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Library
BOSTON
PUBLIC
LIBRARY
W^-,
~Cx G*~<**t*\. t_5~2L4_
SONG5
OF THE
PEOPLE
SONGS OF ITALY
sixrr-FivE
TUSCAN, FLORENTINE, LOMBARDIAN
AND OTHER
ITALIAN
FOLK- AND POPULAR SONGS
COLLECTED AND EDITED
MY
EDUARDO MARZO
THE ENGLISH TRANSLATIONS
v
DR. THEO. BAKER
NEW YORK
G.SCHIRMER
MI»CN COrmiQHT If04 tY CiCHIRMEU
KOWAAD EDWARDS OCA
MUi
Digitized by the Internet Archive
in 2010 with funding from
Boston Public Library
http://www.archive.org/details/songsofitalysixtOOmarz
Copyright, 1904
By G. Schirmer, Inc.
Printed in the U. S. A.
,H33
PREFATORY NOTE.
IT
was not intended to friake a complete collection of Italian
Folk-songs, but merely to present some of the best and most
typical from the various provinces. In pursuance of this aim,
traditional songs have been included wherever such were procurable;
when they were not to be had, songs of a more modern character
have been introduced, but only such as have become genuinely and
deservedly popular among all classes.
For details concerning the several songs, the reader is referred to
the Notes at the beginning of the work.
THE EDITOR.
NOTES
No. I. La Savoiarde. (The Savoyarde) Savoy, although at present one of the departments of France, was
the cradle of the House of Savoy, the present Kings of Italy, and originally belonged to the Kingdom
of Piedmont As geographically it is naturally a part of Italy, its folk-music should have a place in this
Collection.
The accompaniment to this song has been very cleverly adapted by Heinrich Reimann, in imitation of
the hurdy-gurdy, a very ancient instrument used by wandering Savoyards.
No. 2. Dona Lombarda is considered one of the oldest, if not the oldest, of known folk-songs. Versions of the
same words with different music are found in almost every country of Europe.
Two versions of the music are given here, one from Piedmont, the other from Istria (the Italian Tyrol).
(It is through the kindness of Mr. H. E. Krehbiel that we have .been enabled to include in this collection
the very characteristic songs, Nos. 2 and
3 )
No. 3.
L'avvelenato (The Poisoned Lover) is another version of Dona Lombarda; the story of the eel (or
snake) by means of which the poisoning was done, in a different form.
Nos. 4-9. Some of these songs from Lombardy have elaborate accompaniments, more so, perhaps, than is in
keeping with folk-music; but the melodies have been respected as far as possible, even if somewhat
altered as to rhythm and form.
No. io. La Biondina di Voghera. (The Fair Maid of Voghera.) Voghera is a town of Lombardy, near Milan.
The melody of this song was introduced by Donizetti in his opera L'Elisir d'Amore.
Nos. n to 14. The accompaniments to these songs were arranged by A. P. Berggreen. The great charm of
Venetian folk-music lies in its simplicity and grace.
No. 15. La Rondinella. (The Swallow.) The Italian poem of this song is to be found in the celebrated novel
"
Marco Visconti," by Grossi. Petrella wrote another melody to these words in his opera Marco
Visconti.
No. 16. L'Addio del Volontario. (The Volunteer's Farewell.) This is a modern song, and became so popular
in Tuscany and throughout all Italy, during the revolution of 1859, as now to be considered a folk-song.
No. 17. La Barchetta (The Little Boat), also a modern song, but like a folk-song in character. Probably from
the beginning of the last century.
No. 18. Giulia gentil (Fair Julia) won extraordinary popularity through all Italy, also during the revolutionary
period, 1859-60,
—being sung by Garibaldi's volunteers.
Nos. 19-21. These songs are by Gordigiani (the Italian Schubert). He succeeded so well in imitating the
character and the spirit of the folk-music of Tuscany, that now his music is sung by the people just
as much as the folk-songs.
No. 22. La Treccia Bionda (The Flaxen Tress), transcribed by Filippo Marchetti, has also been called
"
La
Livornese
"
; but the most accurate researches have settled that it is Romanesca (from the Romagna).
No. 23. Er Passagallo (The Improvvisatore) is the name given to the extemporaneous poets who go about the
streets in Trastevere (Rome), and like their confreres in Naples, who are called Rinaldo, improvising on
the history of Rome; —
of course very crudely, and twisting it to suit their purpose. It is almost im-
possible to give the rhythm of this song. They generally go very fast, and slacken the time according
to the words and the facility which they have in improvising.
No. 24. Piuriurì, ti vo' sposa. (Piuriuri, I 'd marry you !) The refrain piuriurl cannot be translated. In all
parts of Italy they have some of these intercalari (burdens, refrains) which are repeated in the middle of
their folk-songs, and are typical of the different regions (provinces).
No. 25. Coraggio, ben mio. (My darling, be brave.) This song, although popular and traditional, does not
present the characteristics of a folk-song.
No. 27. Fatte la nonna. (Lullaby). The religious sentiment which predominates in this song makes it quite
typical of the education of the people in this part of Italy, where the domination of the priests has been
of so long standing.
No. 28. La Monacella. (The Young Nun.) Another version of this song is popular in Naples also. The
words and the music differ somewhat, but the idea is the same.
No. 29. Il Sor Carlo Parmonico. (The Musical Master Charley.) Sor is the Roman for Signor (Mister). The
idea of this Sor Carlo following the band, and getting into trouble by being tripped by fighting dogs, is
very comical. Evidently the music of the song was inspired by some well-known march.
16689
VI
No. 30. Canzone di Campagnuolo. (Peasant's Song.) The ideas in this song are very poetical, although ex
pressed in the words of a peasant
;
and the music, in its plaintive mood, is very descriptive of the senti-
ments that inspired it.
Nos. 31-35. These fine folk-songs from the Abruzzi are beautifully transcribed by F. Paolo Tosti, himself a
native of that region, the accompaniments being especially characteristic and elegant.
The remarks about the refrain to No. 24, apply equally to la gnicche, la gnocchi, etc., in the song
"
Dammi
un ricciolo dei capelli."
No. 36. Antonia. Rather than a song, this might be called a Ritornello (refrain) It is especially attractive for
the brightness of its music and the spirit of its words.
No. 37.
Fenesta vascia (The Low Window) is probably very old, judging by its name, Colascionata, which means
a song accompanied on the Calascione, a species of large lute.
No. 38. La Monacello. (The Young Nun.) Evidently this is the original song
;
the one sung in Rome being
a variant of it.
No. 39. Michelemmà. One of the oldest folk-songs of Naples, probably first composed or sung about 1600.
By some it is attributed to Salvator Rosa.
No. 40. Fenesta che lucivi. This most beautiful melody is said to be the composition of Bellini. It is certain,
however, that if he did not write it, this song gave him the inspiration for several of the melodies in his
early operas.
No. 41. Cicerenella. The rhythm of this song is typical of the Tarantella, the national dance of Naples; the
minor key being always used for this dance-music.
No. 42. La Luisella. A very pretty and graceful song, much like Neapolitan music in style.
No. 43.
La Vera Sorrentina. (The Real Maid of Sorrento
)
At the time of the feast of Piedigrotta, the great
Neapolitan holiday during the old regime, the troops went on parade to escort the King on his visit to the
Church of Piedigrotta. The description of the storm, and of all the troubles that the Sorrentina caused
the poor sailor, is especially attractive.
No. 44. Santa Lucia. No comments need be made on this song, which, from its having been carried every-
where by itinerant musicians, has become almost a folk-song of all nations. This explains why the
gondoliers on the Laguna consider it their own, as much as the fishermen in Naples.
No. 45. La Carolina. A song similar to La Luisella in spirit, although quite different in rhythm.
No. 46. La Fiera de Masf Andrea. Another of the very old songs of Naples. It is not likely that Salvator
Rosa composed it, but the second idea of it reminds slightly of a musical fragment by that celebrated
painter, poet, and musician.
No. 47. Trippole, trappole. Considered of Spanish origin, probably on account of the rhythm and style, which
perhaps is the case with many of the old Neapolitan songs.
The reason is easily seen, from the fact that Naples was under Spanish rule for several centuries.
No. 48. Lavandare. This is also a refrain, and is very popular with the local washerwomen, a great majority
of whom at one time resided in the village of Vomero, which is situated on the hill above Naples.
No. 49. / Zampognari. (The Bagpipers.) They come to Naples from the mountains of Abruzzi at Christmas-
tide, and go about from house to house playing and singing before the image of the Holy Infant during
the Novena (the nine days before Christmas). There are generally two, who go together, one playing the
bagpipe, the other a species of small clarinet called Ciaramella. The music which is given here is
played by them with some little change, and while the bagpiper continues the accompaniment, the one who
plays the clarinet stops to sing the different stanzas of this Pastorale. It is particularly interesting from
the pastoral character of the music and the beautiful poetical ideas of the words. In all probability the
melody suggested to Hàndel the theme of his pastorale in The Messiah.
No. 50. La Festa di Piedigrotta. Here again the festival of Piedigrotta supplies the subject for a lovely song.
It was, and still is, the custom of the people of Naples and the neighborhood to go to the shrine of the
Madonna (in whose honor the celebration took place) on the eve of the 8th of September. A great
many of the young people go there singing the new songs, and playing on the different instruments with
which they accompany the Tarantella

such as tambourines, castanets, and trie
1
à balia (a wooden
device in the shape of two or three hammers with handles joined together, which they strike to mark the
rhythm of the dance).
No. 51. A Ischia, etc. Ischia is an island in the bay of Naples, where some of the peasants make their living
by plaiting straw-goods, especially fans. Marano, a village, is famous for its strawberries and cherries
;
Capri, another island in the same bay, is overrun with quails at the time of their transit to and from
Africa, where they breed; at Massa they make a specialty of cream cheese, —which explains all the
similes given in this song. Nfrunchete, nfrunchete, is the usual refrain, that cannot be translated, and
which in this instance imitates the sound of string-instruments.
No. 52. La Capuana. This plaintive cantilena is supposed to be from Capua, a city near Naples.
16689
VII
No. 53.
Canzone di Somma (Song of Somma) ; so called because, perhaps, it refers to some girls in that
village. Somma is on the slope of the extinct volcano of that name, near Vesuvius.
Nos. 54-56. The spirit of revenge, inborn in the Calabrian people, is well expressed in the Catanzarese, while
the Scillitana is full of passion, and the Calavresella dainty, and simple in sentiment. The music of
the first two has a leaning toward the weird and mournful, which is typical of the Sicilian, and has some
of the character of Neapolitan song; it is generally written in the minor mode. Calabria is between
Naples and Sicily, and resembles both in the style of its folk-music.
No. 57.
Canzone di li Carriieri. (The Waggoners' Song.) The refrain Toinella toi nai, etc., is peculiar to the
Sicilians, and is found in many of their folk-songs.
No. 58. Alla Fontana. (By the Spring.) Another Ritornello with chorus-accompaniment; the refrain Toinella
toinà being similar to the above.
No. 59. Lu labbru. (The Lips.) The words of this song are by the celebrated Sicilian dialect poet Abbé Mele.
They are very beautiful, and the music, although somewhat modern, has all the characteristics of Sicilian
folk-music.
No. 60. Canto del Carcerato (The Prisoner's Song.) This cantilena is extremely pretty. Its weird style shows
the influence of Arab music. The Sicilians are geographically neighbors of the Arabs, and at one
time their island was overrun by the Saracens.
No. 61. Serenata. (Serenade.) Again another Ritornello, rather than a real song. Especially characteristic of
Arabic origin in the interval from d flat to b natural, which occurs twice.
No. 63. Amuri, amuri. (O Love, O Love.) Refrain sung by the muleteers.
No. 64. Malatu
f
amuri. (Ill for Love.) A pathetic melody in the minor mode — very peculiar for its chromatic
descending scale —another strong proof of Arabic influence.
No. 65. Canto de' Contadini Etnei. Song of the Peasants from the neighborhood of Mount Etna. —The "nguà-,
nguà
"
is the sound by which they imitate the cry of an infant, in their dialect.
ìsfino
VH1
INDEX
Page
A Ischia no nee so tanta ventaglie,
No.
51
Alla Fontana, No.
58
Amuri, amuri ! No.
63
A Nina, No.
14
Antonia, No.
36
Canto de' Contadini Etnei, No.
65
Canto del Carcerato, No. 60 \
Canzone di Somma, No.
53
Canzone d'i Zampognari, No.
49
Canzonetta di Campagnuolo, No.
30
Canzuna di li Carriteri, No.
57
Carina Bellina, No. 11
Che mai t'ho fatt', amor, No.
31
Cicerenella, No.
41
Coraggio, ben mio, No.
25
Cori, curuzzu, No. 62
Crudele Irene, tu m'hai lasciato, No.
^3
Dammi un ricciolo dei capelli, No.
3 5
Dona Lombarda, No. 2
E lo mio amore è andato, No.
19
Er Passagallo, No.
23
Fanciullo appena, ti parlai d'amore,
No.
34
Fatte la nonna, No.
27 L«l\ab
Fenesta che lucivi, No.
40
Fenesta vascia, No.
37
Giulia gentil, No. 1
8
Il Sor Carlo l'armonico, No.
29
La Barchetta, No.
17
La Bianchina, No. 2
1
La Bionda di Voghera, No. io
La Calavresella, No.
54
La Capuana, No.
52
152
142
83
161
35
84
"5
74
176
9
1
98
4
57
69
Paci
La Carolina, No.
45
La Catanzarese, No.
56
L'addio del Volontario, No. 16
/La Festa di Piedigrotta, No.
50
/
_JLa Fiera di Mast' Andrea, No.
46
La Luisella, No.
42
La Monacella (Rome), No. 28
La Monacella (Naples), No.
38
La Moraschina, No.
9
La Pastorella, No. 8
_JLa Peppinetta, No
.5
La Rondinella, No.
15
La Rozina, No.
4
La Savoiarde, No. 1
La Scillitana, No.
55
La Smortina, No. 6
_JUa/Treccia bionda, No. 22
L'avvelenato, No.
3
La vera Sorrentina, No.
43
LuJLabbniy No.
59
Malatu p'amuri,.No.
64
Michelemmà, No.
39
Oh, pescator dell'onda, No.
13
Piuriurì, ti vo' sposa, No.
24
Ritornello delle Lavandare, No.
48
Santa Lucia, No.
44
Se Amor mai da vu se vede, No. 12
Serenata, No. 61
Son figlio di Baciccia, No.
7
Tempo passato perchè non ritorni
No. 20
Ti faccio far 'n' zinale, No. 26
Trippole trappole, No.
47
Tu nel tuo letto, No.
32
121
76>
183
iìò^
72
*39
124
36
173
20
60
76
136
86
TABLE OF CONTENTS
IX
if u
c< <c
Abruzzian Songs 86 to
98
Calabrian Songs
155
(Catanzaro)
159
(Scilla)
157
Istrian Songs 4
Lombardian Songs (Como) 6, 8
"
"
(Milan) 12 to 28
«
(Voghera)
31
Neapolitan Songs 101 to
145
"
"
(Capua) 150
"
"
(Ischia) 148
Ck
"
(Posilipo) 115
Neapolitan Songs (Somma)
152
"
(Vomero) 139
Piedmontese Songs 4
"
(Savoy) 2
Roman Songs
79, 81,
83
"
(Olevano)
76,77
Romanesca Songs 67 to
74
Sicilian Songs (Palermo) 161 to
183
"
" (Catania) 186
Tuscan Songs
45
"
(Florence)
48
to
63
Venetian Songs 35
to
41
La Savovarde. I The Savoyarde.
Savoy (Piedmont
1
.
Quasi presto.(J
-
ìeo)
gioioso e con brio
Air. by H. Reimann.
Voice.
1.
Piano.
>
t J
J)T0
fi
± è li i X^i^
1. A
-
sco, Gian
-
net
-
ta,
l.Tell me,Gian - net - ta,
ti vouesti lou - gar, la-li-ret-ta,
do you care to wed? la-li-ret-ta,
m
(Jew's-harp).
m—é-
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a -sco,Gian
-
net -
ta,
Teli me,Gian - net
-
ta,
ti vouesti lou
-
gar?
do you care to wed?
Nen- ni, ma
Oh, Moth-er
W
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simile
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ma'i-r.e, mi voueli ma- ri
-
dar, la-li-ret-ta, nen- ni, ma mai- re, mi
dar- ling, the ver-y word you've said! la-li-ret-ta, Oh, Mother dar -ling, the
É^HH
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ma ri
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word you've said!
toung!
blue!
ik l'f r
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. uueli ma
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ri
-
dar.
ver-y word you've said!
toung !
blue!
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16689
X
Printed in theU. S. A.
3
LA SAVOYARDE.
i.
Asco, Gianetto, ti vouesti lougar,
Laliretta,
Asco, Gianetta, ti vouesti lougar?
Nenni, ma maire, mi voueli mandar,
Laliretta,
Nenni, ma maire, mi voueli mandar !
2.
Jeou voueli un home
qui vende de tabac,
Sin saoù lou rouze et
douge lou mouscat.
Quand vou calignoung,
vous proumettoung proung,
Et quand vous tegnoung,
vous dognoung dou bastoung !
THE SAVOYARDE.
2.
Teli me, Gianetta, do you care to wed?
Laliretta !
Tell me, Gianetta, do you care to wed?
Oh, Mother darling, the very word you 've said !
Laliretta I
Oh, Mother darling, the very word you 've said !
I want a man
who keeps a 'baccy-shop,
Five for the light ones,
and ten the fancy crop.
They promise fairly,
while they 're courting you,
And when they 've got you,
they beat you black and blue I
16889
Dona Lombarda.
Piedmont.
Allegretto.
;
r
p
ip
p?p
p p
i
|»-
p
p p
ir
7:
ii
m s
i p
é
1. A-mei-me mi, Do-na Lom-bar-da, A-mei-me mi! A-mei-me miì !
1-Give meyour love, Do-na Lom-bar-da, Do not de
- ny! Do not de - ny!
2.
m
t
É
fe^É
f
É
i *t
S I i
-T^-y-
^
Z«s£ stanza *) poco a poco rail. Last stanza
*> jooco a jooco rait.
^
É
Vp
i
-P
h
pf
pip
p*n p
i
rp^P
p Mr'^
La ter- za gus- sa ch'a n'à bei-vii-ne, Do-na Lom-bar-da cia-ma'l so-trur!
Af-ter the third drop of wine she tast-ed, For the grave-dig-ger she sent at last!
m^m
5E
gt^^
jooco a poco rail, col canto
n
r\
*
f
^E±
0-
rr
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Donna Lombarda (another Version)
Istria.
is
^
i
cjr
p
i
[^r p
ip
p
p
ip
J)
^
i
[jr
p
1. A - me - me mei, Don-na Lom-bar-da, A - me - me
1-Give me_ your love, Don-na Lom-bar-da, Give me_ your
m
«3i^=at f^m
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m
ja
i
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p
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p
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mei,
love,
Don-na Lom-bar- da, A me
-
me mei, A - me - me mei!
Don-na Lom-bar-da, Do not de - ny! Do tìot de - ny!
y
^D
&
^^
m
&
&
f
j_j>
r
i si
m
^
i
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lb j
j>
m
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W=F
*) There is no authority for the minor setting of the last stanza and final cadence. The liberty is taken
for the sake of an effective close.- Something of the kind was doubtless done by the old minstrels.
CH. E. KrehbieU
16689
DONA LOMBARDA. DONNA LOMBARDA.
Ameime mi, Dona Lombarda,
Ameime mi, ameime mi !
O cume mai voli che fassa,
Che j'ò'l mari, che j'ò'l mari?
Vostro mari, Dona Lombarda,
Feilo muri, feilo muri !
O cume mai voli che tassa
Felo muri, felo muri?
Mi v'mostrero d'una manera
D'felo muri, d'felo muri.
Ant'el giardin dare la caza
J'è
un serpentin, j'è un serpentin,
Preje la testa e poi pisteila,
Pisteila bin, pisteila bin,
E poi bUteila ant'el vin neiro,
Dèjé da bei, dèjé da bei,
Che'l voss mari ven da la cassa
Cun tanta sei, cun tanta sei.
Give me your love, Donna Lombarda,
Do not deny, do not deny !
How do you think that I may love you?
Wedded am I, wedded am I !
What of your spouse, Donna Lombarda 1
See that he die, see that he die 1
What shall I ever do to kill him !
How shall he die? how shall he die?
Oh, I will show you how to kill him,
How he shall die, how he shall die !
Back of your house there, in the garden,
There is a snake, there is a snake,
Put the snake's head into a mortar,
Powder to make, powder to make.
Into your husband's wine you
'11
pour it,
Into his wine, into his wine,
When he comes home at night from hunting
Thirsty for wine, thirsty for wine.
Dei-me del vin, Dona Lombarda,
J'ò
tanta sei, j'ò tanta sei.
Coz' j'èive fait, Dona Lombarda,
L'sè anturbidì, l'sè anturbidì?
El veint marin de l'aùtra sera
L'à anturbidì, l'à anturbidì.
Beivelo ti, Dona Lombarda,
Beivelo ti, beivelo ti !
O cume mai voli che fassa,
Che j'ò nin sei, che j'ò nin sei?
L'è per la punta de la mia speja
T'io beverei, fio beverei !
Give me some wine, Donna Lombarda,
Thirsty am I, thirsty am I !
What have you done, Donna Lombarda?
Cloudy? for why? cloudy? for why?
Yesterday eve the sea-wind roil'd it,
Wind of the sea, wind of the sea !
Drink to my health, Donna Lombarda,
Drink you to me, drink you to me !
Why should I drink, I pray you, tell me !
Thirst I have none, thirst I have none !
Now, by my dagger's point, I tell you,
Drink and be done ! drink and be done I
La prima gussa ch'a n'à beivUne,
Dona Lombarda cambia colUr;
La sgunda gussa ch'a n'à beivune,
Dona Lombarda ciama'l consur;
La terza gussa ch'a n'à beivune,
Dona Lombarda ciama'l sotrur 1
When the first drop of wine she tasted,
Donna Lombarda's color 'gan waste.
After the second drop she tasted,
For the confessor sent she in haste.
After the third drop of wine she tasted,
For the gravedigger she sent at last.
1«68»
L'avvelenato The Poisoned Lover.
Como (Lombardy).
£
Andantino .

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-
ro, fio - ri
-
tq^e gen-
1. Where wert thou yes -ter - e - ven, My dar -
ling son, the de- light of mine
4be
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to see — my sweet- heart, Ah me! I die! ah me!
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V AVVELENATO.
Dove si sta jersira,
Figluol mio caro, fiorito e gentil?
Dove si sta jersira?
Son sta dalla mia dama...
Signora marna, mio core sta mal !
Son sta dalla mia dama...
Ohimè ! ch'io moro ! ohimè !
Cossa v'halla dà da cena,
Figliuol mio caro, fiorito e gentil?
Cossa v'halla dà da cena?
On inguilletta arrosto...
Signora marna, mio core sta mal !
On inguilletta arrosto...
Ohimè ! ch'io moro ! ohimè !
L'avi mangiada tutta, ecc.
Non n'ho mangia che mezza, ecc.
Coss'avi & dell'altra mezza, ecc.
L'ho dada alla cagnola, ecc.
Cossa avi fa della cagnola, ecc.
L'è morta dre la strada, ecc.
THE POISONED LOVER.
Where wert thou yester-even,
My darling son, the delight of mine eyes?
Where wert thou yester-even?
I went to see my sweetheart,
Milady mother : my heart is so ill !
I went to see my sweetheart,
Ah me 1 I die ! ah me !
What gave she thee for supper,
My darling son, the delight of mine eyes?
What gave she thee for supper?
It was an eel she broil'd me,
Milady mother : my heart is so ill !
It was an eel she broil'd me,
Ah me ! I die ! ah me I
And didst thou eat it all, then? etc.
I only ate the half on't, etc.
What didst thou with the other? etc.
1 gave my dog the other, etc.
1MB»
What hast thou done with him, then? etc.
He died upon the highway, etc.
La Rozina. Rosina.
Lake of Como (Lombardy).
i
tf
Andante, sostenuto assai.
Transcription by
Giulio Ricordi.
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1. Manya time when it was

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na Mi fho dit de vo - rett
moon
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light I have told my love for
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pra men, Zi zem - pra
to woo, Ah! all the
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men me net vol -
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less you care for me.
2. Ro - zi
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na, I am
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Dammel
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my love no more you'll
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Quan-ti volt al ciaar de
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lu - na Mi
moon
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told my love for you,
E tijn - ve - ce zem -
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woo, All the less, all the less you care for me!
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La Peppinetta. Peppinetta.
Milan (Lombardy). .
For one or two voices.
Allegro.
Transcription by
Giulio Ricordi.
1. Che bel mof- l'in la Pep
-
pi - net- ta, Cor-po de di- a, vui fagli Fa
-
l.What a sweet face has Pep- pi
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net-ta! 3od-y o' me! if she on- ly were
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La lie - ra la la la lie
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ra la la la la la la la la la la la la
P^
mor! La lie-rala la la lie-ra la la la la la la la la la la.
mine! La lie-ra la la la lie-ra la la la la la la la la la la.
la la
la la
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lie
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ra la la la lie
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ra la la la la la la la la la la! Che ca-ra lie
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ra la la la lie
-
ra la la la
He
-
ra la la la He - ra la la la
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tu
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d~frJjH
la la la la la la la! Che ca-ra
la la la la la la la! She is a
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16689
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to -sa al-le-gra, scet-ta, L'è^ona bel- lez
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za, l'èjDn ver te - sor. _
dear, I can-not for- get her, Live-
ly
and love-ly, tru- ly di - vine!.
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La la lie
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La la lie
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la la la lie
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ra la la la lie -
ra la la la la la la la la la
la la la lie - ra la la la lie
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14
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Sej)-naquei voi - ta su quel mof - fin _ Po-dess mo fagh quel che vui
If an-y time I dare to do it,What I would like to, on her
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mi, Mi ghe fa - ri - a on bel ba - sin, Che no de
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face, With a warm kiss 111 ven-ture to woo it, And I shall
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de- ri de pu d'in
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sci, Mi ghe fa ri a ón bel ba
wish me no more and no less! With a warm kiss I'll ven-ture to
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woo it, And I shall wish me no more and no less! With
ghe fa
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ri
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kiss I'll ven-ture to
sin, Che no de
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woo, And I shall wish me no more
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Mi ghe fa - ri
With a warm kiss
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I'll ven-ture to
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wish me no more and no less, no less, no less, no less, no
sci. La la lie - ra la la la lie
-
ra la la la la la la la la la
less! La la lie
-
ra la la la lie
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ra la la la la la la la la la
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16
La Smortina. I The Pale Girl.
Milan (Lombardy).
Transcription by
Giulio Ricordi.
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à
m ^^
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1. Now I've
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scia-to, e son con -ten -to, Non min
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see ni-en
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left you, I feel so hap-py, And my heart nev-er beats un- steady, I've an-
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gio-vi-ne ho già in men
-
te Più bel - li - no as -sai di te.
oth-er in mind al
-
read -y, Who's a far fin
-
er lad than you.
<_
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Z. Più bel-
2. He is
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17
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mo
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re; Glijio do - na -
to tuttojl mio co - re, Pin- che vi - vo l'a-me-
tru - er, All my heart I havegiv'n my woo -er, While I live, I'll love him,
pi
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Più bel
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li - no e più era- lan
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te. Più co-stan
-
te ne
=tó
TO.
too.
*iù bel
-
li
He is fin
no e più ga
-
lan
-
te, Più co-stan te nel-l'a
er and more at
-
ten - tive, As a lov
-
er he is
m
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mor; Gliho do
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na - to tuttojil mio co -
re, Fin-chè vi -
vojo l'a-me-
tru-er, All my heart I havegivhmy woo- er, While I live, I'll love him,
wim W
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16689
18
^ _ — . -, i - T^ T?_ _1_ _ ' J.
44
rò. 3. Non ba
- dar se son smor-ti - na, L'è l'a - mor— che mi tor-
too. 3. Nev-er mind, if I am pale now, Tis by love— I am tor
-
urn
atì gei
#
. legato assai
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men-ta; Quan-do po
- i sa-rò con-ten
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ta, Il co - lor— ri-tor-ne-
ment-ed, If I ev
-
er maybe con -tent -ed, Thenmy bloom will come a-
rà. T'ho la
-
scia
-
to e son con-ten - ta, Non m'in-cre - see ni-en-te,
new. Now I've left you, I feel so hap -
py,
And my heart nev-er beats un
-
kTi 'lììl
JiuUi I
',
d' \ d d. d' d*. d
*-\
nien-te; Al-tro gio-vi-ne ho giàin men -te Più bel - li - no as-sai di
stead-y, I've an
-
oth
-
er in mind al
- read -
y,
Who's a far fin - er lad than
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16689
19
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te.
you.
Non ba
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dar se son smor-ti - na, L'è l'a
Nev-er mind, if I am pale now, "Tis by
mor che mi tor-
love I am tor-
£
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e ben legato sin' al
fine_
ai
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men-ta; Quan-do po
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mented, If I ev
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A
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ra, n -tor
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new, will come a
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new, will come a
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"Son figlio di Baciccia.,,
«Ti
Itti the son of old Baciccia."
English version by
Maria X. Hayes.
Milan (Lombardy) .
Allegretto sostenuto.
$
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hè^Eà
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col %Ò.
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1. Son
1. I'm the
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E di Ca-te - ri - net - ta, Ch fi
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son of old Ba
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cic
eia, E di Ca-te - ri
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net ta, Che
eia And of Ca-te - ri
- net - ta, They
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de la trip -pet - ta In piaz -za del_mer
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keep the pork-shop yon - der Down in the mar-ket - place, A, a,
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a, In piaz-za del_ mer- ca,
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/.
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a, a, a, In
ace,_ down
piaz-za del mer - ca, a,
in the mar
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ket - place, a, a, a, ace,.
In piaz-za del mer-
down in the mar
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ket
-
m
T^FT
r p
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2. Se ben voi mi guar -da
-
te, Da
2. Now care-ful-ly ob -
serve me, From
cà.
place.

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ci-ma_in si - nq_al fon - do, No gh'è bel-lez-zaal
top to toe look fair - ly, For beau
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1*689
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ras - so -
mi -gli_a me,
youth to matchwith me,
il

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Che ras -so -'mi -
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ee, ee, ee, a — youth to match with me.
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La Pastorella. The Shepherdess.
English version by
Maria X. Hayes.
Milan (Lombardy).
**
Andantino con brio.
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I will tempt,dear Moth-er, To the cit
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sia Moraschina. The Brunette.
English version by
Maria X. Hayes
Andantino.
Milan (Lombardy).
For one or two voiqes.
La Mo- ra- schi-na la-vaal-la ron-gia, La-vaal-la ron-gia a re-sen-
The nut-brown maid-en stood in the streamlet, The snowwhite lin- en therein to
tà, E pas-sa vi -
a onca-va-lie - re, Che giòunsas-set -
to el gha ti-
lave,__ A ca- va-lier, who thatway was pass-ing, A peb-ble light-
ly
threwin the
ra "Ch'el sta-ga fer - mo, sur ca-va -lie - re, Che tut- ta l'ac- qua lain4or-bo
wave.J'Praywhat a-muse-mentcanyou dis-cov
- er In thus dis- turb- ing thewa-ter
1H689
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here?^_Pray,what a-muse-ment can you dis- cov - er In thus dis-turb _ing the wa-ter
rà? Ben'ren des- so
-
ra, o Mo
- ra- schi- na, Fintant che l'ac-qua se scia-ri-
here? Coiresit be- side me, thou nut-brown maid-en, Un-til the wa-ter a-gain grows.
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ra, Renven des-so - ra, o Mo- ra - schi
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ar,_Comesit be- side me, thou nut-brown maid- en, Un-til the wa-ter a-gain grows
rà. Mi te da - ri -
a due cen-to scu- di Un so - lo ba- cioa a-ver da
clear. And I will give thee brightcrownstwohun-dred If I_mayhave one sweet kiss of
16689
30
dcpii ffJTY
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ti "Mi no non vu - i ne l'or, near-gent,— Ma vui el so coeur tutt, tutt per
thee._"No kiss-es I, sir, for coin will sell, But givemeyour heart, yes, all to
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mi, Mino non vn- i ne l'or, nejir-gent,_ Mavuiel so coeur tutt, tutt per
me, — No kiss-es I, sir, for coin will sell, But give your heart all, all to
mi, Mi no non vu
-
i ne l'or, nejir-gent,_ Mavuiel so coeur tutt,tutt per
me, No kiss-es I, sir, for coin will sell, But give your heart, all, all to
mi, Mavuiel so cceur_ tutt,tutt per mi!„
me, First give your heart,_ and thenwe'll see!
"
morendo
16689
31
La Biondina di Voghera. The Fair Maid of Voghera.
English version by
Maria X. Hayes.
Andante mosso.
Voghera (Lombardy).
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1. La Bion-di
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16689
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in na - mo-
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rà, E. ve- dend la bel -la bion-da La voi- su - da ben ba
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16689
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16689
35
Catina bellina. Pretty Kathrin.
Venice.
irz
Allegretto.
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but dar- ling, this heart Is deaf to Love's
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16689
'Se Amor mai da vu se vede.,, "If you ever look on Love."
Venice.
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1. SeA-mor mai da vu sé ve - de,
1. Oh my chil-dren, if you ev- er
Ca - ri put - tLa go - go
Look on Love while he's at
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Not a mouth po sweet-ly smil-ing, Not a
16689
37
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boc-ca El ve piz _ zi - ca, ve piz-zi-ca, ve toc-ca, E fra
laugh-ter, He will stab you to the heart a min-ute af- ter, Like a
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till the rogue has caught his prey.
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16689
88
"SE AMOR MAI DA VU SE VEDE.,,
i.
Se Amor mai da vu se vede,
Cari putti, a gogolar,
Per pietà no deghe fede,
No lo stessi a carezzar.
Sulla bocca et mostra il riso,
La dolcezza sul suo viso;
Ma col rìder sulla bocca
El ve pizzica, ve tocca,
E fra mezzo alle carezze
Mille dardi, mille frezze
|:Quel furbazzo sa misciar.:|
Saven come me l'ha fatto
A chiapparmi sto briccon?
El s'ha messo come un gatto
Quacchio quacchio in cuffolon.
L'aspetta ch'un di Ninetta
Me contasse una fiabetta,
Mi credendo esser in porto,
De colù non m'avea accorto,
E la vien per la drio via,
Chiappa, strenze e mena via,
|:Nè vai pianto, né rason. :|
"IF YOU EVER LOOK ON LOVE."
i.
Oh, my children, if you ever
Look on Love while he 's at play,
Never stop to hear him, never !
Or caress him on your way.
Not a mouth so sweetly smiling,
Not a face that's so beguiling:
Tho' his lips are wreath'd in laughter,
He will stab you to the heart a minute after;
Like a thousand pointed arrows
His caresses pierce your marrows,
| : Till the rogue has caught his prey.:|
Have I told you how he caught me
When he gave my heart this wound?
How he slily creeping sought me
Like a cat upon the ground?
I was list'ning to a story
That Ninetta was relating,
And I never thought to worry,
For I did not see him waiting :
Then he softly came behind me,
And so tightly he did bind me,
|:That relief I've never found 1:|
1MHS
39
'Oh, pescator dell'onda.,, "Oh, fisher in the ocean."
Venice.
Barcarole.
Andantino.
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1. Oh fish-er in the o
- cean, Fi- de - lin!
Oh, pe - sca-tor del
Oh fish-er in the
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Ton - da, Fi- de- lin!
o - cean, Fi- de - lin!
Vie- ni a pe-scar in qua!,, Col-la bel- la su - a
Come fish a-while by me! In his dain-tyboat a
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16689
40
OH PESCATOR DELL'ONDA.
i.
|:Oh pescator dell'onda,
Fidelin h|
Vieni a pescar in qual
Colla bella sua barca,
Colla bella se ne va,
Fidelin, lin, là.
2.
:Che cosa vuol, ch'io peschi?
Fidelin!:)
L'anel che m'è cascai
Colla bella sua barca, ecc.
|:Ti darò cento scudi,
Fidelinl:|
Sta borsa ricama.
Colla bella sua barca, ecc.
"OH FISHER IN THE OCEAN."
:Oh fisher in the ocean,
Fidelin !.|
Come fish awhile by me I
In bis dainty boat a-plying
He is flying o'er the sea,
Flying o'er the seal
|:What shall I catch beside you,
Fidelin?:]
My ring I've lost a-lee !
In his dainty boat a-plying, etc.
I
: I'll give a hundred scudi,
Fidelin!:|
Yours this gay purse shall be 1
In his dainty boat a-plying, etc.
10689
41
A Nina. To Nina.
Venice.
English version by
Maria X. Hayes.
Andantino quasi allegretto.
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16689
44
A NINA.
TO NINA.
i.
Quel dì che te go visto,
Quel di che ti m'ha piasso,
Mi no go fato un passo
Ma no so sta più mi.
That day when first I saw thee,
That day thou didst so please me,
I find no balm to ease me,
I 'm not myself, d 'ye see.
No go pensa al to stato,
No go cerca el to nome,
No go savesto come
Me so trova con ti.
I think not of thy station,
Thy name has not been told me,
I seek but to behold thee,
And find myself near thee.
So che ti gà do ori,
Che dixe tante cose;
So che ti gà
una vose
Che canta fino al
"
si.
,
Two eyes hast thou so lovely,
So many things expressing;
The sweetest voice possessing,
That sings as high as "si."
O nata da una zin
g
ana,
O fia de una regina,
El cuor t'ha dito Nina,
E ti ga dà del
"
ti !

Wert thou of Gipsy origin,
Or born of lineage royal,
My heart would still be loyal,
And think of thee as
"
tì !
"
Ti poi mostrane soto
Qualunque forma strana,
Metterte la sotana,
No vogio dir de chi.
Howe'er disguised thy form were,
However strange appearing,
Whatever garments wearing,

Whose, I will not say here :
6.
Un certo che me avisa,
Che ti me xe vicina,
So che ti xe la Nina,
Sento che ti xe ti
If thou unseen wert near me,
Tho' no sign might reveal it,
Yet I should surely feel it,
That thou, my love, wert near.
Nina, se ti xe un anzolo
Casca da qualche stella,
Quando ti torni in quella,
Portime su anca mi
And if thou art an angel fair,
New-fallen from some star there,
When mounting up afar there,
Then with thee, dear, take me.
item
8.
|:Se ti ze dona sentite,
Qua, sulla mia banchetta,
Te menato in barchetta,
E vogarò per tì.:|
8.
|:But if thou art a woman, dear,
Ah, come and sit beside me,
Then o'er the water glide we :
Oh joy, to fly with thee 1:|
45
La Rondinella. The Swallow.
English version by
Maria X. Hayes.
Tuscany.
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LA RONDINELLA. THE SWALLOW.
Rondinella pellegrina,
Che ti posi sul verone,
Ricantando ogni mattina
Quella flebile canzone,
|:Che vuoi dirmi in tua favella,
Pellegrina rondinella?:!
Pilgrim swallow, lightly winging,
Now upon the terrace sitting,
Ev'ry morn I hear thee singing
In sad tones thy song repeating.
|:What may be the tale thou'rt telling,
Pilgrim -swallow, near my dwelling ?:|
Solitaria nell'oblio,
Dal tuo sposo abbandonata,
Piangi forse al pianto mio
Vedovetta sconsolata?
|: Piangi, piangi, in tua favella,
Pellegrina rondinella.:!
In thy solitude abandoned,
By thy mate perchance forsaken,
Dost thou weep to see me weeping,
Gentle widow all heartbroken?
| : From thy tears relief I borrow,
Weep then, weep, thou pilgrim swallow.
:|
Pur di me manco infelice
Tu alle penne almen t'affidi,
Scorri il lago, e la pendice,
Empi l'aria de tuoi gridi,
|: Tutto il giorno in tua favella
Lui chiamando, o rondinella ! :|
Thou art happier far than I am,
On free wing at least thou'rt flying;
Over lake and breezy mountain,
Thou canst fill the air with crying
|: His dear name through cave and hollow:
Thou art free, thou pretty swallow.
:|
Oh se anch'io ! . . . Ma lo contende
Questa bassa angusta volta,
Dove'l sole non risplende,
Dove l'aria ancor m'è tolta,
|: D'onde a te la mia favella
Giunge appena, o rondinella.:!
Were I free ! —but 't is denied me

This low roof my soul confineth,
E'en of air they have deprived me,
Here the bright sun never shineth
;
|:From this murky dungeon hollow
Scarce my words can reach thee, swallow ! :
5-
Il Settembre innanzi viene
E a lasciarmi ti prepari:
Tu vedrai lontane arene,
Nuovi monti, nuovi mari,
|: Salutando in tua favella,
Pellegrina rondinella.:!
Ed io tutte le mattine
Riaprendo gli occhi al pianto,
Fra le nevi e fra le brine
Crederò d'udir quel canto,
|:Onde par che in tua favella
Mi compianga, o rondinella.:!
7-
Una croce a primavera
Troverai su questo suolo:
Rondinella, in su la sera
Sovra lei raccogli il volo
;
|: Dimmi pace in tua favella,
Pellegrina rondinella.:!
16889
Soon September will be coming,
Soon wilt thou prepare for leaving,
To far shores wilt thou be roaming,
O'er new seas and mountains cleaving.
|:O
f
thy flight could I but follow!

Greet them for me, pilgrim swallow 1 :|
6.
Here then ev'ry morn awaking,
In mine eyes will tears be springing,
'Mid the snow and frost so chilling
I shall deem I hear thee singing;
|:And 'twill seem that in thy ditty
Thou art fain to tell thy pity. :
|
In the spring a cross so lonely
On this soil wilt thou find planted;
. Swallow, in the shades of evening
Let my last poor wish be granted :
|: Circle round my narrow dwelling,
While thy song of peace is telling. :
48
L'Addio del Volontario.
I
The Volunteer's Farewell.
Florence (Tuscany).

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16689
60
L'ADDIO DEL VOLONTARIO. THE VOLUNTEER'S FAREWELL.
i.
: Addio, mia bella, addio,
L'armata se ne va, :|
|:Se non partissi anch'io,
Sarebbe una viltà.
:|
:FareweU, my love, I leave thee,
Our fleet must now depart ; :|
: Should I not go, believe me,
Twould show a coward heart.
:I1 sacco e le pistole,
Lo schioppo io l'ho con me::|
|:Allo spuntar del sole
Io partirò da te. :|
|:My sack and my good pistols
And gun I take with me, :|
|:And at the dawn of morning
I must depart from thee. :|
: Asciuga o bella il ciglio,
Sol dei codardi è il duol, :
|:Chi dell'Italia è figlio
Muora pel patrio suol.:|
|:Then dry thy tears, my darling,
Grief is the coward's plea;:|
|:To die is only duty
For sons of Italy. :|
|:Non è fraterna guerra,
La guerra ch'io farò, :|
|: Dall'italiana terra
L'estraneo scaccerò. :|
:It is no civil warfare
I go forth to maintain, :
|
: It is to drive the alien
1
From soil which now they stain.
|:Non pianger, mio tesoro,
Forse ritornerò, :|
|:E se in battaglia moro,
In ciel ti rivedrò. :|
Then do not weep thus vainly,
I may return, my love;:|
: But if I'm slain in battle,
We'll meet in heav'n above.
:|
:AUa mia tomba appresso,
La gloria sederà, :|
|:E invece del cipresso,
Un fior vi spunterà. :|
6.
.And Fame will there be seated
Upon my glorious tomb, :|
:And stead of mournful cypress,
A flower there will bloom.:!
|
: Quel fiore, idolo amato,
I tre colori avrà,:|
|: Bacialo e di ch'é nato
In suol di libertà 1 :|
|:This flow'r, my well-beloved,
Will bear the colore three
;:|
I
: Embrace it, for 'twill spring from
A soil that will be free !
-.1
8.
|:Si stracci il giallo e nero,
Simbolo del dolor, :|
|.-E l'Italiano altero
Inalzi il tricolori:!
8.
|:We'll rend the black and yellow,*
Symbol of grief and dread,
:|
| : Then raise we, proud Italians,
The green and white and redi*:
1
The Austrian».
2
The Austrian colors.
1
The Italian colon.
«MAS
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English version by
Maria X. Hayes.
I
The Little Boat.
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53
LA BARCHETTA. THE LITTLE BOAT.
La barchetta che scorre sull'onde
S'avvicina portando il mio bene:
O contento I finiscon le pene,
Fra brev'ora il mio amor rivedrò 1
|:Vien t'affretta ad arrivar,
La la ra la la 1
Che t'aspetto in riva al mar,
La la ra la la 1:1
Now the vessel that flies o'er the billow
Is approaching, and brings home my lover;
O what joy ! soon all pain will be over,
Soon again my true love I shall seel
|: Swiftly bring him back once more,
La la ra la la I
I await him on the shore,
La la ra la la 1 :|
Egli riede ricolmo d'onori,
Conquistati sul campo di gloria,
Là qual prode guidò la vittoria,
Qui al mio fianco l'adduce l'amor.
Vien t'affretta, ecc.
He returns now with proud honors laden,
From the field where so bravely he bore him,
Vict'ry pointed the way there before him,
But 'tis love guides him hither to me.
Swiftly bring him back once more, etc.
Voga, voga oh barchetta veloce,
Sopra l'alghe del placido mare :
Corri, vola, non far più penare
Quest'afflitta che tanto sperò !
Vien t'affretta, ecc.
Row then, row, happy vessel, so swiftly
O'er the weeds of the bright tranquil ocean,
Fly then, fly then and calm this emotion
Of a mourner, and blest let me be.
Swiftly bring him back once more, etc.
Gli dirò del mio pianto versato,
Dell'affanno che opprime il mio core,
Poi fra i baci d'un tenero amore
Ogni traccia di duol sparirà.
Vien t'affretta, ecc.
I will tell him of tears I shed for him,
How my heart was oppress'd with its sorrow,
Love's caresses shall soothe me to-morrow,
And all traces of grief disappear.
Swiftly bring him back once more, etc
Gli dirò delle notti vegliate
Fra i sospiri d'un rango tormento,
Poi stringendolo al sen dal contento
Il mio cor, sul suo cor poserai
Vien t'affretta, ecc.
I will tell him of nights robb'd of slumber,
Pass'd in sighs, and with terror tormented;
With his presence so dear well-contented,
Then my heart will repose free from fear.
Swiftly bring him back once more, etc.
©
e
'Giulia gentil.

Fair Julia.
English version by
Maria X.Hayes.
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16689
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my life to
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with brow_ of snow.
16689
66
GIULIA GENTIL.,, FAIR JULIA
Uomo.
He.
Giulia gentil dal bel color,
Ah tu non sai che sia l'amor,
Ma forse un di ti batta il cuor,
Allor saprai che sia l'amor.
Ah schiudi ai palpiti d'amor,
Giulia gentile, il tuo bel cor,
£ non volere, o bel tesor,
Vedermi morto dal dolor.
Ti risowien di chi t'amò,
Giulia gentil dal bel color.
Donna.
She.
Giovanottin dal bel color,
Non vo' saper che sia l'amor,
Ne mai quel dì verrà che il cuor
Io schiuda ai palpiti d'amor.
Giovanottin, credilo a me,
Non piangerò giammai per te,
Né dì verrà, in cui d'amor
Palpiterà per te il mio cuor.
Tra la la la, tra la la la,
Tra la la la, tra la la la !
i.
Oh, Julia fair, with brow of snow,
What love is like thou dost not know;
Perchance some day love's voice thou It hear,
Then wilt thou know his pains so dear.
Unclose thy heart to love's warm glow,
Nor thus condemn my life to woe,
But some sweet pity feel for me,
Nor see me die for love of thee.
Then think of him who loves thee so,
Ah, Julia fair, with brow of snow !
Ah, gentle youth, with tawny cheek,
In vain to me of love you speak,
Ne'er will you see the day when I
For any youth with love shall sigh.
Ah, gentle youth, believe thou me,
.
I ne'er shall weep for love of thee
;
Nor ever deem this heart of mine
Will e'er respond to love of thine.
Tra la la la, tra la la la,
Tra la la la, tra la la la.
3.
Uomo.
Soave palpito del cor,
Immensa gioja egli è l'amor,
Della fortuna è nel rigor,
Conforto e speme nel dolor.
Ah, schiudi, ecc.
Donna.
Allegra troppo io son così,
Felice passo e notte e dì,
Per me il destin non ha rigor,
Pianto non ha, non ho dolor.
Giovanottin, ecc.
He.
She.
There is ho joy like love on earth,
For love in Heaven first had birth;
Amid all fortune, care, and grief,
Love brings us comfort and relief.
Unclose thy heart, etc
Too blest am I, my heart so light,
I'm joyous still from morn till night;
Fate has for me nor gloom nor dread,
And all my tears are yet unshed.
Ah, gentle youth, etc.
Uomo.
He.
Dunque sorridimi, o gentil,
Come sorride un fior d'aprii;
Unisci o cara, al mio il tuo amor,
Saran felici i nostri cor.
Ah, schiudi, ecc.
Donna.
She.
Forse nascosta in fondo al cuor
Sta già la fiamma dell'amor,
Ma se quel di per me verrà,
Per te il mio cor non batterà!
Giovanottin, ecc.
Then smile on me as smiles the flow'r
That greets us from its April bow'r;
Then love unite thy fate with mine,
Our happiness shall be divine.
Unclose thy heart, etc.
Perchance conceal'd within my heart,
Of love may lurk the flaming dart
;
But when that day arrives for me,
This heart will never beat for thee.
Ah, gentle youth, etc.
16689
57
"E lo mio amore è andato a soggiornare.;,
"My love has gone to live in lovely Lucca."
Florence (Tuscany).
L.Gordigiani.
Tempo di Valse
19.
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will be -come a lord, they tell me, And now I wish that I could send him
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16689
58
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59
"E LO MIO AMORE E ANDATO A SOGGIORNARE.
i.
E lo mio amore è andato a soggiornare
A Lucca bella e diventar signore,
E lo vorrei mandare a salutare,
Ma non mi fido dell'ambasciatore.
Val più 'na parolina dell'amante
Che dell'ambasciator che ne fa tante,
Val più 'na parolina del mio amore
Che cento mila dell'ambasciatore.
2.
Tutti mi dicon che son nera nera,
La terra nera ne mena buon grano,
E guarda il fior garofan com'è nero,
Con quanta signoria si tiene in mano.
Tutti mi dicon che il mio damo è tinto
Ed a me pare un'angioini dipinto,
Tutti mi dicon che il mio damo è nero
Ed a me pare un angiol vero vero.
"MY LOVE HAS GONE TO LIVE IN LOVELY LUCCA."
My love has gone to live in lovely Lucca,
And there he will become a lord, they tell me,
And now I wish that I could send him greeting,
But I 'm afraid my messenger would fail me :
One word a lover speaks will find more favor
Then any messages of love whatever,
One single word from him would more content me
Than fifty thousand that he ever sent me.
They tell me I 'm as dark as any brownie,
But where the soil is black, the grain is finest;
And see how darkly the carnation flowers,
Yet in your hand it waves in grace divinest.
Altho' they say my love with dyes is tinted,
He looks to me an angel as they're painted,
Altho' they say he 's black as any raven,
He seems to me an angel straight from heaven.
1M8U
60
"Tempo passato perchè non ritorni!,,
"Why are days we have lived lost for ever?"
Florence(Tuscany).
Lento.
L.Gordigiani.
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l.Time was, when of
mio cor
my heart
20.
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18689
61
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When we both loved so fond-ly,
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16689
62
"TEMPO PASSATO PERCHE NON RITORNI?,
Speranza del mio cor era una volta,
Or ti sei fatto la speranza altrui.
Non ti ricordi più di quella volta
Ch'eramo innamorati tutti e dui?
Non ti ricordi più di quei bei giorni?
Ah ! tempo passato perchè non ritorni I
2.
Ti ho scrìtto tante volte inutilmente
E sempre invano attendo la risposta.
Dimmi pur che ti sono indifferente,
Ma scrivi per pietà... cosa ti costa?
Non ti ricordi più, ecc.
"WHY ARE DAYS WE HAVE LIVED LOST FOR EVER?"
i.
Time was, when of my heart you were the treasure,
And now of other hearts you win th' emotion
;
Have you forgotten all our former pleasure,
When we both lov'd so fondly, all devotion ?
Have you forgotten all our love's sweet savor?
Ah 1 why are the days we have liv'd lost for ever?
How many a time I've vainly writ you a letter,
Not even comes the answer, that l 've lost you 1
Tell me you love no longer —it were better,
Only a line, I pray
—what does it cost yon?
Have you forgotten, etc.
16689
La Bianchina.
;
Bianchina.
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Florence(Tuscany).
L.Gordigiani.
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16689
66
LA BIANCHINA.
Avete pure un pallido visino,
Che fa tutte le genti innamorare :
Parete sulla siepe un gelsomino
E la Bianchina vi voglio chiamare.
|:E se vorrete far con me all'amore,
Vi chiamerò la donna del mio cuore.
Donatemi una ciocca di capelli,
Che per memoria gli terrò sul corej
Voltate verso me quegli occhi belli,
Mi sentirete sospirar d'amore,
|: D'amore sospirar mi senterete
Se un bacio, angiolo mio, voi mi darete.
BIANCHINA.
i.
Thy face is pale indeed as any flower,
And all who chance to see thee love thee madly I
A jasmin thou, that hath in a hedge her bower,
And my Bianchina I would call thee gladly;
|:Ah, could I win thee o'er with tender art, love,
I'd call thee e'er the lady of my heart, love !:|
One only let me have of all thy tresses,
That for remembrance on my heart I
'11
bind me
;
From thy sweet eyes if only a glance caresses,
For love before thee sighing thou shalt find me,
|: For love thou soon shalt hear me sigh before thee,
If thou wilt kiss me : my angel, I adore thee 1 :|
leiw»
*
La Treccia Bionda.
Andante.
The Flaxen Tress.
Romanesca,
Transcription by
F. Marchetti.
j>
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la ra -gaz - za
1. love - ly maid - en
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la tree -eia
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tresses,
Per no -
me via chia - ma
The name they call you by-
te Ye -ne - randa-, Li gio-va-ni per
is Ve - ne - randa ,
The lads all want to
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16689
68
LA TRECCIA BIONDA.
Bella ragazza, della treccia bionda,
Per nome vi chiamate Veneranda :
li giovani per voi fanno la ronda.
Papà non vuole,
Mammà nemmeno :
Come faremo
Per far l'amor?
Venir se voi volete nel giardino,
Voi troverete, o bella, un tulipano
Che fatto par pel vostro canestrino.
Papà non vuole, ecc.
E se mi date un sguardo rubacore,
Io, bella, proprio a voi lo voglio dare
Quel fior che tengo e che m'ha dato amore.
Papà non vuole, ecc.
Poi vi dirò che rosa in primavera
Non è tanto voi siete tanto cara,
E voi ci avrete gusto... e buona sera.
Papà non vuole,
Mammà nemmeno:
Così faremo
Per far l'amor.
THE FLAXEN TRESS.
Oh lovely maiden mine with flaxen tresses,
The name they call you by is Veneranda,
The lads all want to pay you their addresses:
Papa won't hear it,
Mamma can't bear it :
Tell me, how can we ever make love?
Come down into the garden when I shall ask it,
And there you
'11
find a tulip, oh, my beauty !
That looks as if it grew for your wee basket:
Papa, etc.
And if you send me one of your dear glances,
Ah, then, my only darling, I will give you
A flow'r that Love gave me, and love enhances:
Papa, etc.
And I will say to you, In spring's delight, love,
There 's not a rose compares with you in sweetness 1
And that will please your heart —and so good night,
love !
Papa won't hear it,
Mamma can't bear it:
That is the way that we shall make love !
69
Er Passagallo.
j
The Improvvisatore.
Romanesca.
àà
Andante.
Transcription by
F. Marchetti.
grandioso quasi a piacere
<^P
m
ftl
fTt
1. Quanno No-e-ne l'ar-ca frabbi-
l.When Father No-ah built the ark a-
23.
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war-time,
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He sent out on the roof to watch the
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16689
70
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weather.
Er ci - gnojn - ve - ce
The swan, how -
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m
co' tut - ti re-
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more time,.
E li fé - ce cor can -to ral-le-grane.
For his sing-ing re-joiced themal-to-gether.
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I sing, the swan! my right,who dare de - ny it?.

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Tuer corvo, dunque sfarda e_ stat-te zit-to!.
The raven you, so get a -
long and be qui-et!.
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16689
71
ER PASSAGALLO. THE IMPROVVISATORE.
Qnanno Noene l'arca frabbicone,
Omini e bestie drento fece entrane,
Ma er corvo, che assordiva le persone,
L'aria fresca manne- presto a pigliane.
Er cigno invece co' tutti restone
E li fece cor canto rallegrane.
Io qui so er cigno e de cantane ho dritto :
Tu er corvo, dunque sfarda e statte zitto !
i.
When Father Noah built the ark aforetime,
He let the beasts in with the men together:
The raven, tho', who yelled as if 'twere wartime,
He sent out on the roof to watch the weather.
The swan, however, he gave rather more time,
For his singing rejoiced them altogether.
I sing, the swan! my right, who dare deny it?
The raven you, so get along, and be quiet !
Tu fai dritto lo storto e storto er dritto,
Ma che cigno non sei lo dirà er fatto.
Io te disfido a singoiar confritto
E chi ci ascorta dica sì so matto.
Dimme quar fune de Tarpea er delitto,
O tu che de sapienza sei lo stratto !
Dimme che fine fece, e, si lo sai,
Dimme si er gallo a Roma cantò mai.
2.
White you call black, sir; black you say is white,
sir,
But you are no swan, that I soon will show
you !
I dare you here to meet me in fair fight, sir :
All who hear, let them tell me if I know you !
Tell me the misdeed of Tarpeia aright, sir,
For I feel I'm in wisdom far below you !
Tell me what was her end, and, if you're able,
Did e'er the cock of Rome crow? is't a fable?
Tarpea tradì la patria, e ho detto assai;
Morì la rea sotto li scudi altrui.
Dichi si er gallo a Roma cantò mai?
Per Dio, lo senti coll'orecchi tui !
Ma si arza er volo, nun ce so più guai,
Che Roma troverà li fiji sui.
Mo' tu che sei dottore in battilonta,
Quante le stelle so, si poi, racconta.
Tarpeia betrayed Rome

that you've compre-
hended
;
Where she was buried, shields were overflow-
ing;
And if the cock of Rome to crow pretended?
If you open your ears, you
'11
hear him crow-
ing !
If he should fly off, our sorrows were ended,
For her children Rome has a way of knowing !
And now, you scholar in a wig, I
'11
task you :
How many stars are in the sky, let me ask you?
Dotto nun so, ma la risposta è pronta:
Rena in der mare nun ce ne sta tanta,
Quante so stelle; e tu vattele a conta,
Sì nun credi de crede a chi lo canta,
Ma che serve de fa chi più ci affronta,
Quanno de forza avemo tanta e tanta?
Io lasso er canto e me ne torno ar monte,
Te do la bona notte e passo ponte.
I am no scholar, but I know the answer:
Not in the ocean are the sands as many
As stars in heav'n
;
now count them if you can
sir !
Tho' you value my singing not"a penny!
But why go on so, and fight man to man, sir,
When we two are as near alike as any?
I'll sing no longer, but go home to bed, now,
And so good-night, and never mind what l 've
said, now !
1608»
72
*>
Piuriurì, ti vo' sposa. "Piuriurì, I'd marry you!"
Romanesca.
Allegretto.
Transcription by
F. Marchetti.
1
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Mr
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Mani - ma, mam
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1. Moth - er, Moth-er, a gay young gal -
lant,
34.
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Mam - ma, mamma,c'èun ca
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He - re Che m'ha det-tc, più - riu
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Moth - er, Moth-er, a gay young gal - lant Just now told me, più - riu
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ri, che m'ha det-to, più
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ri! just now told me, "I'd mar - ry you!"
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16B89
78
PIURIURI, TI VO' SPOSA.,, PIURIURÌ, I'D MARRY YOU!
Mamma, mamma, c'è un cavaliere,
Mamma, mamma, c'è un cavaliere
Che m'ha detto, piuriurì,
Che m'ha detto, piuriurì,
Che m'ha detto, ti vo' sposa.
i.
Mother, Mother, a gay young gallant,
Mother, Mother, a gay young gallant
Just now told me, piuriurì,
Just now told me, piuriurì,
Just now told me : "I 'd marry you !
"
Figlia, figlia, sta un po'a vedere
Se t'ha detto la verità.
Daughter, Daughter, if you have talent,
You
'11
discover if he says true.
Mamma, mamma, baciarme ha chiesto,
Che ft», mamma? lo lascio fa?
Mother, Mother, he asked to kiss me I
Shall I let him? what shall I do?
Figlia, figlia, va troppo presto,
Fa che l'abbia da sospira.
Daughter, Daughter, he goes too briskly,
Keep him waiting and let him sue.
A li piedi d' un confessore,
Mamma, mamma, io voglio andà.
Mother, Mother, in such a matter
To confession I ought to go.
6.
Come devi fare l'amore
Al curato puoi domanda.
How one ought to make love, my daughter,
From the parson you soon will know.
Colla bocca dirò i peccati,
Cogli occhietti farò l'amor.
With my lips I'll confess transgression,
With my glances my love I
'11
tell !
8.
Ne sai quanto tutti i curati;
Ai pie sei del confessor.
8.
Now, my daughter, you're at confession,
Not a parson knows love so well !
Padre, padre, io voglio amare,
S'è peccato domando a te.
Father, Father, for love l 'm yearning I
Is it sinful, when I begin?
io.
Figlia, figlia, sappilo fare,
Che l'amore peccato non è.
io.
Daughter, Daughter, you should be learning
How to do it, and not to sin.
iew»
74
4
'Coraggio, ben mio.,,
Moderato.
'My darling", be brave."
Romanesca.
Transcription by
F. Marchetti.
É I
E * i
fr
1
P—
f
^s
25./;
m
1. Sèi bel
-
la ne
- gli_occhi, Sei
1. Thine eyes are so love - ly, So
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bel
-
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ten - der thy
co -
re,
heart, love,
tut
-
taun a
pas - sion thou
mo
-
re, Sei
art, love, For
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Ah, no, no, non pian-ger, Co rag-gio, ben
Ah! no, no, my dar - ling, Be
na
-
ta per me.
me thou \vert born. brave, do not
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mi
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cry now, Tho' I say_ good - bye now, Be not so for - lorn.
i
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16689
75
CORAGGIO, BEN MIO.,, "MY DARLING, BE BRAVE."
Sei bella negli occhi,
Sei bella nel core,
Sei tutt'un amore,
Sei nata per me.
Ah ! no, no, non pianger,
Coraggio, ben mio,
Quest'ultimo addio
Ricevi da me.
Thine eyes are so lovely,
So tender thy heart, love,
All passion thou art, love,
For me thou wert born.
Ah, no, no, my darling,
Be brave, do not cry now,
Tho' I say good-bye now,
Be not so forlorn.
2.
Ti vedo si veglio,
Sì dormo ti vedo,
E viver non credo
Diviso da te.
Ah ! no, no, ecc.
Awake I shall see thee,
And when I am dreaming,
Alive hardly seeming
Until I return.
Ah, no, no, etc.
Sei bella nel viso,
Nel pianto sei bella,
E barbara stella
Mi parte da te.
Ah ! no, no, ecc.
In tears thou art lovely,
Or smiling thy favor;
How cruel that ever
Asunder we 're torn !
Ah, no, no, etc.
Ma s'io da te parto,
Qui resto coll'alma,
Tu gioia, tu calma
Sei solo per me.
Ah ! no, no, ecc.
But tho' I must leave thee,
My heart stays with thy heart,
Thou only my joy art,
Of peace thou my bourne.
Ah, no, no, etc.
Sei bella, e vagando
Su rive straniere
Sarò col pensiere
Io sempre con te.
Ah ! no, no, ecc.
Oh love, on thy beauty
When far I shall ponder,
Wherever I wander,
Wherever I turn.
Ah, no, no, etc.
Tu pensa che fede
Ti do in questo giorno,
Che s'io non ritomo,
Son morto per te.
Ah t no, no, ecc.
To-day but remember
The promise I make thee :
That ne'er to forsake thee
Till death, I have sworn.
Ah, no, no, etc.
16689
76
"Ti faccio far' n' zinale.,, A striped apron they shall make.
Olevano (Rome).
For one or two voices.
. Allegro
s
Ti fae
-
ciò farV zi - na le col - le stri
A strip
- ed a - pron they shall make for you,
26.,
I
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love
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give you too,
faz - zo-let - to col -le
ker- chief barr'd with red I'll
se,
love.
Uri*
A
se
love ._
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bò, oi-bò, oi
- bò, oi-bò! Mamma_à -det-to, che tot-to non vuo; Oi
dear, dear, dear, dear! Mamma says, Pa_pa nev-er will hear'
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dear, dear, dear, dear! Mamma says,Pa-pa nev-er will
vuo.^
hearth
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XI
li.a
16689
Fatte la nonna.,,
Olevano (Rome).
Lullaby.
®
Andante, ma sciolto
P
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à i
1
É I
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J .3 J
1. Fat
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1. Now by - low, ba
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si ben
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ly, Your ti - ny bed
si -
a fat - to di vi
be of vi-
o
-lets soft and
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e
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r\
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zuo - le di chia - ri-
bed-clothes of gold -
en sun-
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to so
beams wo
le.
ven!
16689
78
"FATTE LA NONNA.
LULLABY.
Fatte la nonna e possi ben dormire!
Il letto ti sia fatto di viole,
Il cuscinetto di seta gentile,
E le lenzuola di chiarito sole.
Now bylow, baby, and slumber sweet and soundly,
Your tiny bed be of violets soft and even,
Your downy pillow of silk smooth and shiny,
And all the bedclothes of golden sunbeams woven.
2.
Fatte la nonna e la nonna ti venga,
Dormite, figlia, e fa contenta mamma,
E mamma stracca più di gunnolare
E notte e giorno e tutti quanti l'ore.
a.
Now bylow, baby, and slumber soon will find you !
My darling daughter, now sleep and please your
mother,
For she is weary with long rocking your cradle
All night and day, and one hour like the other.
Fatte la nonna, Ninna bene mia,
La pace e lo riposo ti dai Dio!
Fatte la nonna, e la nonna ti canta
Padre, Figluolo, e lo Spirito santo.
Now bylow, baby, my love, my darling Ninna,
And may the Father repose and comfort bring you !
Now fall asleep, and a lullaby together
The Father, Son, and Holy Ghost shall sing you.
O Gesù Christo, mio consolatore !
Che consolasti due donne assieme,
E consolasti Marta e Maddalena,
Consola questa figlia e chi la leva !
O Holy Saviour, Who art my consolation,
Thou Who didst comfort two women sore afflicted,
Consoler Thou of Martha and Mary,
Be babe and mother by Thy love protected 1
E consolasti Maddalena e Marta.
Consola questa figlia e chi la latte :
Fatte la nonna, che sopra ti fiocca
Annelli d'oro e perle d'ogni sorte.
Thy consolation was giv'n to Mary and Martha,
In mercy daughter and mother Thou invitest!
Now bylow, baby, and over you a shower
Shall fall of golden rings and pearls the brightest 1
1H689
La Monacella. The Young" Nun.
Rome.
79
Andante con moto.
h
ri
|
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|
sji
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r p Hr^F
Quan-no Mammà me fé - ce mo -
ni
-
eel - la,
Hard-ly fif - teen was I when Moth - er took me
28.,
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Com-pi-to non a - ve - a, Com-pi - to non a - ve -
a che quin-di
-
Hereto thegloom-y con - vent, hereto thegloom-y . con -vent cell, and for-
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fPW T
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com-pi-to non a
here to the gloomy
ve - a che quin-di - ci^
con-vent cell, and for - soo
ni.
me.
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16689
80
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Non son brut -ta e son fi-glio
- la, Mi con-vie- ne star qui so - la.
I'm not home-ly, I am a girl yet, Far too young to leave the world yet:
I
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Lo gior-no sei lo Ó Nin-na, nen - na!
Nin-na, nen - na!
Lo gior-no sei lo so - le,
Dai-ly you are my sun -shine,
é
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Lo gior-no sei lo so
-
le,
dai-ly you are my sun -shine,
la not -te stel - la!
Night-ly my star, too!
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Lo gior-no sei lo so - le, la not - te stel
Dai-ly you are my sun
- shine, Night-ly my star,.
*vL
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la!
too!
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16689
Il Sor Carlo l'armonico. The Musical Master Charley.
Rome.
Allegro moderato
P
Ég
J'i I
É É É É I
J'
I
j
.h » J^
1. Il Sor
1. Mas - ter
Car - lo che vien dal - l'O
Char- ley of Hoi- land was
Ian
stray
da, Per la
ing, On the
29.,
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stra - da tro - va la
street a band was a
ban - da, E - glijìja-man - te de - gli
play - ing: Now he loves good mu -, sic
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dear-ly, When the tune goes loud and clearly: Dzoo na na na! dzoo na na
mm &
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na, Ec-co la ban -da che pas - sa di
na! Here is the band as it pass-es, hur
qua.
rah!
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16689
82
IL SOR CARLO L'ARMONICO.
i.
Il Sor Carlo che vien dall'Olanda
Per la strada trova la banda,
Egli è amante degli suoni,
Quando son strumenti buoni :
Zu na na na, zu na na na !
Ecco la banda che passa di qua.
quel suono dolce e grato
Il Sor Carlo appresso è andato;
Quando al Popolo è alla porta
Il Sor Carlo si conforta :
Mira di qua, mira di là,
Che bella piazza, che rarità !
Quando fu al Palazzo Fiani,
Liticavano tre cani;
Per fuggire il Sor Carlo in fretta
Inciampò a una chiavichetta,
Grida soccorso... ohimè pietà!
I cani in terra lo fecero andà.
THE MUSICAL MASTER CHARLEY.
Master Charley of Holland was straying,
On the street a band was a-playing;
Now he loves good music dearly,
When the tune goes loud and clearly:
Dzoo na na na ! dzoo na na na !
Here is the band as it passes, hurrah !
2.
While so sweetly the harmonies twined them,
Master Charley followed behind them
;
Now the People's Gate he reaches,
And he takes a reef in his breeches :
See him look here ! see him look there !
O, what a beautiful, beautiful square !
Soon the Palace of Fiani he's sighting,
And he meets three doggies a-fighting.
And he runs in such a flutter
That he stumbles in the gutter,
Crying for help ! Oh, his fine togs !
Into the gutter he 's thrown by the dogs !
1668V
Canzonetta di Campag-nuolo. Peasants Song:
From the country near Rome.
Quasi recitativo.
Adagio^
Andante.
f^>
Allegro.
f
83
f ,o\
Auegro. r

szjT^p l
_
.
30.i
Al
- be-ro, ti te -ne -va tan-to ca - ro,E t'inna-cquavacoi miei su-
Tree-a,. of mine,that so care-ful-ly I've tend- ed
v
ThatI have water'dwithfhe sweat of
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do- ri, Pri - ma ba-gna-va la cì-ma^e poi i
my brow, Wa - t'ringthe branches the first, and then the
gs i Cl
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mi, I fo - gli
root - lets, Why are thy
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han -no per so i co - lo - ri, I be -
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leaves so fad ,- ed and so dry now? Thylove-ly fruit, too, all has be-come so
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£
ma - ri, Ed hanno per-so i va-ghi sa -po-ri. Vienmor-te pu-re, quando ti
bit
- ter, And it has lost its once de-light-ful sa-vor: Death! I'll welcome thee when thou
pa- re,
near-est,
V
Jl 7
h
Men-tre la mi - a bel - lajia can-gia-t'a
- mo
For I have lost my dar - ling's love, and for ev
:see£
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16689
"
"Che mai t'ho fatt', amor?,, I "Why do you turn your eyes away?"
Abruzzi.
m
Assai moderate
Transcription by
F. Paolo Tosti.
1. Che mai t'ho
at
fill
"-g"'* legato assai
;'ho
1. Why do you
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fat
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t,a-
your
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eyes
Che non mi guar-
A
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F. F
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di? Dim - mi - lo per pie
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tà!
say!
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16689
85
"CHE MAI T'HO FATT', AMOR?,,
i. 3.
Che mai t'ho fatt', amor,
Che non mi guardi?
Dimmelo per pietà !
Non più ritardi.
La lunga chioma bionda,
E il tuo bel viso,
Angiol ti fan sembrar
Del Paradiso.
Se ti tormento, o cara,
Ah 1 non son io :
E questo cor la causa,
E l'amor mio.
«WHY DO YOU TURN YOUR EYES AWAY?"
Why do you turn your eyes
Away in anger?
What have I done? —oh, say I
Delay no longer.
So golden shines your hair,
So fair your face is,
As of an angel arm'd
With heav'nly graces.
If I torment you, love,
Myself 'tis never:
Only this heart of mine,
That loves you ever I
10689
86
"Tu nel tuo letto a far de' sogni d'oro."
"Within, you are in bed and dreaming- sweetly."
Abruzzi.
Transcription by
F. Paolo Tosti.
i
Andantino mosso.
tee
P
(Uomo.) i.Tu
(He.) 1. With
32./
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un poco
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a

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P ^
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nel
in, .
tuo let-toa far de' so _ gni
you are in bed and dream- ing
ww
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a tempo
mm
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sweetly,
Io
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&
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r
16689
87
ril. un poco
\
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J
l'a-per-tqal ge-lo,o mio te
-
I fear me, love, I'll freeze com-
JjijJj i
col canto
a tempo
&
iJJTJi -i
sentito
7
j i
so - ro!
plete-ly!
ah!
Ah!
(Donna.) Di
(She.) I
iiijijiiiiijflij
a tempo
m
rit. un poco
caz
ITP P
P
P
P
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te
grieve
.
m'in-cre-sce tan-to,o bel can-
for you, fair sing-er, in your
mm
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16689
88
to - re!,
tri - al;
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16689
z.
Largamente e sempre forte
89
oo
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. (Deh!
a due.
| Io
Both.
(Ah!
(In
muo
-
pen -
let
dreams
Largamente
ì3 i i
il
i
a tertvpo
m
£
-vi-tia pie- tà del le mie pe-ne.
-so nei miei sognial-l'aa-mor mi-o
me not in pain for ev- er lan-guish!
the love I owe is ev- er stronger;
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p
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Il
zaa cor gen-til non si con viene
per- de-reil tem-poe va con Di-o
a ten- der heart not feel my anguish?
inpeace,andwasteyourtime no longer!
ah!
ah!
ah!
ah!
i^n
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16689
90
"TU NEL TUO LETTO A FAR DE'SOGNI D'ORO.,,
i.
Uomo.
Tu nel tuo letto a far de'sogni d'oro,
Io dell'aperto al gelo, o mio tesoro !
Donna.
Di te m'incresce tanto, o bel cantore !
Fredda non son, ma ho già donato il core.
2.
Uomo.
Deh 1 muoviti
a
pietà delle mie pene I
Durezza a cor gentil non si conviene.
Donna.
Io penso nei miei sogni all'amor mio;
Tu non perdere il tempo e va con Dio !
(Repeat Verte 2 at duet.)
"WITHIN, YOU ARE IN BED AND DREAMING SWEETLY."
i.
He.
Within, you are in bed, and dreaming sweetly,
Without, I fear me, love, I'll freeze completely.
She.
I grieve for you, fair singer, in your trial;
Not cold am I, my heart is only loyaL
2.
He.
Ah ! let me not in pain for ever languish !
How can a tender heart not feel my anguish?
She.
In dreams the love I owe is only stronger;
Depart in peace, and waste your time no longer !
(Repeat Verte 2 at diet.)
16089
91
"Crudele Irene, tu m'hai lasciato.,,
j
"Unkind Irene, why have you left me?"
Abruzzi.
(For one or two voices.)
m
Allegretto.
Transcription by
F. Paolo Tosti.
^^5
m
f i i
1. Cru - de - le I
1. Un -kind I
-
33./
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re - ne, tu m'hai la - scia - to, Tu m'hai tra -di - to, ab - ban - do
re - ne, why have you left me? You have be - trayd me, you have be
m
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reft me, oh!
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16689
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Ma pu - re, ere - di - lo, non me neim - por - ta, U- n^al - tra
But still, be - lieve me, it does not grieve me, For I shall
m
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aft ^^
fe
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bel
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soon _ win an-oth-er
ro,
prize,
oh!
oh!
m
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A hun-dred girls or more, high-born or
m t i t *
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no no-vel-loa - mo- re: Ma, tra -di
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low -
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166K9
93
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tri
- ce, ri-dammiil co - re Che quel tuo sguar - do a me ru
-
false_ one! re -turn the heart_ now That you have sto- len from me with your
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bò. Tu pian- gi, tu pian- gì... eomejo ri - do! ah!
eyes. You are weep- ing! you are weep-ing! Oh how I laugh at you, ha!
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ha! You are weep- ing! you are weep-ing! Oh how I laugh at you, ha!
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166S9
94
i«ese
"CRUDELE IRENE, TU M'HAI LASCIATO.»
Crudele Irene, tu m'hai lasciato,
Tu m'hai tradito, abbandonato;
Ma pure credilo, non me ne importa,
Un'altra bella ritroverò.
Cento fanciulle di ogni sorta
A me promettono novello amore :
Ma, traditrice, ridammi il core
Che quel tuo sguardo a me rubò.
Tu piangi... come io rido! ah ! ah !
Irene, credilo, è un sogno matto
Quel che lasciandomi tu forse hai fatto;
Pensavi certo ch'io ne morissi,
Ma di te presto mi scorderò !
E se tu allora te ne pentissi,
Io riderei del tuo dolore :
Ma, traditrice, ridammi il core
Che quel tuo sguardo a me rubò.
Tu piangi... O come io rido! ah! ahi
UNKIND IRENE, WHY HAVE YOU LEFT ME?"
Unkind Irene, why have you left me?
You have betray'd me, you have bereft me !
But still, believe me, it does not grieve me,
For I shall soon win another prize.
A hundred girls or more, highborn or lowly,
Will promise new love if I depart now :
But oh ! you false one ! return the heart now
That you have stolen from me with your eyes.
You are weeping ! Oh, how I laugh at you !
Ha ha!
Irene, surely 'twas a foolish dream yon had
When you forsook me so, maybe a scheme you
had
;
You must have thought that I would lay me down
and die,
But he
'11
forget you soon, whom you despise I
I
'11
only laugh at you if you are sorry,
And if you ever try on me your art now 1
But oh ! you false one ! return the heart now
That you have stolen from me with your eyes.
You are weeping, etc.
95
"Fanciullo appena, ti parlai d'amore.,,
"While yet a boy, I told you how I lovd you."
Abruzzi.
ate
Allegretto.
Transcription by
F. Paolo Tosti.
-a-
34.1
ÉÉ 1
1
J>
jo»jp e leggiero
1. Fan
-
1. While
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yet a boy, I
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told you how I
mo
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lovd you, A youth, I
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wor-shipp'd you like my Cre - a-
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mm
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16689
96
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mov'd you, Till I saw love be-tray'dand you the
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166S9
97
FANCIULLO APPENA, TI PARLAI D'AMORE.
Fanciullo appena, ti parlai d'amore,
Garzone, t'adorai come il buon Dio :
Tu per trastullo mi donavi il core,
£ giocando irridevi all'amor mio.
Domani appiè dell'ara al nuovo affetto
Darai promessa d'illibata fede :
Io coll'antico amor sepolto in petto,
Porrò domani in altra terra il piede.
"WHILE YET A BOY, I TOLD YOU HOW I LOV'D YOU."
i.
While yet a boy, I told you how I lov*d you,
A youth, I worshipp'd you like my Creator;
You led me on, as tho' my passion mov'd you,
Till I saw love betray'd, and you the traitor !
Kneeling before the altar, you, to-morrow,
Will give a promise of unstain'd devotion :
I, with a heart forlorn in secret sorrow,
Shall seek another home beyond the ocean.
16889
98
"Dammi un ricciolo dei capelli.,, ! "Give me only a curl, to wear it'.'
Abruzzi.
Allegro.
Transcription by
F. Paolo Tosti.
£
É
zm
1. Dam- miun
1. Give me
36u
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riccio
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lo dei ca
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on- ly a curl, to wear it, La gnic-che, la gnoc-che, la ca - ri - chi
I
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cò, Dani- miun rie - ciò _ lo dei ca - pel - li, La gnic-che, la
co, Give me on
-
ly a curl, to weal it, La gnic - che, la
= >
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gnoc-che, la ca
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gnoc - che, la ca - ri - chi
as
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cò! Co
- sì bion - di, co - sì
cò! Fair and full, you well can
16689
99
fo
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É j É
i
É
J J? 1>
^ÉÉ
bel - li. Vuoi sa - per che far - neio vo'? L'a - vròin
spare it; Why I "Want it, would you know? For a
B 8 i
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s
^ MM I'
1
J' J'
1 M
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luo - go di gio - jel -
li, La gnic-che, la gnoc-che, la ca- ri- chi-
jew- el I would bear it! La gnic-che, la gnoc-che, la ca- ri - chi
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would bear it! La gnic-che, -la
If
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gnoc-che, la ca- ri - chi
gnoc-che, la ca - ri - chi
n 7 ,h
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ah!
ah!
^^
166*9
100
"DAMMI UN RICCIOLO DEI CAPELLI.,,
|: Dammi un rìcciolo dei capelli!
La giucche, la gnocche, la carichicò ! :|
Così biondi, così belli.
Vuoi saper, che farne io vo'?
|: L'avrò in luogo di giojelli.
La gnicche, la gnocche, la carichicò !:|
2.
|:Di tua mano donami un fiore,
La gnicche, ecc. :|
Da serbarlo sopra il core.
Vuoi saper, che farne io vo'?
|:Un emblema dell'amore !
La gnicche, la gnocche, la carichicò ! :
|: Dammi il core, mio giovinetto,
La gnicche, ecc.:|
È gran tempo che l'aspetto.
Ma del cor che mai farò?
|:La mia immagine ci metto I
La gnicche, la gnocche, la carichicò ! :|
"GIVE ME ONLY A CURL, TO WEAR IT."
:Give me only a curl, to wear it,
La gnicche, la gnocche, la carichicò ! :|
Fair and full, you . well can spare it,
Why I want it, would you know?
: For a jewel I would bear it !
La gnicche, la gnocche, la carichicò ! :|
:From your hand let me have a flower,
La gnicche, etc. :|
On my heart I '11 keep the dower.
Why I want it, would you know?
: Of my love to show the power !
la gnicche, la gnocche, la carichicò 1 :|
| : Darling, give me your heart a minute,
La gnicche, etc.
:|
I have waited long to win it.
With your heart, what would I do?
J: I'd engrave my features in it!
La gnicche, la gnocche, la carichicò I :
16889
101
Antonia.
Naples.
Allegretto vivace.
li
< u
p
J
^^f
Transcription by
Vincenzo de Meglio.
k
E
S
s
T'aje fat
-
ta la gon
-
nel
The gown you wear is new,
2>
£
la^Anto-ni -
à,
T'aje
An -to -ni -
à,
the
B
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fe Fa -ie fat-ta col -la cre- fat
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ta la gon-nel
gown you wear is new,.
S
è
la^Anto-ni -
à, Te l'a -je fat-ta col -la ere
An-to-ni - a! Andwhenyou got it, it was on
W£ PP
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den - za, Quan
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ne sem - pe ce pien - ze! Sem-
cred - it, While you are walk-ing you can't for
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16689
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£
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la, An -to
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Vo-ta-te, Nen-na bei-la, vo-ta -te
Turn around,dain-ty darling,now turn a
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Give us a chance to see how well you are
t
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108
ANTONIA.
:T'aje fatta la gonnella, Antonia, :|
Te l'aje fatta colla credenza,
Quanno cammine sempe ce pienze !
Sempe ce pienze e bia
Naso de cane, bellezza mia !
|
: Antoniella, Antonia ! :|
Votate, Nenna bella, votate ccà,
Vedimmo sta gonnella corame te va 1
|:T'aje fatta pettenessa, Antonia,
:|
Te l'aje fatta colla credenza,
Quanno cammine, cammine i renza,
Cammine i renza e core,
Nennella mia, si tutta ammore.
|
: Antornella, Antonia ! :
|
Votate, Nenna bella, votate ccà,
Vedimmo a pettenessa comme te sta I
|:Taje fatta la scarpetta, Antonia, :|
Te l'aje fatta cianciosamente,
Quanno cammine nce tiene mente,
Vola, palomma, e vola !
Cara carella, si mariola.
|: Antornella, Antonia ! :|
Votate, Nenna bella, votate ccà,
Vedimme sta scarpetta si acconcia sta !
ANTONIA.
|:The gown you wear is new, Antonia, :|
And when you got it, it was on credit,
While you are walking you can't forget it !
'T will always be the case, too
;
Nose in the air and a pretty face, too !
|: Antoniella, Antonia !:|
Turn around, dainty darling, now turn around,
Give us a chance to see how well you are gowned !
2.
|:The comb you wear is new, Antonia. :|
You did n't pay for it, oh, you know it !
Now you walk sideways and try to show it !
And tho' you walk so funny,
Darling, your heart is as sweet as honey,
|:Antoniella, Antonia !:|
Turn around, dainty darling, now turn around,
Give us a chance to see the new comb you found !
|:The shoes you wear are new, Antonia, :|
Oh what a fine way you took to get them !
While you are walking, you can't forget them 1
Now fly away, ray dovey,
You are a naughty young thing, my lovey !
| : Antonietta, Antonia ! :
|
Turn around, dainty darling, now turn around,
Give us a chance to see your shoes on the ground 1
18R80
'Fenesta vascia.,, "The window low.
v
Andante mosso.
Naples.
(Calascionata.)
espressivo
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My heartgrowshot as an-y flam-ing can
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16689
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16689
106
"FENESTA VASCIA.,,
i.
Fenesta vascia e padrona crudele,
Quanta sospire m'aje fatto jettare !
M'arde sto core comm'a na cannela,
Bella a quanno te sento annomenare I
Oje piglia la sperienzia de la neve !
La neve è fredda e se fa maniare,
E tu corame sì tant'aspra e crudele?
Muorto mme vide e non mrae vuò ajutare?
Vorria arreventare no picciuotto
Co na lancella a ghire vennenno acqua,
Pe mme nne ì da chiste palazzuotte :
Belle femmene meje, a chi vò acqua?
Se vota na nennella da la'ncoppa:
Chi è sto ninno che va vennenno acqua?
E io responno co parole accorte :
So lagrime d'ammore, e non è acqua !
THE WINDOW LOW."
i.
The window low, the mistress none too kindly !
How many a sigh they 've made me heave between them !
My heart grows hot as any flaming candle
When lads will tell my charms and try to win them.
Ahi take the snow out yonder for a model:
The snow is cold, for love 'tis never grateful;
There 's one who 'd see me die, and never save me 1
How can a heart be always hard and hateful?
I wish I could become a handsome laddie,
And wander thro' the alleys selling water,
I 'd stand below the windows, calling loudly :
My lovely ladies, ah ! who
'11 have some water?
Perhaps the fairest maid would turn to scan me :
Who is this boy who wanders selling water?
And thereupon I'd give my answer shortly:
These are the tears of love —it is no water.
107
La Monacella. The Young- Nun.
Naples.
Song from Santa Lucia.
Andante.
Transcription by
Vincenzo de Meglio.
a piacere
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16689
108
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Non so brut - ta_e so _ fi
I'm a girl, and not .so
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16689
109
LA MONACELLA.
i.
Zi monacella !
Monaca addeventaje de quinece anne,
Non so brutta e so figliola,
Pecche vonno ca sto sola?
Nce penso e sudo !
Barbaro mio destin tiranno e crudo !
3.
Zi monacella !
Aje ca non pensa a mene cchiù nisciuno !
E tu, che tanto m'aje jurato,
Che mai m'avisse abbandonata,
Aje traditore !
Tu manco t'allecuorde l'antico amore I
THE YOUNG NUN.
Oh, I am lonely I
For I was fifteen only
When I became a nun.
I am a girl, and not so homely :
Am I here because I 'm comely ?
Have I offended?
Wherefore a life begun,
So sadly ended?
O, I am weary !
Life is too dull and dreary
When one is all alone.
Thou, who didst vow thy bride to make me,
That thou wouldst nevermore forsake me

Ah me, thou traitor !
Thou wilt not even own
Thy love, or regret her!
IMS»
"ìio")
Michelemma.
Allegro eon brio.
I
Naples.
Fishermen's Song
-
.
mm
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Transcription by
Vincenzo de Meglio.
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IE na - ta mmie-zo ma -re, mi-chelem -
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È na - ta mmie-zo ma -re, mi-chelem -
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na sca-ro - la!
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oje na sea- ro
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MICHELEMMA.
MICHELEMMA.
E nato mmiezo mare,
Michelemmà e michelemmà. .
E nato mmiezo mare,
Michelemmà e michelemmà,
Oje na scarola ! (Repeat.)
There grows beneath the ocean,
Michelemmà, eh I michelemmà !
There grows beneath the ocean,
Michelemmà, eh ! michelemmà t
Oho ! a lettuce ! (Repeat.)
Li Turche se nee vanno
A reposare.
2.
The Turks all wander thither,
To take a rest there.
Chi pe la cimma e chi
Pe lo streppone.
Some hold it by the head, oh 1
Some hold the stalk, oh 1
Viato a chi la vence
Co sta figliola.
He always will be happy,
Who wins this maiden.
Sta figliola ch'è figlia
Oje de Notare.
This girl, who is the daughter
Of yonder Notary.
E mpieto porta na
Stella diana.
And wears Diana's star, too,
Upon her bosom.
Pe fa mori l'amante
A duje a duje.
Her lovers all are dying,
Are dying pairwise !
16089
112
"Fenesta che lucivi e mò non luci.,, I "Thou window that hast shone."
Naples.
Andantino malinconico.
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faccia la so - rel-lae me lo di - ce:
now the sis-ter meets me,and she tells me,
Nen-nel-la to-jaè mortale sjsatter-
My love wasdeadandburied ere I'd
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16689
113
con passione
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She wept so long because her couch_ was
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16689
114
"FENESTA CHE LUCIVI E MO NON LUCI.»
i.
Fenesta che lucivi e mò non luci,
Sign'è ca Nenna mia stace ammalata.
S'affaccia la sorella e me lo dice :
Nennella toja è morta e s'è atterrata.
Chiagneva sempe ca dormeva sola, ah I
|: Mò dorme co li muorte accompagnata ! ;
3.
Va nella chiesa e scuopre lo tavuto,
Vide Nennella toja comm'è tornata.
Da chella vocca che n'asceano sciure,
Mo n'esceno li vierme, oh che piatate 1
Zi Parrocchiano mio, abbice cura, ah !
|:Na lampa sempe tienece allumata 1:|
"THOU WINDOW THAT HAST SHONE."
i.
Thou window that hast shone, and shin'st no longer,
Dost thou my Nenna's illness thus betoken?
But now the sister meets me, and she tells me,
My love was dead and buried ere I 'd spoken 1
She wept so long because her couch was lonely, ah I
|:And now she lies with many a one heartbroken. :|
3.
To church, and ope the tomb that hides my darling,
That in her shroud I may again behold her I
Oh ! from the lips whence flowers used to issue,
Now worms are crawling—ah ! how charms must moulder 1
Good Father mine, now have a care, I pray you,
|: And tend the lamp, that it may never smoulder. :|
iseaa
(
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Cicerenella.
Posilipo (Naples).
Tarantella of Posilipo.
Allegretto.
Transcription by
Vincenzo de Meglio.
41.
4
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P P E
1. Ci
-
ce
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nel
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la te
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gar-den with wine and with wa - ter, Ci
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well, tho' she had n't a
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16689
116
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well, tho' she had n't a pail, ah! This is the
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117
CICERENELLA. CICERENELLA.
:Cicerenella tenea no ciardino,
£ l'adacquava coll'acqua e lo vino,
:|
|:Ma l'adacquava pò senza lancetta...
Chisto ciardino è de Cicerenella. :|
Cicerenella mia sì bona e bella
'
|: Cicerenella, the gardener's daughter,
Spray'd her garden with wine and with water,
:|
| : Watered it well, tho' she hadn't a pail, ah!
This is the garden of Cicerenella !:|
Cicerenella, darling, my bonny belle, ah
: Cicerenella teneva nà gatta
Ch'era cecata e purzì sc.ontrafatta,.|
|:La s trasceneva co mmeza codella...
Chesta è la gatta de Cicerenella. :|
Cicerenella, ecc.
|: Cicerenella, because she'd a mind to,
Kept a pussycat crooked and blind, too, :|
|:And she would drag it around by the tail, ah!
This is the pussy of Cicerenella
!:|
Cicerenella, darling, etc.
|
: Cicerenella teneva no gallo,
Tutta la notte nce jeva a ccavallo, :
|:Essa nce jeva pò senza la sella...
Chisto è lo gallo de Cicerenella. :|
Cicerenella, ecc.
|: Cicerenella, she had an old rooster,
AH night long on his back he would boost her,:|
|: Bareback she rode him, and rode him right well, ah !
This is the rooster of Cicerenella !:|
Cicerenella, darling, etc.
: Cicerenella tenea na gallina
Che facea l'uovo de sera e marina,
:|
|:L'avea raparata a magna farenella...
Chesta gallina è de Cicerenella. :|
Cicerenella, ecc.
|: Cicerenella, she had an old hen, too,
Laid at night and at morning again, too,:)
|:And she had taught her to feed on cornmeal, ah !
This is the biddy of Cicerenella !:|
Cicerenella, darling, etc.
: Cicerenella teneva na votta,
Mettea da ncoppa e asceva da sotta,:
|:E non ce steva tompagno e cannella.
Chesta è la votta de Cicerenella. :|
Cicerenella, ecc.
| : Cicerenella her barrel was filling
From the top while the bottom was spilling,
.-
|: Never a head or a stave to the shell, ah !
This is the barrel of Cicerenella !:|
Cicerenella, darling, etc.
I «689
La Luisella.
Luisella.
-Naples.
Allegretto.
Transcription by
Vincenzo de Meglio.
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Nce sta na giar
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There is a gard -'ner's daugh
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Se chiamma Lu
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Her name is Lu
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Mme venera nco - je
And she's a tease, I
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Nce te
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Her gar - den's full of rose-mary, No flow'r of sweet -er sa-vor.Lu-vi-
1WJ89
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LA LUISELLA. LUISELLA.
Nee sta na giardenera,
Se chiamala Luisella,
Da ncopp'a l'Arenella
Mme vene a ncojetà.
Nce tene no giardino
Chin'i rosa marina...
|: Luvisè, sera e matina
Non me veni a 'pprettà. :|
There is a gard'ner's daughter,
Her name is Luisella,
From up the Arenella,
And she 's a tease, I know !
Her garden 's full of rosemary,
No flow'r of sweeter savor :
|: Luvisè, why can you never
Meet me, but you plague me so?:
Pe chrllo vecenato
Non c'è n'auta nennella
Comm'essa acconcia e bella
Da farte nnammurà.
Fa Puocchie a zennariello
Si fa la marranchina...
|:Luvisè, sera e matina
Non me veni a 'pprettà.:)
2.
Among the neighbors' daughters
There is not one to match her,
If I could only catch her,
I should be glad, I vow !
And when she feels like flirting,
She
'11
wink her eye so clever :
.-Luvisè, why can you never
Meet me, but you plague me so?.-
Lo naso è profilato,
La vocca è n'arciulillo,
Lo musso è russulillo,
Na razia è lu parla.
Doje schiocche janche e rosse
Sta 'nchella faccia fina...
|:Luvisè, sera e matina
Non me veni a 'pprettà. :|
Her nose is quite bewitching,
Over a mouth t' entice you,
Her coral lips rejoice you,
Whispering sweet and low,
And on her cheeks red roses
With white contend for favor :
: Luvisè, why can you never
Meet me, but you plague me so?:|
Na capuzzella tonna,
Captile a filo d'ore,
Che 'nce le 'ntrezza Ammore
Pe farla ciancia.
E co chill'uocchie pare
Na stella matutina...
|: Luvisè, sera e matina
Non me veni a 'pprettà. :|
Her head is neatly rounded
Golden her hair, and braided
By Cupid, who persuaded
Her to her follies, too !
No morning star will ever
Shine brighter than her eyes do :
| : Luvisè, why can you never
Meet me, but you plague me so?:
Luvisè, si me te sposo,
T'accatto li sciuqquaglie
;
Lazziette a trenta maglie
Te voglio fa piglia:
Te piglio no corpetto,
Purzi na manteglina...
|: Luvisè, sera e matina
Non me veni a 'pprettà. :|
I
'11 give you, if you ever
Marry me, Luisella,
Fine earrings, so I tell you !
Rings, and a necklace too.
I
'11
buy you a mantilla,
And love you, dear, for ever:
|: Luvisè, why can you never
Meet me, but you plague me so?:
16089
121
La vera Sorrentina.
Moderato.
The Real Maid of Sorrento.
Naples.
Transcription by
Vincenzo de Meglio.
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16089
128
LA VERA SORRENTINA. THE REAL MAID OF SORRENTO.
La vedette a Piedigrotta,
Tutt'a ffesta era parata,
Pe guarda la truppa n'frotta,
Da la mamma accompagnata.
Na giacchetta aggattonata,
Na pettiglia ricamata,
Na gonnella cremmesina,
E duje uocchie da ncantà..
E la bella Sorrentina
La sentette annommenà.
When we met at Piedigrotta,
All her fin'ry she was wearing,
To the army on parade there
With her mother she was faring
In a golden-braided jacket,
An embroider'd waist to match it
;
Brighter eyes l 've never seen, ah !
And of crimson was her gown :
And the lovely Sorrentina
She was called in all the town.
a.
Da chell'ora nn'aggio pace,
Stongo sempe a sosperare
;
Cchiù la rezza non me piace,
Cchiù no ntenno lo ppescare :
Co la misera varchetta
A Sorriento nfretta nfretta
Ogne sera, ogne mmatina
Vaco lagreme a jettà...
Ma la sgrata Sorrentina
Non ha maje da me pietà.
Since that hour my peace is banish'd,
I am always sadly sighing,
All my love for fishing's vanish'd,
Idle too my nets are lying.
In my lonesome boat returning
Ev'ry evening, ev'ry morning
I am hasting to my queen, ah !
Many a tear I there let fall :
But th' ungrateful Sorrentina
Never pities me at all I
Mme spaventa la tempesta,
Mme fa afflitto la bonaccia,
Chisto core è sulo nfesta
Quanno vede chella faccia.
L'auto juorno, io sbenturato,
Ca lo mare era ngrossato,
Mmiezo all'acque de Resina
Quase stea pe mm'annjà...
E la sgrata Sorrentina
Non ha maje de me pietà.
I am fearful when 'tis stormy,
When 'tis calm I'm sad and sadder,
Only with her face before me
Does my heavy heart leap gladder.
Not long since, there came a billow

I was sailing, wretched fellow,
In the bay there by Resina

Nearly drown'd me in a squall :
But th' ungrateful Sorrentina
Never pities me at all !
Si non cura cheste pene,
Quanto cana, tanto bella,
Voto strada, e do lo bbene
A quacc'aUta nennella.
Ma chedè?...vi che s bentura I
I^ampa, e l'aria se fa scura.
Aggio spersa la banchina...
La varchetta è p'affonnà...
Pe tte, sgrata Sorrentina,
Io me vaco ad affucà !
If she will not hear me kindly,
She, who 's cruel as she 's pretty,
I'll forsake her, and I'll find me
Other love, another city !
Ah ! how dreadful ! Hear the thunder,
See the lightning flashing yonder!
Lost in darkness unforeseen, ah !
Now my boat is sinking down !
You ungrateful Sorrentina,
'Tis for you I have to drown !
186*11
124
Santa Lucia.
Naples.
Barcarole.
tei
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My bark shall fleet -ly glide - ver the
16689
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16689
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SANTA LUCIA.
:Sul mare luccica
L'astro argento,
Placida è l'onda,
Prospero è il vento,:
|: Venite all'agile
Barchetta mia !...
Santa Lucia 1
Santa Lucia ! :|
:0 dolce Napoli,
O suol beato,
Ove sorridere
Volle il creato,
:|
|:Tu sei l'impero
Del armonia !...
Santa Lucia 1
Santa Lucia I :|
:Con questo zeffiro
Così soave,
Ohi com'è bello
Star su la nave I :|
|:Su passagierì,
Venite via!...
Santa Lucia 1
Santa Lucia hi
:Or che tardate?
Bella è la sera,
Spira un auretta
Fresca e leggera,:
|: Venite all'agile
Barchetta mia 1...
Santa Lucia 1
Santa Lucia !.-t
SANTA LUCIA.
i.
|: Brightly the silver star
Shines o'er the ocean,
Fair winds woo billows
Calmly in motion, : :|
|:My bark shall fleetly glide
Over the sea, ah !
Santa Lucia !
Santa Lucia hi
|: Oh charmful Napoli !
Oh happy nation,
Smiling fair welcome
From thy creation ! :|
|
: Thou realm of harmony,
All hail to thee, ah 1
Santa Lucia t
Santa Lucia ! :|
| : Borne on by willing airs
So smoothly floating,
Oh, what a joy when
Yonder we're boating !:|
|:Ho, friends I now all aboard I
Come sail with me, ah !
Santa Lucia t
Santa Lucia ! :|
|:Why are ye waiting now?
Eve glows in splendor,
Light airs invite ye.
Cooling and tender ::|
| : Here in my bonny bark
Come all with me, ah !
Santa Lucia !
Santa Lucia !:|
1M89
La Carolina.
127
Caroline.
English version by
Maria X. Hayes.
Naples.
Transcription by
Vincenzo de Meglio.
45
Allegretti
126
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16689
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LA CAROLINA- CAROLINE.
Aggio visto na figliola,
Bell'assaje e graziosa,
Tntt'acconcia e vrucculosa,
Uh I che zuccaro che d'è !
|:Quant'è doce chella vocca,
Quant'è bello chillo riso !
Tu te cride mparadiso
Quanno sta vicino a te. :|
I have seen a maiden slender,
Graceful, pretty, young, and sprightly,-
With her dark eyes beaming brightly,
Sweet as sugar, too, is she !
:My poor heart I must surrender,
She enchants me when she 's smiling,
And her glance is so beguiling,
Tis like Paradise to me.:|
Qnann'a sera stonco sulo,
Penso sempe a Carolina;
Vene nsuonno a mme vicino,
M'accarezze e se ne va,
|:Quanno

se schiara juorno,
Chella varca menco a mare,
Voca vo...che buò vocare,
N'aggio forza de vocà.:|
2.
In the night, alone and weary,
Thoughts of Caroline come o'er me,
And in sleep she stands before me
With a soft, caressing air:
| : When the dawn is faintly glowing,
In my bark I 'm sadly rowing,
But so feeble I am growing,
l 've no strength, I do declare ! :|
Caroli quanto n bella
Co sto musso a cerasiello I
Ch'aggio fatto io puverieub
Che mme faje tanto paté?
)t Dice buono Tata mio,
Oh ! che guajo che è l'ammore 1
Tu te vide ntutte l'ore,
Mpilo, mpilo ajemè spere. :|
Caroline, she is so pretty,
And her voice, it does so please me;
Then why should she always tease me,
Causing my poor heart such pain?
|: Father tells me —more 's the pity !

While you love, you
'11
be in trouble 1
At her sight my woes redouble,
For I feel my hopes are vain.:|
Tu te cride ca non pozzo?
Io non songo no falluto;
No, vestito de velluto'
Te lo faccio mmeretà.
|: Quanno pò
jamm'a Puzzano,
Chi te dice: quant'è bella!
Chi: mme pare na rateila
Mieze a tutte chelle lla.:|
Do you think I am not able?
Never mind, I shall not fail yet,
I can buy a dress of velvet
Any time that you may care:
| : When we travel to Puzzano,
Some will say, She 's like a fairy I
And the others, She is very
Sweet beside those women there I :|
5-
Aggio perzo a pace ntunno,
Chiù non beco, chiù non sento;
Faccio sempe nu lamiento;
Ah chi sa si pensa a me?
|: Si speranza chiù non aggio,
Ca tu bene mme vurraje,
Viene a mare e truvarraje
Nu cadavere pe tte l:|
All my peace of mind has left me,
Nothing now can give me pleasure;
I am mourning for my treasure;
Does she ever think of me?
|
: Since of hope you have bereft me,
There is naught in life to bind me,
And some morning yon will find me
Floating dead upon the sea.:|
1648»
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La Fiera de Mast'Andrea. The Fair of Mast'Andrea.
Naples.
C Tarantella.;
Allegretto brioso.
Transcription by
Vincenzo de Meglio.
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con abbandono e rail-
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16689
136
Trìppole Trappole.
Song of Spanish origin (Naples).
(For one or two voices.)
Allegretto.
##£#
Transcription by
Vincenzo de Meglio.
I
^
i
U
-
na pa - lorn - ma ghian-
But - ter- fly white would light
_
-ca
here,
47./
m
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it
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p
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m'ha muz - ze
-
ca - to 'mpiet
-
- ver my heart would bite
-to-, ahi che do
-
lo
- re
here: Ah! what a pain 'twas!
-
M—_
1
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d
:
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&
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4
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f
p
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ne, mamma mi - a! ahi che do - lo - re ne, ahi che
nay, Mamma dar - ling! Ah! what a pain 'twas! nay! Ah,what a pain 'twas!
é*
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ahi che do -lo -
re ne, mam-ma mi - a! ahi che do-lo-
ah, what a pain 'twas! nay, Mam-ma dar - ling! Ah! what a pain
.
-re
'twas!
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s
ne!
nay!
Trip-po
-
le, trap-po-le, trip -

- le, trap -pò- le,
Trip -pò
-
le, trap-po-le, trip
-
pò -le, trap- pò
- le,
i
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trip-po
- le, trap -pò- le, trip - pò -le, tra!
trip-po- le, trap-po-le, trip - pò -le, tra!
ahi che do
- lo - re
Ah! what a pain 'twas!
j*\ piyf
p
i"p
)
^O^j
2EEÈ
-re né
ne! mam-ma mi - a! ahi che do - lo
-
nay, Mam-ma dar
- ling! ah! what a pain 'twas, nay!
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16689
188
TRIPPOLE TRAPPOLE.
i.
Una palomma ghianca m'ha muzzecato 'mpietto
;
Ahi che dolore né, mamma mia 1 ahi che dolore né !
Trìppole, trappole, trippole, trappole,
Trippole, trappole, trìppole, tra !
Se u core m'ha pigliato, lo sujo me l'ha prommiso;
Oje che prejezza, oje mamma mia ! oje che prejezza né !
Trìppole, trappole, ecc.
TRIPPOLE TRAPPOLE.
Butterfly white would light here,
Over my heart would bite, here :
Ah! what a pain 'twas! nay, Mamma darling!
Ah ! what a pain
'
t was ! nay I
Trippole, trappole, trippole, trappole,
Trippole, trappole, trippole, tra !
Now I have taken thy heart,
And I will give thee my heart:
Ah I 't will be joyful, eh, Mamma darling I
Ah! 'twill be joyful, eh?
Trippole, trappole, etc.
ìeeae
139
Ritornello delle Lavandare del Vomero .
Refrain of the Washerwomen of Vomero.
Naples.
Transcription by
V.de Meglio.
É
Moderato.
espress, quasi a piacere
i t
g
i r p
b
^^
Tu m'aje prom-mi - se quat -
You prom
-
is'd me four ker -
to
chiefs,
j)
I
j
j)
nn
^ B
EsE=È
i
r P
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muc
- ca
-
to
yes, four ker-
-
ra: oje muc
- ca
-
to - ra! oje
chiefs, yes, four ker- - chiefs!
m
^
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s
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j
É
J
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muc
- ca - to - ra!
yes, four ker- -chiefs!
r p r
>p
p^
io so be - nu
- to
And I have come to
m
^:
W
se,_
see,.
T-
10
and
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16689
140
|É r p
r?
p P
so be
-
nu
-
to
I have come to
se mme le vuò da
-
see if they are read
-
re,
-
y!
S
mme
if
I
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p i
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le vuò da
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they are read
re,
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mme le vuò da
-
if they are read
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mme
if
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mme le vuò da
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if they are read
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16689
141
RITORNELLO DELLE LAVANDARE DEL VOMERO.
Tu m'aje prommise quatto muccatora:
Oje muccatora 1 oje muccatora !
Io so benuto se...
Io so benuto se mme le vuò dare,
Mme le vuò dare, mme le vuò dare 1
E se no quatto, embè dammene doje,
Chillo ch'è 'ncuouo a te n'è robba toja.
REFRAIN OF THE WASHERWOMEN OF VOMERO.
You promised me four kerchieft, yes, four kerchiefs,
O yes, four kerchieft I O yes, four kerchieft,
And I have come to see

And I have come to see if they are ready,
If they are ready, if they are ready !
9.
And if there are not four, why, give me two, then :
The one is not your own that you are wearing.
ìoea»
142
Canzone d'i Zampognari .
I Song of the Bag-pipers.
Naples.
For one or two voices.
Allegretto moderate
É
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m
i
r
p
p htii'\f p^fflij^
49.
,
0m
p
1. Quan
- no na-scet-te Nin
-
noa Bet- te
-
lem
- - me, E-
l.When Christ our Lord was born at Beth- le -hem a - far, Al'
^m ppw
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ra not
- tee pa - re
-
tho' 'twas night, there shone
.
tf
j
j>
j
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a mmie
-
zo juor - no! Ma-je le
as_ bright as noon a star; Nev-er so
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stel - le Lu-ste-ree bel - le Se_ ve
-
det
-
te-ro^ac-cus -
sì! La
bright-ly, Nev-er so white - ly Shone the stars, as on that night! The
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bright-est star went A
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way to call the Wise Men from the
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16689
143
M
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3EÉ
144
CANZONE DT ZAMPOGNARI.
i.
Quanno nascette Ninno a Bettelemme,
Eia notte e pana mmiezo juorno !
Maje le stelle
Lustere e belle
Se vedettero accasai I
La chiù lucente
Jette a chiammà li Magi, in Oriente.
No n'ceiano nemice ppe la terra,
La pecora pascea co lo lione.
Co le «aperte
Se vedette
Lo liopardo pazzia:
L'orzo e o Vitiello,
E co la lupo 'npace a pecoriello.
Guardavano le pecore li pastore;
E l'angelo, sbrennente chiù de hi sole,
Comparette,
E le dicette:
Nò ve spaventate, nò!
Contento e riso:
La terra è arrenventata Paradiso I
SONG OF THE BAGPIPERS.
When Christ oar Lord was born at Bethlehem afar,
Altho' 'twas night, there shone as bright as noon
a star:
Never so brightly,
Never so whitely
Shone the stars, as on that night 1
The brightest star went
Away to call the Wise Men from the Orient
There were no foes on Earth, or warfare blazing,
Beside the lion then the sheep was grazing,
Safe by the leopard
WanderM the shepherd,
With the bear the calf did play,
The wolf so savage
Would not the tender lamb molest or ravage.
While shepherds in the fields their flocks were tending,
A shining angel came from heav'n descending;
When he beheld them,
Straightway he told them:
Hear my voice, be not afraid!
Be glad, rejoice, now,
For Earth has all become like Paradise, now !
1M8»
145
La Festa di Piedigrotta. I The Festival at Piedigrotta.
Naples.
Song- of Nocera de' Pagani.
Allegretto espressivo.
&
Transcription by
V. de Meglio.
P P
P r~p
i
r p
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i
SE
É
St'anno pórz'io vo
- gl'i a la Ma-ron-naj Pie- di-
i'il go a
-
long this year to see our La-dyofPie -di-
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;rot^ ta, grot
-
-
ta, E tan
-
to_aggio_a pre
-
ga gnopa ca mme nce_avea man-
grot
- ta, For I shall tease Pa
- pa so long, he'll have to let me
jk m.
j
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na-,
go,
Nee van
-
no Concet-tel-la,Can-ne-tel-laePorziun- chel - la,
And there'll be Con-ce- tei -la, Can-ne-tei -la, Porziun- chel - la,
J
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16689
146
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N'zomma nee va chi mò, chi pò, e non se di - ce no
; E
That is to say, who can, will go, and one can -not say no! And
5E
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stent.
s
schit - tojia da toe - ca - rea Bar -
ba
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la, po
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shall it then be on - ly I, poor lone - ly Bar- ba
-
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be
fa - re spu - taz - zel-lae sto go - lio de s'an-noz
-
za?
have to stay at home, al-tho' I'd dear-ly love to go?
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w-
col canto
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13689
147
LA FESTA DI PIEDIGROTTA.
i.
Sfanno porz'io vogl'ì a la Maronna i Piedigrotta,
E tanto aggio a prega gnopà ca rame nce ave à manna;
Nce vanno Concettella, Cannetella, Porziuncbella,
N'zomma nce va chi mò, chi
pò,
e non se* dice nò
;
E schitto ha da toccare a Barbarella, poverella,
De fare sputazzella e sto golìo de s'annozzà?
"
Ma tu nun ce può ì —se mette a dì

si peccerella
;
La strad'è longa, sa, te può fida de te la fà?„
Io mme la fid'ì fa, schitt'a balla la tarantella,
Co castagnelle e bà, trecc'a balla, la lera là !
Donca dimme de sì, non fa sperire a Barbarella,
Goli'o de zetella è peo de graveda porzì.
THE FESTIVAL AT PIEDIGROTTA.
i.
I
'11
go along this year to see Our Lady of Piedigrotta,
For I shall tease Papa until he'll have to let me go,
And there
'11
be Concettella, Cannetella, Porziuncbella,
That is to say, who can, will go, and one can not say no t
And shall it then be only I, poor lonely Barbarella,
Who'll have to stay at home, altho' I'd dearly love to go?
But he will say :
"
She cannot go> she 's yet too young, I tell her
;
The way is long, she is not strong, —she '11
do as she is told !
"
But I am strong enough to go and dance the tarantella,
Clicking the castanets, away we fly, and let him scold !
So now say yes, and do not make me cry, poor Barbarella !
Ah ! what a young girl wants, she wants far more than one that 's old !
1M89
148
"A Ischia no nee so tanta ventag
,
lie.„l"In Ischia there are not so many fans."
Ischia (Naples).
For one or two voices.
Allegretto.
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1. In I - schia there are not so man
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"A ISCHIA NON NCE SO TANTA VENTAGLIE.»
i.
A Ischia non nce so tanta ventaglie,
Né fravole a Marano...
Nfrunchete, nfronchete, nfrunchete, nfra.
Né fravole a Marano e ceraselle;
Non passano pe Crape tanta quaglie,
Né veneno da Massa...
Nfrunchete, ecc.
Né veneno da Massa oje recotelle;
3-
A mare non ce so tanta fragaglie,
De quante ne frezzie...
Nfrunchete, ecc.
De quante ne frezzie co st'uocchie belle.
"IN ISCHIA THERE ARE NOT SO MANY FANS."
i.
In Ischia there are not so many fans, love,
Or strawb'ries in Marano,
Nfrunchete, nfrunchete, nfrunchete, nfrà,
Or strawb'ries in Marano, or so many cherries;
And not so many quail fly over Capri,
Nor can you find in Massa,
Nfrunchete, etc,
Nor can you find in Massa so many cheeses,
3-
Nor are there in the sea so many minnows
As in your eyes are arrows,
Nfrunchete, etc,
As in your eyes are arrows, love, for your lovers I
1S»W8
150
La Capuana. I The Girl from Capua.
Capua (Naples).
For one or two voices.
Larghetto
hiv
j.
; ppfe
t
1. No juor
-
no jen -
no> spas
1- One day I went a - walk
so
ing
52.
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Down by the strand-
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in- to the sand.
na!
there.
16689
151
LA CAPUANA.
No juorno jenno a spasso
Oje, pe lo mare :
Sto core rome cadette
Int'a l'arena 1
Io so benuto, pe
Te lo cercare,
Io senza core, e tu..
Duje ne tiene!
Addimmannaje a cierte
Marenare :
Dicen, che l'hanno visto
Oje rapiett'a tene !
E quann'è chesto, embè,
Sa, che può fare?
Lo tujo mme daje e
Lu mio tiene !
THE GIRL FROM CAPUA.
One day I went a-walking
Down by the strand there,
When all at once my heart fell
Into the sand there.
Now I have come to find it,
Ask it of you, love,
I am without a heart now,
And you have two, love.
2.
I asked the fishermen near me
Whether they'd seen it;
Look in her breast, they told me,
There we have seen it.
But as 'tis so, I
'11
teU you
What you can do, love,
If you will give me your heart,
Keep mine for you, love.
1M8B
162
Canzone di Somma. !
Song
-
from Somma.
Somma (Naples).
Transcription by
V. de Meglio.
Allegrò moderato.
a
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ih
1
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Ai - za - je l'uoc -
chie 'ncie - lo, vid-
When I was gaz -
ing sky - ward, I
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A la ca
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And then, on look -ing down, Two
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stars I — saw, my
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love! Now, my dar - ling, your moth-erk a
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16689
153
dolce
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sta, Scinne, nen
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way! So come down, I have some-thing to say!.
scm-ne,
so come
più mosso
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scin-ne, ca fag-gi'a par - là!
down, 1 have some-thing to say!
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lttt>89
154
CANZONE DI SOMMA.
:Aizaje l'uocchie 'ncielo, viddi na stella
;
^ 1
A la calata ne vedette doje :
Vi ca mammeta mo non ce sta,
Scinne, nenna, ca faggi' a parla!
Scinne, scinne, ca t'aggi' a parla 1
:Mraiezo sta strada nce doje sorelle, :|
Co tutte doje vurria fa all'ammore.
Vi ca mammeta, ecc.
:Me n'avesse lo cielo destinata :|
Una pe sposa, l'auta pe carnata t
Vi ca mammeta, ecc.
SONG FROM SOMMA.
i.
= When I was gazing skyward,
I saw one star above,:
I
And then, on looking down,
Two stars I saw, my love!
Now, my darling, your mother's away,
hSo come down, I have something to say. =1
I
: There are two sisters living
Together on the street,:
I
And I could fall in love,
Whichever I may meet !
Now, my darling, etc.
I Had only Heaven will'd it
That one should be my wife,:|
I'd love the other like
My sister all my life !
Now, my darling, etc.
16689
155
La Calavresella. The Calabrian Maiden.
Calabria.
Allegretto,
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la — 1. Se
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1. 1 met hsr at eve - ning,
Ca-lavre-sel
My Ca - la-bri-an maid
54.
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Slow-ly, how slow - ly she came frome the wa
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slow - ly she came from the
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Said fair!
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16689
156
LA CALAVRESELLA.
Sen la viddi, la Calavresella,
hChiano, chiamilo da l'acqua veniva-'
Calavresella acconcia e bella,
Calavresella, Calavrese!
Ed io le di*»: "Addio, Calavresella!
l-'Na veppeta de «t'acqua nome darri»!,,:
Calavresella, ecc.
Ed essa mme respunne, garbata e bella:
|:"Non salo l'acqua, la persona mial„:|
Calavresella, ecc.
THE CALABRIAN MAIDEN.
3.
I met her at evening, my Calabrian maiden,
|:Slowly, bow slowly she came from the water, =1
Slender and fair, with water laden,
Laden with water, slender and fair !
Said I :
"
Good evening, O Calabrian maiden 1
hi should be glad of a taste of your water!":
Slender and fair, etc
And she responded, that beautiful maiden :
|:"Take it, and welcome, and also myself, sir!":
Slender and fair, etc
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La Scillitana.
Allegro e sempre appassionato.(J = i*o)
I
The Maiden of Scilla.
Scilla (Calabria).
Arr.by H.Reimann.
55.
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i. I've seen a ti
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roaming the gloomy for-est, the gloom-y for - - est,
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I66K9
158
LA SCILLITANA.
Vitti na tigra dinta na silva scura, Vitti cu l'acqua na marmura dura
E cu lu chiantu miu mansueta fari ! . Calunnu a guccia a guccia arimudari !
3-
E vui che siti bedda criatura,
Vi ni riditi destu chiantu amari?
THE MAIDEN OF SCILLA.
l 've seen a tiger roaming the gloomy forest, I Ve seen how dropping water has fall'n with no rest,
And there I needed only my tears to tame it Long on the hardest marble, and overcame it.
3-
Yet you deride my sorrow when 'tis sorest,
Tho' 't is your charms my heart owns, and so inflame it 1
166N
159
La Catanzarese. The Maid of Catanzaro.
Catanzaro (Calabria).
Andantino.
P
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w
do
can
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tor
t'ha
ment. you,
Se.
If_
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to kill
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16689
160
LA CATANZARESE.
Crudeli dì che peccato a doler t'hai,
Se d'uccider chi t'ama non ti penti?
Come tratti il nemico, se tu dai
A me che t'amo sì tanti tormenti?
Se il mancar di tua fé si leggier fai,
Di che altro peso il cor gravar ti senti?
Ben dirò che justizia in ciel non sia
Se a veder tardi la vendetta mia.
THE MAID OF CATANZARO.
O cruel maid 1 what sin ever can torment you,
If to kill me, your love, may not repent you?
How will you treat a foe, then, if you so slight me,
When thro' my loving heart you pain and spite me?
If you the faith you plighted can break so lightly, I
'11
say, there lives no justice in heav'n above me,
What else may bind your wanton heart more Should vengeance fail me, that no more you love me.
tightly?
16689
?
161
Canzuna di li Carriterù
l
Song" of the Wag-oners.
Palermo (Sicily).
Largo^non troppo.
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1. Iu par-tu^e su' cu - strit
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1. Now 'tis the hour to part,_
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can I stay it, Dear love, I leave.
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1H689
162
16689
168
CANZUNA DI LI CARRITERL
i.
Iu paitu e su' custrìttu di partili,
hCiatu, ti lassù stu cori Gustanti, :|
Tornella, toi, nai, nai, nà, ecc.
Di nottitempu ti vegnu a vidiri,
|: Ti staju comu un'ùmmira davanti;
!
l
3.
A ria lu lassù e non mi l'ha' tradiri,
|: Nun fari ca lu fidi a n'autru amanti.
:
l
Si senti ventu, su' li me' suspiri,
\- L'acqua ca vivimi su' li me' chianti !'
SONG OF THE WAGONERS.
Now 'tis the hour to part, nor can I stay it,
:Dear love, I leave thee a heart never-changing. =1
Tornella, toi, nai, nai, nà, etc.
When all is night around, I shall be nigh thee,
|:As 'twere a shadow arising before thee;;|
I leave it all to thee, do not betray it,
|:Nor let thine own heart to others be ranging.
If thou dost hear the breezes, 't is my sighing,
|: My tears, the water to drink thou dost pour thee.
IMS»
164
Alla Fontana.
Lento.
a piacere
P
By the Spring:.
Palermo (Sicily).
Melody with Chorus.
P
1. Mam- ma, nun mi
1. Mam- ma, pray, do.
Tenors
.
man- na - ri^al- l'ac-qua su- - -la, Pic
-
not send me to the spring a - lone,__For
ciot-ta su-gnue mi men-tuji ghiu-ca - ri. Pri stra-ta mi ca
I am young, and may be- gin to
pla
y
there; To - day by chance I
1&689
165
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lost the ker- chief I had on,.
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A fine young fel - low found _ it
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16689
166
ALLA FONTANA.
Mamma, nun mi mannari all'acqua sula,
Picciotta sugnu e mi mentu a ghiucari;
Prì strata mi cascò la tuvagghiula,
E un picciutteddu mi l'happi a pigghiari.
Toinella, toinà, toinella, toinà !
2.
E poi mi dissi, ch'è bedda sta gula,
Ca un vasuneddu ci vurrissi dati,
E sì ti'ngagghiu 'n'autra vota sula
Tutti li santi ti fazzu chiamari.
BY THE SPRING.
i.
Mamma, pray do not send me to the spring alone,
For I am young, and may begin to play there;
To-day by chance I lost the kerchief I had on,
A fine young fellow found it on the way there.
Toinella, toinà, toinella, toinà !
3.
And then he said to me: "Your neck is very sweet,
And I should like to kiss it, tho' no leave be given;
But if another time alone we chance to meet,
I
'11
make you call on all the saints in heaven !
"
1668»
Lu Labbru
Sicilian words by
Abbé G. Meli.
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care, or you will mois-ten Un
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I iÉJ É
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lets ten-der.
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18689
169
LU LABBRU. THE LIPS.
Dimmi dimmi, apuzza nica,
Unni vai cussi raatinu?
hNun ce' è cima chi arrussica
Di lu munti a nui vicinu. :|
Trema ancora, ancora luci
La rugiada 'ntra li prati
;
):Dun'accura nun ti amici
L'ali d'ora dilicati. =1
Tell me, tiny bee, O tell me,
Whither now so early hieing?
I
: There's no mountain-top around us
Yet in golden sunshine lying ;:|
Still the waving meadows glisten
All around in pearly splendor:
I
: Have a care, or you will moisten
Unawares your winglets tender. s|
2.
Li ciuriddi durmigghiusi
'Ntra li virdi soi buttuni
hStannu ancora stri t ti e chiusi
Cu li testi a pinniluni.
:
i
Ma l'aluzza s'affaticai
Ma tu voli e fai caminu!
|: Dimmi dimmi, apuzza nica,
Unni vai cussi matinu?=l
Ev'rywhere the sleepy flowers
On their stems are nodding lightly,
: Dreaming thro' the early hours
With green buds all folded tightly. I
But the wings bid fair to fail yel
Yet still on and on you're flying:
Tell me, tiny bee, O tell me,
Whither now so early hieing? :|
Cerchi meli? E s'iddu è chissu,
Chiudi l'ali e 'un ti straccali;
h Ti lu 'nsignu un locu fissu,
Unni hai sempri chi sucari::|
Lu conusci lu miu amuri
Nici mia di l'occhi beddi?
i:'Ntra ddi labbra cc'è un sapuri,
'Na ducizza chi mai speddi. =1
Seek you honey? If such the case is,
Fold your wings, no longer tire them,
: For I 'U show you where a place is
Stor'd with sweets as you desire them hi
Do you know my darling Nici,
Bright of eye and fair in favor?
:
Tis between her lips I'll teach ye
Where to find the sweetest flavor. =i
'Ntra la labbra culuritu
Di lu cara amatu beni
I
:
Cc'è lu meli cchiù squisitu..
Suca, sucalu ca veni. :|
Dda cci misi lu Piacili
Lu so nidu 'ncilippatu,
h Pri adiscari, pri rapiri
Ogni cori dilicatu, :|
Honey lies 'twixt lips like roses
Of my own, my only treasure,
I
:
Sweeter than on all your posies;
Suck it, suck it at your pleasure 1=1
Joy
herself has made her nest there,
Nest of sugar most enticing:
I
: Tender heart that wins its quest there,
On its way, shall go rejoicing. :|
16686
Canto del carcerato.
!
Song" of the Prisoner.
Palermo (Sicily).
60.,
Lento
a piacere
1. A- mi - ci^a - mi- ci
,
chi'n.
1. Ah friends and comrades all,.
ler - mu
forth are
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ta - ti,
bear- ing
;
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Mi sa - lu
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A greet -ing give to all.
fra - ti^e l'a
-
my friends,
my
I
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a tempo
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16689
mi - ci, Pu - ru dda vicchia - red
broth- er, A ten- der greeting, too,
- da di me ma - tri
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for my old moth-er,.
a tempo
PPP e ri-t.
P-
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Ah! di me ma
-
for my old moth-
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a tempo
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16689
172
CANTO DEL CARCERATO.
Amici, amici, chi'n Palermu jiti,
Mi salutati dda bedda citati,
Mi salatati li frati e l'amici,
Punì dda vicchiaredda di me matri.
Spjàtini di mia chi si ni dici,
Si li me' cosi sutura editati;
Giacchi, si voli Din, conni si dici,
Di novu ci haju a ghiri a Ubatati.
SONG OF THE PRISONER.
Ah, friends and comrades all, who forth are faring,
My love to fair Palermo ye are bearing;
A greeting give to all my friends, my brother,
A tender greeting, too, for my old mother.
3.
See what in town they all of me are saying,
And see if my aftair is growing quiet
;
For then, if God so will as I am praying,
My longing eye in freedom soon shall spy it
173
Serenata. Serenade»
Palermo (Sicily).
to
Lento.
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1. There is a
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He is a -broad by
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16689
174
1
Up
not- -tiaf-fac - eia ver-
on the stroke of two.
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he forth will sal - ly,
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Raise up his head, and then.
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16689
175
SERENATA.
*Nta sta vanedda cci abbita un scursuni,
La notti affaccia e lu jorau 'un cumpari.
La notti affaccia versu li du'uri,
Spinci la testa e si metti a friscari.
'Nta sta vanedda cc'è 'na piccirìdda
China d'amuri e mi fa pazziari,
Lucenti è la so facci comu stidda,
A la mudestia un ancilu mi pari;
E quannu jetta lu friscu d'amuri,
Tanti dunnuzzi schetti fa 'ffacciari.
O tu, picciotta, guardati l'onuri,
Accura . . . nun ti fari muzzicari.
Oh Diu, fussi pri mia I fuss' iu pri idda !
Si so matruzza mi la voli dari!
Tantu haju a fari 'nsina ch'haju ad idda,
Ca lu mè'mpegnu mi l'haju a passali
SERENADE.
There is a snake that lives in yonder alley,
He is abroad by night, by day he 's missing,
Upon the stroke of two he forth will sally,
Raise up his head, and then you hear him hissing.
And in the alley dwells the sweetest maiden,
Bright as a star her lovely face is beaming,
She is so full of charms, my heart they madden,
As any angel, too, she's pure in seeming.
a.
And when they hear the snake a love-lay hissing,
Maidens will run to look, and many are smitten;
But you, my darling girl, beware his kissing,
For if you are not careful, you'll be bitten.
Oh heav'n ! if she were mine, my only treasure 1
If I can only gain her mother's favor,
There's nothing I'll deny to give her pleasure,
And I'll fulfil my vow to love her ever.
16*89
ne
'Cori, curuzzu.,, i "Oh heart, my own heart."
Palermo (Sicily).
Lento
Ali /7\
a piacere
Popular Refrain.
P
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p'
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1. Co - ri, cu - ruz-
1. Oh heart, my own
62.
-.zu,
heart,
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fear.
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16689
177
i
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16689
178
CORI, CURUZZU.,,
Cori, curuzzu, nun ti dubitar!,
Nun ti pigghiari di malincunia.
E vaju a liettu e' un pozzu arripusari,
Si 'na pidata jettu pensu a tia,
Tu sula 'nta stu pettu cci pò' stari,
Tu sula ca sarai l'amanti mia.
Dunca, caruzzu, comu avemu a fari,
Semu junciuti pi gran simpatia.
OH HEART, MY OWN HEART."
Oh heart, my own heart, fear not I'll forsake thee, I seek for slumber, yet still I am waking,
Let gloomy sorrow o'ershadow thee never; I think on thee still, each step I am taking.
Within my breast here for shelter betake thee,
For thou, thou only, shalt be mine for ever.
So tell me, darling, why linger we longer?
Can love unite us together yet stronger?
10680
179
"Amuri, amuri!,, "O Love! O Love!"
Palermo (Sicily).
Larghetto patetico.
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Love! Love! _How have you led mea - stray,
ri! _
now!
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16689
180
A sen- zìi mi lha' mi
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Ln pa, - tri- no - stru mha fat -tu scur-
A Pa - ter - nos - ter I can nev - er
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16689
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I've for - got
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16689
182
'AMURI, AMURI!,,
i.
Amuri, Amuri 1 chi m'ha' fattu fari I
Li senzii mi l'ha' misu'n fantasia,
Lu patrinostru m'ha' fattu scurdari,
E la mitati di la 'vimmaria
;
Lu creddu nun lu sacchi 'ncuminciari,
Vaju a la missa e mi scordu la via;
Di novu mi voggh'irì a vattiari,
Cà turcu addivintai pr'amari a rial
O LOVE! O LOVE!
i.
O Love I O Love I How have you led me astray, now !
My senses all are taking leave of me, ah !
A Paternoster I can never say now,
And l 've forgotten half th' Ave Maria 1
2.
I can't remember how the Credo c'mences,
And when I go to mass, I miss the way, too;
I must be rebaptized for my offences :
And all for love of you l 've gone astray, too 1
16089
Malatu p'amuri. Lovesick.
Palermo (Sicily).
183
Andante.
con molta malinconia
P
ÉÉ
li
Èli
^^
IE E
1. Ta - IT
1. When you
an - mi - tia
oft - en meet
lu spis - su,,
my gaz - es,
.
Su
-
gnu
On my
m
A
^m
tut - tuam-ma - rag- già - tu,
sens - es fren - zy seiz - es,
Lu me san - gujun è lu
Thro' my ver -
y blood it
con abbandono
gum
ttp
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stis- su, Co-muun ge - lue di-
rac - es, In my veins the cur-
vin - ta - tu.
rent freez- es;
.
Cu st uc
And I
a
w
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16689
184
ytó
morendo
m '
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ju
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fpf
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chiuz
-
zi ti ta - lì - u,
stand and look — up - on you,
.
Mo-ru, spa -
I am rav
si- mue di
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ing, faint -
ing,
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w
li -
ru, Iu mi sen - tu'n
dy-ing! Tho' I_ dreamt my
tra lu co - ri
heart had won you,.
'Xa man-
I have
rail.
ww^
=EE
za di spi
- ru.
sigh- ing.
Mac
«6689
186
MALATU PAMURI.
i.
TaEannuti a la spòra,
Sugnu tuttu ammaraggiatp,
La me sanga 'an è la stissa
Comu an gela è divintatu;
Cu st'ucchiuzzi ti taliu,
Mora, spasima e diliru,
la mi senta 'atra la cori
'Na mancaza di rispira.
Vinai 'u medica a umana
Li me' affanni e li me' peni,
la mi misi a raccontati
La caciani d'anni veni
E lu medicu mi dissi:
Figghiu, lassa sta partita,
Si ssa donna ta non lassi
Poco dora la tò vita.
Iu sintenna dda panari
Cd rispasi a voci forti:
A sta donna 'un so Iassari,
Nun mi scantu di la morti;
Idda stissa la pò diri
S'è sincera lu me amuri,
M'accuntentu di murili,
E 'an chiamarmi traditori 1
LOVESICK.
When you often meet my gazes,
On my senses frenzy seizes,
Thro' my very blood it races,
In my veins the current freezes;
And I stand and look upon you;
I am raving, fainting, dying 1
Tbo' I dreamt my heart had won you,
I have only breath for sighing.
Now the doctor came to see me,
In my sorrow and my anguish,
And I soon began to tell him
What it was that made me
Said the doctor, like a prophet:
O my son, you are but human,
And your life will be the forfeit
If you do not leave this woman I
When I heard the doctor's sermon,
I replied, and told him loudly:
I can never leave this woman,
As for Death, 111 meet him proudly 1
Let her tell you, if she care to,
If a love were ever greater
;
I would sooner die, than dare to
Live and bear the name of traitor!
1S684
Canto de' contadini Etnei.
|
Song" of the Peasants from Etna.
Catania (Sicily).
(Fbr one or two voices.)
Larghetto.
a tempo
a piacere
u^f^v
-.
ten,
mh
/
p
r
p
1=
p
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Cum- ma - ri
Key! kim- mer
Ni-na! Cum-ma-ri Ni-na, Cum-ma- ri Vi
Ni- na! Hey! kim- mer Ni- na, Hey! kim- mer Vi
ten^_
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lunga
cen- za, Min- ti - ti - via
cen
- za! Not man -
y
months
ten.
len - za Ca na - sciu 'nguà 'nguà.
hence a Wee "guah-guah" you11 see! _
a tempo
ÙÉ
ten.
ten.
EU
U
E
'
ETE
UE
— Cum-ma
- ri
— Hey! kim-mer
«
Ni- na, Cum-ma- ri Vi - cen- za, Min- ti - ti - via
Ni-na, Hey! kim-mer Vi - cen- za! Not man-y months
ten.
ten.
f f f Lr p
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a tempo
ten.
ten.
m m
m
te
m
rr
16689
187
lunga
fl
ÉÉÉiÉÉÉ
i T^^p
len- za Ca na-sciu 'nguà 'nguà.
hence a Wee'guahguah" you'll see! _
iN^Pi
É
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p
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lunga a tempo
p
m
• m
5"
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-
2. I have been
1-3.
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16689
188
BOSTON PUBLIC LIBRARY
3 9999 05736 163 4
CANTO DE' CONTADINI ETNEI.
Cummari Nina,
Cummari Vicenza,
Mintìtivi a lenza
Ca nasci 'u 'nguà 'nguà.
S'è mascuHddu
La mannu a la scòta,
S'è fimminedda
Qnazetta mi flu
Havi sett'anni
Ca su' maritata,
Nun passa st'annata
Mi chiamu marna.
Cummari Nina,
Cummari Vicenza,
Mintitivi a lenza
Ca nasci 'u 'nguà 'nguà.
SONG OF THE PEASANTS FROM ETNA.
Hey 1 trimmer Nina 1
Hey I kimmer Vicenza t
Not many months hence a
Wee "guah-guah" you 11 seel
If it's a daughter,
111 set her to knitting,
If a boy, then, as fitting,
To school off goes he!
I have been married
Sev*n years altogether,
Before 'tis another
A mother 111 be!
Hey ! kimmer Nina I
Hey! kimmer Vicenza!
Not many months hence a
Wee "guah-guah" you'll see!
16688
IF OLK-
IVI
U § Il e
FOLK-SONGS
General
Botsford Collection of Folk-Songs. Compiled
and edited by Florence Hudson Botsford
Vol. I. The Americas, Asia and Africa
Vol. II. Northern Europe
Vol. III. Southern Europe
Each Volume: Paper, 2. SO
Boards, 3.50
Complete set: Paper, 6.00
Boards, 7.00
Botsford Tune Books (Melodies and English
words without accompaniments). 3 vols, each .60
Folk-Songs of the Four Seasons. Myers and
Officer Paper, 1.25
Boards, 1.75
American
American Country Dances. Elizabeth Bur-
chenal 1 .50
American-English Folk-Ballads. Cecil
J.
Sharp 1.00
American-English Folk-Songs. Cecil
J.
Sharp 1.00
Ballads, Carols, and Tragic Legends from the
Southern Appalachian Mountains. John
J.
Niles 50
Ballads, Love-Songs, and Tragic Legends
from the Southern Appalachian Moun-
tains. John
J.
Niles 50
Bayou Ballads (12 Folk-Songs from Louisiana).
Mina Monroe 2.50
Beech Mountain Folk-Songs and Ballads.
Matteson and Henry 75
Country Songs of Vermont. Helen Hartness
Flanders and Helen Norfleet 1.00
Folk-Songs from the Kentucky Highlands.
Josiah Combs and Keith IVixson 1.00
More Songs of the Hill-Folk. John
J.
Niles. . .50
Mountain Songs of North Carolina. Marshall
Bartholomew 2.00
Negro Folk-Songs. Natalie Curtis-Burlin 2.00
(Also published separately in 4 books)
each book .50
Seven Kentucky Mountain Songs. John
J.
Niles 1.25
Seven Negro Exaltations. John
J.
Niles 1.25
Songs from the Hills of Vermont. Sturgis
and Hughes 2.00
Songs of the Hill-Folk (12 Ballads from Ken-
tucky, Virginia and North Carolina). John
J.
Niles .50
(Also published separately) each song .05
Spanish Songs of Old California. Lummis
and Farwell 1.25
Ten Christmas Carols from the Southern
Appalachian Mountains. John T.
Niles. . .50
Thirty-six South Carolina Spirituals. Carl
Diton 1.50
British Isles
(English, Irish, Scotch, Welsh)
Songs of the British Isles. Max Spicker 1.00
Dutch
Dutch Folk-Songs. Coenraad V. Bos 75
French
Bergerettes.
J.
B. Weckerlin 1.25
Forty-four French Folk-Songs and Variants.
(From Canada, Normandy and Brittany)
J.
Tiersot 1.25
Refrains de France. Gustave Ferrari 2.50
Ten Folk-Songs of Alsace-Lorraine and
Champagne. Gustave Ferrari 1.25
German
Songs of Germany. Max Spicker 1.25
Italian
Six Tuscan Folk-Songs (arranged for two
voices). L. Caracciolo 75
Songs of Italy. Eduardo Marzo 1.50
Russian
Russian Folk-Songs. Florence Hudson Bots-
ford 1.00
Sixty Russian Folk-Songs (in three books).
Kurt Schindler each vol. 1.50
Swedish
Songs of Sweden. Gustaf Hàgg 1.50
FOLK-DANCES
American Country Dances. Burchenal . . 1.50
Dances of the People. Burchenal (Newly illus-
trated and revised) Boards, 1 .50
Cloth, 3.00
Folk-Dance Music. Burchenal 1.00
Folk-Dances and Singing Games. Burchenal
Boards, 1.50
Cloth, 3.00
Folk-Dances of Denmark. Burchenal. . Paper, 1.50
Cloth, 3.00
Folk-Dances of Finland. Burchenal. . .Paper, 1.50
Folk-Dances of Germany. Burchenal 2.00
Folk-Dances from Old Homelands. Bur-
chenal
Paper, 1.50
Cloth, 3.00
Gilbert Dances. M. B. Gilbert 2 vols, each 2.00
National Dances of Ireland. Burchenal 2.50
School Dances. Gilbert
1-00
A 858
G. SCHIRMER, Inc.

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