ S
=
~
h
Mi
r
I
"H so on
I
»
^
lo
spe
ly
hope
so
J
J
J
-
-
iij
p
r
m
-
t£'
ra
/'
"cj*
^
r:
ver
a
gio
The
bliss
es
of
'
fond,
n n s Jf' u
-
i
P
p
I cresc.
l'j:
- at
^
i
-
g-ui
-
-
J
71
f
"
re,
me_un
iiifc^
The
^pp
ca pain
^
do - lor, im-part,
ro they
-
UJ'
*f=^
Ian m'ejan dol - ce That soothe while ere
(
i
f
pp
V lor.
part.
at
m'e_Un
ca
ing'
The
pain
^
Hi
/•//.:
^
re,
-
-
— -
do
ro they
im
^t —
nt.
;
a piacere
r f "r >ionpos-so I
gui
il^
^m
p
ah,
i
"^
yes!
ah,
^*
">
I
(/esc.
si!
p
r
i
CJ'
-spe - rar, do not dare de - spond, di
i^nm pr
(
prrLLf -11568
U t
j
cresc.
///— »=m
That
f
^
[^
Ian ere
mejin
re,
-
wait-ing",
*4
V
11^
^ -
J
J
ig
fc
"if-
,
d'a
'
re
-
cresc.
L
I
^
dol ce soothe while
jl
k
\
p-
• • •
;^r
r
rJr
I
» 10
p
p
non
4t
—
UDA ^^ r
•
Y.%
r
r r
^ LJ rar,
spond,
For
thou
'W>=f
i)
art
all
-
ra,
spe
-
de
too
ra,
-
dear,
p trop thou
J^
i
J'
i>
i
-
po, trop art
-
po too
all
m
^
n >
trop -po too dear un
ca
p
sei
dear,
^
ca
^^ J'
p
di
dare
J)
trop -po
po,
-
m I
ca
J>
trop
so not
#
P sei
-
r.r
r
p
^
pos do
I
-
to
-
bJ' ra al
I
my
cor;
J non
heart;
I
I
7
J^
^^ pos do
spe
so
di
not
dare
de
p-
p:
-
7
^^ P
ptu cresc. cresc.
W^^^^ sei
trop
po
thou
art
i
^
11&68
resc.
f
rtt.
f
p
trop
po
lip
«P
spond, For
rar,
^
->
11^
p
ca
I
[I'
ra,
sei
^^ ^ ^B all
too
dear, too
dear
/»m cresc.
S
rtt.
^
un
ca -
to
-
ra al
my
—
;
—
#
rr
f
deciso
11
^
pp
»
,1
a tempo
-^ «>
cor;
non
pos
lieartj
I
do
^TJ -1'
^
Jr-
pp
^^
^
so
not_ dare
di
i)
i'
spe de
-
-
r
S rt=:
J-
rail.
^ ri
J
^ ^ p
'
M #P
sei trop-po, trop-po For thou art all too__
ra,
^
?
ca
-
dear.
—
^
>
—
#
^fi
P
p
Ll/lF^r /i^
P
cor,
:^ f p
f
^
ca dear.
i^^^
n
ra,
^5 ^
ca
u n-to
J
-
^
W
ra_al
my
r; r73
«
r^n
i
*
lll
[j%[
jt:
.gj^^^^i
^/^(^ deciso
«*.?«/ -
p-i»i
i
i
f
•-
\
cor. heart.
•
I
rit.
i^ fffiii T^— t —
J'
* A
assai
iS
Sei trop-po,trop-po_ Thou art too dear, too_
heart
ra, cara al un -to my
}ff=i
r^ #_«.
^m
rg
.ji-^
7
m ^^m
11668
fr^& J
dear,
m
e
too
JT]
.
.
deciso
^\
po ca art_ all
sei
r-^ f
r
^
I
Q^
trop spond, For thou rar,
a tempo
=r=ff
rail.
i
I
-
e
Ci:
/•«//.
I?
*
SEES
y
>^^
3^
-
<
12
Vezzosette
care.
e
(Charming- eyes so wary.) Villanella.
English Version hy Dr Th. Baker.
ANDREA FALCONIERI. (15... .16...)
Allegretto quasi Gavotta. (J=io*.
m
=^
-
*
^m P
s=«
p
Piano.
^^ m
^te
^m
^n
—«M
^'
^
Vez -zo-set-te_e
^
Charming' eyes
*« SE
«
(
^5 «'
«'
•
^
so
J^^t/H
W
4;%
J
S
H5
wrzM.
ca-re pu-pil-let -tear war-y, Eyes so bright and
<
^
^
-#
P
^
-
v'ha fatto a tender,Where-forenow so
den-ti, chi
P
^ *=*
^
^^ /•//.
J'JMp p va-re char-y
tt
de' bei
i p rai
lu
-
Of your ra-diant
%^'—d
^
^^ Copyright, lS9i, by '"'<>''
w—^
cresc.
^ .
0-
G.
Schirmer, Inc.
^5 *=S
^
lu ehi v'ha fatto a -va-re de' bei rai cen - ti; splen-dor?Where-fore now so char-y Of your ra diant
m
f 4
«^ i p r
.j
E
fff
^
f
Copyright renewed, 1922, by Theodore Baker Printed in the U.S. A.
13
Mm cen
-
splen
-
^
ti?
Vez-zo-set
Charming-eyes
m
«
Tnim ^m^
—•
-
den
so
#
ti,
^^
'^
chi
cen-ti;
fat
^
-
toa
va
-
re
so
char
-
V
now
=¥
Of
vour
ra
J
J
^
P
^^
now
I
-
so
M
va
-
re
char-y
de' bei
lu
rai
Of your ra
-
J) S'io
^=r ff
^
£ E diant
p
f
diaiit
///.
chi v'ha fattoji
*4
lu -
^
When
11669
rai
^
m ^
bei
\^
J
^^
splendor?Where-fore
m
de'
cresc.
^
e
*«
^^
^5
¥
v"ha ten -der, Where-fore -
^
ca-re pu-pil-let - tear war-y, Eyes so brig-lit and
te^
cresc.
^5 ^
^
1
dor?
%4
* A
m
^m
J' ri
-
cen splen
-
dor?
JMMM^ -mi-roj
for kind-ly
fe=^
f^
ti?
-
i
vo
-
looks
stri
en
JJ'J
14
^
m ^^
*A
sguardi
scor
sol
W
m
^
-
nings and
ful - mini_e dar darts are my greet
^
^^ f
scor Light
di,
ing,
r ful
-
darts
are
my
^ ^^
K i ^
dar
i
J'
J)
che ren
-
That
ne
ve
Ne'er
I
di:
greet
so pres -age, ri
t^
nz
P P mini_e
&i
<
so
dea sweet
-
^
ly light
P^* [lIII L!F
rc_
Ur"
^s
P
^^ ^^ S
der
^
^1 gojl _
VI
the
vis
-
so,
so piu of smiles
quel ri - so pres -age, a
i
^
:£
cheren-dea That so sweet
si -
va
ve I
i
-
vi-so.
the
vis-age.
ly light
cresc.
P
»—»•
gojl
^*
fff:
3^
^ ne
Ne'er
cresc.
fc
bi^TipT
J
^^
^^
- eige,
r
^
^m ^W see
"Pr
^
f
r-
p
quel a
fe
E
va
si
so piu of smiles
see
r
fe -
der
-
i
1^
^=«
11669
sol
nings and
i P^ = /
/
m
go
-
-
P^
M
r«
go
-
treat -ing Light
^^
^ ^
15
ife
<
I
^ i
^
^
ii
«r* ^ L'
Ah!
ah!
Ah!-
ah!
w
_
^
JJ
I
S
5^
ca-re pu-pil-let -tear tender,Eyes so brig^ht and
?
p
«^-«^
affrett.
i
% assai
cresc.
^
^
^ P ^ seiupre
J'^P
p
j,^^.^
cresc.
r//.
E
P^
de' bei
rai
Of your
ra
lu -
r
diant
• -
^jj.^
^
P
affrett.
r
ip
r
>
rail.
^'
^^>
va-re de' bei rai lu - cen - ti, chi v'hafattojichary Of your ra-diant splendor?Where-forenowso
-
^
11569
r^
^m
char-y
J
^^^^
^"^
-j^
denti, chi v'ha fattqjt. tender,Where-foreiiow so
va-re
J'
/O
sempre
*=<
1'
Vez -zo-set-te^ Charming"eyes so
r^/.
a:
affrett.
t
*'W
|»tgrp \
P
-^
rit.
cen
# -
ti?
splen-dor?
i
{
^
r
m
«^
col canto
4
r
J
.
16
Se bel
.
(When
rio.
the murm'ring^.) Ganzonetta.
English Version by Df Th. Baker.
RAFFAELLO RONTANI.
Andante.
as
(V)=ii6.)
—
16...)
Voice
Piano.
P 1.
2.
Se Se
When a. When 1.
p ret
-
mi
-
g-ush
val
U670
M
ta__ gli,_
-
es
P
fra
I'er
se
tra
'Neath the
leys^Glist'ning-
I
-
r
m
^
bel
E
g-ia
mai
the
mur
o'er
crim
tra -
m'ring' brook
son
-
^ mat
tin
te
I'al
the
morn
bet gi
ta
sul
gli
ves
bush
es,
And
HI
ies,_ Gold -en
-
rays
Copyright, 1S94, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker Printed In the U.S. A.
bel fior
se
rio,
flow
I'au
-
ver -
let
-
'ry
?^
mo
-
b^n
au
-
ing'
breeze
of
dawn
mor -
-
-
ran reo be are
-
-
p 17
f^^ d'er
-
ve
-
*>
p
r
I
ra;
se
di
fio
lo
e
su
ro
When
the
g-uil
-
eth,
trail
-
ing-,
^
'''
^
>
-
^
te
di
-
zaf
from bloom ra
-
ris
-
- ing'
-
mm ^ m
^
ti
-
^ J^ ro
-
J^
r pra
-
sun
And Au
p ri_un
es
i g
-i^r
f
r//.
jj A
J
|i
J
|i
Hi
eel fi
-
bel
fa
lo
si
ro
mo
-vej^n
-
g-i
meadows Drives the shad blushing-,
Earth oVrflush
^f
^
di-ciam:
ro, noi
di-ciam, che
la
ter
-
ra.
-
dell
cie
-
lo.
ows,Then we say; that
Na
-
we
sky
ture smil -eth. smil -ing-. is
ing-,Tlien
11570
ri
the
say,
-
s^^
/•ft.
i
i
p
^
# *
^
f
i*
Quan-do_av
Ben
e
When
to
Tho'
for
-
?» »
Zef ver: quan-do^e
vien chejan
shore joy
zeph
a the
J.-— J)
3
de
E
ri
^^ ^ w I^&
#^
J
p^ lo, noi
i
i
J;
i>
\[
moon
P -
-
r
fi
ret
-
to_
gio
con
-
do.
yr
stray-ing-
so
queenly
pp per ri
Wan
^ di -
de
il
ton Smiles se
ji
*~?
m
-
-
-
18
* ss ^^#^
^J''
let
-
to_
i'
de
il
ciel
play-ing-,
Laves our
feet
rene-ly,
And
laugh
y
^
ri
r
'F
-
the
-p i
che
si
ben
e
When
the
Tho'
all
[
I'ac
na,
noi
i,
fa
di -
-
-
de^
e
with gen ing skies
qua su ma non
ii
chiare, o - so;
g-ioi
tle_ be
motion, g-uile,
-^^F J-'T^p
-
ciam ri
say,
1)
che -
so
—
how
sweet -ness
J
\!u ri
gra
-
ifc
na scherzi a pe i, CO - me vo dancing Sparkles glanc deav-or, She can nev re
I'a
-
po
san
-
rit.
reun
ing,Then we er Match the
quando
wave -let light - ly Na - ture may_ en
^^^^^^
m:
on
nell'
£rp gj^^
ver:
a tempo
11570
pie_
bag'-nijl
mon-do,.
^*
j'JTTS
I
J)
i
dej^l
ma
zi
-
m -
re.
-
so.
smiles- the o - cean. of thy smile.
.
19
Amarilli, (Amarilli, English Version by
mia bella
my
fair one.)
Madrigal.
or Th Baker.
GIULIO CACCINI. Moderate
(1546-1614)
affettiioso. (J = 66)
^^.
Voice.
t^^
A A
^
i w Piano.
S
^^^^ TT"
p
- ril
-
li,
mia
bel
la,
ma
-
-
li,
mv
fair
one.Canst thou thine heart
ril
m Y[t^ T T
^
dolcissimo
legato seinpre
e
non
#
i del
doubt
e'er
ce
de-si
H
f
m
sur
-
ren
^5m '
i
*fc
5i
as -sail
i * i^ ^
f^
a
-
0?
Cie
der?
Do
-
du
le,
thee
-
It
di-lo but be
Y LT
^m pur:
non can nev-er
m
se
e
va
ti
a
ti
-
for should e'er
- lieve,
bi - tar
^m f
-
vail
-
—
le.
thee.
^^:
dolce
^W
^
Copyright, 1894, byG. Srhirmer, Inc 11571
love.
^
^
true and ten
fear
tu
&^
i
'^/=
t'as-sa
ser
my
i^M
i ^
I'a-mor mi
mor
of
to
PP _
F
^^^in m'
Doubt
der,
-o-
^
-
-
d'es
del
credi^o
9s#^
cor
^ mio
ma
.
r
Copyright
Printed in the U-
S.
A
rp.newe.ff,
1922- hy Theodore
Baker
J
.
:
20 L"^' ^=^
r.
m
J
p
A
pet
primijl
Ope
tlKUi
^'\i^
|
p
to
ve-drai
W*Wi ^3 f
p
^ J^'J'Hf
«
|,] |
A - ma Oil mv
rU heart
'tis.
writ.
-
^
ta
3
^
P' T
J
J
j
ril
heart
'tis-
i
On
my
tWi ^ piu cresc.
^m
2E
A- ma"A- ma-
li,
writ:
f^ crese.
jO//'/
f^
/.
a tempo
jP^yro lit.
~n-
^ ril
-
li
ril
-
li,
ejl
mv
mio a be
-
mo
-
re.
Cre
di-lo
-
lov
-
ed!"
Do
but be-
fe
^
^
f
povo
rtj pur: lieve,
PlAi^^ -f T
^ e
se
ti
-
r^
*=
5fe
f~T P
rit
:S=
for should e'er
i
^
)irf^
^
i^i^
n^~T
doUr
-O—
TTT
7
P
Z~Tf~
mor fas-sa fear
as -sail
f
t
-
du
tliee.
It
r f
dolce ZJZ
^^
^i
*2=at
^
le,
^ ^^
^ 1IS71
A-ma-
Od;
un:
vresc.
W^
re
dolce
=^ J
-
r
vreac.
i
re-prov
smorz. -e
^^^^^^
i
co
f
o-
m^
Ti-
I
^^W
^
i^a:
fears
^fi
i
i|Ji,j
scrittqjn
som, and see thy
bo
niv
e
J i'U
I-
-
hi
can
-tar nonti
nev-er a
m. J:
^
-
.
J
.
ai
^
va
-
le.
thee.
vail
b'^
1—1^
^
A
primiji
Ope
thou
my
^^ /
m
p smorz.
^.i #fc^J) > to
bo
som,andsee thy
^
scrit-tojn co
ve-drai
pet
e
^
I
fears re- prov
"
3i:
^
-
•
i
f
^^'^r
^^
^
i?p.
*ss irm
f re
A- ma
:
On
ed;
^
-
-
ril
^m U PP
J
<
iii-i
-
heart
m^'
li,
writ,
'tis
HU
^
li,
writ:
cresc.
A -ma
-
ril
-
"A- ma
-
ril
-
U
li li,
^ mioa
ejl
my
be
li
-
li,
^m
^^
-fi-^
:w-^
assdi legato.
^
11S71
I
%
znc -
mo
i
a
^^
^ ^ -
ril
heart
'tis.
^ ed;
T
^Jl mio^a -
my
i
be
-
^PPP
re;
lov
i
ril
-
m
Eife
^ ril
A - ma On my
rit.
^
t
1^
^^
-a-
^ m
J' i'
eresc
dolciss.
pm
i
#a
^
f
mo
re.
lov
ed!'
m
Tcr;
mf -9
if
u
PfP do/c/ss.
fl
i
A - maA - ma
fi-
w
•
#
• 22
Lasciatemi morire! (No long^er English Version by
me
lang-uish.)
Canto from the Opera
Dr Th. Baker.
"Ariana." Lento.
b^>
Voice.
let
i
<*
CLAUDIO MONTEVERDE.
58) dolente.
(J =
(1568-1643)
r^f
^
La-
scia
te -
mi
No
long
er
let
^r
^
^-
mo me
« -
ri
-
't
\t
\
O-
^r
la - scia - te
re!
no
lan-g'uish!
long- er
Piano.
Ja
^ A^
r
"J
i
mi
mo
let
me
^^ efe^
< -
n Ian
t P
^&
guish!
f
99-
S
P
E
che vo
What
dost thou
re! -
-1
s
fefe
V-
a |,
^>
^^
J>J'r
pip
for - te
in co-si
du-ra
mo-ment
So despair-ful a
i^
?
^W
I
^ f^
che mi
con-
cv-
can stay
one
t^
m
^
^^-#
—
scia
-
te -
mi mo-ri
long
-
er
let
S
l>fil-
f-f gi
J
i
^r
cresc.
r^^jJi'ir-^ in cosi
sor-te,
torment, So
m
gran
iin-re - lent
j
c mar
ing—
i
-
r'ir <
La-
ti- re?
anguish? No
f
^ me
- re,
languish!
s
CT^
^^
Copyright, iS94. by G. Schirmer, Inc. ir.T.'r
^
te.
*l=t I
i i f=1^*^w f
f^
m
i
fan
-
^
fe^
.K
le
t t
piu
ffi
-
^^^
^
la - scia-te
no
long-er
^
cresc. asstJi.
—
^
i?p.
/•//.'
32 -
mo me
mi let
- ri
-
re;
Ian - guish!
i=t
*
» f PP rzz
i T7-
Copyright renewed. 1922. by Theodore Baker Printed in the U. S
A
23
Delizie contente, che I'alma beate
.
CYe blisses, that ravish.) Aria from the Opera
English Version by
Giasone.
Dr Th. Baker.
Andantino mosso.ci'r
FRANCESCO CAVALLI. (1599-1676)
132)
Voice De Ye
'f'
t"i>
li
i
-'T
?
non
te.
Su
que
- sto
ver'
De-lig'hts yet
\i
i
r
Cofyrighf, 1894, by 11573
i
discov-er,
^
r=f ff
M
Schirmer, Inc.
^f
ma be- a of
a
- te
lov-er,
I
J'
I
mio un
I
«
p
p r deh piu last- ed Seek not, co - re
-
E
,
M
deh
seek
r~^i'
Li^
^m
I
-
le_ gio-ie d'a - mo - re,Ie Your trouble were wast - ed,your
\
G.
mM
p
i'al-
soul
I
ii
stil-la-te
not to
'ni'i>
rav-ish the
i'-
fl^m
I
i
piu
>
che
zie con-ten-te,
i>
}Lt
i.''i
-
^m
f
( -
'y ^^>
li
bliss- es,that
^^^^^^
Piano.
*E
-
n^
£
^
gio-ie
d'a-mo
m
trouble were wast.
a
*
1
Copyright renewed, 1922, by Theodore Baker Printed in the U.
S.
A.
\
Z4
* te ^
M'
i
ed.
^\'
I
'^H"!.'-
f-
F
De - li - zie mie Ye de ar- est of
re.
j
1^' p
^^ ^
ca - re^ fer
i
ii\r^
m n
h''i>
p
^ ^^ ^-
si.
11573
-
de
-
p De
sire;
p
^
r-H^N^
-
^ li
-
Ye dear-
zie
est
P
I
mie of
1^
ca
^'
^-
IP
long not for
<
^-
—
- re^
pleasures,'
£
£
P
P-
^
P^ r
piii
bra-
long" not
for
i'
non so piu bra- ma-
si;
ii
^
.^^^''i>
P
co
P
r
sire.
non so
j^
1^-'^'
P
P=f
^"'^
Sk^
ex
£
^^M ^^
n'ff
P ^-'^P p ma- re, mi ba-sta treasures, Nomorel
r
i>.
I
^j. r
Ji
J)
qui:
^i^
me
let
IIJ
pire;
v^v
ma - te - vi
^M
f f
^ i
-
pleasures,Here
P
£
-^P
re,
treasures,
P
mi ba No more
P-
I
sta
code-
I
^n i^^^f^ fer -
Here
^^^
^
^
ma -
te - vi
let
me
ex
u^ ^
25
n dw^^ fe£
f f
E
*
i
J)
i
J
I
^tVf
,q v'b"i>
i
i
r
p
^
O*
irfe
%
r
tj
/•//.
J i
non so
qui:
pire;
U}
espress.
Ji
pEE^feEf
bra
piii
long' not
-
/
u r
P
mi
re,
m
rj
f
ma -
/
co
- sta
de
I
^
rit.
J
cJr-j-
ba
No more
treasur es,
for
^^ J
j^
£
y^
SI.
sire.
¥ ?iff 7f
ffi
I
f
iip
e
f
I'l^
^ P
r\
^S ^
MphCp
f^^/
T^-Tf
r
1
h^m o
fefc
r
^
^
i'
^ In
^
En
Si^
^s
&^ '''
w ^ /
r
^'
P
^'
grembojigli a- mo-
ri/.
* iJ^
B
p
ri
fra
fdol-ci
So
soft
twin'd in Love's meshes,
11573
ff
I
^
i?
E
h
J'
ne beyond meas-ure, ca
_
- te
-
Z6
^ ^'v
i
^
To
to
^ ^f
die.
r
ure;
p ##^ r
^^^^ t^
^^V'
morte mi
a
My
i i
^''>-
'n''i>
m
Y^ r
fei
P
f
life,
^V
11573
life
to
m
i
f
^
'
PP'p
f
•
J>
if
r
-
^
M
ci -
P
da
a
s
I'
r mor
P -
te,
^w ten-der, so
J)
t
/>
p
ten
der
-
#
piiJ'v
MY
^'P
mi gui-da
in
sur-ren-der,
Em- brac-ing my
^i}[}
brac-cio
*
nr
al
p-^'^'
«^^ tt^
3
P
c
mio
be
-
heart's treas
n ?
i.
^ l^''p
(«
p
g
^,
P F qui Dolcez-ze mie ca-,re^ fer-ma-te-vi Ye dearest of pleasures, Here let me ex-pire;
^
hff ^^ p
g-ui-da,
f'f
ne.
^^
ss
p-
g^
ure.
j
my
'
^
^-^c>ip
^p
i
m
J',
dol-cezza^o - mi To mer-cies so
ne,
pleas
fet
I'
I
vie
m
^^
?=*
#^^
mi conwere a
die
n'iH7f SM
f
^
r
r
mo-rir
f
s
p
mo-rir,.
l
i
A ^
'p
''
la ^
«7
i fe
j>
i
]•'
non so I
M u
^a
iivfrfrf^
si;
non so
sire,
I
fe^
^m
bra
piu
long- not
-
piu
bra
-ma -re, treas-ures,
mi ba No more
i^^
mi ba - sta No more I
- re,
^
f
for
ma
treas-ures,
for
£ ^
long- not
^
i
i'
i>-
sta
co
I
de
-
-
co
•
de
SEsi
dol-cez-ze mie Ye dear- est of
si;
sire,
m pf ^m
j;
^
£
fespressivo.
ca-re^
fer-ma-te-yi Here let me ex
pleasures
1^^ \
Jiv7
T
ma- re,
treasures,
11673
o,
jii
1
I I
miba-sta
co
No more
de-sire
I
f4#^ j^ ^m i
>^ ^ - si.
^
Non so piu bra-
qui. - pire;
I
long not for
m J ^ p
PL!a
—
.
Z8
E
quando ve n'andate.
(O when
ye
will
leave me.)
e'er
Scherzo. English Version by
Dr Th. Baker.
ANTONIO FRANCESCO TENAGLIA. Quasi recitativo
i
Voice.
± I'
t>"
i
i
ufe
i*
Jlp J.-i^-J,
p
E
K
w^ ^
^
(16... -16...)
quan-do ve n'an-da-te, when will ye e'er leave me?
spe
I
-
Ye
j
J^
£5
ran-ze
a-du-Ia-
shadwy,
de-lusive
—d
*
I
i
JJii.
Piano. ')-\) '
-
',
^
r
Hf^
'
'f tri
i
^ al - la
ci
hopes,
at
last
buon'
o
give
-
i
u
^m
^
Non
ra?
o - ver!
^
^m
^
tf^
'
Why
v'accor
ge
-
can ye
i
not
t
- te
an-co
-
ra
dis-cov-er,
53
^
m -7
oh
^ ^^ m ^ -
well
^^^=U
S
i
-
-
me!
a- day!
s^ass
che m'an-no-ia
te?
How sore
me?
ye
grieve
-r^
^:rrr
^m
EC
^^^
Copyright, 189 i, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker 11674
Printed In the U. S. A.
e
N
^
29
^
<
^ ^
p
quando,
I
rl p
when,
wlien,
da
-
leave
r=t
/ ib:
lo
Not a
^^
3
sen
non
spare
have
m
r
I
i
US74
pr
',r.
-
diir_
vo
-
spire
3'our
-
$
^ ^^M -
de-part,
U
^
stio
as
-
'
in
S^a:
£
-
si
-
pi
-
ra
-
s
^S
f^5F
M M rr f P
-
f
de
1^ ^JT
ri-sol- ve end de-part, and
te-vi,
i
^ i
fc^
^
sol-ve
fia-to
breath to
iEEt
^
= 76)
ri -
tions-,
P
-0^
^^
da nu To in
•
^pf
P p
ho
1
^
<
re;
7-^'
s
piu
r
f
Ri80lutO.(J
^
Z7"
I J:
^i
Sees
P^
me?
^
J
= 112)
te?
f^n
e'er
'T
Ss3e
f
n'an-
ii
Mosso.(J
3
i.1'
quan-do ve when will ye
^M^
^
i
V-
quan-do,
3E3:
f=^
.
f
quan-do ve n'anda - te? when will )e e'er leave me?
e
^^
P
i-'
p
teviji
p
par-ti
mytrib-u
-
- re, ch'io
la-tions, For
per I
p 30
^^''
$
^ ^N^TT^ij
Pf pip
r
1
voi
mo-rir
ne'er
for
non
you
cHio per voi mo-rir
vo',
will
m for
die,
iEd ^
PEEE^
you
ne'er for
I
[
J
man- do
vi
pric-cio
must
hith- er
ye
fly
^i=i ^
.
a
tur -
bar
To
dis -
turb
»
^
J
J.
:i-
^^EE^
J, SEEJi
I
^
m
i
£
r
i;
J^
f)-
Qual ca Where-fore
vo'.
die.
P
ll
M M
*
will
^
f
A Vb''
non
<
pa my peace
of
zzi
M'
pff
J),
i
p
J'
g P
|J'
ff
vi - a
Voi sietQj\.rghiepur la
^
Ar-guses ye are,yet
^^
find
r
^
i'
>i>j)A partir
read-y
way
^
m
nonri-tro-va to
un-de
-
-
ceive
n'an e'er
r^ P»fT —
oresc.
11674
^'
I
m
da-
te?
leave
poco
fe^ ^ % quando? quando?
m
me?
when?
when?
m m
3E
J
r
r
i
i I
^
—
i^:
i
^
s
rit.
quando ve when will ye
i
co/ canto
p-
me.
^i
r
E
te.
P
^^
i> ii>
quan-do ve when will ye
di
^
«
ir
Recit. come prima.
i
No
M r
i
j
i'J'
P
a?
^ ^ ^^^
3
^^^
f
mi mind?
ce
la
-'^rr
J^
n'ane'er
-
31
i
*da
^
1 -
te?
leave
me?
>j
^-.
MOSSO.CJ
fe^ j l'>^
•
A
pen
Shall
I
*
i
^''
!i
fci'
•[
&^
IE
s
*^-d -
*
dun
tir
cease
ne'er
rr
f
j
¥
=112)
«
^-J h^ ^W^ i
A
i ^
^
f
)r
Kf
-
que
vra
s'a -
re - pent
to
che'l
my
cor
Va
heart
so
-
pii
n
kind
-
^ 11674
T=T-
^
m
o
da-te^a
ly
Free
i
a
-:>-
^¥ id:
I
f=^
fei'
me
la
li
heart
so
pen
dol-ce - well,"
ad and
^=^ =F=^
,i=^
r
p^
^ -
ly?
i J=i
^^F di
Dehpren- den-do im Do but whis-per 'fare
a?
-
blind -
^^ % F
mia
^*
—•
fe
la
^ «
oped
*
^ fr
^
g
<
^That
?
r-
1
^
rrr-
ber
-
ta,
^W ^ i
^
^f'
P
-
tent.
i ^^^
32
^P
^
^i^^S^
^^
Do,
A
'i rw
ad - di kind well,— and
dol-oe
-
-
-
o
date a
h'
Free a
^
m
i?p
^
^^
^
RisolutO.
i
?^ me,
date a
me
la
heart
free a
heart
so
J~J
^ tt
mt
i
par un meant That I'd g:ia
i
^
sen
- tir
ban
g-ior-no
sev- er
^^
^ 11574
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za
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ri
s
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for
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5
not
is
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y
J
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p nuo -
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per-
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i J,
che
I
J
J) ri
-
J
the
cheer
j
^Ep
tor - nia - te,
w» ^m
trust
it
^^*
p anzi^a far wel Ye are
- er,
r
g-ra - di - ro,
When
da voinonbramo
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W m^
lo
ta.
p
tor- no,
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ber 3er
li
pen
J*u
J
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J^J
» m ^^ m dehpren- den- do un do but whis-per fare
deh!
^^
J-
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me,
gra-
When
di I
^^
$ ^
gra
1-0,
when
trust.
che
- di - ro
trust
1
33
-J' ri
i> -
the cheer
tor
Pf
J'
I
nia
te,
g^ive.
me,
-
ye'd
fn~^^
an
zi
-
Ye
a
are
^j
j
^
f -
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cresc.
.
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gra-di
i
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^
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j
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nia
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<
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quan-do,
Butwhen,
but when,
>'-
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r
5
J
J i da-te? leave me?
11574
a tempo.
f^^5
e'er
assni. ril.
^^
S
rit.
when will ye
h/nghe e smnrz.
t
i
quan-do ve n'an-
quan-do,
l=s**±feEEa
\i
^^
onsni.
me?
r
j
Wj
M
J
Ma
me. But
r
cresc. <
te.
-
ij.
te?
m
^m^ r
n
#
quan-do ve n'an-da
n
tor
trust the cheerye'd give
1
i
when will ye
w^'
ri -
come prima.
V
l
when
mw^^
•*
^ Recit.
trust,
I
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- ro,
^
E
m
^^ ^
^-rr^iJjJ -^ ^
-
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34
Quando (When
will
the day
e''er
di. be.)
Strofette.
by
Eng-lish Version
quel
sara
ANTONIO FRANCESCO TENAGLIA.
DF Th. Baker.
(16...- 16...)
AllegTO g'iusto. (J.=
1
i
Piano.
m
i-
^
1
i
^
3e3e
m
^
i E3e ^^:
i 3E^
*=t
^
^^
m
(Jz
116.)
^^
Voice.
i 4
IJZ
Quan When
M
S
J
do
sa
will
the
-
(J =116.)
—
i
H5 «-=-
cresc.
XF^
3
P
^
^»J di
be
*
p
i '>ii
¥
my
^
veg-
-
r
r
g-ia
da
heart thou dost
za
Copyright, lS9i, by G. Schirmer, Inn. 11.57.")
-
ra quel
^
day
e'er
i^
Mr
cKio mi
That
m
SEE
r*
m mm
^m fc
52.)
tf^
i
r
P
'
fa
te
bless
m ^^ '
-
With
m ^
r
vo a
-
^ '
rri
p -
ly
r
'
i
d'un s'l? breathed yes?
m
soft-
m
to
i
M ^
Copyright renewed, 1922, hy Theodore Baker Printed in the tJ.S. A.
r 35 (J = 144.)
i Ca Mouth,
#^ nr
(J z 144.)
i
rni
^=rT
/•/A
P
1*
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4 ro
ten
-
4
i
\
se
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d
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lab
On
ros
thy
11576
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bro a
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m ^m / r
leg-
-
g-er:
hap
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py
I
r
f
P vi
slave_
to
^
—
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I
T^^
^
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.._
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\
m
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lov
« tempo.
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che sul
f
a
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I
^
S
ra
be
.
mor lips,
se,
mi
ren der
Me
po
ti
e'er
-
-
E a
fai
^1 a
r
s
ri^
^ -
1u?
thee?
^ ^^ ^ *^
3t
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#
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.
36
m^
rt
m m^
^
i
p
i
m
^
i i ^*=l3
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mpstametite
*
ii I
r
Con to\ I'o - re ad One by \ one, the -
gti
M
i iE£
Vitr-*
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m
m J
¥
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T"
P
feEl
m-
i
i^
—
CO
-
me
fos
m
ser like
i
*
m
\
i
^
« an
-
years
ni in
de
-
te
spair
'^
r
I
r
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ri:
ma
mo
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ing,
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s
dei flig^ht
pen most
3E
« 9
18 sie
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dar
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n,
^
^ 11575
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As they pass'd
Xi
**t=t3t
«
"r
u - na ad u - na hours I've count- ed
i
H
J
ing-,
37
P
ma
nel
col
-
mo
But
my
fan
-
cy's
pen flight most dei
^
dar
To
for
hope scarce
m rr
tu
-
mount
p
H
be, Mouth, be
i
m
boo
ra
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-
E
ed.
If
ing-
vo
the
f
se
VI
for
life
-
frf
^
signs
so
r
r
^
m
puo hope yet SI
one
rr
lov
i
P
J) -
J
I
3Efe3
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ca,
dil
ed,
tell
r
\
-
I
a tempo.
lo
tu;
4 se^'
it
me:
Slmll
J
^
• ca
rat
-
the
love
-
#1 ^
1
^ ro
ten
?
-
writ
f
^ E
se
che
sul
lab
der
On
thy
ros
I
te
i
i^ di
of
:h:
ver
^ CCf
/
sa
scar heights
^m
^
f
i
^
^ ^
ri
11675
na.
i
IE
S
^
a tempo.
Jca
-
i rr
rif.
pill,
-
f -
-
m
to^ la_
ri
-
^ i*
: a ^am:
^
^
tro
—
*
i —
^^ sie
-
-
bro a y
-
mor lips
ti
e'er
3E
tu
38
S
w * * po-se mi ren-der
Me
1
rpirtu? ser
leg-- g-er:
fai
m hap
a
^
^ f^
1
-
-
slave
py
^
vi
^
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to thee?
n
^
t=*
ii
#
i
I
f
i
^ ^ #
P m
I t3E
t*
^ mi
121
i=*
sis^Eti*^
^^
9.
^/i!
#f^.
La mia
m
ii s i=»
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cu- ra
—
^
One whom
Nat
i
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mai
non
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ness
as
thine,
11575
i
sem
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M
pre_ did_
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^^
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i
che
H'L^ r
m as-si
de
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me, that
*t
en
f^
f
no
di
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*^
"^=8*
i^
?;
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heart tells
e^
lar_
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fe f S
my
fe
uz -
^M f
^
I*-
che par
iiev-er
^
Yet
te
1»
2Z
quel
shrine
±
Can with
bel "no"
la
don
such
love
fi
Lf
i
r-r la
la
-
tu sev
i^
^
^^
m
i
aye_
li
J:
p
^
for
-
ir
r na per
na
-
?^
1»-
fe
In
P
-f-
-
ra. er.
^
—
J 39 a tempo.
rit.
i
r E
^
I
r
^^
^^
vi- ver
se
If for
life
one
f/
0-
n
^ ^ CJ-
ca Shall the s^jaJ'
«5Sff«
rat
-
-
te
J j J
T
di
sigTis
so
I
r
cresc.
Me
O ^ Lm
J
J
f^^
i ^^
'^ »—
1»
^^ '^ llftM
-
J
J
ca.
dil
ed,
tell
-
I
lo
tu;
it
me:
nF
a tempo.
i
JJ
J
r
r
—
•
^-^
'
ri
-
love -writ
po - se mi ren-der
lov
-
-
w^^ ^
—
•
^ ^^?
^
hoc
zzz
*
*
M
^c-J^j
I
'
rit.
m^
fe—
^
i
CET
m
J
ca - ra be, Mouth, be
piii,
hope yet
a=i «
N
{ pub
si
che sul
lab - bro_a
ten- der
On thy
ros
^rn-t
i
ro
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se
• ^ •
^
-
-
y
'—»
m
mor
ti
lips
e'er
ff
ff f
E
jiji
r
^^„—^:^ J' rit
leg-g-er:
ser
a
hap
slave
J
m
fai
-
py
m.
#
^
3E£
^
vi
-
to
mf J
rtt.
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tu? thee?
i
M*j
f von brio. ±J:i
g
^
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i
3e^
i HI
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^
J
^*
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P
i
-o
i
If
1
40
Tu mancavi
a tormentarmi.
(Wilt no long-er thou torment me.) Aria. English Version by Dr Th. Baker.
MARCO ANTONIO
CESTI.
(l620-d669.)
Adag'io.
j^'u
Voice.
J
(J = 54.)
7^P
r/i
Tu
man
Wilt
no_
-
Qjf
p"r
ca
vi_
long'
-
p a
tor
er
-
-
thou
^
men tor
Piano.
iS: za,
^ ^ ing-'
a;
fe
r
r
e
con
Of fond
T
dol
mem
""
^
^
-
ce
ri
-
'ries
art
^m ^m i
Copyright, 1894, by 6. ScAirtner, Inc. Copyright renewed, 1922, by Theodore Baker 11R76
Printed In the U. S. A.
-
mem thou
# dis-
(^^^4i E
^
E
— 41
'M
^''M^r
^ r; bran-za vuoi till-in);^'
ifj av-ve-le
nuo - vo poi son_
di
A
'^'
^ r
i
new
nar sent_
-
to pre
-
-
mi,
me,
&^ ^W
«-• yiF=B i p «Ji^
1 iiS i 'ii f
tttm
^BE fe^
^
^
a=a=a:
TT-W »•
^^ fe
///
f
P
e
con
Of
fond
ly-
fl##
^
"/
bran nieni
za Vies
u^m 4'''
l|
^^
^ dol
ce
-
mem
-
vuoi
A
Vies
di
new
dis
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-
of
ii
fe^ nuo
vo av-ve-le
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poi
-
t
J>
mi,
vuoi
di
nie,
Of
fond
f #fff
^=i=t
I I
===:
nar-mi, av- ve - Vies to
-
mem
son of fond
J.
fniid
fei
nar
h^
n mem
za,
till
t t t t
t=$
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fl^^^
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—•
rimem-bran
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i
f
sent.
S^ 11576
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I
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pre
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m ^w
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niem-ries,
^^jr^
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vo
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memVies
f
''
f^
p^Tpp^TcTT
r
av- ve
le
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art dis-till-ing"
nn
av-ve
nar- mi,
new
poi
^ji
¥=*
£ ra
la_
^iiish
So_
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i ^ rm an
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sven-xu to_ Ian
£
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la
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In_
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J
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J)
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in
the_ flames
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of
T
9
< ri
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p
la
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soon_
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Wound
nuo
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Woes
J lai
ve_ re
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turn
r
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JlTiJ
j
4'*
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-
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r-f
And my burn
inj^,
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tlB7(i
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^
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f^rr f
ce - ne- love_ con-
.1
rit.
^
^^
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S
»/
i fe ^
^
me?
(J = se.)
« # An -cor du
J
mi.
6
Mor-lal
n
^
^m
-^
f
Moderate
^^
nar
-
^^ ^3
'^r^
pre- sent.
son to
-
le
-
i
i ne.
4
^^ Dal ruTho'
I
my
1
43
m
•
> rT
mor
del
f~» m~0 ca
le_
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sore
chain do_
te
ly_
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fe ^
\^ r
^ -
tcall-
*<:
ne_ mai
me^
I
n
I
3zat
^p non re
ve
^
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M Ion
-
ta
-
eVr
be
Q
l|J_J
i "F
1
'3?
,
^^
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l^fc^F
al
main v_ what
-
.J'
do
-
Wr^
r
J /;
i^ f
S:
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J
mor_
del
chain
do—
-
LT
Cj*
le_ sore
-
te
ly_
/[(all
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S #^
.
me,
n Tt J-
=^
J'
ne__ mai me^- I
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fall
11676
P
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nar- mi,
'y ^\
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mai
non
1
re
S"
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non re
ve
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ve - do^al main, what
T^^
TIF -
Ion
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e'er,
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Ion
-
what
main,
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P -
-
e'er
I
ta
be
ril.
ta
-
^nar
be
-
fall_
fi f
i
is
rit.
W
m
— 44
Tempo
I.
tei mi.
Tu
man
me.
Wilt_
no_
i^m
^^
#
tar
mi,
ment
me,
cru
-
de
lis
-
r
e
con
intr?
Of
fond
nun g^^
hope,
^ ^^^^^ till
[i]g
:gpg 11576
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ma
no wish
mem
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spe ful
I
i l
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f
A
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poi
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s E
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vo av-ve-Ie -
dis
fl^fljj ^«^'^r«t
j r^Pff nuo
tor
r^
s p
P
fill
art
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men
ran
"^
n
ce -
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tor
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p
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bran-za vuoi -
I
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a
i
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ca - vi long - er
(^
Cru-el_
za,
-
son to pre
gi
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nar
mi;
-
sent
me?
_F
»
-
.
45
(f^
e
con
dol
-
Of
fond
mem
-
jiri^
^^
ri-mem-bran
oe
art
'ries
(lis - till
J~
^jl ffl
za,
ri
ing",
of
Jf ij
:
:
mem
-
fond—
=g-
^^ s
9
/=
sfc=^
^
Mr-p
r'
^^ »^ bran
za
mem
'ries,
vuoi
A
di
nuo
new
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^
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j^j'^'^
i^'^''
p vo av-ve-le
.
I
^i^
it
nar-mi, av- ve
-
mem
son of fond
Vies to
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-
le
pre-
/
P^^"i,
f
[X;
P «
H
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fi W J
—
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i ,
nar
mi, me,
sent.
fe
cresc.
Jl if]
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TTTT
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vuoi
di
Of
fond
niiii
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p
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P -
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P
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—
fTf^
nar-mi, av-ve - le - nar new poi-sonto pre - sent
^^^^^S m 11B76
fond
M^
tt
^^^
nuo - vo av- ve mem-ries art dis-till
p^¥
di
cresc
fffi
vo,
mem-ries,
t
p
-
0-0
r//.
^
mi.
-
me?
^» «m
/
rit.
-•
6-
P
.
46
Rag-ion sempre addita. (How dearly
Aria.
English Version by Dr Th. Baker.
ALESSANDRO STRADELLA.
mm « AllegTO.
Piano
(164B-1681.)
%"
il
>
I
)
r
^ ^ m^ M #i
Voice
JM ¥^=« JOMJ' 1,
)
.»
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Allegro
(J z 63.)
hO
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ff
B
^
i
^ ^^ ^ ^ f^ ^ ^
g^ W (jgT
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Moderate.
^^
^ « Q3
(J^z 96.)
/
'>
are prized.)
IP
P
IeI^P
1'
I
J'
o
J)
J^
Ra-g-ion sempre ad-dita ad al - ma g-en - ti - le che a-matajo scherdear-ly are priz-edTrue souls that per- sev-er, Or lov'd or de -
^ ^ ^ ^^^
How
U
•
P3tf
P^5
J'p ip^p
p ni
spis
^
\
•
-
ta
lo
ed, In
sta faith
-
bil
suO
ful
en- deav-
V#X^ 11677
sti
-
M^P
w=w
p
p
le
non
or,
Ne'er chang-fn^, no,
can-gi, no,
^tE3
d
T
(
P
/ P
*8
^
k
J.
f
I
no. lo
pur se-g-ui-
no. It
fol-lows,
f-
? A.
>i[^
/ p
Copyright, 1894, by G. Sckirmer, Inc. Copyright renewed, i922, by Theodore Baker S.
r
3=^
1 Printed in the U.
i
dolce.
p
I
—
— 47
^&
*fc ro^
Mt ^
trow,
^
io
pur se
it
fol-lows,
g-ui
trow,.
r i?
i
^ ^m
})
/
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1=
P
io
pur se
it
fol-lows,
At:
fe
^
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gui 1
\
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i. ro.
trow,-
t
I f
¥
j
J'
j
^J
^^ «a m^ts^
faith
-
less
f
il
a
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p
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Che scio-gliere
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i ?
i i That
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11677
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di
m w^ =F=*
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ci
ii
ten -to, non nev- er shall
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-
far from Love's
rF
^
That
^
» •
— 48
l
i'f^r
scio-g-liere faith
-
MPS
m
p less
'
il
a
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nrr-]
m .
pie
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far
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11677
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f ZJ no,
no,,
no,.
p
%
Jl
non
vo;_
nev- er
shall
go-,.
S #
non
I
nev-er
shall
a tempo.
m
i
non
vo,
I_
trow,_
I
^
^ is
/
non I
m m
^
ten -to,
f
ten -to,
^m
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no,
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-p
i'
% pp
?
non
rf
i:
/
jE^
i
I I i
I
fe
di
from Love's way,
»
ten - to, non nev- er shall
^
t
ci
-
M *
*i ""
jip a tempo.
^
E
^
49
^
Poco
Pi* i
10
pur
It
fol
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Poco /uenu.
**
J.
-
se
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r
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a
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far.
way
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>
i«t
se
trow, from Love's
I
f
^ i
nieno.
pp
r*
f muUu.
F
^
r
pur se
P -
aev-er
shall
-
ro.
go.
i^
^^ rtf/
canto.
i
f^P ^^
±f
/
^ r
#
^p
s
Moderate.
•
•
M r
#
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Allegro.
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^
11677
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:
i
T=ia
50
Se amor m'annoda my
Love
(If English Version by Df Th. Baker.
Cantata.
ALESSANDRO STRADELLA. (1645- 1681.)
p
Piano.
^
*'
^j'
JH
M
J r p ^'ir S'a-mor m'an- no-da)lpie-de, co-me dun-que,
^ >
<
J.
my
Love
If
r
feet en-chain-etli,Cau
m
P
i'.
m dun-que ev - er_
^
^
JU'J
fug-gi flee a
way, can
Wl ^
*f
^
^^t*
I
:^
faith dis
j^J
-
p
''p
^^
fe
-de
11
dain
-
ber ethTheresno
r
I-"
,
J'
p r' da quel cor che From a heart that
I
r
11678
-
11
non ha
r
r
£
Da
quel cor che heart that
From a
r
^
r
O
^''
I
r
spe-ro,
no,
^ F^^
-
free-dom,_ nay!
*«
fwf
i ?^^^^*^ J^
^
A
;>
p fe -de,
11
-
ber
-
ta,
^
G.
^
Srhirmer, Inc.
Copyright renetped, 1922, by Theodore Baker Printed lathe U.
S.
A.
11
-
ber- ta_
non
hope, there's no hope of
m
iT Copyright, 1S94, by
^m I
^'^[!
I*
-way?
-g l; ber-ta— non ta, hope, there's no hope of—
^
can
— ^
faith dis-dain-eth There's no
^^
if
p
S
^ ji
N
r
»
r
^ ^ >
-
'
r
M
co-me
er,
-
fug-gi- rb? flee a
er
"rTS
r^
ss ^
^'
-
rr^__ ^
r
r ^r non ha
ev
'
JiTjjrr^
I*^J>JJ
J
co-me dun-que
rb,
-
ev
I
^m
'
^'
piede.
feet enchaineth.)
Allegretto. (J = 100.) con semplicita^ Voice.
il
rr^
m
^ 51
/^_
nr/LTrr ip
'
m^\
J
r
f
no, no, no, li - ber-ta_ non spe free_ nay, nav,nay,Theresn o hope_of
spe-ro, no, no,
^^ n ^ f\\ P^^ ^^=^ free-dom,nay,nay,
^
3t^
"^
^i^~*
Un poeo meno. I
^
^
I
rail.
"If.
.
_
(J
=
^^y?*
the
no. nay.
NJ'J
du
-
re
le_
ca
fet
-
ters
I_
am
m.
i
^
rail.
Cn
S
-»-o-
i=i=i
^* *~^
84.)
^r Yet
ro,
dom,
^
.
Sian pur
^
ij
°
i
I
-
rK'irpr te
-
ne,
wear-inff
i
ere
-
Still
i
nr
scan sem in
-
-
crease
i
pre
my
^
f=
pp
^&
3^
11678
^
«
—
*^^ 31
d le mie woes de
itia
-
pe
sem
-
pre
spair
crease
my
52
^
P y
J-
M
ne:
ch'in ser In Slav
ing',
;^
J-
J
vi
-
e'er
'ry
-
S-
^3
fin
-
n
-
vi
-
'ry
-
tu
co-
e'er
con-
senza rallentare
i
s
dojin love
-
co-re a lorn and
r^
r
r
i=v
man pin-
i
:^^
^-r
p
-
f^
Ti
T
-deja -g'no-ra lan-g-uen And tor - ment-ing^ a heart,
ing'
*^
^
P go
stan-te
sl av
In
ing",
m P^
^m
-6-
zc
ch'in ser
te,
Wl
:±± 6-;
^
co - stan con - fin -
tu
-
^
^ fTT
'f?
P
i"
^^3 te,
g^o-de o
ing',
Tor
^ ^
^
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gno-ra lan-guen heart
ment-inga
p
ff
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es te,
ing,
^
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Jst
ii 11678
dojin
CO
love
-
go-dej)
Tor
-
-
re,un
co-re a
lorn, love -lorn
( i
p
pin
-
f
-s-^
man
^^^
^ -
-
and
m
##
^
gno-ra lan-guen ment-ing a heart
i
#
-
doun love
^ ^
S3 cresc.
$^
ZITL
CO
a
re
-
man
-
and
lorn
pin
t Vr \
v^^'
J.
te,
un
ing',
love
^
t
a
ing,
and
-
i
y'
t
»
te,
un
pin
ing",
love
c/
J"
XL
co-re
-
S r
I;
f
-4-
cresc.
-#
man
f
r
I
^
f
^^ a
m lorn
-
and
^ E
man
te.
pin
ing.
fe
5
F
e «-•
Come prima. mp !•"
^
;>j
te,
man
-
and pin
lorn
f
^^ ^ ^m ^f
^
CO -re a -
Pl; i
Q/
(j
r
t
.
M
E=; '
»
r r p LostraljChe per - to al co - re d'un The shaft my heart im-pal-eth,Twas
m
-
canto
^
^ guar-do,
bel a
^
3;
^
bright glance,
IS
d'un bel 'twas a
42
'^^
^1'
n
-
^^ guar
-
do
col
bright glance from
-
^ 11«78
po thin e
S5 fu, d'un bel guar- do eye, 'twas a bright glance
r •
^
^
col-po
jq:
fu.
from thine eye.
r
r
£
r
f-
r^
r
r
r
64
^ ^ Piu
non
cu
As
no
art
^mf
mio
rojl
-
'>'i.i'
lo
a
vail
-
vi
re, eth,
n P
J^
g-lad-ly,
I
f
f
.ri
-
i> "'
Ji L^
vo
lie
^
'
P
I
in
ser
in
slav-e
-
vi
-
tu;
-
r}',-
As no
m
^f
ir jP(;tf
J
mio do cure a
J'
p
r
lo
-
-
vail
-
J'j^
re, vi
eth,
I
-
J,
I
vo
lie
-
j)j>j)
jjJ^^'
vo
to in glad-ly in
to, vi
glad-ly,
live
-
lie
live
1
f ^P
piu non cu-ro
TTf
f
^
^
J
J>J^
t
P
P
to g-lad-ly
live
live
r
^^
J)
vo
-
I
r
lie -to, vi
^
do
^P
^M
m
9^g^^
I-'-
P
cure
to
^
J'
y
i
-
art
il
to
f^
f^
r
r
r«//.
jjjij ser
-
vi
slav-e
-
tu,
in
-
ry,
in
Cj
q^
jrri p^ttr^ Tf-^fT J
J
J
.
^ ^^ ^ m nffrett.
ser Slav
J
^ 11578
-
vi
-
e
>
M -
tii,
ry,
rr
vi I
-
vo live
3
r r lie tr
-
iad-
r>.
p^g|
p
p
p
to
in
ly
in
ser sl av
^ ^^
y
r
rail.
f^ I
r
-
VI e
-oI
tu.
^ rail.
r\
r 55
Cangia, cang'ia tue voglie. (Changre,
O
change thy fond wishes.)
Eng'lish Version by
Dr Th. Baker.
G.B. FASOLO.
^ ^ Moderate.
Piano.
(J
z
^
eo.)
T
„(/
(16...
-16...)
t^J
r
Z21
T
f
^
-M i
.Voict
P. Can
"
p -
g-ia,
Chang-e,0
i'
I
can - gia tue change thy fond
i)
ii
vo - g-lie, wish- es,
cresc.
—
j)
|1
de
I-;
le
-
mourn
-
ful,
J'
J^
fo - sti^ Faith- ful
I
>
J)
don to
-
na, a
P fo
:
P -
fair
sti^ one
^
J^ o
mio
che
cor,
my
^5 m^ don scorn
-
na, fill,
fo
cresc.
^
P 11579
Copyright, 189i, by G. Schirmer, Inc.. Copyright renewed, 1922, by Theodore Baker Printed In the U.S. A.
-
faith
i
j
fe so
now
heart,
sti -
a
fiTl
#
^ don
p
.
66
-
to
na
W
a
fair
cru
dim
_ot£_
i de scorn
-
one
Can
le.
gfia,
-
Chang^e,
ful.
vreso. J'
can
J'
Ji
I
vo - glie, wish-es,
gia tue chang^e thy fond -
—
(
S
J'
^
o
mio
my
'
S
J>
cor,
che
fe
heart,
now
so
I
-
J
de
^1
J) le
i
-
mourn-
m V IT'IT: u^
T
r^
"If
J)
J)
fo - sti a ful, Faith -ful
T^::
J
cresc.
t —:>
«w \)
^
p
I
don-na, fo-stiji to
^
11679
a
fair
one
f
^
^
don- na,
C fo
don
sti_a
-
scorn -ful, faith- ful
"J^
le
Non
ful.
Feel
J) t'ac -
est
I
-
^^
p
J cor not,
to
gi,
me
cru
a.
i) ),;) -
na_
-
I
-
thoupoor
J schin, fool,
»
I
che she
de scorn
-
one
fair
B
p
J
set fe - ri will but pain
r
*
^ ^ La
to? thee?
-
scia,
Quell,
^^ scia love
la quell
ifpn T
y
67
1'
d'a for
mar
chi
t'ha
her
who
doth
y
i
5ii=«:
P a tempo
ten^'^T'
^
a tempo
r//.
fl?m.
1'
to.
La-
thee,
quell,
scia,
la - sola d'a - mar love for her quell
% ruT^
m
P
I
tha
who
doth
^
J)
i
1
*
-
scia,
Quell,
la quell.
to.
thee.
S
-P
—
T
pi^j' i^m
n
La
^
?^
tra-di dis-dain
rit.
dim.
^ tempo
J>
chi
lUTi^^i
-2^
11579
tra-di dis-dain
scia d'a love for
-
ma one
-
s
^ a tempo
^ re
chi_
Who
soug'ht to
ti
--
58 cresv.
JjH fin
-
snare
m
J)
J^l J)
J;.
ge thee
col
J) -
ri
by smil
-
JH
so, col mo ing-,Lur'dthee
j)
strar-ti
W'ith a
[)
bel il face b e -
^^
^
[^
\
vi
-
so, col
mo
g-uil
-
ing.lur'd
thee
i
f
cresc
.
'^
.2:
,
-
m
P
w
ri
J-'
strar-ti with a
11
JH
— bel
m VI
face be
-^
-
-
LI tLA
J
^^
? -
-
g-uil
^S \
pip
rs:
^ t
f
LJ
Jj
La-
so.
scia,
Quell,
ing-.
F=^
"m
»»
m (|
e^
i^
J.
strar-ti
11579
il
J
I
la - scia d'a quell_ love for
with a
JJ
i
E
JM
ge
col
thee
by
mo - strar-ti vi - so, coJ g-uil-ing'Jur'd thee wjth a
il_
bel
one
-
^
snare_
ma
bel
face be
)
-
re_
Who
chi-
ti
soug-ht to
fin
-
face be
^
Ji ri
J'
i>
so, col
mo
K
-
smil -ing-,Lur'd thee
vi -
-
gfuil
59
P
S* ^
SO.
Non
ing-
Feel
^
cor
est
not,
-
t'ac
me
gi,
1
J
fe
will
but
ri
-
La
to? thee?
-
pain.
I -
i
Quell,
tra
-
ten
La
di
to;
dain.
thee,
^^ doth dis
-
t
i rit.
^
.
-
—
^^ a tempo
P
~
scia,
Quell,
-
scia
la
quell
mar
d'a
5^
P
—
/7s
scia d'a love for
-
mar
chi
one
Who
^m r\
i
r\
Jr
^
d.
m r\
Pf
t'ha tra- di
doth dis- dain
^m
chi
Who
^rt
rit.
t
^
her-
---^=.
-
che she
i'
^m
Pa tempo
.
-
^
fool,
quell love for
kp-^s^^m ~
schin,
^
Lfff la
scia,
-
thou poor
f^
sei
t'ha
-
to.
thee.
r7t±j a tempo
i rit.
I
^r
l^s
F3r
11679
9-
— 60
Sento nel core. (My heart doth
lang^uish.)
Arietta.
English Version by or Th. Baker.
ALESSANDRO SCARLATTI. Adagio.
(1649-1726.) (J
76.)
:
Voice,
Piano.
s^
^ CO Ian
a
I
.1'.^
-
f.
re
P
p^*^
-
in
I
I
f
'p
che
la
mia hour
pa dwin
11680
re,
cer-to
do
an
g"uish,
ev-er
in
-
-
r
lo
-
an
-
re,
guish,
P5
—
ce dies.
w
•
m
dm
tur-ban - do_ All peace for_
«^ va:
^m ^M ^m
fe ft8=^
^^ s
I'l ^'
^ ^ ^ ^^
i ^fe Hour bj
r^r
lo
Ma
J)
f
do
cer-to Ev - er
Tr
r
^r
guish
-
w
f
-
r
r
mes
r
s
i Copyright, 1894, hy &. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker Printed In the U.S. A.
r
61
^]l'
i
it^p
hr^^^f CO heart-
nel
My
w ^
^^ P
In
!M^=?:
^
^ do
cer-to
Ev-er
-Bi
J
<
f
sen-to re, co nel doth lang"uish,doth Ian
^
EE
\jjvj re,
-
g^uish,
^^•^
re
-
guish
m
^=*
^
an
^
p*3
^m M
^i
lo
in
CO heart,
nel
my
r ^ -
^
^^"^
^
re,
#—
IVSV
1
^
^ ^ cer
-
r
to_ do
ev_-er_
in
'
r
-
lo
re,
an
guish.
^
che
la_ raia
Hour by_ hour
^?f^
^^
zz:
<
^^
^=
fe
s
pa dwin
ce
dies
tur All
-
ban - do peace for
r la mia
va,
che
me,
Hour by hour
i^^^^T pa
-
dwin
-
ce dies
S^ tur
ban - do
^ ^ ^K -
va.
All_ peacefor me.
sk^
11680
^m mm4
^
iE^
^
^^
^
62
^^^
Splendeu-na
S^
fa
-
Hot flame and stead
-
ce
che.
y
My-
^
I
r
mo
-
read
-
.V'-
Or love
i^
^&
r
-mor
a
^
r
r
J^
^
sa
-
'twill
-
I
na-
m ii \
r
J>^
J.
fa
l
l
be,
or love,_
-mor^
\
^*
a -mor sa
j>
i
^-
I'al
-ma
l
ac
en
soul
or love 'twill
ra.
be.
i
-
mor
sa
-
i
se non eji
-
mo
be,
'Tis love al
-
read
wm^
s1^
r
i
'
r
-
a
mor
-
m Or
y.
mo
read - y,^_^
re,
-
sa
ra.
-
love 'twill
be.
J
^^^-J J^j
IZC
i
^ Sen-to nel My heart dot h
fr
-
?
re,.
-
ff
il
r
al
Jee^
s;
r
love
p^ rFg-m-p^
ra,
j
^m
^
none a
kin-dles/Tis
-
l
r
r
p
cen-de, se
-
Ji^j ii
n
f=R
ft
^^^
11680
-
f
^ft;S^
r
^
A^rfij
^>uH
-
^^ ^i
«=«
T3Z
a
'n"i>
al
iprrjgg^
a
i
-
ii
Or love 'twill
i
'Tis love
i
pr
r ^' i'
dies,
f
1 ^T^
ce,che Hot flameand stead-y My
Splen-deji
^w
-
P -J2_
ffi
de,
kin
ra,
I
[!
p
re^
-
^
'
H'^
-
r se non ear
i
cen
^
s*= ''
-
3dE ^t^
w^
m
i^
r
I'al-maac soul en
ii
p
jg
#
^
^
fe
co Ian
^ -
re
yuish
—— 63
p
m
^r f
\^
cer-to do
Ev-er
in
m
-
v
lo
-
re,
an
-
g'uish,
^* ^^^ Sg _
cer-to
do
ev-er
in
-
f^\\\\_^hi
vaj
Nel
All peace for.
me;
My
^ ^
che
la
co
re
-
Ian
mia
p
-
cer-to
g'uish Ev-er in
pa
-
ce dies
m
Hour by hour dwin
-
m
All
ban- do
va.
peace for
me.
-
-
my
re,
heart,
^i ZL
-
^^
cer - to_ do guish, ev - er_ in
-
re,
-
ban-do
va,
All
peace for
me,
^m r~f^
-
re guish,
lo
an
che lamia pa - ce Hourbyhour dwin-dles
i 3
i ^ do Ice
^^
*
^ ^^ tur
\^^_J CO nel
^^
lo
an
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-
f
tur
^ ttg=M
do
ce dies
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%
r
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pa dwin
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3 ^
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sen-to nel my heart doth
CO - re, heart.
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—» 64
Su,.venite a consig-lio. (Hey! come hither, ye fancies.) Dialogue betweeu the Author and his Fancies. English Version by Df Th. Baker.
ALESSANDRO SCARLATTI. (1649-1786.)
Allegro.
(J.= 68.)
f
^ ^m m m m m m Piano.
f
f.
^
=*
J—
«
O'^
J
J
i
^
^
i
^
?
?^ su,
su,
ve
Hey,
hey,
hey!
Come
u
con-
ni-teja
m
-
ye
hith-er,
mi
f
si-g-lio,
ve
fcincies,
ye
fan-cies,
tm
nif leggero
si-g-lio^o
pen
^^ m to
be
-
sie
-
g-uile
.
m
ri,
ve
me.
Come
-
^^
ni-tea hith
-
er,
^
con
O
i Printed In the U. S. A.
r
i -
si-g-li(v>
come
to
pen be
m ^m
Copyright, iS94, hy G. Schirmer, Inc. Copyright renewed, 1922, by Theodore BaJcer UftSi
ni-tea con
—w
±
^
-
-m
F
come
^
^•^(f
Su,
m
«
w
P
Voice. Meno.cJ.^ so.) (The Author.)
/j
m
'^^
Vn
f #
^^
-
P
* 65
i
^
i^ sie
ri.
Co
-
* m'es
g-uile
me.
How
can
s
rrfes
can
-
mai
I,
^ fe
ser-va a
Serve Lau - ra
t
sco-poe delof this
^m chi
«ltJ
m=f'
fe
-
J
f
me
—
a
-
i
•a
-
mo? way?
m ^
no,
Nay,
nay.
Se
-
fe
r
for
^
mi
-
ra,
che
ev
-
er,
The
^
U « m
^^ f
r
li -
fe
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ra
di
ver That
—
M
No,
k
J"
f-
f--
^^
/4
P
^
7'
ir
r
sco-pqe delse way; The cause of this
f
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How
g
piii
m'in-fiam
J
chi
^ m'infiam-mb;
i
^
a
di
l
ver That wears
m
wears me
$
ra
li -
^m cause
r
i*
say,
-
"f~
piii
iw
co
W ^ f^
cHio
say,
^
pub,
II
I
r
puo
I,
mai
P=:f
^^
ser
ser
-
cresc.
?
r
m
J
I
legatissimo
J
i
r
i ^^
llSSi
^^
pp r ^
J
j
i
iii
i^
P
^
no,
no!
nay.
nay!
^m ritard.
^
66
Moderate.
cJ: 76.)
(The Fancies.)
^
i=« E
meg-lio sof
'Tuere bet-ter
fri-re,
-
suffer,
to
S%
t )- t!
long-- er
to
*
£ cher-ish
1
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si
re
pen
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to
m
con
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I
^^
fie vile.
me.
to
pen be
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sie ^iiile
f¥ i s
r'
*==# f^
Eh! la-sciatei con-
Ah! No
long"er,
ye
^
?^ -
(J.= 52.)
,(The Author.)
3^ ap^ f n.
sie
-
be-jruile
La No
n!
me!
-
scia
-
te,
la
lon^
-
er,
ye
m
W^ i^
i
si-pli^o
seek
-
% rr
m
tat
!i seinte^i
cherish,than
longfcr to
^m ft
r=f=
i
og'-g'et-ti
seek
cies,
J
r.T ^ r P. mai ri-mi- ra-re, che
/;«ro riinrd.
Fair lips that
o
fancies, no\\-
m
ra-re
ri-mi-
-
Than
^
3
^
•
I
SI
^^
che
Allegro.
^
J
re,
-
perish,
to
:^
'I
f
ff.^
ri
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?^
fan
or
toil,
legatiss.
J6f
^pg
mai
to
^
grave
^
« ^^±? pe- na-i'e,mo-
cresc.
H
i
i
t=±
i
?^
ri,
la
me,
no
-
scia- te,
la
lonjtr- er,
ye
I
r'^i s
-
scia-tej fan-cies,
^ t %
con.
now
U *
w
67
ffrilafd. assai =fc
pen
si-g-li^o
-
^fes
^
a tempo
sie
ri.
^m m ^ seek
be
to
«^
ff ritard.
-
me.
g"u:le
rrr 5
m
ti
^=±
-G-^
a tempo
assai
^m
t
^a a ^S ^ ^m
ritard.
«
ff
*=¥ Meno.
*
^=-$
(J.=
i
50.
^
No,
no,
no,
nay,
nay!
^
»
==*
=g
^
«
//{f
•-
leggero
^ sie
ri,
tor
me.
Ye
-
con- sig-lico pen-
fancies, re- turn
T
i
—•
f
to
be
I 1^
^
-
sie
be-
^
^
^ natea
pen-
mm^ w—f-
i^uile
¥=«
tor-na-tea con- sig-lio, tor- nateji con-sig-lico Re-turn, ye fancies,ye fancies, re -turn to
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p =»
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^
f j=
Nay,
^m m
~-^
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ri.
m m ^m g-uile
me.
^
fip
^
legatiss.
68
m
T=t=r
J
^.
se - no m'a o - pen'd my
Chiil
Who
^
-
con
pri heart
i
S^ mf^
Id dol
con
-
ri
-
-
ta,
lig-ht-ful,
^^
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#=?«
p
r
ce
fe
with wounds so
fe
poco a poco
m
tt
ce
-
i rF w=t
'T^ cresc.
$ ^
del
^J
With wounds so de-
;ss^
1^=1^
'
r
I
l
ri
.
P
i^
it
-
ve
ta,
drachee scher-ni-
-
de- light-ful Will mark how de
-
ta
sua
fe
spite/ul
My
faith
-
iF
>
P
de
co
does de
piv f__
p
i
si,
part;
w
P
ve - dra chee scher - ni - ta sua Will mark how de - spite- ful My
* J
J
J
f
J
P
I
f
-de
fe faith
co does de
si,
SI,
part'
Nay,
-
mm
#=^=j
l^j
J
I
^
^ ^rfir ry-^r^ 0L
Moderato.(J
^
= 76.)
(The Fancies .)jg i 91,
SI,
nay,
nay,
m
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II
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li
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er
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met
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cast
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nay.
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mm $
II
si.
a
ta
men
a
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rr
legaiiss.
m -
-
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ve,
de
for-tune. For
-
so
piu piu
stin tin
kind
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li
-
er
f
Sz
?
S f=
^
i
— 69
' ft
p-
1
p a
za cnio The Fates 111 im
ve
-
for
e
for- tune
^m
spe
-
rit.
fn.
-
^
\
tune!
^ \?
\
f
Oh,
la
Oh,
no
-
^
conye
sciate^i
long-er,
S3
^t
jlf^
=9
tj
^poro rit.
g
si
fan
g-li,
o
pen
cies,
seek
to
-•
-
**?
P^P^
32
sie
-
-
be-g-uile
Sm
^
la
me,
No
^^ ^ *
T
scia-te^i
con
fan-cies,
now
-
*=^f=d
^4 I
J
I
pen
seek
to
be
-
-
assai
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pen be -
i ,
r
I
r
f
ri,
la- scia-te,
la
g-uile
me,
no
ye
*
te,
la
long jn g--
er,
ye yt
w
sie
lon^f-er,
-
^
con-
scia-tei fan-cies,
now
m
^^ $
^ ^^
^
fr-
sie
1
I
I
^m si-g-li^o
^ rit.
J J
I
a^ J^
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scia
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ri,
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52.)
(J.:
(The Author.)
por-
-
s
S
AllegTO.
^^ poco
-
ri. _
^ m ^m l^ E m S^ S ^^ # ^ ^ # ^m ^ seek to
g-uile
me!
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il
(O'er
Canzonetta
English Version by Dr Th. Baker.
ALESSANDRO SCARLATTI. (.1649- 1726.)
^
^-p>
Allegro giusto.(Jzi26.)
p^m
///
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Copyright, iS94, by G. Snhirmer, Inn. Copyright renewed, 1922, by Theodore Baker Printed In the U-
S. A.
sfa
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71
a tempo
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72
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P-m-0-
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74
AlPacquisto (To
win
Aria from
di gloria. g-lory.)
Opera
tlie
"TigraneV
English Version by Dr Th. Baker.
ALESSANDRO SCARLATTI. (1649-1725.)
Allegro.
J
=
138
Voice.
Piano.
^^ t=^
11683
Copyright, 1S94, by G. Schirmer, Inr. Copyright rfnewed, 1922, by Thfndore Baker Printed in the U.
S.
A.
-
75
qui-sto_di gflo-ry_in ^^
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trom-be
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r
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J'
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Are
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call
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call
-
^ -
-0-
cresc.
^^
p
chia
A-^ *
-0
I
^
mi
m f ^ ^
1—VJ—
i
m cresc.
^P IF J)^ guer-rie-re,
ap
-
p
±±
^F mi
chia
are
call
^M ^
palling",
iW
M
J
i
dti'd
i
i
jj^j'' ^r
^
77
!>
J
\
J3 mi_
ma,
^^ are_
ing-,
i^
'^
r
|
^^
ritnrd.
rail.
chia
-
ma,
mi_
chia-raa^il
call
-
ing",
are_
call
i
-
ing":
fra
il_
g-or,
-
"De-part,
-»
de
g'or,
part!"
')^ ^
r-1^
fra
^
co//a voce * !:,
T
^gf^'
»
<
m
3e^
m rit.
^
^
fTyf>
;^j.
i \
rrr
f ^
f ^
.rt 'H 11683
[
f
i
i
ma_il
fra- g-or. 'De-part!^
call-ing:
1^
I i^
f
rit.
a tempo
#—(
:
^^
MPf JfJ
fe
^^
J
!^
-
?^
^^ ^ I V't.
chia-
call- ing-, are
f
PP '}\
'^
^ ^ mi Are
j^
m *
E =*
=r
=*
w
—
"IP
ir Fine.
i
— 78
Sostenuto assai. (Jr
69.)
r
Ma
las!
-
4SaE
for
en
be-ne
^
r
tu
-
vro
er,With
wil
-
^ pe do
a
re
-
sev
>
J
J'
f
J I
i
du
-
i
re
le
ne
nel
oor,
del
-
ing-
my
heart!
Eer
*
i JJ
w^ /
-
pe do
ca
-
ro
per-
f
J
'1^^
'
be-ne
mio
un
-
^^^5
J^
a
-
vro sempre
With wil
-
-est
s i
if
^ r
^
le_
ne,
?^
^ ^ SS r^ r P ?
-o
/•ff//.
pe-
le -
j^ii^J f rr
vi sven-
me
^^^^
jp
ing-,
M
E^
woo-iiig-_ un
-
fe
¥=t re
I
love doth per- sev- er,
/>^^
-
pra
-
^^^^
^
le
restrain
-
m
^'
r
* f * i'
ma
f
JmJ^JP
-
Tal-
love to
i
J)
r
-
r
^
woo-ing- Un
est
-
^
^
j
§^
J)
seal
-
^ff
m
^^
sem-pre -
F
Its
^^^^^^ E
fis
^ JUh
J^
;^
Eer doth
deavor!
-
1
P
?
115S3
\
p
my war-like
ie:
^
i^
r
por-tan- do del ca- ro mio
But, a
du
P
p
^^^
^
fF^
do
^^
^ ^
-
-
i
pe un-do
ne,
nel
cor.
m
my
lieart.
rail.
¥
Al-lac
ne
Ie
ing-,
fe
i
-
ing-
W
m
I
/?fl/
I
Segno
To_win_ t
1
%
-
i
/ /'?»(?.
79
Dormi,
bella, dormi tu?
(Art thou sleeping-, fair one?) Fragment from
the Cantata
"La Serenata." English Version by Dr Th. Baker.
GIO.BATTISTA BASSANI. 0657-1716.)
Moderate.
^^ m
Voice.
Piano
(J)= loo.)
^
^ ^ U 'h\> w
dor-mi lor-mi
fair one,
sleepest
J
P -
mi
sleep-ing^,
11584
fliou sleeping-.
dor -mi
tu? thou?
P'g
so-gna-ti
p
d'esser
be thy drccim not
all
p
I
men too
r
f
i
cru cru
^^
-
da,
-
elj
Copyright, 1894, hy G. Srhirjtif.r, Inr Copyright renewed, 1922, hy Theodore Baker Printed in the U. S A.
-
tu? tu thou?
sleepest
M
'P
5^
^^
dor-mi,
dor
Art
i
Bt=^
m^
^
F Dormi. bel
la.
^^
^
r^
y
P
se If
80
mk^ ^
p-
P.
p.
ve
-
g-li
por
wak
-
ing',
let
m
- g-i
mi
-
^^
P
qual-che pie
thine heart
some
pit
-
ta,
por let
i^
})
>-
feel,
-
y
j
-
g-i
-
mi
thine heart
E
i
^
^s
^^
qual-che some pit
m
^
i,.
3»
i
p
J
-
y
,t
fee l
f-
m
I
^S3 ve
^ ^
wak
11684
waking,
^
te
se
-
ing-,;
tf
^
±=3t
_if
m
r
ve
gi
mi
-
let ttune
heart
i
*
1
gli
por-g-i
-
mi
^^ ~ *
let
"^
W
thine heart
3=g
'^*
i
P'M
waking,
ttm
qual-che pie-ta,_ some pit - y feel,
I f
5»=f*
r -
-
'"^J
^
MF
g-li,
-
por
ve-g;li
If"
;
^m
S
r
se
pie-ta;
^^
f' I
£ qual-che pit
j
M
f^v some
se
If
pie-ta. -
y_feel. 1
&_U
.
f
^
81
Vivace. Effi
\
(J-z66.)
J'
;,
So
p -
spi
-
ri
p pro
f'Mi Sffi ffi
fon-di
-
The' yearning- pro
-
tra
my
i-'
J)
-man-do dal bo - som doth
ff=p:
cor
e
move, Yel
i'^
;;'
^
<
<
spon-di, spondest,
•|^
M
'
tu
e
r non
h ri
yet ne'er thou re
-
-
p
p
e
tu
ri
spon-di,
re
spondest,
p
in
tf^
m 'm 11684
p
p
mor, ahi, bar-ba love, Ah, bar-ba
s r^
^
\
1^
i^
e
tu
non
ri
love;
Yet
ne'er
thou
re
spon - di, spond-est.
i
%
^
^
i P
^ -
ro a rous
-
i^
mor;
J
ri
^W
I
p
^m J
-
non
M-
r
p
I
p
spon-di. ahi, bar -ba-ro a spondest: Ah, bar-ba-rous
cresc.
'm
p'
tu
ne'er thou re
^
J'
non
M^ f \
J'
I
yet ne'er thou
p
p
ff
p
i>
^
'i{f
fefe
i'
J>
5EES
I
^
^
f
J'
J
I
^m
foundest
ji
^
^^
J'
J'
J.
I
^'
^^'
ahi,
bar bar
Ah,
E
i) -
ba ba
-
m
ro^ rous
i ^
1
82
Larg-o espressivo. i'
)' l
J
I
I
mor,
e
love,
yet
^^ '^ 'l> 1 l
l
^ J)
J
p
\^ii
non
ri
-
spon-di,
ahi,
ne'er tliou re
-
spondest,
ah,
i>Y tu
:^
^
(J r 40.)
Wi
^l
^
bar bar
B
a;
^
J^
;,
Bei
M
W
lu
p -mi
p ru
eye that de
i
J!
JJ
r
I
-
J»
J'
J'
-est
J'
^'
J)
chi mai,chi
va
Whodar-eth
to
bel-li fi
-
I f
mf vel
- li,
pli
i'\>
I
^^^I'V
>
te 1
'^
-
est.
-y^ f
^
<
M e
to
s^ \'m 11584
m p
}
-
'
p
W
m
^
tu non mine neer
J>
I
pri
-
va?
-
ff
p
M
e
tu
non
fa
to
mine
ne'er
re
-
^ ^
-
est,
p
p-
fa
-
p p vel-li, ahi,bar-ba-roa
re
-
pli -est,
p
p
Ah, bar -ba -rous
ne'er re
^
vel -li, pli
i'
non fa
tu
e
Jm
J'
J^
J'
To mine
^^
^ f^N
3EEE
M 1
^'
J'
brave thee,
3EEE
CJJ p
espress.
?
fefe
4'
w
^^
'
!i
baro^-mor.
barous love!
l!i
i Jt?
Fair
><>
-
^^
t
i
\\
i
-
I
Vivace. fefe sa
hi
I
-
P
r
M
mor, ahi,
bar-ba-roa-
love, ah,
bar-ba
-
rous
83
Largo espressivo. ji.'V'
r mor, love,
m^ i
J'^
p
tu non e To mine ne'er
}>
J'-
i>n
fa
-
re
-
pli-est,Ah, bar-ba-rous
-
ba-rQji
-
mor,
e
love,
to
331
non fa
tu
mine
ne'er re
i
^
#^v
^
-
mi,
dor-mi
fair_one,
sleepest
dor
la,
injj;,
-
E
p
^^
4
tu? thou?
^^'
^ ^^m ^« ^
S
r
P
^Y
^^
Dor-mi, bel Art thou sleep
^
^
l
^
W
m
i^a
^J'
J
I
i
ffi
I1KN4
J'
E
fe i^
J>
J; vel- li/ahi, bar
yw~Ti
I
I
p
T^p^p
1
or-mi
sleepest
ir
V
<
MF
J
tu?
se
dor-mi
thoir;
If
sleepinjf.
P'g
P
^P
so-gna-ti dVssermen be thy dream not all too
84
*
^ ciu cru
-
da,
se
el.
If
-
p-^
^
f ve
wak
?' -
^li
por-gi -mi
mg,
let thine
rl
^ ^p ^ *
> por-g-i
ta, feel,
let
^ n^
^
J
^^
;
jii -
y
if
feel;
i
,
fe
^^
qual-che
some
11584
se
m ^
^
pit
-
ff
pieta;
I; »
/•//
S
pit
-
i
I
ve-grli
y
if
wakiny,
pie-ta. y^feel!
m
J7^;-,
'j
,
wak
-
-
}
:x=
p
^P^ ve
p-p por-g-i
se
*^^ I r
|
I
-
$
pie-ta; feel;
pit
i
?
qual-che some pit
;
some
J
jTjA^
^^
feU
thine heart
f
te
^^
qual-che
qual-che pie
heart some
MPr
^'i^i'-^ j -mi
^
P
F.
P.
p
r
^
r
gli,
se
ve -gli
por
in^,
if
^\"akin^if,
let
Fi^
f
P -
g-i
*¥ ^=¥
p. -
mi
thine heart
W^S^
:rs=
1
i
j
^
P mi
thine heart
let
i,fr
-
y
86
Posate, dormite. (Sleep on, then.)
Fragment from the Cantata
"La
English Version by Dr. Th. Baker.
Serenata."
BATTISTA BASSANI.
GIO.
(1657- 1716.)
Reeitativo.
^g^
Voice.
^^
P ^
Ah
se
Ah,
if
iij'
i' tu thou
dor still
-
mi an art
* co sleep
-
ra;
-
-
ing,
e
se
dor
and
e'en
in
Piano.
^
v\>
j)
,b
j^^'
men- do tan slum-ber All
,
j^'
p
P
-
te
my
pe rest
-
p
I
ne mi so hast
f da-
p
(
p
M
r
p
p
-^
,
[
un co - re non sa-ria bastan-te a sof- frir- ti sveglia- ta stern-ly must befashion'djTo en- durethywak'ningchami, A heart so
^^ ±FS
^
^
giamma - i. a-wak-en.
non
de - star-ti tak-en, Thoushouldstnev-er i,
^'
'^
ten.
a-man
Che More
I
-
te.
im-pas-sion'd.
P
co/ cnnlo
^mi:
t^
*
^
Copyright, 1894, by G. Schirmer, Inc. Copyright renewed, 1932, l)y Theodore Baker 115R5
Printed in the U. S. A.
i
86 Allegretto. (J
>" >^'^
=
96.)
r
i
Po
sa
Sleep
on.
»"""^r^i'n l
ppp
''M
spwp/e
'M
/fsr/f/ss
>Lrfrj:^ [rrrrj l
^
—(
#
n;^=^
te; i£E
?:
—or
pu
pil
le,
re
pose
ye,
m
Mdi
-
close
m
^
m
ejl
3"e,
And may your keen
-
p^m m
^
—
eo
-
#
f»
ra
po
-
sa
-
^ re
res-pite, Iho' brief, to
I1IM5
pu - pil - le gra - di - te, pu - pil - le gra Sweet eyes, nor un - close ye, sweet eyes, nor un
?go
^
•
$
^m w^ vo-stro ri and may your keen
g-o-re, elil
art,
^
fe^ l>q,g=r
I
[
m
te.
ri
—(
1»
'
B
m
vo-stro
I
-
-^^ *^^ F/'/*
-
re
las-ci^an-
Grant
art
a
p^ s cresc.
A
m
I
povo a
w
un
stan
un
stan
a
wea
a
wea
.
87
poro 1^
fi
b
'7
.''i>
-
^
"f
•
CO,
un
stan
-
ry,
a
wea
-
poro
l
'^S"i>
^
''ilP^
n J:^JJJ
J
co ry
P
^
'^^
d
d
—
0-
un stan-co, un stan a wea-ry, a wea
CO -re, heart,
f
i f
-0
^
1=1
^
^
Dor
re
.
1^^ rit.
f fpf
OT^
^
^^ fl
•j^j'i>
f plllp O
r^v
#
?
mi
te,
on.
then.
po
^^ dream
A
£
^
iiess
mov
ed,
pu
-
3
^
sa
te,
on,
then,
F^^ F« » P
pil- le a- do fair one, be
fTT
S
^^
f=m
pu un
% ^=T?
A
^
le,
^
lempoppplegoliss.
aii3t
iftg=p= pii
wm
/v/.
^
[rrrrj
-
A
»^=i
ff
''/
fce
S^
ate P^
m
Dream
heart
,^
cory-
•«/
a^3E ^ CO
-
-
f-yi»
i=
^ -
ra
-
lev
-
-
te,
pu
ed,
O
-
pil
fair
-
le
a- do
one, be
—» te
« ra
» -
te.
^ e^n
pla
-
lov-ed;May kind
^
ci-doj)
-
^
W
bli
o
-
I
pla
e in
fe
ci-do o-bli
-
ly sleep
a m
^# s
^^
«6 S==zz
*•
ban-ish,inay kind-
ly sleep
^^^
^f=#=
iS &
-
88
• J * J ^
dor-mail
o
-
^m
ban
-
of
All
isli
^m
^»_ f
:
f
PJfp
Ste
—
#
^ fu
vo-stro \\
i^'^^
i ror,
-
i
i
i
par van
ch'io
^
rath thou miglit'st feel
That
I
p to,
-
-
^
f
1';^?=^ to,
ish,
^ ia
S
^
parvan-
ch'io 1
^
i»
par- to. Ad
^
^^
^i^^ 11686
chio
to,
ish,
par - to, van -ish,
I
ch'io I
parvan -
to, ish,
ch'io I
^ i^^»/ ^
^ ^^
^gjggj
S=*
PPP raU. —
T""^
p-
van -ish! Fare
tEr
E
/.
J^JJ
a
nf
^
porn
'N\>
J'J'^J
^ ^^
^^
rffr^
S
^ cresc.poco
•V w p
7'i\>
van
I
*^^pp
nrj
ppp—
par
ch' io
ish,
tt±d
r.^
I
1
^^
^
yf
^
ad
di
-
well,
-
J
4^ di
-
^
o.
fare -well.
then,
a
—:
r/A
^
1
W* *=*=
A.
j */;/
:^iHt
J «»/
j|j
J
^«
/"/V?^
=#=F1
f
.o
^
^
80
Seguita a piangere. (Mourn with
temerity.)
Fragment from the Cantata
"L'Amante placata."
English Version hy
Dr Th. Baker.
BATTISTA BASSANI.
GIO.
(I657-1716)
^^
Recitativo.
Voict
f)I>^ No, non Nay, have
te
-
plan
te^o
my
fear,
110
?
g
me
-
ti;
-
fjTiev- ing-s,
ah
non
ah,
mark
S ve ye
Piano.
S^ le
P
che
te
-
ri
de
.
how kind
not
* as
^
ps5
pie sion
la
com
-
pas
-
smil
-
so - pra'l eth from
suo her
vi
-
vis
-
so? age?
-d^
=58^
^
^
ta
-
i=i
r«-
f
^ ^^
p
p
stan a Tho' her
ai-^j' sem E'er
^ & i
pre of
for- za eye yet
}>
}) -
M ^^
^5
^'
P
in bell' oc out- flash -es
^
J;>
dal
-
la
pie
pit
-
y
sweet
-
ta
cle
chi_or
-
J'
-
-
^' I
men- za cy
is
f
j'
f'
spi
i'
i>
^
ed i ra, and scorn,
g'o-g'Iio
an-g'er
in
J^
clem-en
-
*
ra.
born.
i
I
^s es 11686 (Copyright, 1894,
-
h
j-
W by
G.
^J=^
Copyright renewed, 1922, by Theodore Baker Printed in theU. S. A
Schirmer, Inc.
w i
.
90 AllegTetto.(«^'r 108.)
bVl!
^ULJLr
pSe
gTii-ta a plan,
-
Mourn with
mer
te-
p
po
g-e - re,
-
-
i
Jrj^
J\
I
ve-
-
pen-
ty,
-
i
ro, tent,
m^
^' \
>
r
^
M
pse
^'-
mourn with
te -
mer.
^^^^/?-n '^|'i>
l
r
iJvMj.
.
i>
>
J)
^'i-\>
y'f^ r|
^a jl.''l> |
Jl
Ji i> J
po - ve - ro cor, pen- i - tent heart,
II5N6
i
-
re, ty,
w I
r
^
r
p
F
-
po - ve- ro, pen- i - tent,
re, ty,
ii
J)
I
i
I
I
po
ve
-
-
cor,
ro
pen- i-tent
heart,
J
i
T
W-
J-i
se- gnii -taa pian- g« mourn with te-mer- i -
f-T^Lxr
P'
^'
y
£
rJ
mE
^ ^^ m
pian-ge
gTii-t^^
-
cor,
i
J'
i
heart,
tent
4
M'-
p
'
lo
.
r
''
^ ^
p
-
i
X
r
i
p
ve
-
pen-
i
i r^^''i>iir
po
p
po
-
ve
-
M ro
pen- i-teni
^
y
J'
se
cor,
-
plan
g^i
mourn with
heart,
'•"3
i' b* ''^^
^^
fp -taa ^
l''P'
te-
Ir^
mer
-
ge
-
i
-
-
re, ty.
""4
^
^ip p e All
p
^hu
i>
her
se
^
frang*-re, e spe-ra
spe-ra -
ver-
i
- ty,
all
her
se
-
91
fran
ver
|l'V'
e-e g-e
-
-
>
l.i'
spe her
e all
M ^ i
-
p
e all
.
se-ver
-
ge i
J> -
-
|i.v
r
'h\>
r
1^'' ,^
*
ty,
all
her
M te-
iiH
J't'J
ra fran
.
ge
se-ver-
^
will
M
^'-
p mer
-
i
-
ty,
fj
^
J'
J'^
i
^
^^ P'
ri
d e-part,
-
gor,
^jrVTiit^
J'^Ji. -
tuo
soon
il
ty
-
i
re
-
tuo
il
ri
-
gov-,
will soon de-part;
ty
^^ ^ =^
-
b*
1 p
^^
F
po - ve- ro, po - ve-ro pen - i - tent, pen - i -tent
cor,
heart.
:
fi
rp-
p
\i>.
P
p
p plan -ge-
re,
mer
ty,
^« m mourn with
HR86
JhJ'
^
se- gTii-taa
3^ &
i
spe
se- gTii-ta_apian-g-e-re,
&^
I
e
^ 'r
se-ver-
re,
b#.
Mourn with
!
. ge - re - fa fran-e«spe.ra spe Iran
her
I.
§^ S i'V'
re,
ty,
}i
J>.
ra fran
f^
|
-
i
te
i
-
-
i
-
Ji
J>J)
po - vepen - i -
ro, tent,
i
r po pen
p ve
-
-
i
p -
-
ro tent
-¥^
T=f
^
55
r ^
cor,
heart.
.
-
92
p^'Y se
-
apian- ge-
g-ui-ta
J^J'i
i'
i'^J^ P
mourn with te-mer-
-
i
re, ty,
i'
J
j>
'
I'll
po - ve- ro cor, pen- i- tent heart,
i|i
^1
se
^#^
g-ui-ta_a pian
-
-
g'e - re,
mourn with te-mer-
i-
ty,
r\ i}'&
Jr-fj d
ii po pen -
ve i
ro
cor.
tent
heart
-
-
Recitative
i^ I'^^^M^
M M
-^'^ I
P
Un
ve
To
true
-
S
*
'
Tin - te - ne re-morse her heart will
ro duol
-
J' ri -
i' see
e
sure-ly
^
^'
^
mol
sur-ren
''^ -
-
^
^
ce:
io
der,
I
^
W=?F
"W col rnnfo
9^W^
-XT
Andante.
jbV
j-^Jip p so di Fil
-
i,p
p
lijl cor
quanto
knowthatPhyllis'heart
is
J-i |
j.j,<
-
f,
sia
warm and
tender.
All
^
i
2;
60.)
j,
^
Sejn-fe- de
fefe
11586
p
dol-ce.
S
^
)
I
(J z
-
le
^p mijia
thewrongslve done,_
mmm
sof
her
es
^^ ^ fer
spir
se^n
to,
-
,#^
i
g^^
i
[f
^'' i
>
> fer
Ji
^
*
to,
-
spir-
si
b''
i
>
^
si
^
pla-che-rk,
can not
J^ jj p pla-che-ra,
> si
mi ha sof done,
-
her
pla-ehere
p
p
r'a,
si
I
-
^^r^^t—t pla
-
sent, can not
che-rk, re-sent.
J
^P
¥=*
J^ si
i p
p
pla-che-rk,
B si
^
Ji
j).
pla
re- sent, can not re- sent, can not
i i^*
f
-
che re
I
-
-
^^ ra:
^
sent;
i.
f
w
^M m i
J) J' io
p
^p
^^
so ben che non lo
Tho' no kindness
I
may
P-im=^ ^ 11686
J'p
re-sent, can not
s^
^V
le
m
:^Jz^j J> i'
-
li^h-g
i
i
de
-
*
Cannot
it
S^ J bb"i> ?
i
fe
-
the wrongs I've
All
- it,
mer-to,
mer-it.
^^^^^^Hif-^ so ben chenon lo_
io
tho'
no kindness
I
may
94
Sr
^'.-i'
p mermer-
ma
to
fl
p
^>
fa- ra,
lo
r^-' ma
fa-
lo
She will re -lent, she will
n
it
f'M
^&
i
re
-
>
h
M
^
p,jj
spir-
it
mijia sof
le
-
the wronprs
done,
I've
her
P
:*^
^^ ^^
i
se in All
it,
fer -to,
spir-
^P
M^
^fe
to,
-
re-
^m All
'
fa-
lo
^
flC^
i
ma
re-lent, she will
Sejn-fe- de
J
fer
si
pla-che-ra,
Cannot
J'"]
J
7H"i> ^
a;^-^J
tl686
fa- ra,
lo
she will
'
jA^jff^
!
ma
^
i
j>p
p
p
^
lent.
''
ra,
i
ra.
S
^'^''
lent,
^m 'h\>
^
si
pla-che-ra,
re- sent, can not
.1
-
fe
-
si
-
mi ha sof
le
done,
her
pla-che-fa,
re- sent, can- not
a
de
the wrongs I've
re-sent;
M*j>
^
•^
ii^^
— 95
p
i
.Ji
l
J
J'fXi'p
pla
pla-che-va, si Shewill re-lent, shewill re-leni, she Mill si
m
^
F^i'
F
pla-che-ra,
si
che
-
re
I'a.
-
-
lent!
J=M
^^
^&
i^i^^^^HM
WS
t
"r-rt
Recitativo.
s
fefe
^-
ii^''h^
w^'
^
Vo Yet
^
i
^ ^
p
lea
Tir
iridre
p si
-
Thyr
- sis
^s^ OH Z551
^» -
re
[f'
ma
i'
p Fil
- li
i'
i'
ip
in-te- ne
but Phyl-lis,
all
-
ri
-
r
ta
com-pas-sion
P a
pTy-^^TT"!/^ si
for his
dol-ce pars or-
lar-.
-o31:
-o-
S
3i: 311
^
IDI
J ta
J -
ci!
sifTh-ing'!"
»
^
*^
p=M^^=f ^i
2=
so-spi-ri ar-re - stb And with kiss-es ar- rests
I K 1IAR6
rol his
SEES ? g
deh, dis-se,
row, re- plies:"Ah, cease thy
S=
s
piu
would
=^
i^
»
^
col cniiio
n\
say,
!
P
zsc
\\>\^
n't.
^' di
-
r
^^
suon de' ba - ri. woe-ful cry-ing".
311 31=
_42-5>-
l-O-
TT
96
Caro
laccio, dolce nodo.
(Dainty meshes, net enticeful.) Fragrnent from the Second Cantata. English Version by Dr Th. Baker.
FRANCESCO GASPARINI. (1665
Moderate. (J
^B=F
Voice.
^m ^^
j^l''''''jjjjjjjj Piano.
p 'H\A^-
^
-
p h Ca Dain
ii"^
ga
p
-
-
}>
^
ro
lac
ty
mesh
-
cio,
dol
es,
net
-
¥' "^
^m
sti,
ce
no
en
tice
#
P
P
=
-
#—\-#
i le
p
-
sti,
che
le
-
cy,
that
en
-
i
^ che
le
That en
fill
[J
g-a
sti
tan
g"les
i
j
-
do,
^f^
1
J »
S
7^3
Printed In the U.
S.
A.
'H-
p pen
il_ mio
my_
fan
^^
Copyright, 1894, by G Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker 11687
-
H. J7TJ
Z2Z
'
^
^m
TH
ga tan-g^les my_fan -
^
f=p^^
>
i
^^^
55i^ I
5*
cresc.
f
H'
1737>
-
69.
=
-
cy
^ir*
97
*^^¥^
*
r ca Dain
siei-,
free.
-
ro
lac
-
ty
mesh
es,
-
p
e
-
ce en
-
J^
J)
lac- cio,
dol
mesh-
no
ce
-
en-
net
es,
MM
J^
fiil
do,
-
fiil.
che
le
-
g'a
en
-
tan
ca dain
-
-
ro ty
&^
^
^
3
That
j)
I)
sti
il—
mio-
g-les_
my_
.
^^ p
S
^f n
'
JTJj,^
i*
fan
^
-
cy
free,
il
my
*J
.
miopen-sier, fan-cy free,
J
il
mio
my
fan
pen-
cy
sier,
so ch'io
free,
E'en tho'
r,f
ft p
-M^
no
e
pur
ne
g^o
fnl
I
yet
am
bliss
[jT r pe
-
woe -
^
#F?Tm
^a
J^
f
pen-sie-ro,
11587
do,
-
tice-
-
i
^//
Ji
no tice
fcat
^ b\
<
p
dol net
cio,
-
i
F
ly
r do,
-
-
ful,
^
T
p
son con
Held
a
i^'-^
'
^'p
^^
j-
r
ten
-
cap
- tive,
a
e
to
^
pri-g"io-
I would not
^^
ipz
^
98
j^''
i
iij
,
nier, flee,
^''
^7777H pe-no, g-o-do, son con
ten
-
cap
woefiil,bliss-ful,lield a
^p
pe - no woe-ful
r
pur ne
I
yet
am
(jTin
ji'v
hK
r
S^
p nier,
I
p-o- do,
i
M M
pe-no, g^o-do, son con
S
e
pri
-
f
«t
J
iiii
to,
con
-
tive, a
3»71
J
n ten
-
cap-
to tive,
f
ten
-
cap
- tive,
to
J
e
pri
I
would
—
^ -
g-io
not
>>^^
J' Je I
pri
would
J^ -
g-io
not
^w
r^
^
=— /-/A ^fe5
f -
-
-
E'en tho'
flee,
f
^
so ch'io
nier,
-
not
^i J'
*
I
r gio
would
soncon-ten cap
^
^
p
4
to
tive, I
r
flee, woe-ful,bliss-ful, held a
E
''^;
bliss-ful,Held a
cry
/
-
p
> i p
1)
e
-
p
i^ ^i li ihi'«
^ijJjl-JT^
i & r;r
'
"^
1
-
^
-a-^ nier.
flee.
iTTlJJJJ
••
//y.
^BE^
p
•
zz:
r^Tf 11BS7
99
Lasciar d'amarti. bond to
(Love's
sever.)
Fragment from the English Version by Df Th. Baker.
Second Cantata.
FRANCESCO GASPAPINI. (1666
Allegro moderate.
(J
:
-
1737.)
84.)
Piano. i
'>t 'i>
<
Jt
i
»p
^
^^
f
Las-ciar d'a Love's bond to
-
mar
-
per non pe my heart to
ti
ma sev
-
er,
^ & t
^^^ ca
nar,
ro
-
Mine own be
free,
P
mio
i^V ^^j ^i
-
^
be
-
ne,
lov
-
ed,
y J
con grazia
E^'t^non it
WW^ I
^''1^
^^b''i> 11588
Ji
r
^
ca- ro, non it
f^^
r-
5 si
cannot, can
^i
^ ^
i
p
^
far;
not
be. Love's bond to
i^
fff
ir
pub
far,
no,
can
not
be,
no.
nj
^
^
con grazia.
r
^ ^ non mar-
la-sciar d'a-
F=^
ti
sev
- er,
per
ij'
> j
j'j
nar,
^
free,
Mine own be-
^ ^^
pub
^
si
bl^ n'f.
p
i
i
w n't.
-
pe
my heart to
-
ca
-
?
romio
^ii ^iiS
Copyright, 1894, by G. Sr.hirmer, Inc. Copyright renetoed, 1922, by TKeodortt Baker
Printed in the U.S. A.
100
f
cresc.
^v
r r be- ne,
M
ca - ro lov- ed,mine own be
i
-
r
lov-ed,
ca
-
lov
-
5
^
non
ro,
ed,
^^^
it
j^j si
pub
far.
can
not
be.
=—
=
^[!
-
sorrows,
-
glio
e'er will
I
& Ui
ro
p
-
za
di
pe
of his
ar
J^'-i'r
la- sciar-
per-
sevv- er,
)-
"^i
ed,
my
^
ro,
-
be-
E
P
\
Mir ^^'%
^
ti;
ca
ne, di stra- li^ ca rows, His fet- ters and
-
-
m^ r
i
£
ne,
p^ a
"if
p
non vo
ne,
-
i
s:
te
for
In spite
r)t.
F
*r=:*
r
A
•
mio bemine own be- lovca
far,
72 .f£
^#
?=* ^
^^f
not be,
:^
^& a^
pub
can
it
Meno.(J
;--j/
^^
J'U
p ^^Jmio be-ne,nonsi
r
vo-gIiQ_a-do- rar, A-dore on - ly thee,
ti
si,
si,
on-lv
ti
thee,
a
1^
I
^
ggf
i
^
^
a
E
fefe
p vo
-
dore
glio,
ti
on
ly
-
a {^Q ^^^ '
f
r
"
" p
I
vo-glioa-do-rar, thee, on - ly thee,
i
i
ah a
[^ 11588
t>
l»
-
m J^
»
si,
^
dore,
CT
i
a
dore,
ah
Ul
-
rsi,
r/Y;
ff
ti
J
^
i'
vfrg-ligji-do-
a- dore on
-
Pt?t^
^
/r?y.
IP
ly
101
Tempo
I
basso legato e cantando
il
g
f'ifdo/. e legafo •i-\>
^
>
p r
Lasciar d'a Love'sbond to
t,'-|>
\
i
J
j\
I
r -
r mar sev
^
J
-
-
J'
J
^
ti
per non
pe
er,
my
to
i
heart
i
i
P
r
-
ca
nar,
Mine
free,
^
J
-
mio own be ro
^^
a tempo
s
V^t. vb '
S^
11688
f
^
I
rit.
Pg*'!^non
be
-
ne,
lov
-
ed, it_ can
si
con grazia
f^
pir pub
far,
no,
ca
not
be.
no.
if
-
ro,
f non
^ si
can not, can
puo not
102
te a t
^
d'a
la- sciar
far,
be. Love's bond
^
mar
-
sev
to
n tempo
smorz.
moltn
cresc.
-
-
ti
^^
zc per non
er,
My
heart
.
p
r
pe
nar.
oa
to
free,
Mine
-
ro nno own be -
col COflfO
%\>
r
ta ^
r
'
r
I
r
l^i^
fefe
be
-
ne,
ca
lov
-
ed,
mine
Is ^
-
be
-
ne,
ca
ro,
lov
-
ed,
my
be
i f
ti-S
11S88
be lov
fi
ne,non
-
-
ed,
it
^^m
te
fv
mio own be . ro
ca
-
lov
-
-
r
J-
MTr:
r
^
J)
si
pub
far,
ca
can
not
be,
mine
E
IE
ro,
non
si
pub
far.
ed,
it
can
not
be!
» p
mollo
^
mio own be ro
rt'f.
^
Qu
-
rif.
«
103
Per la gloria d'adorarvi. the
(For
my heart doth
love
prize.)
from the Opera "Griselda."
English Version
Dr
by
G. B. BONONCINI.
Th. Baker.
(1672-1748.)
Andante.
(J = 80.)
fe
Voice.
Piano.
^
i^ QU n fe m H E^ -iH^^ m r y deciso.
m
J-
4^i-&l
-•F-
f^b
g^
4
:^^^E
f^—S8:
^ ^
.^
•
— •
»i^
i
^ ^ 52
4j.
Per For
fl
^
^
pL
la
glo
the
love
^
-
ria
d'a-
-do-
my
heart
doth
i
^i
^
PPl
^
J
iCiJ^
J1I.)
^ ^^ ^ rrr rrr rar
-
prize,
r
__
§s^
vi
O
r
vo -glioma charmful
-
mar
-
eyes,
vi^o lu I
-
would
ci
-
^ ^ ^^ ^^
re;
ye;
Priaicdiailicas. A.
per For
z
#
i^
Cop jfrtjgH 094, 6jf G. Sr.larmer, Inc. Copxfrigktramtaef^ 1922, hy Tkeodoif. Baker ,
Uft8»
ca
a-dore
«
/^/>
^ fm la
the
^ 104
^m g\o
r
d'a
my
heart
m f "-0
^1 :.
3
s
r
ria
-
.love
i
O
I
do
-
rar
-
doth
O
m
i
^^
do lee.
^^
/,
rf^
^jii:r^it;^'
r CI
a
-
ca dore
A- man-do pe For me,
r^
i-.
J
-
love
ne
-
is
#
\
know
-
pre v'a 'tis
all
-
mein
*
^g ^
dj^jssm f u> ?j)j^f^ p-
ro,_
SI,
si,
vain.
vain,
vain.
^^^ f
I
"CrT
—
i
ma
pain,_
"BT
«=J
»/
\
rb,
f sem
=^
1»
i
}
my
s
^^^ •>Vh
^'J'
re.
i
s
«z»
-'''
ve.
vi,o_ lu would I
-
eyes,
^^
^ g
mar
vo - g'lio a charmful
vi
-
prize,
nel
pe-na-
mio
-re:
Yet kiieel^_ be-fore
T=rT
rr
ye-.
=n:
^^vimu
m -P
-P
^^ A- man -do pe-ne F(ir
±
me my love
i^^
^^ "if
11689
is
-
ro,
ma
pain.
I_know
i
^f^T=f
f
sem- pre v a 'tis
all
me in
-
ro,
vain,.
p^ ^ gfejg
si,
vain.
±
T=rr
^
105
nel
si,
mio_
IJ
pe- na be -fore
^^ m9 yet
vain,
kneeL
^ ^m /
|J)Jj
1 JU
re,
pe
-
Love
ye-
*
rr
I
in^
J
ca im -plore ci
^
i
0=Tf
re,
pe
ye,
love
-
ne - rb, is_pain,
^
J J J J c=:
f
^
£
S
p
ro,
-
in_vain
all
o>
J)/'; -
me
m
p _ f
p lu
-
f
M-JX^4j J)
% va
ne - ro, is^ pain,
m
iJ *
t'-
\i^
w-p-
Va
-
me-rb,
lu
in_vain
I
im
d
•
-
ca
ci
-
^ &^ s
all
-
plore
r\
\9
I
\.
p _ p
J
J
^
J-
^
^
re.
ye-
i
P
ra-
#
§i ^=3
M
v r p;
*
:
—
>:
^
jQ^ deciso.
i^i^
r
V
-^
—a* r i=i» ^?
# »l
m m
I
sfe=s^^ 11689
^ fe^
^
za
Hope-
less
Sen
-
t>^
spe
-
'tis
f
m
«'
di
di
to
look
for
i J
'•
—
me
^^*
^
«
P^
S
^
B
^
i-i ^^
iU
m
^
-
106
w i^
i let
va-no
to
-
-
im
spi-ra so fond-ness with sighs t implore fet
to e_I_
-
-
m ^m m
kind-ness, Fool
jT r
i
i^
af
-
ish
pp
(^1^
¥
re,
sen
ye,
Hope
za
-
less
-
z
8 PP
m
i^^a
^^ m w ^m ^^ rr? ^m m w ^m ^^ ^ss^fc?S
spe
-
'tis
me
di
di
to
look
for
-
let
kind
va
to
-
-
ness,
pp
i t y*!,
11589
af
-
-
ish
fet
-
so
to e
fond-ness with
-
sighs
P
dolce.
f=f^
rl
g
I
spi-ra t
no
¥=*
I
* !:.
-
Fool
-
rj
ma
re,
m
vo-stri
i t »tf
1^
J J-n
i
dol-ci
ra
ra^
chi va-ghegg'iarpuo va-Eheeeriarpuo
gaze,
Bask
Butwho-e'ermightwooyour
implore ye;
p.i
»
W\
in
your sun
-
ny
i i ^
Krf f
W
^
f^S^
107
i^'p
jp *tt ^
ji
J'
p
ma i vo - stri dol-ci But who-e'ermightwoo your
gaze,
P
non, not,
^ i
^^ f
^
dujj^ e
3 *¥»J^*
^
^rf rrr
^
w^
gf^p-
non
Va-
and not
a
-
-
dore
pe - ne-ro, v'a Love is_pain,2dl
re?
ye?
pe
ye.
love
l# -
ne-ro,
v'a
is_pain,
all
-
me-ro,
lu-ci ca im-plore I
11589
^^ -
me-rb,
lu-ci
in_vain
I
ca
-
im-plore
fe:
Tl re!
^Ww ^ ^ ^ in_vain
^^ ffljj] f rr P
^
f ^%ff
/O
HZ re,
fyf^
pp
3 ma
P
^m
e
and
rays,_
:;^
i^^^ v=^ J
mai_
chi va-gheggiar puo Baskin your sun - ny
^aufi
im
J'j'nj^
p
ye.
rr
p^^^^
s
Ok p .^ deciso.
mr^at
f
— 108
Sen corre when
(As
Tag-nelletta.
a lamb confiding^.) Canzonetta.
English Version by
DT Th. Baker.
DOMENICO SARRI. (1678-1740.)
M
Andantino. (J: 50.)
P=» Piano.
p
do Ice e
^on grazi ^razitn^
ia^
i
^
feife
^
fffW
f sto
^
sa
t
-
iE
J- I,.: lui da par fromhim will
rm
e'er
11690
al
y=»
enel-lex- ta gnel-Tex- fid - ing
cen beys
T
-
no
ip
del
1
1
\p
pa
sto
-
-
-
P
re,
j)
ne
sa,
ne
Nor
e'er
nor
1
J^
^=^^
^ T^
„„ sa
j„ lui da_ 1,.;
par
e'er
from him
will
-
*':„
tir,
„
„1
al
part; o
-
cen - no beys the
^wf?^n ^^ V
Llxj Cojpyright, 1894,hy G. Sr.hirme.r, Inc. Copyright renewed, 1922, by Theodore Baker Printed in the U.
t J' ^
f=##
J'^
call,_
^
„"„ ^„ re, ne part)_ nor_
ti
cen - no del pa beys the shepherd's ^
the shep-herd's
^ *>
-
r
^^^^sa
^B ^
i
-
al
^^^
i£
^*t
Z_
^&
I o
call,
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re,
-
#
w ;
iBfe^
la
cor- re
when a lamb con
As
m
^
^^
Voice.
Sen
^
i^ ^
<
\Hx> I
*^%
S.
A.
^
I
109
i^=^
d 9f pa
del
shep
^^'•"^
'7-\)' i
-
r^o
J>T^
l'
,
J)
•>
I
-
herd's
^g
Ejip c^c/
sto-re, call,_
ne sa da_ lui_ par nor_ e'er from him will
^m ^
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i
^
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Ji
J)
cen - no beys the
del
pa
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11590
m sto
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shep-herd's
re,
-
call,
^f'
ne Nor
i
f^ i
da lui from him
par
will
-
ti
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re,
part,.
tir:
part
^i
\
i'
J;
I
Sen As
h
-
•
/
^
P
k^ & i
ste P
S ^p
^r
M£^^
p
gnel when a lamb con cor
-
re I'a
rTr
•<
sa,_ e'er,_
J'
ne_
sa
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-
-
ta
al
fid
-
ing
O
w^^^
J^l> 7 J'
^i'
da_lui
par
fromhim
will
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e'er,.
I
.
J'
-
E^5
sa,_
ne nor
P
let
j>
i,
i
al cen- no part, o -beys the tirj
^
110
^
H
te del_ sUep
—
pa -
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herd's
.
>'bV
-
.
^
^p
Nor_
^
^j^
J
I
par
from him
will_
i
tir:
-
part:
i
^
J)
-^
^
ii
J^lf
7
t^P
t
da_ lui_
sa e'er
^^
=z^
p
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ne
re,
call,
# ^FP l>
-
^
'^
p
I
^
^\
^
^^
is^
Quel
^^ =^ ^ r=f 7» i^ T p^^
s
fe
7 ?, .'^i'i>
^^'i>
f
p
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p
lab-bro lips
so
p
1*^^
p
che m'al sweet - ly
let
-
J'
ta
di
I
^m p
J'
spor puo trol
my
^>
p del
\
mio
will-ing
J^^rfTT^
^
t>v r
H690
^r
:>jz co
-
-
trol
my
w w
del
^ p mio
I
i
r
£jl' co
-
^?
^
f^
re,
heart,
will-ing
m
i
m fefe >s
spor pub
-
Con
guid-ing
M
;^
mp
Thy
^'
re^a vi
-
Q\^-i' ve
re,
or_
death
a
^^ *
heart, May life
m
^
mo
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rir,
quel
be
-
fall!
Thy
m
in
jb''i,^
J'
ii
i>
J)
bro che m'al lips so sweet -ly lab
!'
H
-
JJ
J
R^g^ let
-
i'
I
-ta
-
-
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my
co heart,
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a
May
^
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^
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-re
rs
h
MJ'
J)
ii
I
JT]
]!
I
j)
i
^
VI
-
life
W
fct
ve - re, a or death
mo
rir.
be
ve
life.
or
re,
may
fall,
J ^^ ^ j) VI-
S ^te
^ ^
,
vi
a
death—
-
life
be
ve
-
•r j re,a
or_death
m
mo
a
rir,
be
may
fall,
rir.
- fall!
a^E
r
^ ^ ,^^ —^
m
mo
^
11590
sporpuodel mio
-
i
{^
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di
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guid-
irJ^^nJ>
J>
^ r
lL7
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r
^ Sen
£
yr^n I
m
As
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112
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11..
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p
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7
p
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^
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1
i^
JM ne nor
m
>
j
C? da_
P lui
from him
da
i ^
'"^'
'^
tir;
al
cen beys
'
par
will
part;.o
-
lui
m
^
m ^m
par
ti
re,
-
i
ne
nor_
part,
will
ai
rn
^ no
pa
del
shep
the
-
dm ^*
mm
^^ >.
-
herd's
rr^ r^^3. ^ ^^m
'Us
pa
beys the shepherd's
J'T
?
iii
-
-
f^
from him
f is:
''^'
7
M
p sa
J
,
^ o
J)
e'er
T
^ u ^ sa
mfe
f
11 cen-no del
'I
al
slTT^re,
-
^i
^
^ I-
sa,_
^
N-
pa
-bej'Sthe shepherd's call,
.^
ne
j'^
^^ ^
^
Nor
re. re,
call,
cen-no del
al
fJ^i
;
f sto
11
1
cor- re I'a- gnel-let-ta when a lambcon- fid-ing
i
sto- re,
ne.
call,_
Nor_
i^^
m
^^
K-^
Mk^
P sa e'er
-f
''^
^^ 11590
i
g £?
i MN/ ii
J?
I
^
r par - tir. from him_ will_ part.
da_
^i
lui
i
''
^
J J
JJ
1^1
.
n
w
^
i i hi
i^JTTn
113
g
fcfe ;i'V
i
^M
J'
MQ
J'p
^^
Sen cor- re I'a - gnel - let-ta As when a lamb con - fid-ing
'n''i>
J
i
-
p
del
ne
sa,_
ne
nor
e'er,
nor
sa
da
s^THre,
ne
M Nor
call,
lui
-
e'er from him will
a tempo.
£;N'j3J^J>
Mg,^ par
l
sa,
i
p^ s
CT''J- J'J'p ^^^EFnJ ^353^ e'er,_
-
i
f
rit.
>
pa
wf
beys the shep-herd's
i
•'
p
cen-no
al
m
i
i
^^
^
P
ti-re,
ne_
part,
nor
sa e'er
da_lui
par-
fromhim
will
^^ta ^•"w-
te
^"''"
^' i'lTj
part;
&^
J' i>
J'l
cen-no
al
-beys the
J-3
j
r«/A
„
yj
f
pa - &to-re, shep-herd's call,_ del
I
e'er
da_lui_ par fromhim will
te/f.
^^
*\
41
fra//.
*1
i
iate / i 11590
-
tir.
part.
^t
^^T-
i
ite ^^
tempo.
^
"^ ^ rr iM\ ^
^m i
ff
ij /] h J3
IT
ne_ sa nor
?/?(9//o.
^
i^ ^
m* ^ r=T /w.
^
t
^
a tempo.
# 114
Vergin, tutto
amor.
(Virgin, fount of love) Preg-hiera.
English Version by
FRANCESCO DURANTE.
Dr Th. Baker.
(1684-17BB.)
^
Largo
Voice.
w
*j'''"
Piano.
religioso. (J.:4o.)
^
n] [u ji^ ^
^^
*=»
^
k
g
*==9-
^
1=^
—
Ver Vir
formor,
<
i>r o
ma
:^
dre di
f bon
DearMoth-er, thou of
love,
ii^^(U{Ii^
11591
i>t
B
gin,
tut
tq^
-
gin, fount
-
of
1
-
I IrjpLrjr^rp ^
ta
r -
de,
M o
p
ma
-
dre
^
E
>f^'
pi
-
^
r
[Tfl a,
ma
-
dre
^^
mer - cy,whose heart was riv-en,whoseheartwas M
g§
i
$
$
=t
simiU.
'Hy. t
,.
PP
J'r -
p.
^^W
«
s
-
^
1J3
7.
^ s ^' ''"
nifilJTi]
«=«=*
£
Copyright, i894, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker Printed in the U.S. A.
115
J' pi riv
^^'''-
en
-
,
IIIU^-
i-'i.
r
a sin
J^p
dol-ce
Ma
heark-en,
Queen
of
-
-
J>
i
ca
^^''
1
'
r
Jj
Ji
l^'-"y7j
^
tq;=g^
11591
j.
Hearken
t
1
^'1
suoi
la
-
hear hersad
la
-
ment
te
*
i
•
-
JT
ce del pec -ca a
sin
-
jj
J,
^
J
to
t
Ji
j^j-^
-
iier's
^ 1
ti II pian-to sue Letkind compas-sion
J
^
-
Mi duol.
suoi
ing,Hermoum-ful
tri-sti
ac-
moan
as-
i 55 *
[jj cresc. assai.
p
cen-ti, sen-ti
Un
vc vo
la
a,
en,
Jj j j j)^p men - ti, sue
j)
j/f
M
cend-ing;
-
cry.
|
I
ri
Heav-
toi;.
-
ner's
iff # J i
'^'>"i>r-
-
1-
i
niuo-va,giunganq_a movetheein mer-cy
^
-
^
tor,_del pec cry,_to
ta,
a-8Col
a,
.
J)
-
to
j.
r
p pie
-
to
p -
so
thy throne of
j.
Q
J'
quel_ tuo grace on
iJ?J^
r~p 4^
cor,_pie-to-
high,thy throne
-60, pie -to
of
-
grace.
fyi-uui^ii iii^ii^^ ^
^
cresc.
^
assm.
116
^ _so,pie-toon
-SO quel tuo -so uii-to
liigb,
thj'
--
gf ^'v
tuo
cor.
throne^
011
hie;h.
m ^
J>
p^
ta - de, Ver mer-cy, Vir
-
to a
mor,
of
love,
g;in, fount
Miza
—:
p
jf
p
^
f-T
ma
o
'
i'j-
^m
g-iiijiut
thou of
—
'J
^
^r p
r
ff
r
mother
^^fe
^jjl p^{^{i\
^^
O ma-dre di_bondi_
cor, quel
-
moth
-
dre di er thou
m i^^^T^Ui^ UiUl iU TTi ^p
^
bonof
^Jrk
^^
^yp
m
cresp.
ta
mer
de,
-
-
#^
cy,
r
o
Ver Vir
p
Lr
-
gin,
tut
-
gin,
fount
-
p
I
cr^p mo
to_a
of
71/71
-
love,
I
re,
O
Mj.^
r Ver Vir
-
-
gin, tut
-
f
^
to^a-mor,
gin, fount of
iiij^:^^
love,
i^^M
cresc.
^ffl^^ ife
p
P
i i
^
>J-
/
<
i'
g
r
r
isj
^^ a of
-
mor. love.
o
ITjjTlJTl'^^
~rr-
:«=
/'oro ///.
vT^Tr^jtlOT^
fe
TT" -li-^
117
Danza, danza, fanciulla gentile. (Dance, O dance, maiden g^ay.) Arietta.
English
Version
by
f
Dr Th. Baker.
)
FRANCESCO DURANTE.
^)
(1684-1756.)
Allegro
cQ];^_gjii*i*(JT(J = 138.)
Voice
^m
f^¥ Piano.
'^I'lK'J
JTJI
X
^ P ^^
^
il-
Dance,
dan
fan dance, maid-en
1^3 w=zmf=t
-
za,
%
f
^
m P^g^S i^^^^ T^^
^^
ciul
-
-
gay,
la,
al_
to
the
ii^^
dan-za,_ fan dance, maid-en_
ciul- la _
gay,
to_
^
gen
-
the_
ti
-
le,
song,to
mi
-
o
^
the
song that
mi
5
« « #
-
o
A.
can
-
I
^^
Copyright, 1894, by G. Schirmer. Inc. Copyright renewed, 1922, by Theodore Baker U. S.
$ P
tar.
sing.
^^
t^*
m Printed in the
w
dan- za,
tar^
sing; dance,0
I
^^^
y"
.^S1^=:
-
y
al
g
can
song that
=
±*
11692 r
p »
»
Dan-za,
^^^
^
!»
1»
^^
f
•""•
^
118
^^ w^^
m
i
Gi
\;
i
^i
v-
/
m
leg-- ge and air
ra
ra, sot
-
-
i
-
:mm :a
le
al
-^
^j
^
»?^r
^''1^
[^
\
^
9-
-
no
del
-
hear
^feii •m^ 11698
go the
ZB
^
I'on
bil
-
-
al
-
sound
'H
i ^
p=^ r=f^
de_ del_ mar.
Sen-tijl
lows out
Dost thou
^ mo-
ru re low voic-es fZ
-
i'
-
ring!
i
m
^^ te^ Mm^
-
j'
J
va
re
^m
the
j
^
no,
^
^
^j
t
^m ^3^
^ ^m^ ^^
J
ing
1
j
«[
tsxs
suo
^'' '^
fiy-
32
suo
bound
While'
•
ti-
-
ly
^
M^ pt
rJ
^ ^^^ -
Light-ly
P^
m
del
of
im
w
w
^^^
p^^ -
P^^
I'au
-
ra
breez-es -f
rt
7
m
p
^
scher-zo - sa blending
1»
t^t:
la-
la_
che
par
Ap
peal to
m
soft
^
!»
-
-0
al
_
thy_
r
*
» 119
cresc.
t
v'
l
^i.
\^
r CO heart
re
con
with
their
-
^^
r Ian blan
^^^
gui
-
-
-
do
dish- ing-_
^^rairr^?^ suon,.
con_
Ian
tone?
their_
blan
^1 ^S ^
b-"
^
Y
r
'
dish
-
do ing
,^^ V^ W^
tone?
They in^-
-
ta a
tempo.
/
to
dan
-
a
.
^^ »
i>
—
K
zc
^^
-
za
po-
dance
nev
-
er
end-
,^^
m^
sa,
sen-
ing
And
f
i
sen-
1^
-za whis
J
i m
po
p
-
-per,
^^
S
»
zar
H-^
«^
che in
e
«i=t:
vite
(J
^^
ff
i^
^
tempo.
V^m
r//.
?3i
i
I
t^W
suon,
'^
-
iir
^
fl
gul-
tfe
r 'T r
^
t
vi
» p
s;
fe 'k_^j
•^ r_j^
r
r
cresc
'^^: 5J
-
sa,
#=p:
che in
"Dance
*:—
^
^
»
^
-
vi - ta a danon! dance
i
i?jp
P
^
t I
—
g 120
i
m
W
Dan
zar.
dan - za, fan dance, maid -en
za,_
-
on!" Dance, O
s«p^ i
ciul
gen - ti the_ song
la
-
To
gay,
i
%
^
fan
-
I
UJ
TZJ
*:
le,
that
^^
I
p
i
FPF^
cresc.
ciul
gen la Dance,0
-
sing,
^^
ti
.
-
dance,
le,
maid
-
A2
*==5
-^M*-
al
mi
en
gay,
^
can - ta the_ song,
o
-
to
^^m ^
^m
al
re,
the
to
^^^
m f^all.^
fe^m »
mi
-
#
hd
d
o
can
m ^ song that
m
^'iK
^
r
i
iij
I
i
Us}
- tar,
dan-za,
sing, Dance,0
^
f^
1^=0
^
dan-za,_al_ mi dance to_ the -m
-
song
0-
r=w^t J
J^
rail-
»
%
o
^M
—
can
I_
that
Wm
—
^
5
1159X i«»l
131
Non
m'e grave morir per amore. (For my love thus to die.) Fragment from a Cantata.
English Version by
BENEDETTO MARCELLO.
or Th. Baker.
(1686
Recitative.
^
Voice.
^=^
-
t*
M'P
P
Mi Hap
se less
-
-
P
^
P
io
me
-
one!
my
streng-th is
fail
_
-
^
1739.)
g-o
ven
ro!
-
-
no
ing-,
Piano.
ji
'
J'
P^^
mi
e
''
It.''
ri
and fast
du
-
CO
al
ing"
the a
-
near-
is
"r
p
I'ul
ti
-
-
wait
-
p
P -
ed,
mo - men -
fi
r^^^
p
mo
mo
nal
ment
rt
1
Z2
W
^
to
-
-
pi
H
P
^ff
di
mia
of
a
vi
ii>
^'
ta so
do
-
life
dis
^
-
tress
'^mi
i^ii>
3^
len
.
-
1
sen Yet
te
- ful;
-
za
che
ne'er will
p Fil
f
r -
on
li
-
whom.
she, for
w
^
i
y.
f>
y
y
^^
p p ^' J-' r de mi strug-g-q^edar-do mi.ri que-sto tro-fe - o del I thesewoes am bearing-,Seethistrophy of hersweet glanc
p P p
't
p
^ FF
r
l
fe
kj>
^
ib:
suobelguardo.
-
33:
^
^ 11693
Copyright, 1894, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker PrintedlntheU.
S.
A.
es ensnar-ing!
*^
^
i2Z
Andantino.cJ
66.)
=
i^
^m n^
J
pr
r
y deciso
u
[jt
p-pr
p-i
h 'y- \i\
gra love
ia 'J
-
ve
morir
thus
to die
V P
per
a
np^ f s^ f
r-
i
r^r mo
-
-
my
b
f
f
s^
*
r
pro one
^
-
vo do- lo sor-row haunts
^
Yet
•
^^^'!lJ-
^
'
sol
re:
daunts me,
noth-ing-
For
^
(
^ J ^
p i»
r
Non m'e
ff^
•
^
f^-m
* re
me:
r
pjr
F' per.che
r morir Fil - li 'Tis that Phyl-lis does not
p
^'-
c'^
-^'
non mi
^ ve.de, per-che
me
per-ish,'tis that
see
i
Fil
Phyl
\
t li
lis,
i w tv
11593
J
r^
^y
(I
^'ijiF nou mi
morir that Phyl
'
^
=i
VITT i;
-fe
does not see
- lis
^m
t -de, non mi ve
de.
me per
^
ish.
^#fc#
P
^
r^
p
'
1«3
P
nH-pr ffl
r3J
J
'-^r
r
r
sol
Y pro
Yet
one
r -
For
my
love thus to die
-
morir
re:
daunts me,
l
a
.
noth-ing-
:»=^
J^^' vo do
-
per
I
p
f
ve
:g
t
mo
gra
^
•
t:-'"
r
m'e
i
r
p>=
Non
i
i* -
lo
re per.che
-
^^
j)ij
ja
Fil
-
li
mo-rir_
sor.row haunts me',Tis that Phyl- lis does not.
^OP JT^J s
^
^
^ non mi see
me
^
^ zc
P
r ve per
de,
ish,thatPhyl
pro one
non mi -
lis
^ n
^ sol yet
c^'i/^^P non mi
r p mo-rir
p-
.
vo
do
p
reper-chfe sor- row haunts me,Tis that -
lo
-
*
11S98
Ve - de, ve does not see
me
i
ve per
£
Fil
li
^ =.^ Phyl
p
•
lis
^
mo-
does
J
124
^
nr
y--v-
non mi ve
not
see
m
o-
me per
ish.
3
f
P
^^
>
;>.
Che
m
j>
^
r
i
m
^\'
J
r
l;
*
J
B
f f I f
i'
J',
sa - reb - be mia pro - spe how wel-comeweredeath, if
mzzm:
S=*
^ m
m
m
m
n
n^
: *zt^
^#
^
de.
-
ra
-
^^=^
in
#=F
QJ sor
^
-
te
sof
ing-,
To
dy
-
tl
dd
j
^^Fp
^
J
t
-
fri
-
my
^
il
i
^
re la g-aze re
it
i
mor -
te,
ply
i j
^=T i^-
4 {T31
11S9S
no one
^^
i' J
>
J^
^m
I
^^ iml ^^
sg-uar-do mi dasse in mer- ce - de, mi das cher-ish,the eyes. g"lancefromthe eyes that I
^
sYi -
Came
jl
ijijj ini
se_in
.
that
meree I
^^ ^W
Cher
—
=
•
195
**
m
-
be
3
i
mor
-
-
* p
soffri
te
ing-,To
^
s'u
^
^m^
inffj
>t i i I
n
i=a
8
i f
i i
1*1
^
i
re
la
g-aze
re
^ m i ^
no sguar-do
-
my
re
^
mi das-s^in mer - ce Cameoneg-lancefromthe eyes that I cher
te,
.
!== W4 #
«*
te
r
>
«—
f«=f=f=t
*
^
m
reb
-
0—0-
i=i=* "»
m^
ply
sa
P
p'pr-
mia pro - spe-ra sor how welcomeweredeath, if in dy -
che
de,
p-pi"^
de,
mi
ish,the
i i t
%=9^
^
?^
"^;
fc.
i da8-sej[n
eyes that
i
i
merce I
XE -
cher
de.
-
ish.
-
fsl s^p
^
^
Ifj^ I
S
32
c-^r
r
^^ ^=i
S
!==
^
«^
^
rpr
^
love thusto die
mrizm
^—
•
ji
ai=:r«
^^
rr g
p
i
Noam'e gra-ve morir per a
Formy
#
ffi^ Pf=^
P
^M ^T^ 11593
j^f r3
J»
i'
i
S
J jL
-
mo
-
re:
i ^
noth-ing- daunts me,
•
sol
Yet
^
^
^
136
*
J'
pro one
-
^'
} >
II-
Jl re per-che
vo do lo sor-row haunts me:'Tis -
-
^^ ^m
de, mo-rir
-
ishjThatPhyl
f ve
non mi -
^
I1
t
pro one
-
P-
•^', 1 11593
-
«
'
r non mi ve
does not
see
de,
me per
^
P
'
ish,
-
:«=•:
T
s «
^
u
i
r
r
m ^H^
p'^piJ Fil
me per
?
de,non mi ve
P vo do - lo - re per- che sor-row haunts me^'Tis that
i m
lis
N
r
mo-rir-
t
Ei «=¥
^
-
li
does not see
lis
jTrj jt;
j
-
^^
k^
-
Fil Phil
that
P^P
J
I
li
mo-rir
^ ^
if
rp.
non mi ve
lis
i
does not
see
^^^
-
me per
^ M ^ Phyl
sol
This
:±^zd *---^
311
— ^
r
r
127
Mha
preso alia sua rag-na.
CTis Love, that rog-ue so
wily.)
Arietta. English Version by
(1710
Allegretto mosso.
f^S^ f— •
Piano.
^^
sfe
\
y 1.
;,
*
—— ?
II:
Mha
J'
J)
(J
i
=
76.)
^Ns
r^
i
y 1.
m W
^
; 'Tis
^5 *-i
||:
dormo^a-mor
mi
tra mil
J'
J^
-
i»
J^
ra de
i'
J' I
gna, m'ha
-
mon
-
s'io
te,
se
ne,
a
Jm
Jm
J^
J^
wil
y,
'Tis
en,
From
-
wak
-
-
moun-tain, Love hurl - ing', His
m
p
p
m
ii=t:
S.
A.
p
p
la
sua
mi
p
p
Love, that rogue so sleep doth Love me on the fol - lows ar- rows cru - el
r
Printed in the U.
.
guido^il greg-gejil mor tra mil - le
n m ?—
Copyright, 1S94, by Cr. Schirtner, Inc. Copyright renewed, i922, by Thetidore Baker 11694
p
dormo^a-mor
sta,
pe
-
p
preso^al
le
Love, tliat rog-ue so sleep doth Love me fol - lows on the ar - rows cru - el
^ r
^^ r-r — r
r^
JM
J^
sua
J^
1792.)
it-zt-
preso^^al-la
mor
-
^
I
guido^il greg-g-^al
&^
^
PIER DOMENICO PARADIES.
Dr Th. Baker.
^
d
y
j~3
— 128
p.
a^ ra de
g-na quel
-
sta,
-
mon pe
-
te
^ L-^P -
wak moun hurl
^
^'^>
^'•''
-
y,
en,
tain iiiir,
O
'
11694
mi
tel_
d'a
fa
so
—
sem pre^a-mor_
ho
tie
ne
-
not
-
tra' -
mor, quel g'nar, op pie, ho
tee
dl,
fur
.
-
bet-tel
pur_ mi tie
-
ne
-
so
-
fa
sem-pr^amor
mi
d'a
not
tra' -
tee
PP
Has Or
u*
l
^ me
caug'ht
While Love
in
— s^ his
^
hold, has
caug'ht
&^' me
J' his
in
doth stray, or fare, while I
thro'
with
my dreams my herd
with
my dreams doth my herd I
plies
me
and
Love
plies
me
thro'
^
I
r
nig-ht
day,
mor,
che
g-i
ch'e
g-li
si e
se
vo
ai,^ha.
Tir
per
O
^
hold,_
Who
stray,
In
fare,_
And
day,—
For
-
te.
I
^
P
ra
la
mes
so
-
gnar
-
si,
mi al mio
in
1
nig-ht
and
pa te
gna,
CO
sta
di
fon be
te,
si
ne.
mi
ly
As To
p world
as
sly
his
head—
he's—
tak
bathe
him
in
the
ffjun
thee,
Thyr-sis,
my—
dar
to
^
1^
the
roves -
£^ £^ cam
p
gnar; di:
t-''^^
-
pn
pie;
j
bet
.
pur_
-
ne mi
-
wil
op
fur
^
#
^
en tain ling-.
When He
»
-
±29
s
k^ far
ba
mwnna g-na
-
Ian
fa
f-v
pan
^ -
steal I
y
my do
makes me
&^
cac
fal -
P-
f
ffl
-
-
amor -
CO
rar,.
di
far
con
me,_ si,_
si
ba
mi
fa
-
-
sig-h
man
bold,
a
way,
me
there,_ way,
al
ff
f
— -
cac
fal
mi
in
^ I
na
-
-
-
cia
mo
mor
con
-
g-uir
co
-I
fe/i.
g-na^a Ian
jTxr
\
hunts heart bathe
me
tor,,
mo
^5
»
J
cia
co
g'uir_
.
1^
(en.
&^£^l
f-^f me
^ au U
y
-
Jl .^
'
.
-X
>
p
E^
as to
when he
^m
.
—
^ r
^m
S
k* tor. 1-4.
Guar
-
da
-
W^ te
vi,
pa
-
*=¥ sto
-
ri!
p
i
g'uar
-
r da
-
p te-vi,
l
g-uar-
rar.
me. si.
r t^^F^
JS
bold. 1-4.
way. there.
way.
^
'
'
11594
r^ I
Be
-
^^
ware of him, the
P
p=¥g rov-
er!
^m ^^^ be
-
ware
of him, be
.
130
^\>
da
''•I.'-
i
J)
te
-
;. -
vi!
J>
>
;,
ware
of
him!
&k^ p ^M &
y
Who
t'
wins
.
^ ^5
is^
f¥%irk
^
/CO t
-
i
i
poor
shep
i
if
i
herds
-
o
-
ver
m I
-
-
-
-
_
k^ -& tut- to
sk^ i
'-""^
si
11
-
que
lOtP
-
rp
p
l7 cr
Oii-ly
to
vex them
^
ah!
ah! _
I
p
^T-^
so;
Oh!_
k*
to
si
11
-
S #^r a
^ 11594
p^ w r
e
„
to
e
1.
fa.
.
vex
|
m
so!
I
Z.
Slo
3.
Se
4.
A
.
II
Z'//;!^.
-
^a
i Ji them
a.3.
^Pl
Jen.
^
rz'^-
que
^
::c:
,fe»
ffjl.
ly
^
Y-^^^
I
cresc.
-^:=f-
yy'^-
-
Oh!.
^ I s #«^^
i^ =a?
tut
-
_
_
^^^ >
n^=f
r
fa;
-
cresc. cot'.
m^ '
f
*ir
1
Z.
From
3.
Love
4.
His
1.2.3.
I ^p
II
H /'//i^.
« tempo.
«
ai
On
-
131
Caro mio (Thou,
ben.
my
all
bliss.)
Arietta.
English Version by Dr. Th. Baker.
GIUSEPPE GIORDANI. Lar2;hetto. (J;
(GIORDANELLO.)
(17*3-1798.)
60.)
Piano.
4''^' w
-
p-
"r Ca
P'r
r
-
ro
mio ben, ere-
Thouj
all
my
fe pdolce.
^
p di
-
nii_al
bliss, Be-lieve
N
but
r
lorn.-
1I59B
men, sen this:
-
When
za di thou art
f ca
-
lan-gixiscejl
far
My
«
Thou,
mio
all
my
ben, sen bliss,
-
i'
j'
za
di
When thou art
Copyright, 1894, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker Printed in the U. S A.
heart
is
H5
re
^
ro
J'
te
^
^ cor
-
f
^^ i
> J'lr Jjgi
i
c;j:?jj! te
Ian
far_
My_
-
gui
-
i
scejl
heart_
is
13»
i BE
p del
so
true
Ev
spi-r^_5)
-
_
fe:
er
-
doth
r
scorn!
Ces
Do
-
^f
gnor.
Ces
sig^h;
Do
r -
^
f gor!
llRflB
M
sa,
cru
-
but
for
-
del, g"o
p
I
sa, cru
-
but for
-
{^ cj
del^ tan - to g-o_ Such cru
m
tan - to ri Such cru -el
g
r
x^
ri -
eh
rit.
1
^
gor,
tan
scorn,
such cru
-
to
ri -
el
* 133
rit.
PPP
g-or!
Ca
Se ro
-
Thou,
scorn!
mio ben,
mv
all
cre-di-mi al-men,
m
^
PPP
rif.
^
»i—
i'
io fa±
^
f ca Thou,
^
mio ben,
ro
-
lorn,
my
all
bliss,
*I
^^
i
l>
P
i*
r
Ian
te
^
B:
11595
—
i
^ far_
¥£
Be
-
p
My heart_
My
-
^ ^/y cresc.
but
M
r
<
sen
When
this,
-
za
di
thou art
4 /??V/
cresc.
^
^ i^ m m rr
gTii
~
heart
sce_il is
cor.
lorn.
o
:s;
:^^=
f
i
i?
y
P
=^
il
is
J
f-
^ f di-mi^l-men, lieve
see
-
^
^
/^; ^"
ere
-
gui
-
T
cresc.
i'
S
te_ Ian
cresc.
E& cor,
za di
"if
^
^^^tp
-
Be-lieve but this: "W'hen thou art far
bliss,
^^n
\
sen
g=^
'"jS^
ii —•-•
W
134
ciel mi divide (Since Heaven has torn me.)
Se
il
Scena and Aria from the Opera English Version by
"Alessandro nelle
Dr. Th. Baker.
Indie'.'
NICCOLO PICCINNI, Andantino.
^
(J
(1728- 1800.)
58.)
=
^
^
Piano.
cresc.
w
m
i
Ol
^-
^^^B
}i^^\i}}\l!J
mrH n f^} f
f P
JmJ
p
y
^
rrr
1
^'t-* «-«
5=
## # #
#
Recit.
Bi
"^^
^ ^
E r
Por - ro Then 'tis
dun -que mo true,
he
ri.
-
dead.
is
'
p r p Dun-que per With him then
-o-
I
-
-
r tut
is
lost,
all
S
p
r to
r
du
-
f
to e too,
per for
-e"TI~
colla voce-
a*
^shi
J
i
J^
))
i>
p me! me!
M596
Do ve tro var Where shall I find -
-
P ri
re
i)
p po - so sen pose when he,
Copyright, 1S94, h;/ G. Schirmer, Inc. Copyright, renewed, 1922, by Theodore Baker Printed in the U.S. A.
-
za
my
^"7
il I'a
-
ma
be-lov'd,
-
to is
135
i^\
J>
J^
)
be
-
ne?
ab
-
sent?
m^
U^
*
gggjg
gjljajjjg
ii4
cresc.
[^^[^[jl^
^^^gjg
gjjgg^g
a
Recit.
Dj)
F
E
f)|faJ)J)J^ff tiJ'J^'J-^p
m
JM
J'
no
i?
-
sigh'd
j
i)
llJ'
Que - sta_e
la
This
for?
our
con
fei
^ l
-
Jl pa
-
tent
-
=
J'
J)
Que-sto
ce?
and
ment,
-
union that so long"
r
J)
this
re
our
ff
j)
to
da
we
have
J ^
Jl
il
^
,
-
gno hap
fe -
py
5
I
P
Allegro vivace. (J
^fh
I
J
questojl no-do so-spi-ra
Is this the
A
^
Cjr
{^J
i38.)
^
fc^ iiJ'
J'
>
ce? em-pire? li-
l# ^
^ 11
^
^
^
^ ^ ^^gi *^
i773JTTi ''r
<
r
^ ^ a Tt^/tt; ^ ^ ^
:
^^ .^ji
fp ^
i
r
<
r
H
136
m
Recit.
r
p
F
I
Ah! ch'io mi All!
^t[
p f f f
=^=^
how my
feE ^m^OBO
^^^B9 B^^^^a HI^^B
rf
u LJ
JT 'X-^
fffff f^ 0 sen
-
—
••
^
to svel-lere
heart with-in
iE3E
me
il
doth
m cor! s\\ell!
a tempo.
i
J
fp
^ ^ ?
J
'lT^\
^
nrrn rrn
«=«=»
|
^fm^?-?
Andante.
Reeit. I)
JJ
J) J'
Co-me scordar
^^--^
•J
^^11
J^
^•
Can
s
/JT^ «*
T
i
J771
p
—
rm
j'TJ)
p
yjf
j^
i111
J). J) f,
i
i
I,
f'ir^p
quel
for-get those
I
=^Pfr
*s^ 1,
i
i
p
^W pi'
i
pp^'p
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ScHiRMER's Library of Musical Classics VOCAL STUDIES AND EXERCISES Y y y y
SERIES ONE
The Library Volume Number
ABT,
CONCONE, J.— Continued
F. Practical Singing
Op. 474.
Tutor
For
:
y y y y y
.60
[457].
For Mezzo-Soprano Part
I
Part
[458]
II:
Bk.
20 Solfeggi [461) 12 Exercises on Vocalization
y y
Part
I:
Complete
Part
II:
Fluency Part III
:
X
A A A A A A A A
A A A A A
[1093]
Complete
sp.
Bk.
III [1378);
[1376); Bk. II [1377); Bk. IV (1379)
I
.50
F.
of Singing (1587)
LAMPERTI, G.
75 75
[570]
75
(Liebling) [1633]
B.
30 Preparatory Vocalises.
Sop. [568]
1.25
29 Preparatory Vocalises.
Alto (569)
1.25
LOTGEN,
B.
Vocalises (Spicker). Bk. I: 20 Daily Exercises.
L
Complete
Bk.
50
20
II:
L
H
(654);
[656)
Opera' ic
Vocalises.
M (655); M (930);
75
75
[931]
F.
MARCHESI, M.
Exercises in Vocalization. Sop. [117]; M.-Sop. [118); Alto [119]
60
Op
.75
Op.
1.
25 Easy Vocalises in Progressive Order 36 Vocalises in Modem Style (Spicker) For Soprano (432) For Mezzo-Soprano or Baritone (433)
(82)
H
M
[1468]; (244);
(Languages of .ecu are shown
Op.
in
Any
English;
small letters'
i.
1.00
[391]
24 Vocalises for Soprano [597]
1.50
may
Op.
32.
H
or
M
(126).
1.00 1.00
are In English Where there is no other indication, texts " Bai?Wne. M^J&ip.VMeao-Sipnu.o; Sop.-Sopraio: Ten. Tenor.)
Bar.'-
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The Art of Singing. Bk. I: Ele21. mentary and Graduated Exercises [793); Bk. II ea. 30 Vocalises for Mezzo-Soprano (794)
1.00 1.00
[246]
" H-Hi.iii Othir'abbrev^tiiMuUd:
24 Vocalises for
Op.
M [242]; L [243] L
2.
Soprano 1.50 1.50
CONCONE,
J. 50 Lessons. 25 Lessons.
C. Elementary Progressive Exercises [384] 1.00
BORDOGNI, M.
A-1016
(Carrillo).
00
1.00 1.00
A
.75
75
[1085]
60
P.
only.
I
Daily Exercises in Singing
W.
Baritone [1094]. Bass [1095]
10.
Bk.
The Art
1
BONOLDI,
A fp
The same.
LAMPERTI,
Tenor
9.
sp.
60
Alto [1092]
Rhythmical Articulation. Method [1170]
Op. Op.
.
.60
1.00 1.00 1.00
BONA,
Practical 1.25 Beginners (Liitgen) [245]
Vocal Studies in Bravura
Soprano (1090) Mezzo-Soprano (1091)
For For For For For For
Young
Metodo de Solfeo
and Exercises on Vocali-
&
for
Sight-Singing.
(1289); Bk. II (1290); Bk. Ill (1291). ea.
I
Bk/
[465]
PEARCE, C. E, 30 Voice-Training Exercises.
Bass or
[247];
ESLAVA, D. H.
1.75
zation [466]
BEHNKE,
Alto
100 of
The same.
Intervals
[464] Exercises for the Cultivation of
Solfeggi
1.00
[276]
[1366] 1.50
[463]
Production of Tone.
L
.60
[462]
For Baritone or Bass.
or
40 Lessons.
A. L. Soif^e des Solf^es.
.60
60 60
M
(275); 17.
.75
DANNHAUSER,
Intervals
[460]
:
2.
Method
l.lS
[459] Exercises for the Cultivation of
Part III Part IV:
y y
Complete
Production of Tone.
:
Fluency
ot Alto.
1
The School
60 60
Part III Part IV:
30 Dally Exercises. H (294); L [555] Finishing Studies. 15 Vocalises.
11.
Bar. [248)
Exercises for the Cultivation of
II:
Fluency (455] 20 Solfeggi (456) 12 Exercises on Vocalization
y
H Op.
.60
[454]
Part
A A A
Op. Op.
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