RA Idomeneo. g. (1781) 202. Sle fm Mer. THe, 2 op. aad ‘nd 20. easleeet i plead. Bie Stat, Egat etek ee, oe, Vanue'« soros guises. Duet Bar. ‘na‘uane Trine (La Reine de Saba). e. (1862) Ch 210. Sky algo caret pr sagen, Base i. Tant que le Soa dure. M-Son. Jeanne d’Arc.f. (1881) 213, Ades, forts. Sop. M-Sop. ‘ALA, Cachés dane eet ale. Lallaby. Sop. La Juve. i. (1835) 219, Wea vee, Sop. Takmé. t. (1883) FH Te (esc G. Moyerbeer ‘on. W. A. Mozart Tone. i. (1858) E. Petrella ent Jean de Nivelle f. (1880) L. Delibes. P, Techaikowsky Jocelyn. f. (1888) B. Godard Celebrated Arias, Duets, Trios, Quartets and Quintets Selected and Edited by Max Spicker ‘Linda di Chamounix. i. (1842) G. Donizetti See oo vaca 55) 2 Wome pe a ean Regie ata ‘Tea, 229, Nua ooi bedankt mela Ueber Sehan, ‘Lula Miler. 1. (1849) 6. Verdi 280, La tombe 3 un ets. So. Manoa. f. (1884) J. Massenet 31, Obdasons, quand leet riz. Gaver, 232, Obditons, quand ler vox. MSon. Manon Lescaut. f.(1856) _D.F.E. Auber 233. Cease amotaen, Sop ‘23bie, Cost atoice amourease, Sop ia C Math, (87) F.v. Flotow Meyper. Tea. or BE Gur aca oe lat ere ot Soman Bop M.Sopce ie Matineaie ogrets. (752) D, Clnaroan 20 Le tc oa ico, Tn, 2 Sop Mefistofele. i. (1868) A. Boito 237. Laka mmabe. Duet. Sop anno fano,ionane’ Dose. Sop-and Toa, Detgnon. £. (1866) Sbig- Jo ule Tt 2b Lejeres hitondelens Duet Sop. ead 1A. Meal gene oe, bond, MLS. HO Yate nar. “Sep This composition, Price, 40 cents, in U.S. A\«Connais-tu le pays?» “Know’st thou not that fair land?” From the opera English version by “MIGNON” Hoary ©. Chapman All nen Ambroise Thomas ey RE ROE OR Piano ef ne oe 7 a dolce Con - nais-tn Je___ pa-ys Knowst thou not —that__ fair land. Non— co-no - soisl bet suot er ede Ss 2 a ot fleu-rit Yo - ran - ger, Le_ pa-ys des fruits where the or-ange-tree grows, Land. of fruits bright as che di _por-po-rahasl ciel, Tt bet supe % de? * asane Copyright, 1913, by G@. Schirmer, Ino Printed in the U. 8.4,dim. 2P — et des ro-ses ver-meil - Ou la bri - seest_ plus dou - — and the red-dest of ros - Where the birds floct - er fy, — = sonpin ter-sig co- to - 0 ne Taw - rap pin dob - “T ee,et Yoi-seau plus Ié - ger," Oi dans tou-te sai - son bu- where the wind soft-er blows, Where all sca-sonsa - round the ace, pits lie - ve Vou - gel, O- vein o-gni sta gion ha a * Fa, RL dolce sempre ti- nent les a - beil-les, Od ray-on-neet sou- rit, comme un bien-fait de hon - ey-bee ne'er doze: Where the sun warmer shines,where cach morn-ing a - Ta ~ pe sempre fio-ri, O - ve sot-tosl ful- gor dun cielo.o-gnor se - Poco _orese. Stes. Dieu, _ Un 6-ter-nolprin-tomps sous un elel — tou-jours bleu? new’ Spring e-ter-nal doth smile ‘neath a sky ov - or blue? ren Par chet April se - ter ~ nigh-ter- bet te thque ne puis- je te sui - vre Vers ce ri-vage heu- Would that T were re- tum - ing To my dear native po lessor lor ‘na. 78 a guallea'- mais reux, doi le sort me-xi - lal Ta cest 1a que je vou-drais land, where 0 hap-py was I! there, ‘tis there that I am spon’ deon-de fut tol-tayn dil s0-o, la sol vor-ré=T fe - yre, Al mer, Cest 1a que je vowdrais ing) To live, to tove and to die "Bis there that Tam Te, a ma~rei-maree mo vor-re-4 re - = —— dim. Tempo Ie vi - vre, cest lal jearn- ing ‘To love Maer ree - mar, 2aa2ea fEEAn P eS 3 a Andante Con - nais-tu la mai-son ot Yon m’at-tend 1a - bas?__ a KnowSt thou not ‘that my home waits me still in those lands? The Non co- no - sei to- stet che ser-ge le su pian? — Le sal - leanxlambris dor_________ ot _deshom-mes de mar - bre hall shin - ing with Md, where the mar-bles se- date - ly a = dor-ne Por, de statuegi-lepa- re - zaazz6 psn) ==: se 2-9 er aes = + F Map-pel - lent dans la nuit en _me_ ten - dant les Are watch-ing day and night as they stretch me their Che fan - no seol- tan not - tee mi ten -don la Et la cour oi Yon dan- se & Yom--bre dun grand ar- bre, And the courtwhere we dane’ ‘neath trees an-cient and state-ly? Ho ri-cin-ton 8 dan- sa al-lom~- bra do- glia-be- ti? on i a ee Et le lac transpa-rent’ —oit glis-sentsurles eaux —Mil-[e ba-teanx Andthelake crystal-clear, where on the wa ters glide A. thoussand air - y Ed il_ta ~ goin-fi-ni-to al-le cui linfein sen Mitte schi -fi log gers, fa-reils Ades of - seaux!. boats, Uke birds up-on the tide! cri sew van nogual ba - Con? asnee—_—_—— a : 4s pias SS JS 4 e fa ¥ 5 ela — que nepuis-je te sul vreVers ce pa-ys loin - tain doi lo sort mo-xi- = Whuledhag’Eowace ge fn Vag To. my dencaatie, land whore <9 hap-py was Pe th to AE foe ES Te Reel iO pads - mater do Fe Bln eo rn a — —— z = ef ia la cest 1a que Jevoudrais vi - vre, Al- ‘tis there thatT__ am yearn - ing To la aol vor-ret re - sa- re, din. mer, ai-mer et mou - rir! Cest la que je voudrals vi - vre, cest live, to love,and to "Tis therethat I__ am _yearn-ing’ To Ta sol_wor-re-8 re - 76, ma - al_vor- 7 oul,—cest Tat and— to diel mo -rirt zaneOPERATIC ANTHOLOGY Celebrated Arias Selected from Operas by Old and Modern Composers Edited by MAX SPICKER (In $ volumes: Soprano, Alto, Tenor, Baritone, Bass) These five volumes of the OPERATIC ANTHOLOGY form one ‘of the most complete and thoroughly representative eclections of dramatic airs ever published. The music comprises arias with their preceding recitatives, when such exist, including selections from French, Italian and German composers, ancient and modern. The collection also contains airs belonging to operas little known or diffcule and expensive to obtain, and thus puts into the singer's possession a wealth of unusually interesting material. ANTHOLOGY OF SACRED SONG Celebrated Arias Selected from Oratorios by Old and Modern Composers Edited by MAX SPICKER (In 4 volumes: Soprano, Alto, Tenor, Bass) ‘These volumes of SACRED SONG will be found of greatest value to singers, especially to soloists of church choirs. The selection they offer is uncommonly rich, and includes not only a number of the best known songs, but others less familiar, as well 28 songs from oratorios dificult to procure in a form adapted to the singer's needs. Songs of rare beauty have been unearthed from forgotten ‘works of the past, and many have been culled from modern works that have not become widely familiar. Every care has been taken to make the collection a thoroughly practical one for the use of all singers. G. SCHIRMER (INC.), NEW YORK