Professional Documents
Culture Documents
IMSLP28385-PMLP62471-Lamperti Francesco - The Art of Singing PDF
IMSLP28385-PMLP62471-Lamperti Francesco - The Art of Singing PDF
Lamperti
F. Lamperti -
breathe well ~ Certainly not. It was necessary to make of that branch of the
art a thorough and fundamental study, and at every performance the singer made
gradual but sure progress in developing his voice, in pronunciation, in respiration,
in correcting faulty intonation and emission, both of which defects were rendered
more apparent and, therefore, the more intolerable by the delicacy of the orchestral instrumentation, which was limited for the most part to a simple accompaniment.
Apart from previous training, by virtue of the above-mentioned repertoire,
a singer, who might have had only the gift of a naturally good voice and a
certain musical talent, found in the music itself the best and surest master; for
supposing him to be wanting in pecuniary means or previous study, he could
cultivate the art equally well, it not being considered at all to his disadvantage
to begin in the secondary characters, the less 80 when his fellow-artists were the
great singers of the day. And thus, with patience and application, it then was
possible to supply the want of a regular training under the care of a master, At
the present day it is different.
Vocal music, in order to assume a more dramatic character, is almost entirely
despoiled of agility of every kind; this is carried to such an extent that by
degrees it will become little else than musical declamation, to the total exclusion
of melody. Without entering here into the question whether or not any advan..
tage Inay accrue to musical science through these innovations, I shall only briefly
observe that as the singing of melodies, though not absolutely true to nature, is
yet productive of much pleasure to the audience; it seems to me a pity that the
melodramatic system should be exchanged for one perhaps more realistic, but
which tends to the exclusion of melody, and is hence detrimental to the art of
singing,
Let the admirers of declamation frequent the theatres of drama and tragedy)
where there is no need of orchestral music to intensity the desired expression.
Owing to the fact that singers no longer find the best of methods and
masters in the music itself, and either do not wish or are unable to begin their
careers in the slow but sure ,vay of their predecessors, they rarely attain more
than mediocrity in their art, and their singing is usually defective and unsatisfactory,
Another cause of the decadence of singing is the absence of the '1TlJusici, a
class of singers incompatible with modern civilization. This, while it presents
on the side of humanity a just and necessary progress, leaves on the side of art
an irreparable void by depriving it of its most assiduous cultivators.
Pacchiarotti, Crescentini, eloti, Marches~ ete., all most celebrated artists,
having left the stage, appeal-ed again in their pupils, The very fact of their retiring, while it deterred them from other distractions, obliged them to dedicate
their affections, minds, and whole attention to the cultivation of the art, which
they had made the sole occupation of their lives.
'T
F. Lamperti -
At one time famous singers, they afterward became masters of incalculable ability and experience, in "Those school were educated that large number of
great artistic celebrities, upon whose day we now look back as upon a glorious
past.
The deficiency of good singers is also due in a great measure to the impreeorioe, in my opinion. Modern operas present more facilities than those of
former times, to artists venturing immaturely upon the stage; a theatrical speculator hearing a good voice, even though it be wanting in the first principles
of art, eng~e8 it, offers and sub-leta it in the musical market, and the treasure
of a voice soon becomes badly worn, through the waste of the most beautiful
notes emitted without rule, modulation, or support; the middle notes become
weakened, the rest uneven, and the voice, which the music of former days would
have of itself educated and preserved, is lost for ever.
To these reasons may be added what I shall term the epostamento della voce,
by which I mean the present habit of considering as mezzo-soprano the dramatic
soprano of the past, and of making mezzersopranos sing also the parts written
for contraltos, hence the almost total disappearance of music written for the true
contralto voice in the modern repertoire.
The same applies to the so-called tenori serii of the past, who now sing the
baritone, to the tenori di mezzo oarattere, who now strain their voices by singing
the parts written for tenori serii, and to the little use made of the basso oaauasue,
Those who suffer most from this displacement are the sopranos, whose voices,
to enable them to sing modern music at all, ought to be exceptional Obliged
as they are to sing habitually on the highest notes of the 8fJjffano sfogato and on
few strong low ones, their medium register becomes weakened and assumes a
character of disagreeable inequality.
What is the result ~ Why, that the true sopranos, obliged by the rules of
the profession to sing these parts, in a short time abandon themselves to emitting
forced and fatiguing notes, and so destroy the mezee-oooi; instead of which, had
the music been properly adapted to the capabilities of the organ, nature would
have improved and strengthened these, the most important notes of the whole
VOIce.
'1'0 the raising of the musical pitch much of this displacement is also due,
that again adds to the difficulties of prime donne.
At the present day one would consider as mezzo sopranos those who sang
in Otello and Semiramide, and almost all the operas which Rossini wrote for sopranos, as also in the earlier operas of Donizetti and Mercadante.
Bellini was the first to write parts of an exceptional range, and what was
III ore, he introduced the system of putting a syllable to every note, thus
rendering his music more fatiguing to the voice. His successors exaggerated his
mannerism, as much in respect to range as in the arrangement of the words.
Much of this displacement may be attributed to these reasons, coupled with the
F. Lamperti -
fact that syllabication in this music had in a great part to be executed by the
head notes, which in men's voices, on account of their limited compass, was impracticable, and in women's, productive of much harm.
The fact that modern music affords such facilities to artists contented with
mediocrity, is one of the chief reasons why the ranks of the art are crowded with
worthless and half.. taught singers, and is the origin of the general ruin of voices
or want of fundamental study.
It seems to me that now, more than ever-as much in the interest of art, as for
the benefit of singers-a man should apply himself to severe and careful study,
and that, independently of the kind of music which the public taste may demand,
he should strive to train his voice by singing the music of the old masters, more
suited as it is to the development of his natural talents than that of the present
day.
Here, I would observe that singing, being but an extension of speaking,
the notes which we use in speaking are naturally animated, as they express rage,
irony, love, pity, etc., and the words with which these feelings are expressed are
emitted clearly. But without the necessary study, how would one emit, with equal
clearness of tone and pronunciation, those notes on which one does not speak ~
how could one support them by regular and natural respiration, and failing that,
how could one animate them so as to express the passions and feelings mentioned
above ~ No matter how exquisite the taste or beautiful the voiee a man might
have, it would be impossible.
Granted that a man be gifted with these excellent qualities, but without a
fundamental education, he may become a shouter, but a singer never. His, perhaps, extraordinary but uncultivated notes will always be cold, and in spite of
their strength and sonority, always without expression, always wanting in true
dramatic accent, monotonous, and incapable of varying their character, according
to the meaning which the poet or the composer has conceived; wanting alike in
thorough education and artistic experience, he will certainly run the risk of
injuring and perhaps of totally ruining his voice.
In such times as these, when new music, new composers, and new singers are
taking the place of old ones, I have determined to check, if not all at least a
part of the abuses as regards singing, and to counterbalance the influence which
modern music exercises to the prejudice of good singing, by some practical and
fundamental rules, the result of experience gained in In3ny years of teaching.
By means of these I hope to avert the ruin of voices and to obtain happy and
fruitful results for those who devote their attention to vocal music.
I do not wish this guide to be considered as a new method of teaching singing; I would rather suggest it as counsel, which, if wanting in scientific merit,
will, 88 the fruit of my experience and study, be of some value.
4
F. Lamperti -
ARTICLE I.
THE VOICE.
ARTICLE II.
THE VARIOUS REGISTERS OF THE VOICE.
---d
l
~
--=;==~-r-_--t9----t2--tliI=f-tliI-t:./.-_f9_-_t2~_- __+1
-=
Mixed.
77
=6=
-7;
.~
-t9-
Chest registt'r~,
I.
Head.
..a.
(1-------:t'2
t:iIJ
C
f!fiJ
register.
-19-
-e:r=:6J- a_.--f9
--+-_
I
__
~
Mixed register,
..a. ~ ..a.
--
F" Lamperti -
ARTIOLE III.
THE POSITION OF THE BODY, MOUTH, AND VOCAL ORGAN.
ARTIOLE IV.
OF RESPI"R.ATION.
F. Lamperti -
ARTIOLE V.
OF THE QUALITIES OF THE VOICE.
F. Lamperti -
ARTICLE VI.
OF THE EMISSION OF THE VOICE.
F. Lamperti -
Q. Why should the note from the beginning be emitted with the full voice,
instead of commencing it piano and afterward making a oresoendo t
A. Because the beginner neither can nor ought to attack notes piano; by
trying to force him to do so, instead of favoring his progress, it will only retard
him, and besides tiring the muscles of the chest, he may acquire a cramped manner of singing.
Q. Which is the second way of practising the 'I1le8Sa or tenuta of the voice'
..A.. The second should only be attempted when the pupil is sufficiently
sdvanced ; it consists in attacking the note with the full voice, as mentioned above,
and then making a gradual diminuendo to pianissimo, retaining throughout a
.firm control over the breath, and finishing before it is exhausted.
Q. Which is the third way?
.A.. The third way consists in commencing the note pianissimo, and withont
forcing, to gradually increase in strength, finishing, to avoid fatiguing the lungs,
before the breath is exhausted.
Q. Which is the fourth and last method, and when only should it be practised'
zl, The last, the most important, and most difficult method should only be
practised when the pupil is well advanced in vocalization, and consists in attacking a note pianissimo, reinforcing it to the full extent of the voice, and then
gradually diminishing it, so as to end pianissimo, retaining the same quality of
sound in all the gradations of crescendo and diminuendo.
Q. How are notes thus produced called ~
A. They are called notefilate.
F. Lamperti -
more natural, even and spontaneous, and will also convey to the audience a feeling of security and pleasure.
Mancini is of the opinion that the master should exaggerate all defects of
emission on the part of the pupil, to render them more apparent to him, and thus
more easy to avoid
ARTICLE VII.
THE APPOGGIO OF THE VOICE.
01~
Article VIZ
It is by singing with the voice well appoggiata., that the pupil, under careful
supervision, will learn what is the true character and the capabilities of his own
voice; he will know what music to sing, how to render his singing elegant, and
remedy defects of intonation. In this, in my idea, lies the great secret of the art
of singing.
He who does not support his voice in the manner here indicated does not
sing; he may be able to emit loud, resonant sounds; but they will be without expression, they will never be living sounds, by which he can convey the
emotions of the soul or express the various feelings of the human passions.
Expression is wholly wanting in a voice not appoggiata. Lo-ve, hate, or revenge
produces a sound of one and the same character; the singing is monotonous, and
though loud notes may surprise, they can never convey pleasure to the lover of
good singing.
10
F. Lamperti -
ARTICLE VIII.
OF VOCALIZATION AND AGILITY.
SingIng.
I have said that agility in the case of beginners should be practised slowly.
This maxim I intend to apply to those pupils who have a natnral agility, as
well as to those who are not so gifted; I should recommend caution and
moderation in the study of agility as the voice by too rapid exercises is apt to
become tremulous and weak, and thus, what otherwise would have been one
of the most beautiful embellishments of singing, becomes one of its most serious
defects.
In conclusion, I may add that I consider the enormous quantity of exercises
which one finds in many books on singing superfluous, and more likely to injure
than preserve the voice, or cultivate a clear and beautiful agility.
11
F. Lamperti -
versa.
ARTIOLE IX.
ON PORTAMENTO AND LEGATURA.
-6J........../
EXAMPLE:
Manner or execution.
'1ni
dO
F. Lamperti -
cannot sing Legato cannot sing well; hilt let me here warn the pupil lest he
fall into the error of singing Strlsoiato-that is, slurring up to his notes in mistake for Legato. For instance, when the inolterval is a minor second, he is very
apt to take the intermediate quarter tone first before arriving at the semitone
instead of making a diminuendo on the first 110te and then clearly and securely
taking the semitone.
He should guard, too, against abandoning the control over the breath in the
passage from one note to another, as the second will always be wanting in
character and color, without which two qualities singing can neither be artistic
nor capahIe of expression.
In singing of all kinds, due regard should be paid to the just value of the
notes; there should be no slurring up to intervals; the sound should be emitted
pure, and great auentio paid to the rules of respiration.
EXA}[PLE.
Good.
i~
Legato assai
Adagio. ~a=~r~~-=<=.-~b-""'-"~3
~-61- ~- r=~r-:=3
801~
\/"
YJt
tl~e
-r-r-
===-
Good.
Defective.
Good.
Defective.
~F@
4~=t=~ ; -ti!=1~~~3
-f4
I~
1- r ) -~
~
~
-4.-----4-
_--:1:--,:)_
re
mi
re
mi
-~~- ~
mi
re
-~-~:=E::3=:==3
~
-,,-~
mi
re
The master may transpose and vary this exercise according to the voice,
intelligence, and capacity of the pupil.
13
F. Lamperti -
ARTICLE X.
GENERAL RULES FOR STUDY.
Q. What is the first thing a singer has need of to enable him to study
with advantage i
A. A pianoforte in perfect tune and at the proper orchestral pitch, 80 that
he may accustom his ear to the correct intonation of intervals.
Q. What is the best time for exercising the voice ~
A. After the period of digestion, whether it be in the morning or afternoon,
and particularly in the evening, as it is then that the pupil will find himself in
the fulness or his physical and mental powers.
Q. Would it be hurtful to practise on an empty stomach, or during
digestion ~
A. Y es; because in both cases it would be necessary to take breath too
frequently, which would fatigue the chest to the detriment of the voice.
Q. What is the most advantageous way of studying?
A. Singing with the voice full and clear, with as much grace and ease as
possible, and being vel-Y careful to avoid forcing.
Q. Should singing be practised for long or short periods at a time ~
A. The general rule is to study moderately, and with a variety of exercises,
always finishing before feeling tired.
Q. What extent of the voice ought to be. the subject of daily practice ~
A. The middle part only, exempting the two highest and t\VO lowest notes
of the voice altogether.
Q. What else is necessary for the purpose of study ~
A. A looking-glass, which the pupil should place before him while singing,
80 that be may avoid grimaces and other bad habits.
Q. How should the pupil study his exercises ~
A. He should study them mentally, until he has thoroughly understood
their true nature and then he may sing theine
.x:
F. Lamperti -
ARTICT.JE XI.
ON PRONUNCIATION.
F. Lamperti -
Solfeggio .~
A. Of four-Lin[l1lo-del1ial, Linquo-palatal, Labial, and Labbro..denial.
Q. Tell II1e the notes of the scale, and mention to which class each con..
sonant belongs
.A~
~:H
~ ;J=:c;TM~.-~~
~--i-?;f-~
--I
I ::: -He -1- Jli - Fa -1- So - 1 - La -1- Si - Do
:z::r~
::li_--6J-
=1='
I
:::t=t=--r----i--72-r--t9-~
I
J
d=t::::;;sI-?;j-;--tSJ--
l -t==
Scale.
The pupil should arrange solfeggi so that they will present the greatest
number of double consonants. I would also recommend him to pay great
attention to the purity of the VOWEt'!s, in order to avoid singing Fua for FA, or
Lor for La" and to begin consonant and vowel together; he would do well also
to study the vowels A, .h~ I, 0, U, either alone or preceded by a consonant.
16
F. Lamperti -
!'
!'~"
ft-I~4
I
---,-~
'~-~
- ~- --~.-.,,-.-..-:.== ~-.:::JL
~.~--
~~--~So-l
La
Sol
"-
--
80_1 La Si La Sol
~~
-
I
---1---i-,c::.
r
-.==--~~=~_
~
'=---- - E------=-
===l-:t-~====~=~~--4~
~
- ----~-i--- -1-1-.--=: ----___--~-J
-6f--~-
No.
~.
~-:--.-..--.-- ~-~--,. -. -u
---.- -
--~--6J:- ~--
- ~
~
~_iJ:l$~F
6iI--~--
$.
~-4=t-~ EFE~
~~-~
ffi
~~~
,
=---~
t- I $I
___
I~:=-=I--~ i
17
n:ED
-';--11-
=~-~ fHQifJ4-~ X
-7>-
F. Lamperti -
ARTICLE XII.
THE APPLICATION OF THE RULE FOR THE APPOGGIO OF
THE VOICE.
By singing appoggiata, is meant that all notes, from the lowest to the highest,
are produced by a column of air over which the singer has perfect command,
by holding back the breath, and not permitting more air than is absolutely
necessary for the formation of the note to escape from the lungs. By practice
he will be able to do this without any effort, and so avoid those defects caused
by straining the breath, such as frowning, contraction of the tongue, and a fixed
expression of the eyes; for the voice will never be either well appoggiata nor
capable of expression until the pupil is able to render his features calm and
natural while singing.
The student should hold his mouth natural and still while singing; it may
be allowable in the very highest notes to open it wider; hut the difference should
be very slight, and made without the least shock or sound of the air escaping.
To avoid this, let him keep a firm hold upon the breath.
He should, therefore, under the guidance of his master; and by dint of study
and patience, strive to gain the power of retaining the mouth immovable; or,
notwithstanding the beauty and strength of his voice, he can never become otherwise than a bad singer.
ARTICLE XIII.
ON THE ATTACK OF THE NOTES.
Q. To what should the pupil principally pay attention in singing his exer
eises ,
A. To the attack of the notes and the control over the breath.
18
F. Lamperti -
Q. How may he know that the sound has been emitted with a full respiration l
A. By measuring first the Iength of the respiration, and then that of the
breath; as a breath slowly inhaled will last much longer than one hurriedly
taken.
Q. How can you best give an idea of the right moment for attacking a note,
so that it may have the proper quantity of breath for its support ~
..L4.. I should take the sign in use for crescendo, and placing it vertically,
mark upon it the seconds for which the breath of an ordinary person may be
sustained.
1815-
12...
963-
as a rule 18 seconds.
F. Lamperti -
NOTE.
F. Lamperti -
diaphragm, the respiration becomes lateral; the movement of the ribs and breastbone causes the rise and fall of the bosom, thus leading one to believe that the
breathing is clavicular; but it will he seen that there is no movement of the
collar-bones, and so we IllSy be sure that the natural tYlle of respiration in the
case of women, if not abdominal, is lateral.
The voice is the sound produced by the passage of the air expelled from the
lungs through the larynx.
To sustain a given note the air should be expelled slowly; to attain this end,
the respiratory muscles, by continuing their action, strive to retain the air"in the
lungs, and oppose their action to that of the expiratory muscles, which, at the
same time, drive it out for the production of the note. There is thus
established a balance of power between these two agents, which is called the
lutt,e vocals, or vocal struggle. On the retention of this equilibrium depends
the just emission of the voice, and by means of it alone can true expression
be given to the sound produced.
F. Lamperti -
art. I have devoted the whole of this work to the consideration of the art of
respiration and its effect upon the voice.
Pronunciation forms the subject of another treatise which I have written,
and which is now ready for the press.
F. Lamperti -
Memory we have placed as the fifth natural quality necessary for a singer,
and every means should be taken to improve and strengthen this important gift;
to this end the pupil should accustom himself to sing without his music,
Thus we see that to become a perfect singer it is necessary to have the natural
gifts of voice, anima; '1n.usical aptittule, soundjztdgment, and 'l1terJwry. Yet these,
by themselves, are not enough; it is through study alone, especially of the respiration, that the full benefit of nature's bounty may be obtained.
Masters of the present day, instead of obliging their pupils to make a severe
study of the art of respiration, as a rule omit it altogether, and take them through
the greater part of a modern opera at every lesson, to the certain ruin of their
voices, and often at the expense of their bodily health.
How many young singers come to Milan or Paris with beautiful voices,
musical talent, and every other natural gift, who, putting themselves under the
guidance of a master, for two years study modern operas; how many of tllese,
unfortnnat-ely find, at the time of their (M01.lt upon the stage, that their voices,
instead of being fresh and improved by education, are already worn and tremulous, and that through the ignorance of their master they have no longer any
hope of success in their artistic career, which was finished ere it had begun!
Modern music is altogether unfitted for the cultivation or preservation of the
voice, and to its use we may in a great measure attribute the dearth there is of
good singers. Totally wanting in agility, and nearly so in melody, anyone, provided he has a strong voice, is capable of singing it, and so an artist considers it
unnecessary at the present day to apply himself to a long and expensive course of
study, since he is able to gain a livelihood without it. The celebrated maestro
Verdi is of this opinion; he, speaking of singing, wrote in one of his letters,
"Study the operas of the old masters, and modern declamation."
Never were the ranks of art so crowded by such a multitude of sopranos,
tenors, baritones, and basses, as at the present day. Yet, if you want to form a
good operatic cOlnpany, even by high payment you will find great difficulty, almost impossibility in doing so, if yon wish to give one of the Rossinian operas;
it was very different thirty or forty years ago.
_
The only singers capable of sustaining the parts in an opera by Rossini or one
of the old masters, are those whose voices have been trained in the old school,
and who consequently are now advanced in years; yet in spite of this, we see
that the old guard continue to make 8 stand against those who, with fresher
voices and unimpaired physical powers, strive to wrest from them the proud
position which they still hold as the leading singers of the world.
It is on the composers that I lay the blame for this want of good singers,
neglecting as they do the art of writing for the voice. Each composer should
study the instrument for which he writes.- I do not say that a composer should
become a singer. but that he shouid have a practical knowledge of the capabilities
23
F. Lamperti -
of the voice, and so be able to write music for this, the most delicate of all
instruments.
In former times the great German composers came to Italy to study the pure
Italian melody, and, as Dante sSJTs, " Quel canto che lIJ8ll'al1JiJluf, si eente" Now-adays composers go to Germany to learn a sort of mathematical and scientific
music, which, though beautiful 8S symphonic music, is totally unsuited to opera.
In conclusion I would again urg~ the pupil to make a careful study of
respiration. As singing is a development of speaking, so is abdominal respi
ration a development of natural breathing, and cannot be acquired at once, but
only by months of application and practice. Let him always bear in mind
this important truth, "He ioho 1Ut8 tlte beet command over Ibis breath. i8 the hest
sinqer"
24
F. Lamperti -
liable.
To avoid weakening the centre of the voice, I should recommend all beginners, in daily practice, not to let the compass of voice exercised. exceed the range
I have here given.
25
F. Lamperti -
A1agio.
To place tile voice.
fI
A.
A.
CJ
.....
f1
l ....
,"v
,~
,~
A.
A. A
Ii 10
In
......
....
- ...
-.r
-:;..0{
r ..
1 tJ
.....
,-
.--.....
--.I
tt
-({
) ....
~
----..L.
~r-.....
--
--
.......
A-
,...
r:...
Il. A
,-~
,~
,...
"'J
eJ
la la
f1
w
..:
r ...
,... ,...
1I
A
,~
la
A
,...
'" 1I
, tJ
--
~-
/- u
,-
--
'"'
:e:
...:..
~
.....--"""-.
..;..
.....;
Ia 13
la la
la
A A
-~ -~
4
.... -
.-
....-
Ia la
la
A A
A A
A.
........
,~
,~
,~
I
,~
A A.
, ...
..
la la
, ...
r''-'
,~
...
...
-.
....
PI
-.
...
...
.-
.....
---
Ii 10
In
----...- --
............
............
la Ie
...
..... . - ....,... ~
...-
..
......
Ii 10
------...
.-...--..... ,
In
-.....-...r
'-I
YII-
~ r:it
",.-- i"'....~ ~l
, ...
--.-.-
- ~
-- ~
-'
I
I
- -A
.... ....
.....-
la la
la
A A
.-
....
~ !
........
~ ~
.- -
---
.-,;-..
....~ _--..
---
-----.... ...,
. -----....
~--
--r ~
---...
.-~ ~~~ ~
,
..
...
'-Y
.....
-/
=--.:
.. =-
"
.... -
"-
~~
26
la Ie Ii 10
Ii 10 In
Ia Ie
-- .......
__
*
.........
.. --
~"""~"""'
... -
-&
,...
:.r-
T..I
In
- ----
-.I.
...... ...-1......,
_____ loo...
~
--.
--.
In
-- ..... -----
..
--...
--..
--.
la
Ii 10
Ia la
-..
.-
...
lo'
la la
...-
la
A A
.........
--
It.
,.J
.
la 181
t'
-..t'
-.:
,...
..
........
.....
.&.L..
It. A
. ..
I
la Ie
Ii 10 In
.
.....
..- .-.--... ....,. ------........,... -
,~
In
...
.I.
,~
Ii 10
la la
~~
....--. -
,\
la la
.riO.
....--v
........ .......
-~
,~
,~
~~~
- ...."
.....
r~
...
- .....
.. --
~r.....
It.
1\
r ...
la
Ia Ie
..
,...
.......
--.:1
"
Ia la
'-It'~
,~
la Ie
In
~~
~~
fl
.......
-~
.,
I
,~
.-I
u 10
la Ie
...;..
- .
.-I
A A
...;..
.....
A
I
-'
la
f1
..:
.-l
._~--.:;op
la 13
la Ie
,~
--- ---
...
la la
,...
r.J
A.
la
"....
tJ
..
,
,~
la h\
la Ia
A.
,~
A.
'"eJ
la la
la Ie
N~l.
..
,....
la la
~~f7
F. Lamperti -
As the beauty of scale passages, etc. depends in a great measure upon the eorreet intonation of th~ various Interva.ls, I have marked with the si~n 0 those notes whteh are generally found most difficult.
Adagio.
OOA
A A A A
::>Q
.:>()
la lala lit
::::..()
:::>Q
la
NQ2.
----
..e-_______
ratio
A A
a tempo.
----
:::::-0
La la lala
:::=.{)
::>Q
:>()
::>Q
:>()
--o
la
la lala la
>-0 ::>-0
la la la la
----~-----~
:::::-0:::>.0
lit la la la
~----~ - - - - -
..."-
...
.-
.....
eJ
...
~-
tJ~
....-....
""..
~,.
......
JIIlIf
II""
l.I
\.
....
Ia la la la
1\
- - --
- -
r.
&,0
'-f
AI
---
la
------~-------
:::>--
L.......L..J.-J
Iiiiiiiiiiiiiii
IIiiiiiiiiiiiii
-L
______
--L.
....
IiiiiiiiiiiIiii
_::::>--
--
:::::>:
_r-.-
r.,J
.......L..-L...
~1iiiiiiiiiiiIii_1iiiiiiiiiiiiIi
la
...
-6'-
!h
-&
JIl.
- ...-.-.-
........ - -
- ...............
~
.-
.___e:___.
~---27
-..
---
i=
F. Lamperti -
Moderato.
.. ..
.....
f1
11
'\.
t.J
1\
NQ3.
......
;
6.
~ eJ
~ "',
./
f""'\
.....
fl
..... tJ
11
-6
...
.-I
-- I
In la la Itt
.. 1
)
~
......
"6
1"6
.....,-
r:
....
,.
-...
ti
r:
r-
"..
1;
I'
,/
....
r:
\o0I
t.J
'-'
.....".
"
...
....
I
I
,.J
-...
-......"
r--6
.........
-I"--.-
..-..
___u _ _ _ _ _ _ _
- -
-r~
00
00
.-.-..-t
. - ..-
....
--
- 1'1
- -- ,.....,
,...
.....-
la Ia la Ia
- -----. _..
"
.. -
---
'-'
--
-- --
-1;
li
....
---
--
u--..
00
.-.-..-t
....
-...
....
r
.-
..
..-..
~~
....
....
-e--
...-
,.
....
.....
la
"6
f'I
11
....
181
00
.....
00
00
00
--!-
I'
~~
---_
......
-.-.-00
..
r:
...
....
....
.....
.. .. ..
Q
....
la la la la
-&
la la la
-&
..
.....".
.....
.....
II .
1!
lltr
.....
......-
to-
'-'
---- r
11
o
la Ia la la
______--- lJ'"
la
00
00
la
la
...-.....-__
-----------
-------------- -----------------00
00
la 131 la la la
~--------28
la
~~o
_
F. Lamperti -
Moderato.
la
1\
.,YJ
~
~
[7
t]
1\
....
--. ......
----:----.--
~~-
VW'
la la Ia
........
--- --.
~
-~
..... .-1
v-
la
---...,;;:
1 ..-.
l.-._ 1.. /
Vt'J'
<'a -.:J b
~
~
..
I ....
'I
......
.-I
...-:;;r
---.JW"
....-~
--.I:"
~
----.:;ojJI'
fa Ia la
ta
1t,\.J!..-
..-.....-
---
-----
I
----la la la
la
""U
..
.. I ....
-.r::=:
....
1'1'1
11'_
11I11I'"
I~
...........
...... .-
1..-.
- I Tr
L~_
la
t -.------.........
11I-
,-
I .....
t -,
............ ,.....
.~
., ...
---w
-~
----.
~v--
Ia Ia Ia
.....
........ i ....
...
r--.....
.......
"""---
!ri-
------
'""'"-----g
~~
----...
-iiii..:
~
~ ~ j:"
~.
..
---
7[7
__
"6V?
<s:
-..---.....
~~
I~
r--..... ,~
........
--.7
"""'iiiiiiii
r:J-~
----
Ia
1J
Ia Ia --:..
--
--------
-&
Ia Ia Ia Ia - -
-e-
-------- --------29
,~
"~.
r--...
-i'
~~
*------------*''---------
.....
....
.-
~-
F. Lamperti -
Adagio.
la la_
Adagio.
-..
,,- rat/.
.-
.... -
.-
la lar la
pp
'"""""I
..
I
la la
" 'Ill..
....
.....l-
.. --
- -- ,...-~
....
,...
I
.........
..
lala la la
--....
""'-
..
4
,rfi~
NQ 7. ~~I--4.~L~~'.J:L_--J.---I--I--+--+-I---I------==:f---1I--+-++-I----++~I---t--t--I-:::;;;;=:t---tr--r-;--r-tlt;:;!-t
.
- .......... ~..
",.
- ~- -I- f:'.l, .---...
~
-I
I ~
~r-....
...
,",v - r
..
r r r r --
.....
,~
"'-
-~
"H
-,...
""W
lJ
tJ
fl.
v~
- -...
\,.,
balr,.. ~
~
to-
.........
r'.. V
L.. ....
- k .....
II~
Ia Ia la Itt la.
1\
, -tJ
- ....:&;
....v ....
to-
"
..
v.
..
r_
la la
-,
...
.....
y
""'-
vu
v-
la l a - - - - - - - - - - . r ; : : : - .
V~
k.
"
pp
.......
.......-
,~
-.
IF
_v_
..,,6
.. -
......
..,
.-..LI
It
.,
y
I
~
,~
"""'[ l7
..
-~.
-,.,
Ir,_
I ........
..~
..
pp
....- ....-~ ... .., 1_-v .. rl_
I
.-
v-
la la Ia
1- . .
..
v-
".
r.,
r tJf r
- - . -.....
-.--......
......
.. .... _.
~
,.-J
~_
----
_.....-
..Irv ....
L.. . .
"'~
..
Pf r
30
,,-
lJ._ ~
,... ....
...-
...--
~-
la la
.-
I I I
lam
V"
rl'~
k.-I
la Ia
<,
I - ___
.-
V"
rl
,-~
~r
---.I.
./
r..- .
1- . .
........
'\J
...--
...
--.-
....
....-..
to-....
......
... .-1
--.L--
------..
b~ ~i'-.. iJw
I
1
-----~
...
_Lo. _ _
.-v
I I I
J,,.;
JI
.. ...
~
tJt
--
F. Lamperti -
t:\ 0
Ia 13 Ia
000
Ia la la la
--------
lJ
~o
1:\0
la la la
31
Ill. la Ill. la
F. Lamperti -
a lelll-po.
-------
Ia la la
la ill la la
la
la la Ia Ia
Ia 10. la 13
tr---...
---__
'lJ'
la la la la lalalala
32
la 131aIa
la la la la
F. Lamperti -
:_
_ _ _ _ _ _ _ _ _ _ La
NC?9.
0 0
---=======-: =:=======---_
Ia
lJ'~
=========-_
~--:
Ia
--
......-..::======:=:
181
==========--
la
-& ------------
o
--
Ia.
==
_ _ _---lJ
33
F. Lamperti -
&'-----
, 0 00
--===::::::::
la
==--
1&
raIl.
34
F. Lamperti -
rall.
00
00 000
la
rail.
-&-
""-------
131
rail.
---
Moderato.
o~
--------
N? 11./t-tt------~-----r--------------'1----
,.
~",..._._------....f.-----J--------
N912.
~-----...------
35
F. Lamperti -
13
-----------o
-----36
F. Lamperti -
~o
0.0
la
_:
------------------------~~
o
/----00
37
F. Lamperti -
00
la
Adagio.
poco rit.,
N913.
-r, ,
., - _.........
.....
I'J
11
....
-1.........1.--I
"-
~J
1--
--..
,.....
.... ,--..... I
.lIIl_ .-I
Ia
--f
~
t_
~ """=
1""
.-I
II
.....
_.-1
.....
.~
"-
J-.J
\
{
r.
t:i
r.
f:j
--,;i
~
r.
"
,"
.. ",r
..c-..
~
-r
r-
r
38
-I
--
.
.
:::.;,,;.
...
......,
--6
"
r r-
....
.....
-
F. Lamperti -
Moderato
J.:
.
. ....
A
II
6f
..-.
U
N~14.
c:;
, ..
bf.:
,.6. v,...
.co.r..
:'
..."
....
,
-tL...,..
.....
r.
'-
b~
-'"
L..-.
~r
v ....
r.
,;,;
h~
f':.
- ........-
v-
~~
~~
r':
..... .-.
,..
~;
.. .
.......
p"
C.
v"""'"
...
-Tl .-I,
'"
- .,
-Jt"R*
l ........
.-1
. . . . 1.- .....
- --
I
..-I
L....-I
....v -
.-
r:
---
..
1. . .
......
G-
~~
.....
- --....
r;,
....
*._1
_a1*- '~
.....-'.......
- -
L.._
..Moderato.
/Ai
II
l~
.c
.-I"
k ....... .._V"
17~
,~
l
P"""'T"""
Ill.
1'-
~i
"tJ
-.---
11
---- -
.... T~. . .-
-,J~""-"
l~
\ .c..
....
........J ......J
- -
JttIII1fIiJll
."
./
....-."
.... wr--"__
l.
- .- ........
....... l_....
~..-.......
---
..
",
.~r-___
"I"r""""","
II
...
...
.-
-~;. .
#..
....
...-
........
f ,., ......
-- .- - ,. . ...... - s:
, .
--IF
-- I!!J!!!!II
-....
....... ,. ......
..... .. ...
.........
.....
fl
~IJ
,:-..
~~
......-..
11
eJ
'r r
.
. . _.-I . .
....I
,..,.......- -
_.~
... ......
--.......
"--oroI
-6
"6
-6
'6
-6
_a .....-
.-
r"
."..-...... ....- _-
.......--
...
"..-/
j:
..... ..........
- ....
-.
IiiiiI:III
S;
41-
1\
(
\
'is
'
./
-5
~.
."
....
.......
-1 . . -
-IJ"
"'",
III
~-
-6
'I
!-.
./
11
. ,
-_ ..
.....
......
~
i-ft
..
11 ..
.-
..
6f
ltV
7J
. - ...........
.",
""
'
-~
... .....
r. . . . .
,..
.....
!,MI.
.. *'
-r1
,.c
..
-- --rr
11"I
-f7
....J
iM'' ' ' '
J.I,_
..-In...,....
J\
t::..
._-"'"
j: ~
j:
39
...
-=
- -
..
. ... -
~~
I.
F. Lamperti -
Moderato.
1&
13
la
40
F. Lamperti -
Moderate,
>-~
.." .....
11
I.....
~.
~r-
.......
tJ
""";;'.-
. Moderato.
....
,,
LI
J
-"
=:
:::::>=--- r
..
---
_~'-II"
-,
1J'.~.
6-
'11
...,.........-wmI
-..-
-1-
13
-,-.....
. . . . . . . . ._
--
jj:
::::>
--
>-............... -
IF
-- _.......... '-
:::::>
.,
...........
_100
II
--
II
- _ .... l . . .
-~.
I PIJ
i9=
-=
-
....
11.
"
~r-...
..... k. .....
....
IV.
ill
,-r... -~
I"~_._n_
.~
"
==--~
:>
h.-
..
11
-r
i"
= --.'.
L_,_...z...... II
ill
....
~ ,-
:::::>
...
II
..
f1
16
r ..
.c
"
.-.
~::>
_ _ 1.. _
la
N~
r.--II'"
I .............
II
....._r.__
.r
.... ' , _ 1_ - . -
.II
~.+i'.-1f-
V'r:J
U.
11
II
-1"-
la
...
1\
~~
, .-J
)
~
......,-
./
[1.
f..
Loo..
l'
#.
r...
lL _
..
...
..
v-,-
---
II
II
I :::>
A
I.
II
...-..-
,-
IF
II!!I!!I!!!I'
n... ......
II
... ,
II
II
1 ,-
v_
f\ .....,-
tJ,
It
....
..,
h.
__ .-w_
>-
oJ
....
fJ..
-...
......
... -
-...
.b.
III
.-
~~
.-
_.......... ~
'I
.-.-T ....:..i_
"
-...
.........
..
--..-.........
...
tJ~
If-
..-----
:> ____ ~ ~ I. L
-e
...
~'II
It,
..... _ _ _ . - . -
~~.-
-....
~i
~I.
..
...
III
.:::>-
~.
J""
~
::--
-...
.-
1ItJ"
~
,-....
r7
II
."
"
......
v-
1#
!7
_M_
"'Ii-
la
. .h.
it"
\ .....
::::>
la
c;.
If"
II
\;
10M
qr
~P."""""'TIIII-
I-
~-
qF
-~-
:::::>-
...
,,- ....
J_
~rr
IF
iJ'
~.
1.1
V"
r'~
...
r-.
,..
II,
_10"'__
-
11.
IlL
1_'rJ~
II
.
...--.-
la
..
,\
~
fI
......
~
--
'-I
,.
...
....
..- ..
~.
/'
...
..
...
.-
. .
..
...
~
.....
r
dJ
- ..- ..-
r.
....
.-
Ii
41
r'
...,
~
F. Lamperti -
Moderato.
" ........-.
--
...,. """
-t;.
-I
~:>
--
.-.-r
-.....
1-
-il
II
""11~
II
rl-..-I".-l'-~--""
';J.i, .l.Y'W'"
r'.,.-~-
r L
.~
.'
~--
.:.-
- - -----.........
II
.....
-
....
Moderato.
1\
17.
r.-
1-.:1
....
......
, ..........
~ --::7
..
h..
l1li
III
b~
"
"'"lIIII
-':0
"iJ
----1_.-1
'_r._.-II-.-.-I
.... .
.--
1---
....;-'- "-11
---
.."
'1
~~
"iT
--.
..
.. J..-ff
,~.
....
":ii
1!
t,~
--v]III
1\
~~
t~,.~~_L_ ~
;>.
~
_"'1IIl
_!" .
:if-
....
1,-"
l.-
I--
q..
II
t-
10-
--.
~-
:-"L....
if"
l_
....
IT
(iJ
"
--
~
I
+-
.
.
i-
-~-.l.&.~~~_
.... .l1li-_"_
__
..
----~-
..-
-..
1i
-----I~
III
~.,,..* ~-ll_-III'f.
~
l!
~.I'T"_I
----
-__ -,.
.....
TJ
. . -.;
.. _
--.
t
~
~
or
l1li
...
:~
--..:
~f7
leJ
}
--..
~.
~
---
.
.III
-.-
....
.I
..I
. ....-
-,*tJ
...
".
-.-
--.
--..
42
--
:.
..
-:.
..- .-
-~-
"I
".
-.
... ..
--.;
...
-~
10-
,..-
.
"
----.
~--4t..
tl
-I~
_--I
. r:._
..
",-
fi
_I
_~~=
I..:
-.
:>
Ia
-.....
--.
..
... ..
rl
--.
--.:.;;,
---
;.-
- ...
I..
h.-
..
....
-.-
la
~ ~'-, I I
~II
--
::::>..!
~;:
~-
:>
~-
...
........
..
II
~~
I--
, ""-.v...-=--
if,.
...
:>~
::>
--.
1-
la
N~
-n
r~
---.
-.
~
"
,~
--~
III
F. Lamperti -
SOLFEGGI.
As it is impossible to Iay down a code of abs.olnte and infallible rules suited to
all 'OiCf'S, that be ing reserved for mechanical instruments, which have a ~iYen and
unchanaeable register , so it is impossible to wr it e so lfejnri adapted to all voices,
without regard f () character or range.
III spite of this axiom, I have yet 1h~nl~!Jlt fit to close this m~}" treatise on the
art of singing with fOUT solfejrg i, which art' not progressive, but wr itt en to ~ive
the pnpil an idva of the modern styIe , l eav ing to the j udgrnent of the master the
option of either choosing' from them that one which lie nla.y consider most adapted
to the vo ice and capabi lites of his pupil, or e lse of keepin#?: to those solfegg'I.whioh
so lllan~" filDIOUS masters have already wr itten.
1 do not consider it snperf'luous here to remind the master that he should never
e-ither in solfe g~ri or exercises, allow his pupil to sing" on either the two lowest
notr-s of his vo ice ; but confine him to exercising" 11H.~ middle notes, so as to render
the voice even and ajrreeable throughout its full extension.
In case the pnpil finds a d iff'iculty in sy llibating on certain notes, he should
return 10 emitting fhem on a simple vowe l , and continue only syllibation on those
notes which he finds easy, The master should be ,"er~r careful to allow the pupil
to sirur only 1110S~ solfeggi which are of snell a medium ranl!~, as to enable the
pupil to articulate the notes with clearness.
In concluaion, 1 would advise the pupil to inspire his so 1ft~ggi with some senti-
ment , 10,"e, pra.yer, irony, etc., and to realise also the draniat ic s'ituat ion.Let him
make an analysis of the feeling of some piece of poetry, and emb 0 d)" the ex pression of it in his solfeggio; by this means he wi l l cultivate a ~racef1l1 method
of sin~inl!:',and render each song an artistic composition.
Let him remember that feeling in sin{!;'inJ!: must be subordinate to art, for untutored
feeling; chokes the Yoie~; let him never abandon himself to his feelings, but instead .
stri,""e always to sing with a warm heart, yet a cool head.
If }""OUDJ!: masters.and those who have not had much experience in teaching, will have
the patience to read attentively the rules, hints and sUg'fl:estions, contained in this
treat ise, they may continue the studies of their pupils without fear of spoiling
their voices, I would now again for the last time warn them to avoid teaching
modern dramatic operas, so destructive to voices in fl:en r-ral, and to female vo ices
in particular; but in their stead, urge them to teach the operas of Bellini and
Donizetti .. and in pref'erence to all, those of Rossini.
The only exception I can make is in favour of baritones, a register of vo ice
so to say, created by G'io rg'io Ronconi , by the combination of the tenor, serio and
basso - cantante.
'I'hese may study modern operas, as music was not w r'i'tt en for the-ir voices in
the Rossinian repertoire. Some rare exceptions may be made in favor of tenors
and basses, but the old repertoire will alway be found more fruitful of good
results, and less dangerous.
To prevent the ruin of voices was the object which I had in view in wr'it inl?: this treatise, if I succeed I shall deem myself very fortunate in having been
the means, whereby advantage has accrued to an art, the cultivation of which bas
been the occupation of DIy life.
43
F. Lamperti ft
11
~
r...
l...
I'
4!J
pp
....
......
,1/
l.o..
..
"a
Ii.J
t
~
*)
.:" ~
r ...
~u
(.....
,.
Si
....
..
Andante.
.a
.......
La Si
..,
"
-r
...
....
-r
~Ii
Re
....
.-
---
==,....-
~Ii
Fa
t\
...
Do
.,
...-.=:::::::=-
44
.,
.-I
...
Ill.
La Do Si
La
.,
.....
.. -" ...
Ai..
I...
-Do
....
-'
--
pp
f1
N? t.
11
.
..Andante
...
......
La
-...
r-
...
.-:'
&I
So - I
La
--
...--
-I
.,
...
.1'
.-I
La 80-1 He
Si
F. Lamperti -
pp
11
!I
~
l...
r .... ,;-
.,
Ito.
tJ
"
l...
r .... .,..
@)
-,.
l...
III"'"
_.- ........
-----.....
.-
IaI
.
-
Tempo I.
.-
.-;,:
.,
AI
....
.. .......
>- --
~.
./
PJ}
........-......
.~
:::::>.-----.
11
~
15. IS.
~
1:.J..J
......
..-I
~~
::::..
~:4j
.,
1-
IaI
..,
."..
- -
to.. . . .
11K:
pp
"
.-
r-t
1 __
..
......
.,
.. .
~
I... ,...
- - ..
"-
- - --
:::::...---....
<,
.-
.. -..
4t
l
., ,
...
......,..--,
AI
..,
....
- - ., ....
f'
Ai
- ' .-I
iii
ii
-=======-------....
-=:---
45
....
....--- --...............
.,
11'11 ..
dint.
..-I
.,...1:1_
.-
. -- . . .
.........
~
-----
::::::.....--........
~.
-!-~!
.3.
.-
:>.---......
..-.:
F. Lamperti -
Andante mosso.
,
1\
11
,.,
L..
A
~
---
,.
-r-. . v
,-
tJ
Andante mosso,
..
Ii
N?2 .~
!6
r~.
....
.,
~l. ,I
AI
-~
:/
11_
.....
.........
....-- ...
.....-
---- .. ...
I ...
JtJ
\.
. -
JI!!!!II!!!!!I
I""
"~
....
.,-
---
----:.II
. .. ... ...
.. -.
.,
~'
~II
r//e,
..---
-'"
-4tJ
..
IL
..
.-.rw
~ _
__
..
fJ
61
...
I"r-~V'
.,
r~
r7
\
1 .. -
IL
--v
.~
.,
roo-~
..
1JI
..
..
'1':.
-...-'
.,
~'
f:
_...-.....
---.--..-
--.._~
D,
~~li b
- - - ...,- --
..-- .- ...
. ..
IllII-
~
r/te,
>...-...
- ,.. -
..
.......""'----"""
.-
.-
--.........J.
I!!!!!!II!
- -. ....
t-
_I ..
:::::::...
tC1J1PO.
..
J-..J
\ ...,.,.
..
.,
"
-_Of'
~. - 1
~'
.;;1-
---,
---
-~
-~
-\.
".-
-v
--.....
..,-
--..
IiiiiiiI
111
I:liiiiiii
q"~"
-lb.
....- n
L1
-..-'
---.,
"'
I:iiiii
41..
.q'l~.
. ,. ..
'
. - _u.--\,. .. .. ..
...
... - ,
-.
....
11
--.
-.
\.
f-
f-
-;-J" -
;:;;jjjjjj
- ... -..
,.,. .. - .... q.
WI
-f'.
..
--- 1-
~~
- ., ,
>~
I'r! _
...
7-..
[7
... ==
....-....
.. --. --.
...
..-
....
_IL
[J
___ l l -
-t
:>
:::::...
..,
.........
AI
.. ....
,-...,
.--
::::>
- -
~
--.r.
...--..... --.-
(IIIlIIIII
..
.!
T'L1I':"". --.
~
f.
TIIJIIII[
>-
.,
.. -
,-~-
......
1111-
.-
...
........"
.-........
L-...J
----.:;-
JJ:
.- - ... -
----
--
-.
.-
::::::....
:>-
::;::...
.....--......--
r~
.-
f>.
I-
.,
7
-f-.
~
ra//.
46
F. Lamperti JAJ
.w
~
--.. -
....
.... v
......
.-
'"
tJ
.~
~
::::>-
... .,.....
......
----
a tempo.
- ...
---
ff..~
- -.
- - - ; . . - -.. .
/ ~: ---~.-.-.....- V-.. ....'- --....- -- ..-~
'-:
..,
.,
>-
<
.~
.-r
I-
f'
r'
t-
.,
~ r
..
- ...
~
~
",.
....
...
;T!."
,.;
tJ
...
.,,
-- ....'-I-
....
I
..
--
-== ...
.....
___
L ~
U~
~
-_._
.r- .... -_
....
"""-
-.a
~-
~. iii J
~~~~~
.... ....
.. --....- -- _.....
...
,
,
,
~
_1
-~
............
n_
r~
~ /
l~
Piu mosso.
Pin .mosso.
dolce.
SIp/it.
II
tempo.
~~~~Io-----I----.I-~~
~~~~~~~~
r
47
F. Lamperti -
- -
::>
_
"loa.
,...
'"
....
.....
.....
-.
.-.~_
.... _
--
- __.-1 ,...
.....
~~
.......
_T>
---- =- --=-...
-_ ...... ....
-, - - --
.,
"10PI'_
I
"~
- . -... L.....
.- .... ~..
L...
.
h#
.......
:I
........
I~
,.. :,-
...--.....
..... .- ".........
....
"...I'll
V"
':'
_- .
A.-
u __
1\
...
...
i'"
.......
~V'
;0--
. .
'-
>-
t"- ~
"
. . ... -- ..
--...
I
,....- I- vE-r
r r->
-
1:1IIr..
III
.-I
'!""
..."
1....-
..._....
~_
....
-..1
....-
I
...
-i
-I
'4V
col
ClIllto
....
.....
"
:::>
"""
'
::::.
. . .
:>
...
...
--~
.~-t
::
--.....- .,.
.-
III ....
_....
,~.....
raO.
J"-
IJiiI
.... ., 1..-
- --
~- _
....
JjiJ
;;:
.... ...
. ... ....
"
-.~
'
-.
.,
'UI'
Illarcato.
48
a tempo.
COlltO.
~
I. . - t
, '
.._
...........
-:
""
1-
....
III -
_....
col
...
1"Ilo.. ..
II
I'
'
r-.....
'!!II
.,,
1'IIt. ...
I""ll.
-..._..._
...
A- -...
,,-----...... -
...
I
......
r"'lI.
~r-....
....
..-
.. .... y ... . -
::::>-
::>- ::::>-
::>
.,
I
::>
""
_111.- ....-
allarKtll/'do~
I~J
~ __ ~
...
"
.-
:::>
.......
v.-
~'"""
./
, ..,
.
.
.
.
.
.
.
'.
j.,- .. ... . I" ... ....
~;/
. -. -... . -.
..
-- . . L
....- ....
- .... . ....- ....- - - - ., ., ..
/1'-"
',-
L.o
,....
_.~
::::>-
-...
...L~. ~~
....~-~
..... .....
....
~rJI_
----
-ii -
. - - ..... .. - - .,- ..
- Telilpo T 'rallentando.
::> ::>
::>
::.-...~
..... ....
........
,""'~
............
::>
4/frett.
..
I'
.-
1\
...
w_
--J...
-...-
_.~
.,
-
A~::>- >::>>->
'Uj"
F. Lamperti -
...,.....
tJ ~
Animato .
I
~v
---....
,..
r-
__A-
I""'"
I..
"":'-'-
:::>-
..
-"-
...
. -,
r-
-~
....
1.-
...
_
I""'"
r-
>:::>-
Animato.
:>
>---...
-~
..
...
..
..
.I.,.
-- .
.
r-.
1.
-..
..
-- -
.
.
'
.
~ Il,f
"'..... ..
.
....
-- ....- -.. - ,- - -. --.
- .- ...- -
(
.,----- . . ,
.
...
II
'
J.I.
~-
1-
....
~ ,
.,
"
"
\.
...-,
/-
.JlL-
pp ----
dim,
pp
ratl.>-_
..
;='1; ;.=.:=-
..,
.1
.b. L
'-
"
.L
--
"
f"
tJ,y.
.,
"
\,.
.A
..LL
l/
,l
~
I\~
;-n
_J!
~~;
....
r-;
..,
.,
(
\
"7
n
T1
-ii
r"
...
.,
f ... fpp
l
III .....
_IIJJil
':::IIiIo
"'-::::>
.,
_
_____
__
-~
::=-
"
in_
......
""1':\
..c-..
-.. --....-
.,
"
I
~
--"
--- -..
Ia
'-
r_ -
-- -
.....
...-
_r-
a-
.-
'~I~
,..
r'.
...
.r .
..
.#.
-c.
- -.....
,.
!.-/
49
.....
.....
....
..III
til
r.
.lit.
roll.
_
...
......
Ill.
r"...
....
r-
-~
I'
_.- --
..
r.~
--""""
.-
tIlIlI
col ca 'Ito.
-.1
10.
'.
-===:::::-::
L_
l'
.- .
..
- - . .-.. ..
,t r
":IIi
..Jl\.
t'
,,,,,
-
.....
..,
1""""__
.I
..
...
11
--""""
.,
I~
L1
'::Ii
.-
'\.
....
~"'I'.I- . . . . . . . .
J. J....
:iiiI
LL
...
1- __
.,
...!!I.-
f'
.,
'
-:.
Il
r-
...
CiiIII
I-
~.
I'
LI.
tr-
iF
,\:
_;0_
1.1
.c... _
~r-
--'k
"..
../
"-='
!!::iiiiiI
r--
Iff
IJ
...,
~r
- --
...
r""--I
-;r
~>
-!".r
r-
I ~r
- .. ..
...
rr
..I
~
::..
....I
-.-
--.-- -- -...-l
r-;c
..,
L
.J
..
.\.
..I.
~!Ia.
I!IIIL . ,
r-t
JIL.
-- ..
....
..l..
.L
F. Lamperti -
Andante.
Ii
1
- --
..
.~
.~
......
-~
--
dolce.
~
Andante.
... ...r:::=
1-
1""'".--.. r-_
. .. - -. - . -... -
--
A..-
--
JI
r-
-LA
.\.: J
eJ
.....
TL~
.JIIL-
fj
~rrA:
, tJ
.JIIt.
- --
.- - ....-
.....
.,
t~ _. - -.
---,-.
z
"
III'
.....
.,
.....
'~
..jj
~,..
~
--
I"':.
--
....
,. .
.~
I
- - - f .- --. - I
"-
..
\.
f'
~c~
--
...a ..JIIi
..
..,.
"
50
r-
-:
====-=
- --
--. .....
,..
........
-.
----,
..I.
,....
I""'"
1_
..
..... .,
.-
..
:::::::=-
...
-:-
t:'\
w
.-I
jIIII"
-:
.1 -I
4-J
:=:::==.
.. -
......... - .
~
.---....... ...
- - --- rat~
pp
..- ..- - -- - - :t:tt --..
....
,. ".. ,. ". - --- D
~
---
r-,..~
..~
- r
"
.~
~,,,,
~I-
1-
---""""
..lL.
f "
f'
"~------
.JL
-...
.~
..
r-
IZ
;; ;
l~.
......... J
.J"""
~.
..~
t:\
,.
"".1"""""
.Jr..
.JI!i.
.,
tI':.
J!..
......
F. Lamperti -
jJjJ]J-
-------
f/n!rp.
...
seCOlldaRdo.
51
F. Lamperti -
----====:
stentaJltlo.
52
.r pjJ.
F. Lamperti -
.....
v
;J'~
I:::
--
:::
:; m .l i1_
_
I
pp
:::....:::::.... _
..
:::....
'T'- __
.. .. . . . .
-Ii
j j:1:- L~ ~rail.
-,;
i:l~
. . . . .;.~ .. ~ ;. ..
aft
. :_:"': -.-.-.-. : : : :
.. - -
_- - -
::::::.r
.,
I
ff
__
~t
:: - - - _ - - ~ _ - ..,. -
t;L t E
[~-
~---------_...------
Andante comodo.
53
II'
1....-1
1IIiiiiiIiiiiii ....
F. Lamperti -
..
11
..-
- -- ::::::. -------
,r
t..'
ft
r,.
II
I""-
<,
LJ
..:
hi.
r...
, .
....
t eJ
--'
-.J
\,..,.
..,.
'J
---
-- - ....- ....-/'
..,
.,-
1-
.,
....
&I
-I
qlf~
--........
...-
_A#
".
..1
.....:a..
.... .....
'--
I.-
1.--
t - ,...
_I,...
....
~-
---
~~~
....
II
./
~.~-
!,
h.
-'-
-...
:::...~
e.t'
aJ
,~
f~ .....
".
-~-
I.!!!!!I!!!!!!!
11011.-1_-_
<
.....
...
_ -- .
~r~
".at
..
...
...
------- q~"
====1
~~ -==== -y===!h
..
_.
..
... _..
_.. -- . ... ....-_..
-
_.
-.......
... ,r:.-~
r
...............
e.1
rl
-- - ..
f.
-...
I'.
r ....
~
--
..........
~--
'
.:JII
--.
....
~.~
~
1
[J~~t
_111....
~
./
~-
~iiiiill
__ l:!v--.
...- .....
,...
c..-~
/rgflto .
......
1\
r"
11
'-:'IJ
"'
II
tJ
..
~ ....
.,
..
11
f'.
n_... ...
.. _ _ t-' -
fI
r ...
--
...
"
........
IIIiiiiiiiI
~.
"
-eJ
"
.-
'.J
,'"' ...
..... rl
rl
-.
--_I-"..-.....
.-. _
.
-~
- - -_.54
---"_
,
I
....
fT
rl
"YiT
t)
"
,-.:I
}
~
" rr
...
..
::>r-
......l
~::--::>
III~
.....
t-:
~ ; ...
-- ----
r~
...
_W"
..........
1\
16
I''''I'
" r,
,\
~~
-I
ppp
,
'T
"Ioii.-
l -,
'il
..
r
...-
1";;"-
-I.-I-r-r.-l1E
r.
.
..
...
.-l
PJl
""-~
.,
..
. -.-'...--~ IIII!!I
1iiiiI"-
aJ
--:;;;J
.-1-1-1
~
"'~I--
...
-,.-
---
ii~J~ i- II
ppp .. - - - -....-- --~-
..
..-
.. ....
..-
....
dolce assai,
III"
ppp
..
-"i
55
.. .... ..... . - ..
.-
~ ~
: t
...
-;~~.;,=;~
l::LL.J
-'111111-" "I
..-
..
-u..-
-,
~::>->-.::::...>::>-
.. -- _1- .....
. . . . .1_1
IE
'-
_I
,..._ A
'II
"-
.-:;-
I..-
_loI'!IE. .....
r
..
- .. - -
II . . . . . .
ati.ii
...&
-...
_-~'-"
..
--.
"""'"
"""'"
10-
-~-'r
---~
fI'IL IIIii .
.......
~..-
r-
::::-
::::::.
..
- -.. - --
.;.~~
-I
~I~
---. ---...--....... rT..-
............... i-i-i"l.......l- r
fP
--
---I
IS.
IT
-r.;;-
""""'J"
.....I
--~
lliifllll-
"
--
- - .. -
.::::>
.::::>-
~~~
......
r,
,~
-1_
eJ
-I
..-
--
~-
I!!!!!!!I!!!!!I!!!!I!!!!!!!!
,"~~~t~~~~
.,....
ilL ~-
---.
~ I!!!!!!~!!!!!!!
~-_I...
_ _ IIE
z:
rl
....
..-
1. .
-.
-~.
--,-
.,...- -..
- ............ ..........-
..:l
a.-
--.r
.....
.:....I
"
--.c
r.-.
p
--utT
F. Lamperti -
l1li
lliijijllll-
"-1'IIIIi.
-..
.... PI . . ,. .
............
.-_- -...
:L..~..c:..
.L~"".~
... L..;..;:_
-.._._..........
...... .... ... - :;::::::-=-:::.
. ------- ..
_
t-
."
.-I..... .........
!lIE.
......
~
-..
...
Iiii"--
'--~ II!!
F. Lamperti -
~~
~~~~UD~~~!W
--..
-..
...
"
.. - ---..
- -- - =------= ...
. .
... ..
.... ---------I1.
..
..
,.., . #*- - <c:> 11 - - ---. ..- - - -- -...
...- ... - ... - ... ..- - -- - -- - ... -.. ......
- p
D
~
,.
~J.l_
eJ
.--
:-
ta_
.,...
""--~
".-
1-
----~
..........-r--
..,
I
1'.~
ste/lt..
f1
..,
aL
.-I
.~y
__
.~
....
<
~
.,
-. _'r'r_" n_
~.-I
.. I
-..-I
......
-,
.-
~~
--
-I
......
.-l
M..- -_.-l
rr~
.-
"II
-I ~-i ~.
-I~..ij
....z
r-
.,
...
AI
....
......
-----
l-.
56
.....
I
....
"'l
F. Lamperti -
dtill.
e 1YIII.
('ol canto-
~.
-===== =====-
57