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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 itted

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

;

SCO CAVALLI.

and an agreeable and

fine effects

study of musi-

flowing melody.

1

599- 676. 1

Pier sco,

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 , 1600.

9,

;

—We may

from

among which

artistic treasures

—The

Bving

;

is

in Florence,

daughter

1614 he

advanced

sca 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

sca Cac-

his

XIV and

assist

which occasion he

Italian

language

in

success,

, or

to a lack of musical culture at the French

court

herself.

The

introduction of the Aria into

III

P:

of

became

to 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 sco 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-

itted 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 of the interesting variety

it

in

belongs to pre-

it

Del Leuto, who,

sco

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

sco 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

SCO 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 itted

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 .

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-

.

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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

SCO 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 reed 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 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 itted 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

irable construction, and the

whole composition,

whom

first

at Bari,

i8oa

artistic

ren-

gem.

a further 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,

y,

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 sco 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 irable 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 ed 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 SCO 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,

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^ pr-

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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:

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^

i

-

g-ui

-

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J

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f

"

re,

me_un

iiifc^

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^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

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j

cresc.

///— »=m

That

f

^

[^

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re,

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11^

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J

ig

fc

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,

d'a

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re

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I

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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

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i)

art

all

-

ra,

spe

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de

too

ra,

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dear,

p trop thou

J^

i

J'

i>

i

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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,

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m I

ca

J>

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#

P sei

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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

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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.

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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

SCO 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 ^

Mph

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 SCO 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

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^f'

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DF Th. Baker.

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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

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Tu

man

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no_

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ri

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Copyright, 1894, by 6. ScAirtner, Inc. Copyright renewed, 1922, by Theodore Baker 11R76

Printed In the U. S. A.

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— 41

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45

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Rag-ion sempre addita. (How dearly

Aria.

English Version by Dr Th. Baker.

ALESSANDRO STRADELLA.

mm « AllegTO.

Piano

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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 -

^ ^ ^ ^^^

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U

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bil

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en- deav-

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p

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f

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no. lo

pur se-g-ui-

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? A.

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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

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(If English Version by Df Th. Baker.

Cantata.

ALESSANDRO STRADELLA. (1645- 1681.)

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Cangia, cang'ia tue voglie. (Changre,

O

change thy fond wishes.)

Eng'lish Version by

Dr Th. Baker.

G.B. FASOLO.

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Copyright, 189i, by G. Schirmer, Inc.. Copyright renewed, 1922, by Theodore Baker Printed In the U.S. A.

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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

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s

i Copyright, 1894, hy &. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker Printed In the U.S. A.

r

61

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My

w ^

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in

CO heart,

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All peace for.

me;

My

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pa

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ce dies

m

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peace for

me.

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my

re,

heart,

^i ZL

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^m r~f^

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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

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Come

u

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m

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ye

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mi

f

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ye

fan-cies,

tm

nif leggero

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pen

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sie

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.

m

ri,

ve

me.

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er,

^

con

O

i Printed In the U. S. A.

r

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to

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Copyright, iS94, hy G. Schirmer, Inc. Copyright renewed, 1922, by Theodore BaJcer UftSi

ni-tea con

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F

come

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Su,

m

«

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Voice. Meno.cJ.^ so.) (The Author.)

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m

'^^

Vn

f #

^^

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* 65

i

^

i^ sie

ri.

Co

-

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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

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J

f

me

—

a

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i

•a

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mo? way?

m ^

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Nay,

nay.

Se

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fe

r

for

^

mi

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g

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chi

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wears me

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r

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say,

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piii

iw

co

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cHio

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puo

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mai

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iii

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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

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Eh! la-sciatei con-

Ah! No

long"er,

ye

^

?^ -

(J.= 52.)

,(The Author.)

3^ ap^ f n.

sie

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be-jruile

La No

n!

me!

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scia

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lon^

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er,

ye

m

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i

si-pli^o

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m

tat

!i seinte^i

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longfcr to

^m ft

r=f=

i

og'-g'et-ti

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cies,

J

r.T ^ r P. mai ri-mi- ra-re, che

/;«ro riinrd.

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o

fancies, no\\-

m

ra-re

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^

3

^

•

I

SI

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che

Allegro.

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:^

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toil,

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now

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67

ffrilafd. assai =fc

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to

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g"u:le

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m

ti

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ff

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(J.=

i

50.

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No,

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me.

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con- sig-lico pen-

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T

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to

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I 1^

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sie

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^

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me.

^

fip

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legatiss.

68

m

T=t=r

J

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se - no m'a o - pen'd my

Chiil

Who

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pri heart

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drachee scher-ni-

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-

ta

sua

fe

spite/ul

My

faith

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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

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co does de

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SI,

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piu piu

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i

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si

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32

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la

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te,

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w

sie

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-

^

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52.)

(J.:

(The Author.)

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s

S

AllegTO.

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il

(O'er

Canzonetta

English Version by Dr Th. Baker.

ALESSANDRO SCARLATTI. (.1649- 1726.)

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Allegro giusto.(Jzi26.)

p^m

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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.

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I

are

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

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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.

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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

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p

'

lo

.

r

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p

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i

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r

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p

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i r^^''i>iir

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p

po

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y

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se

cor,

-

plan

g^i

mourn with

heart,

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i' b* ''^^

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fp -taa ^

l''P'

te-

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mer

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ge

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i

-

-

re, ty.

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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.

SCO 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.

SCO 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

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for

i J

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i-i ^^

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^

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106

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to

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to e_I_

-

-

m ^m m

kind-ness, Fool

jT r

i

i^

af

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ish

pp

(^1^

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re,

sen

ye,

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za

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less

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z

8 PP

m

i^^a

^^ m w ^m ^^ rr? ^m m w ^m ^^ ^ss^fc?S

spe

-

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di

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look

for

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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

^

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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

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Tl re!

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^^ 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

^

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^

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t

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al

y=»

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ip

del

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1

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pa

sto

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re,

j)

ne

sa,

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Nor

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nor

1

J^

^=^^

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„„ sa

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^wf?^n ^^ V

Llxj Cojpyright, 1894,hy G. Sr.hirme.r, Inc. Copyright renewed, 1922, by Theodore Baker Printed in the U.

t J' ^

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As

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1

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113

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Sen cor- re I'a - gnel - let-ta As when a lamb con - fid-ing

'n''i>

J

i

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p

del

ne

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a tempo.

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a tempo.

# 114

Vergin, tutto

amor.

(Virgin, fount of love) Preg-hiera.

English Version by

SCO 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

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^

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

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i

ca

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1

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r

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Ji

l^'-"y7j

^

tq;=g^

11591

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Hearken

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hear hersad

la

-

ment

te

*

i

•

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JT

ce del pec -ca a

sin

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jj

J,

^

J

to

t

Ji

j^j-^

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^ 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;.

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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

—

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^

^r p

r

ff

r

mother

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^jjl p^{^{i\

^^

O ma-dre di_bondi_

cor, quel

-

moth

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dre di er thou

m i^^^T^Ui^ UiUl iU TTi ^p

^

bonof

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m

cresp.

ta

mer

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#^

cy,

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o

Ver Vir

p

Lr

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gin,

tut

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gin,

fount

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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

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love,

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p

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i i

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vT^Tr^jtlOT^

fe

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117

Danza, danza, fanciulla gentile. (Dance, O dance, maiden g^ay.) Arietta.

English

Version

by

f

Dr Th. Baker.

)

SCO 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^=:

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y

al

g

can

song that

=

±*

11692 r

p »

»

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1»

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f

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118

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i

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v-

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i

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:mm :a

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al

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-

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^feii •m^ 11698

go the

ZB

^

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bil

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al

-

sound

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i ^

p=^ r=f^

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ru re low voic-es fZ

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i'

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32

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cresc.

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v'

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dance

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end-

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i

i?jp

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i

m

W

Dan

zar.

dan - za, fan dance, maid -en

za,_

-

on!" Dance, O

s«p^ i

ciul

gen - ti the_ song

la

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To

gay,

i

%

^

fan

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UJ

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*:

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^^

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gen la Dance,0

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ti

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J^

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^

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.

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^

r^

p

'

1«3

P

nH-pr ffl

r3J

J

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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

^

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r

m'e

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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;

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J

B

f f I f

i'

J',

sa - reb - be mia pro - spe how wel-comeweredeath, if

mzzm:

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m

m

m

n

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: *zt^

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de.

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dy

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tl

dd

j

^^Fp

^

J

t

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fri

-

my

^

il

i

^

re la g-aze re

it

i

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te,

ply

i j

^=T i^-

4 {T31

11S9S

no one

^^

i' J

>

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^m

I

^^ iml ^^

sg-uar-do mi dasse in mer- ce - de, mi das cher-ish,the eyes. g"lancefromthe eyes that I

^

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Came

jl

ijijj ini

se_in

.

that

meree I

^^ ^W

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re

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mi das-s^in mer - ce Cameoneg-lancefromthe eyes that I cher

te,

.

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i i t

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eyes that

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32

c-^r

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love thusto die

mrizm

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p

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Formy

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ffi^ Pf=^

P

^M ^T^ 11593

j^f r3

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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 -

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^^ ^m

de, mo-rir

-

ishjThatPhyl

f ve

non mi -

^

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t

pro one

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P-

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-

«

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r non mi ve

does not

see

de,

me per

^

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'

ish,

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:«=•:

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-''^^

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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 .^

'

.

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>

p

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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!

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Z.

Slo

3.

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4.

A

.

II

Z'//;!^.

-

^a

i Ji them

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^Pl

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ly

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cresc.

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r

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m^ '

f

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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

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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,

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Be

-

p

My heart_

My

-

^ ^/y cresc.

but

M

r

<

sen

When

this,

-

za

di

thou art

4 /??V/

cresc.

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heart

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cor.

lorn.

o

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f-

^ f di-mi^l-men, lieve

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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

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f P

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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

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f

to e too,

per for

-e"TI~

colla voce-

a*

^shi

J

i

J^

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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

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sent?

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for?

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ment,

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union that so long"

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J)

this

re

our

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j)

to

da

we

have

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Jl

il

^

,

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gno hap

fe -

py

5

I

P

Allegro vivace. (J

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I

J

questojl no-do so-spi-ra

Is this the

A

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u LJ

JT 'X-^

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heart with-in

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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

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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

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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

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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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SCHIRMER, INC

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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-

&

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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

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[462]

For Baritone or Bass.

or

40 Lessons.

A. L. Soif^e des Solf^es.

.60

60 60

M

(275); 17.

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DANNHA,

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.

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Part

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