Schirmer’s Library of Musical] Classics. R Vol. 290 ANTHOLOGY oF ITALIAN SONG OF THE SEVENTEENTH AND BIGHTEENTH CENTURIES ¢ VOLUME 1 BoNONCIN MARCELLO eXtbAeh MARTIN EARISS! Taal vival SELECTED AND EDITED WITH BIOGRAPHICAL, NOTICES | By ALESSANDRO_ PARISOTTI ee EyoUsH Teawstarions ey DR, THEO. BAKER G. SCHIRMER, INC,, NEW YORK Printed in the U.S. A,PREFACE. Waite in all art a loving investigation of ancient forms is an unfailing bourn whence flow the most fitting resources for the puri- fication of taste, this applies most fully to music, which, eluding plastic realism, can readily derive irom grand models whatever it may need for the improvement and de- velopment of its productions. This asser- tion appears like, and in fact is, a paraphrase of the wellknown saying of our great mod- ern melodramatist, the sense of which may perhaps be more directly and forcibly felt in the original general form. And since the new is now-a-days growing scarcer and scarcer, its place may fortunately be filled by the resurrection of the ancient; the more, because it has appeared for some time as if such a resurrection would inter~ tst patrons of art far more than current novelties. For these two reasons, then, the time seemed to be sipe for the present pub- lication; and it cannot fail to be a source of real benefit to our beloved art of song, to point out a means for certain improvement both on the wsthetic and practical side. The songs which follow were gleaned from ‘old manuscripts and ancient editions, where they lay in unmerited oblivion. In under- taking this work of exhumation, such an abundance of material was unearthed that the task of rejection, necessitated by the modest proportions of this volume, became difficult and grievous. [Since the above was penned, the very favorable reception accorded to this first volume has encour aged the preparation and publication of a second.] In transcribing the melodies the utmost care was taken to alter nothing in the originals, and often various manuscripts were consulted to ascertain the most ele- gant and correct form. Obsolete abbrevia- tions were written out in full, and the mel- odies so selected that none overstep the targe of aa ordinary voice, thus making ui them accessible to all. Further, in adding the accompaniments and harmonizing the bassi continui, care was taken to insert nothing out of keeping with the words ot character of the compositions, or with the style of the author and his period; during this work constant reference was made to the models left by the greatest masters in this style of chamber-music, placed in cen- turies past at the lofty elevation which is theirs of right. Having explained the scope of this pub- lication, a few observations on the correct mode of interpreting the music will be of fered. ‘The main characteristics peculiar to the composers of the 17th and 18th centu- ries are clearness and simplicity of form, depth of feeling, and a suave serenity whose grateful influence permeates their entire style. The music of to-day, on the con- trary, is neurotic, full of startling effects and violent contrasts. In the interpretation of these ancient songs, therefore, a prime re- quisite is the avoidance of any exaggeration of coloris, of all strained delivery. The singing must be simple, unaffected, tranquil, legato ; the tempi quiet, without any preci- pitation whatever ; the embellishments ex- ecuted with studious attention, to insure clearness and accuracy ; words and tones welded to form one indissoluble whole, so that the hearer cannot fail to comprehend their meaning, The whole delivery; in short, should show delicacy of intuition and a thorough understanding of the laws of the good Italian style ; it should be at once calm, elegant, correct, and expressive, yet without coldness or heaviness. powers are required for singing these an cient songs, though they demand an exadt observance of the notes and directions ; a modicum of good taste, and a genuine love of study, will do the rest. ‘Rome, Novanber, 885. No unusuatBIOGRAPHIRS OF AUTHORS REPRESENTED IN THIS COLLECTION. GIOVANNI MARIA BONONCINI. 1640-1678. By exploring the libraries not a few of Bononcini's works, distinguished by ele- gance of form and exquisite taste, may be brought to light. Madrigals, symphonies, cantatas and sonatas form a rich and attract- ive sepertory, well worthy of being recalled to life through the agency of the press. But matters are not yet ripe for taking this step, and we must be satisfied if'a small portion of these deiightful compositions meets with universal approval ; albeit the style of Bo- noncini is clear, melodious, and unspeak- ably expressive. In each measure wells up the art of beautiful song ; at every turn are effects surprising in their freshness and apt- ness ‘The arietta printed here was found in a7 of manuscript of the 18th century, stowed away amidst other gems of the most illus- trious Italian composers, in the great libra- ry of the Royal Academy of St. Cecilia at Rome. After this manuscript Gavaert edited, in the collection entitled Gloires d’Italie, a pleasing melody, “Pietd mio caro bene,” which I should have been glad to add to the present series had space not been lack- ing, Unerringly correct in form, graceful in style, most truthful in the expression of feeling, Bononcini the Modenese, besides * being a most eminent composer, was a fa~ This is plainly proved by his work, “Il musico pratico” (The prac- tical musician), ‘a brief demonstration of the manner of attaining a complete knowl- edge of all those things which belong to the compesition of songs and which concern the art of counterpoint,” published in 1673 mous teacher. v He wrote theatrical works, instrumental pieces, secular sonatas, madrigals, and some cantatas. He was born about 1640, and died No- vember 19, 1678. ANTONIO CALDARA. 1670-1736. He was master of composition to Charies VI, at whose court in Vienna he bore the title of Capetimeister. Previously, he had occupied a similar position at the ducal court in Mantua, An extremely fruitful writer, he left to posterity a long list of sacred and secular works, in all of which the trained hand of the master in art is ap- parent. The simple and affecting melody, “Come raggio di sol,” has lost nothing of its original delicacy and freshness after the lapse of two centuries. Among the numer- ous cantatas and serenatas from his pen, the pastoral drama entitled La costanza in amor ‘ince I'inganno appears peculiarly worthy of mention. Its plot is simple and perfectly idyllic, but the graces of song are lavished throughout with a prodigal hand. He rare~ ly mentions the instruments for the accom- Paniment, excepting where he writes an obbligato for theorbo, corno da caccia, the treble viol, etc. In most cases, there is a bare basso continuo set underneath the vow cal part, with no indication whatever of the harmonization, From the above-mentioned drama we have selected the two ariettas, “Sebben crudele” and “Selve amiche,” and should have taken more had space per- mitted. Caldara was a pupil of Legrenzi, and ea joyed a higher reputation than his teaenerfle set to music libretti by Apostolo Zeno ind Pietro Metastasio, among them being Temustocle. He was born at Venice in 1670, and died in the same city in 1763. GIAN GIACOMO CARISSIMI. 1604(?)-1674. ‘A More fitting commencement for this Lollection of Ancient Music could hardly be found than a work by a genius of such rare and original type as Carissimi, who, among the great masters of the 17th century, was famous both as a composer and as a teacher of singing. His Sacrifice of Fepbtha and Judgment of Solomon, mastet-works of the sacred style, founded the grand Italian school continued and extended with such admirable success by his pupils Alessandro Scarlatti and Marco Antonio Cesti, It is much to be regretted that the majority of this fertile author's compositions lie ne- glected, as dusty and decaying manuscripts, in public libraries, which, possessed of treasures in the shape of scientific and liter~ ary works, regard musical writings as poor appendages of slight worth. Hence the difficulty of researches, which might reveal to lovers of art many a hidden treasure and gem of price. Carissimi, in his life as an artist, was very ‘tiring, and it is not known whether his ppointment to the directorship of the choir in S. Appollinare at Rome brought him greater honor than that at Assisi, How- ever this may be, to his eminent genius and unwearying study of music is due a great advance in musical art, more especially in the style of oratorio and songs. From among these latter we have selected for publication the one set to the words, Vittoria, vittoria. A poor lover has liber- ated himself from love's bondage, w appears to have been very grievous, and ex- presses his delight with the most charming vivacity, and in the most elegant form. ‘This song has a character of such marked vr individuality, that it would be difficult to confound it with other similar composi« tions. Carissimi was born at Marino, near Rome, about the year 1604, and died in Rome in 1674. Some biographers contend that he was born at Venice in 1582. MARCO ANTONIO CESTI. 1620-1669 (?). Amons the followers of Carissimi was the monk Fra Marc’Antonio da Arezzo, who was born in that city about 1620, and died at Venice in 1669, or according to others at Rome in 1688. He was a pupil of Carissimi, and one of the foremost composers of the 17th century. His cowl did not hinder him from writing various dramas and amorous cantatas in the style originsted by Carissimi, in which aria and recitanve alternate, be- sides many madrigals and secular ariettas. Not a few of this composer's manuscripts are left us, scattered everywhere through the libraries, and generally neglected, From among these I have been able to select, in the library of the Royal Academy of St. Ce- cilia and the Chigiana at Rome, a few litte songs for three voices with romantic or mythological subjects, and of no mean value, which I hope to see published sooner or later. Cesti’s style is Wonderfully suave and melodious, and expressive to a degree that might be called sensuous. These features are strongly prominent in the melody “In- toro all’ idal mio” belonging to the opera Orontea, which was performed in 1649; it may also be found in the fine collection of Carl Banck, entitled Arien und Gesdnge al terer Tonmeister (Arias and Songs by Earlier Composers). ‘Numerous other melodies in this author's secular music, with basso continuo, deserve to be brought to light, both by reason of their interesting melodie turn and the ele- gance of their form ; and I propose hav- ing them printed in case this first attemptshould meet with critical and popular ap- proval. Cesti was maestro di cappella at Florence under Ferdinando Ill de'Medici, and later assistant Capellmeister to Leopold I at Vien- His most successful work was the opera La Dori; the titles of ten or twelve others are still extant. na, CHRISTOPH WILIBALD GLUCK. 1714-1787. Iris with good reason that Gluck is cafled the reformer of the musical drama; for dur- ing the better part of his long career as an artist he devoted all the exceptional powers of his genius to the emancipation of the opera from the shackles of conventional form. In his efforts he met with a redoubt- able rival in Piccinni, of whom we shall speak later; so hot was their struggle for supremacy at the French court, that two opposing parties were formed, the Gluckists and the Piccinnists—a striking proof of the interest then taken in art by the public. Pic~ cinni was finally defeated by the immense success attending the performance of Gluck’s opera Iphigenia in Tauris, The principle at issue in this artistic war was, whether natural dramatic expression in music, as ad~ vocated by Lully and Rameau and practi cally carried out by Gluck, should give way to the mere outward charm of lyrical mel- ody as demanded by the Italian school of singers. Gluck’s later operas are master- pieces of true dramatic effect, and the grander the situations, the more boldly does his genius assert itself, At the beginning, however, he was satisfied to follow in the footsteps of the early Italian composers; not until the fiasco of his operas in London’ (1746) did he seriously address himself to ‘that reformation of his own style which was destined to. work a revolution in dramatic music, As a French writer of the time hap- pily put it, “the Italian opera was only a concert for which the drama furnished the vil pretext.” In Gluck’s operas, on the othet hand, his devotion to truth in dramatic. art breathes from every page. Gluck was bora at Weidenwang in the Upper Palatinate on July 25, 1714, studied in Komotow, Prague, Vienna and Milan, in which last-named place his first operas, with italian words and in the Italian style, were brought out; their success earned him. an invitation to London, where the fiasco above alluded to led to the change in his views, which was confirmed by 2 visit to Paris, where he heard Rameau’s operas, The operas, Alceste and Paride ed Elena, were performed at Vienna in 1767 and 1765 respectively; from the latter is taken the aria ““O del mio dolce ardor,” in whict suave melody, elegance of form, and exqui- site dramatic feeling unite to form a rea gem of art. Despite the incontestable beau- ties of these works, they met with littl favor in Vienna; their author consequentls removed to Paris, where fame and fortunc were the meed of his unwearied efforts. He died at Vienna November 15, 1787. GEORGE FREDERICK HANDEL. 1685-1759. Hanpet. (properly Georg Friedrich Han- del) was born at Halle in Germany on the 23d of February, 1685, not quite a month before Joh. Seb. Bach. His precocious ge- nius attracted the attention of the Duke of Saxe-Weissenfels, who prevailed on his fa- ther to provide for his regular instruction in music. At the age of ten he had written a seties of sonatas, and in the following year his father journeyed with the youthful com- poser to Berlin, where his talent for improv- isation and playing from a figured bass aroused the admiration of the ftalians Bon- oncini and Ariosti. In 1702 he was ap- pointed organist of the cathedral at Halle, a position which he retained only a year, then going to Hamburg, where his first four op- eras (in German) were written, Afesirapeing especially successful. In 1706 he jour- aeyed to Italy, the home of the opera, and spent over three years in Florence, Rome, and Venice, studying diligently and com- posing several operas and oratorios in Italian, Thoroughly at home in the Italian vocal style, and already noted as a composer, he came to London in 1710, where he was re~ ceived with marked distinction; nearly thirty Italian operas written during the en suing twenty-five years spread his fitme far and wide, ‘The opera Otfone, from which the arietta “‘Affinni’ del pensier” is taken, appeared in 1725; Alcina, containing “Ah mio cor, schernito sei,” in 1736, Various oratorios, among them Esther and Acis ¢ Galathea, had also been brought out in the meantime, and met with much favor; be- sides, Handel had his hands full as a con ductor and opera-manager; yet he found time to compose a great number of valu- able instrumental works, and made several trips to the continent in search of singers and orchestra-players. His first unques- tioned success in oratorio was with the Messiab, written in 1741 in twenty-four days; thenceforward he occupied himself almost exclusively with this style of com- position, and produced the masterworks which render his fame imperishable. He died at London in 3759, honored and re- vered in the country of his adoption as no tnusician before him, NICCOLA JOMMELLI. 1-174. A prouic composer in a style peculiarly his own, Niccola Jommelli, one of the fore- most opera-writers of the Neapolitan school, was born at Aversa, near Caserta, the 1oth of September, 1714, and died at Naples August 25th, 1774. In the last-named city he studied under Durante, Leo, and Man- Gini, and at Bologna under P. Martini, His name ts still « housenotd worar in Italy; ine deed, on reading any of his compositions, one cannot fail to recognize the stamp of a great genius and of true originality There is something out of the common in Jom- melli's music, captivating the hearer by its breadth of conception and the careful work- ing-out of details. At times excessively minutiose, he introduces the flourishes so admired at that period with a lav’sh hand, as in the celebrated motet Victima paschali, which, if not the greatest, is certainly one of the most perfect of his works. At all events, he always avoided crudities, and, by com- Dining the charm of novelty with grace of form, has created real works of art. An exe perience of fourteen years (1754-1768) as Royal Music-Director at Stuttgart, wrought a marked change in his style, which won the appluuse of the Germans, but which was so little to the taste of the Italians that on his return to Naples his three last —and perhaps best—operas were totally unsuccessful, Jommelli took this cold re- ception so much to heart, that his death soon followed; his last work was the celebrated Miserere for two soprani and orchestra. He wrote not only operas, but also ora= torios, melodramas, masses, motets, re quiems, psalms for double chorus, ete. His, earlier successes were doubtless due in part to the cooperation of Metastasio, the re- nowned writer of opera-libretti, concerning ‘whom the following interesting remarks are found in some of Jommelli’s letters: “ He is a round, fat man of pacific disposition and engaging mien, and with very quiet and elegant manners."—“He is the cleverest artist in adapting music to words of all that [have ever known. If you should ever hap- pen to make his acquaintance, you will be sure to like him; he is certainly the most amiable glutton that ever lived.”GIOVANNI LEGRENZI. 1625-1690, OF this composer, who was born at Clu- sone near Bergamo in 1625, and died at Venice, where he was maestro di cappella in San Marco, in 1690, seventeen theatrical works, and numerous masses, motets and psalms, concertos, sonatas, and cantatas are extant. He was one of the first to write trios for two violins and ‘cello, and enjoyed the reputation of being one of the best com- posers of the 17th century. He was the di- rector of the ducal musicians at Ferrara, and of the Conservatorio dé Mendicanti at Ven- ce; he considerably enlarged the orchestra of St. Mark's, raising the number of players to thirty-four (eight violins, eleven small viols, two tenor viols, three viole da gamba and contrabass viols, four theorbos, two cornetti, one bassoon, and three trombones). The selected arietta “Che fiero costume,” taken from the opera Etocle, and effeminate like nearly all the poetry of the period, lacks neither freshness nor boldness, qualities on which changes of fashion have no hold. Its effect is charming, and the style chaste throughout. It therefore appears to me not to be out of place in this collection. Pupils of Legrenzi were Antonio Caldera and An- tonio Lotti. It is claimed by some that he wore priestly vestments. ANTONIO LOTTL 1667-1740. A suri, of Giovanni Legrenzi, and his successor as music-director at San Marco in Venice, Lotti was an eminent composer of sacred music and operas; his first opera, Giustino, was brought out at Venice when he was but sixteen years of age. An expert in the art of handling the voice, which was his favorite department of music, he founded a celebrated school of singing at Venice. Among his pupils were Benedetto Marcel- Jo, Galuppi (Buranello), and other fine musi- Nans. He outstripped his teacher not only Ix in fertility of invention, but in beauty a form and the expression of emotion, and ranks among the foremost original artists of the time. In the arietta ‘Pur dicesti, o boc ca bella,” simplicity, clearness, and infinite grace are so happily combined, as still to challenge our admiration, His knowledge of the art of singing is apparent throughout this composition, and particularly in the effects of the portamento and syncopation, the elegant style, and a wise economy in the management of colo~ ratura and embellishments. Some biogra- phers assert that Lotti was born at Hanover in 1667, of Venetian parents, his father being music-director at the Electoral Court; others say that he was born at Venice in 1665; he died at Venice January 5, 1740. BENEDETTO MARCELLO. 1686-1739. Tre work “Estro poetico-armonica,” bet- ter known now-a-days under the title of Psalms of Marcello, rendered its author ft mous among his contemporaries, and se- cured the admiration of posterity. He was a liftérateur and poet of considerable merit, and wrote a Treatise on musical theory ac~ cording fo modern practice, the Teatro alla moda,a poem, Arato in Sparta, and other literary works. In his capacity as a mu- sician he composed oratorios, cantatas, se~ renatas, masses, motets, etc., written in a severe style, but filled with the inspiration of true genius. The arietta “Quella flamma che maccende” is characterized by its smooth and tasteful style; its harmony has a graceful and original turn, and the generat effect is excellent. In Banck’s Collection it is quoted several times. Benedetto Marcello was a pupil of Lott, a sketch of whom is given above, and 0 Francesco Gasparini of Lucca. He was born at Venice of noble family, on August the rst, 1686; studied law, becoming a bar- rister, and for fourteen years was one of theCouncil of Forty; removed to Pola, where he held the post of provveditore for eight years, contracting in that fatal climate the germs of a malady which ended his life in 1739. He secretly married a girl of obscure origin, one of his pupils, having fallen des- perately in love with her. In the church of San Giuseppe dei Franciscani at Brescia the following inscription may be found on his tomb: BENEDICTO MARCELLO SCIENTISSIMO PHILOLOGO POETAL ‘MUSICES PRINCIPI. GIOVANNI MARTINI. 1741-1816. Tue lovely melody ‘ dormant Ogni pena pitt spietata, . Alb of anguish’ mostunsparing Se tu m'ami, se sospiri, iP thou vst me Stizzoso, mio stizzoso, Unruly, Sit, unvaly. O notte, o Dea, . O night, tysterious goes O mt, ease du mystee O cessate di piagarmi, . 6 no loge see to pan me. Se Florindo éfedele, =. Should Florindo be faithful Se tu della mia mort : ‘Wouldst thou the boast of ending. Son tutta duolo, . . Desponding, lonely. Spesso vibra per suo gioco, « Ob the bind-fold boy. Consolatie spera, ‘Take heart again Ombra cara, amorosa, . Gente shade, el beloved. Un certo non so che, . There's one, 1 know him not. = 6 53 57 3 8 103 69 2B 109 12 45 8 140 127 4 132 84 120 20 22 ci 28 31 14 93 Vittoria,mio core! English Version by (Victorious my heart is!) H. MILLARD. Cantata. GEAN GIACOMO CARISSIMI. (4604(2). 1678) Allegro con brio. (d - 168) Voice. Vit - to-ria! Vit - to-ria! Vit - to-ria! Vit - to-ria, mio Vic - torious,Vic - torious, Vic - torious, Vic - to-rious my . Piano. ry F P co rel Non la- -gri-mar pit, Non la — gri-mar heart is! And tears are in vain, tears are in iz Pe pil, 8 — seiol-ta @A - mo-re La vil ser - vi - ti; — Vit- to-ria! Vit. vain, For love nowhas broken its shackles in twainy Vic- toriousVie- f to + ria, mio co =r! Non la - grivmar pit, to- rious my heart ist And tears are in vain, fas ? Printed in theU.S.A. 105 a Copyright, 1880, by G.Schirmer.Po eres. @A . mo-re_ La vil ser - vi- tu, & seiol - i i lovenow has bro-ken its shackles in twain, For love \Fp ta @A- mo-re La ser - nowhas bro-ken its shackles meno mosso, e dolce assat. eect 4 Gia Tem-piag’ tuoi dan-ni Fra stuo-lo di sguar-di, Con vez-2i — bu- ‘The false one is vanquish, her glances a - muse me, De - ception no pmeno mosso.e dolce asst. giar-di Di - spo-se— glin - gan - - ni; Le fro - de, gliaf- longer with arts can_ con - fuse— me! No false-hood oF erese. 11105 aweek af funni Non han-no pid lo - - co, Del cru- do suo fo-co & sorrow op- press mewith rig - - or, The flamejonce so cru-el, has 4 Tempo I. it - to- rial Vit - to- ria! Vit- spen-to— Tar - do - - rel Vie- speutall_ its, vig - = or! Vic - to- rious! Vic - to- rious! o ald P to-ria! Vit - to-ria, mio co - - torious! Vic - to-rious my heart Non la - grimar pitt, Non Aud tears are in vain, And t + la - gri-mar pit, = E tears are in vain, For love now has bro- ken seiol-ta @A - mo-re La vil ser - vi- its shack-les in Sf 41105 a6 cocci there HEE PEELE Pere err eeeecteE ti, BE seiol - - ta @A- twain, For love now has ft. meng mosso,e dalee assat. - tu! Da In- ci ri-den-ti None ~- see pitt byai Her smileonceen - trancing no darts is re - mo-re La ser - broken its shackles in meno mossoe dolce assai. tf strale, Che pia- gu mor - ta-le Nel pet-to_ may — ven - vealing,The wounds in my bo-somwith timeare all. heal - duolne tor- menti lo pid non mi _ cio, BE rot-top - gui sorrow and torment no lon-ger I'm - ing, Now bro-ken each d 11105 af ——— Tempo. ja! Vit - to-ria! it~ lac-eio, Spa-ri- tail ti - mo - = ref Vit - to ious Vic - to-rious, Vic. tie is; all fears disap - pear - - ing! Vie - to- ? Sf to-ria! Vit - to-ria, mio co - -re! Non la- grimar pitt, Non fa - grimar torious,Vic - to-rious my teart is! And tears are in vain, And tears are in Paeerele fer er piu, E sciol-ta @A- mo-re La vil ser- vi - ta, E sciol- vain, For love now has bro-ken its shackles in twain, For love fargamente sth = pe - ta dA-mo-re La ser- -vi - ta! nowhas broken its shackles in twain! t crest. St cob canto Sf 11105 a8 Intorno allidol mio. (Caressing mine ido!’s pillow.) Aria. English Version by DY TH. BAKER. MARCO ANTONIO CESTI. (1620 . 1669(?) Largo amoroso. 8.) ben portando In goce © molto expr. Voice. a In = tor - no al-Ti- dol Ca = ress- ing mine i - dol’s — < = Piano. wer pr F peon delicatessa ¢ legato sO # mi- 0 spi - ra - te. pur spi- ra - te, pil- low Brestue tight - ty eer, __ breathelight ly, Zephyrs, — | _~ e e — nel-le guan- ciee- au- re 80- a - vi And — to his check, kind Zephyrs so soothing and fe Copyright, 1894, by G. Schirmar, Inc. suo Copyright renewal assigned, 1926, to, Schirmer, Inc. eiuted in the U.S. A.9 nese. —— pitt orese. ket te ba . cia - te-lo per me, cor - te- si, cor - breez- es, In greet - ing bear from The sweet-est, the ta Gok ME Sa, t—=— Pp. poco rit. p = - te! e — nef-le guan - cie e- And to his cheek, kind te = si sweet-est au of, tp smors| . # =— crese, ba - cia - te-lo per me, ba - cia ~ lo per me, greet-ingbearfromme, in greet - ingbearfromme the let ~ te breezes, In Ba, # Sa. * Fa. * — rit. th, P tr te- si, cor - te - si au - sweetest, the sweet-est of P \cot canto pp10 crese. Tie po - ea gu who his spir- it to ¥ dim. dl ia qui- ce - te, night doth sur- ren - der, Sa # Sa. # fa. _—— poco_rit. — —>_e > 7 so - gnigs-si - ste - - te Ejl_ mio racchin - — goar- fais dreams and__ ten - - der, And all my pas - sion re~ dl do re sve - la - te-gli per me, press- ed Re - veal to him for me, ° vis - ion, 0ry mio rac-chin - shar dos te sve - - te-gli per me, all my pas — sion re-press-ed Re - to him for me, decrese.————— per -v 0 to him for vis- ion, O crest.4 Che fiero costume. (How void of compassion.) Arietta. English Version by DY TH.BAKER. GIOVANNI LEGRENZI. (4625 - 1690) Allegretto con moto.(e- 0 Voice E a oS Che fie- 10 co-stu-me da- li - ge-ro nu-me,chea How void of compas-sion Is Ou- pid his fashion, Who leggiere grazioso aS Piano. for. na di pete si then ame rar, si ado - rar, drivesme by tormenthimself to a-dore,him-self to a- dore, pe-ne si fac-cia.a-do- rar! me by torment himself to a~ dore! Copyright, 1894, by G. Schirmer, Inc. Sa sto? Copyright renewalassigned, 1926, to G. Schirmer, Inc. Printed in the U.8. 413 if fun poco meng ; E purnell ar-do-re il dio tra-di-to- re un And yet in my ar-dor I fol-low the hard-er The un poco meno % Fa. * = ; dal. va-go sembiante mi fej-do-la- tra—— un va-go sembian- te mi vi-sion @ - Insive he shadows be- fore,____The vi-sion e - lu-sive he a. # fae Raw Ra. rit. Tempo I. off decrese. 55 SSS SSS ‘ ca a a Sp tee ee fej - do - la-trar. Che fie - ro ens-ty- me du - fi- ge-ro nu-me,chea shadows be- fore. How void of compassion Is Cu-pid his fashion Who for-za di pe-ne si fac-cing-do-rar, si faccia p-do - rar! drives me by tormenthimself to a-dore, him-self to a - dorel crese:44 —=————— Sf forza di pe-ne si fac-ciaa-do- rar! drives me by torment him-self to a - dore! * Auf ft Che eru-do de-sti- nocheyncie-co bam- bj-no con 0 Des-ti- ny senseless!A boy so defencelessScarce a= ee a tet te 2 LE of 2 isa bocca di lat-te si fac-cia stimar, si fac-cia sti- mar__— con wean'd, yet canmake us his fa-vor implore,his fa-vor im- plore, ___Sca y P PI Tee Fee ach —— SS = boe- ca di lat-te si fac-cia sti - mar!____ weand,yet canmake us his fa-vor im- plore! 110715 mf un poco meno Ma que-sto ti-ran—no con bar- ba-roingan-no, en- ty- ran-nousmentor, Our eyes he doth en-terWith espr. > a a. Pp tran-do per gli geehi, mi fe’ so- spi- raty—— en-tran-do per gligechi: mi bar-bar- ouswilestill we sighand give o'er, With bar-bar-ouswiles till we Ra. Ra, # Ra. Ra. ¥ rit, Tempo I. decrese. fe so. spi-rar. eru- do de- sti- no chean sigh and give o'er. Des - ti- ny sense-less! A 410716 a =—— he ms ok — by k$——y hy F — poe £ a SS —a cie- co bam- bi- no con boc-ca di lat- te si fac-cia sti-mar, si boy so de-fencelessScarce weanit,yet canmake us his fa-vor im-plorey his —<==_—— ———— has ty Secor = = —t i boc- ca di lat- te si > -wean'd, yet can make us his ¥ P sti - mart. im - plor fia fa-vor im- plore! eS a fi col canto a 1110717 Deh piu a me non vascondete. (Ah! why. let me ever languish) Arietta. English Version by DI TH. BAKER, GIOVANNI MARIA BONONCINI. Larghetto.cd Voice. Deh pita me non Va-scon - An! why let me ev-er Piano. de-te, Iv-ci va-ghe del mio sol, Deh pitta me nonva-scon~ languish In thy waywardbeamsmy Sun? Ah'why let me ev-er See eace = = > de-te, Iu-ci va-ghedel mio sol, fu-ei_ va - ghe del mio languish In thy way-wardbeamsmy Sun, in thy way - ward beams, my = = Copyright, 189, by & Schirmer, Inc. Copyright renewal assigned, 1926, to G. Schirmer, Inc. 11108 Printed inthe U.S: A-18 —$—_——_ tt. sol, In= ci va ghe del mio sol, © Iu- ci. va ~~ he del. min Sun, Jn thy way-wardbeamsmy Sun, In_ thy way - ward_beams,my Stee = Con sve - lar- vi, se voi Clear out - shin-ing, thou canst rit —= sie- te, voi po-te-te far que- stalma fuor di duol, voi po - ban-ish All the anguish Of the —nighLmy soul doth shun, AN the = Goratecean | din. rit. =—— _ —= a > = te - te farque-st/al- ma fuor di duol,—far quest’sl-ma fuor di_ duol. an - goishof thenight mysouldoth shun,—of thenightmysoul doth shun, spe ors = free ———__ SS — 4110819 P == |S Deh, pitame nonvia-scon- de-te, lu-ci va-ghe del mio ‘Ab why let me ev-er languish In thy waywardbeamsmy = on deh, pita me non v'a-scon-de-te, In-ci va-ghe del mio ‘Ah why let me ev-er languish In thy waywardbeamsmy ea = = —— = - SS Shen = sol, lu- ci_va— del mio sol, lu-ci va-ghe del mio Sun, _in_ thy way - ward beams, my Sun, in thy way-ward beams,my molto rit. = sol, Iu-ci va~- Bhe_del_ mio—— sol. Sun, in thy way- ward beamsymy-— Sun? = = ze cor canto |p baalaw = Set = 1110820 O cessate di piagarmi. (O no longer seek to pain me.) Arietta. English Version by DI TH. BAKER. Andante con moto. (J. soani¢.= 50.) ALESSANDRO SCARLATTI. (4659 _ 1725) fe = Voice. By —-——— oe — o as 7 eer v ces-sa- fe di pia-gar - mi, no long-er seek to pain me, ott Ss EES ¥ a AF Ff y Piano: ros ’ — —=—— te = 5 a SS =] =a ay — o © la-seia- te - mi mo- rir, 0 la-scia- te- mi mo- rir. Or give o'er, and let me die, Or give cer, and let me die. is) a? = —SSE - crese. ring. string. In- ¢in- gra - te, so fate - ful, so un- grate - ful, eyes so fate - ful, Lu - cin- gra - te, di - spic-ta - te, Copyright, 1894, by G. Schirmer, Inc. Copyright renewal assigned, 1926, to @. Schirmer, Inc. 11109 Printed in the U.S. A2 poco a poco - : a di -spie- ta - te, pin del. ge - Ioe pik del mar - mi so un-grate- ful; Ice nor stone could so __dis- dain me, smors. = ate PP. ee <= =e = = = = ¥ rE] fred- dee ser- dea’ miei mar- tir, fred - dee sor - dea’ Nor so cold- ly hear my_ ery, nor so cold - ly mar- tir. ces. sa - te di pia- gar - mi, my cry. no long- er seek to pain me, = = con dolore e ritenuto assai 0 la-seia-te = mi mo-rir, ° la-seia - te- mi mo-rir. Or give oer, and let me die, Or give oer, and let me die. La seconda volta 41109 molto ritenuto22 Se Florindo é fedele. (Shouid Florindo be faithful) English Version by Arietta. DF TH. BAKER. ALESSANDRO SCARLATTI. (1659 - 1725) — 5 Piano. pt —— Allegretto grazioso, moderato assai.(b: 132) =, = eS Se Should de - le io min - na - mo - r, faithful Sure-ly Til fall — se Flo - — rin- dopfe - de - Ie io min - na - Should Flo - rin - do_ be faitn- ful Sure-ly Til > > S, 7 Copyright, 1894, by ©. Schirmer, Ino 10 Copyright renewal assigned, 1926, to G. Schirmer, Inc. Printed inthe.8. A.RB ——_ —=S= SS r= mo- re - ro, s®__ fe - de- Ie Flo- rin - do min- fall in. love; Should Flo - rin- do_ be faith ful Ti = = na -mo- re - ro, io min-na- mo-re - ro, sé_ fe- sure-ly fall in love, I'll sure-ly fall. in___ love; If Flo- ——— ee a de - le— Flo - - do min - na~>—ho= te - 3d, rin - di be faith- ful IN sure-ly fall in love, min- na- mo- re- rd, min - na- mo - re - I shall fall in love, I shall fall in col canto tmitando la voce 41140P dolee a tempo — io min - na - mo-te - ro. Til sure-ly, sure-ly fail in love. > Sf Ztempo Sate re - Po- tra ben lar-co ten- de-re il fa - How art- ful eer he draw the bow, Well- vers in_ — — chio mi sa-pro di- fen - de-re dun tra-toar - cier, My heart I can de- fend, I know,From arch-ers’ wiles, = Iu - sin - ghier. lur- ing smiles. —pian- ti © que. re-le, io non a-seol- te- rd, weep-ing, and im- plor-ing My breast can nev- er moves \Gs > com grasia ma se sa-ra fe- de~le, ma se sa-rh fe-de - le io But if he should be faithful, but if he should be faith - ful Pil dolce io min-na-mo- re - sure-ly fall in min- na-mo- re - rd, sure-ly fall in fove, rade. Ye ee vp PY and min tla - mo - Te - roy min. a= mo- Te- 1 shall fall in love, 1. shall fall in = ——=2 et = eo FY = col canto imitando il canto26 atenpo —S °Z ro, io min *- fa - mo- re- rd, se Flo - love, Til sure-ly, sure-ly fall in love; Should Flo - > a tempo Se SS rin do® fe - de- le io miin-na- mo- re - rin - do_ be_ faith-ful Yi sure-ly fall in ___ , = — ao ; Ss de - le faith - ful io min - na - rd, 8 Ti sure - ly love; Should phe Leer crese. 11110ft ae rr S=— mo-re - ro, io min-na- mo-re - love, Til sure-ly fall in __ > rin - do min- na - faith- ful Til sure-ly fall in — eee Bee do min - ma - mo - re - TH sure-ly fall in ro, se’__fe - de- le_ Flo - rin - love; Should Ffo - rin- do_ be faith- ful ro, min - na- mo - re ~ min - na- mo - re - love, I shall fall in 1. shall fall in imitando la voce col canto > jo min - ha - mo- re - rd Til sure-ly, sure-ly fall in love! auto28 Son tutta duolo. (Desponding, lonely) English Version by Aria. DI TH. BAKER. ALESSANDRO SCARLATTI. (4650 - 1725) —= Largo. (= as.) Pianos == eee eet Voice. f p con grande espressione Son tut-ta duo - Io, non ho cheaffan - ni Desponding,lone- ly I heremust lan- guish, =f p lento e mi da mor- te — pe-tta eru-del, pe - na eru-del Sore wounded e - ven Fordeath\ wait, for death I wait; t stent. _—._ e mi_da mor- te pe-na eru-del, pe - ma cru-del Sore wounded e - ven FordeathI wait, for death Iw: a tempo > wt wt P stent. Copyright, 1894, by G. Schirmer, Ine. Printed inthe U.S. A. mitt Copyright renewal assigned, 1926, to G. Schirmer, Inc.29 P, =——_ ea e perme so - lo so-no ti- ran - ni glia-stri, la And me, me on - ly Mock in mine an — guish All stars in te, i nu-mijil ciel, © per me so - en, The gods, and Fate, and me, me on - orese. ps ——— F lo so- no ti- ran - ni glia-stri, la sor - te, i om - ly mock in mine an - guish all stars in heavy - en, the gods, — Pp PP. i mu. mii i m-migi ciel the gods, and the gods, and Fate30 P Son tut-ta duo - De-sponding, lone - (ops = non ho eheaf-fan - ni I here must lan - guish, Se lento == e midi mor- te pe-na eru-del, pe - na_crn-del, Sore wounded e - ven For death 1 wait, for death I waits da = mor - Sore wounded te pe- na eru-del, pe - ma cru - del. e- ven For death I wait, for death I wait. QS stent. Sf > cal canto sSpesso vibra’ per suo gioco. (Oft the blindfold boy.) English Version by Canzonetta. DY TH. BAKER. | den 12 ALESSANDRO SCARLATTI. ater t ae grazia, (1689 ~ 1725) Voice. = vi - bra per——_— suo__ blind - fold boy. dath__ Piano. ct S marcato. pint Pp gio- co il ben - da- to par- go - let - to stra- li__ brandish, While in sport-ive mood he hov- ers, Gold - en__ = ote = Pratl, ——__ db-ro in u - mil_ pet-to, stral di__ fer - ro in no-bil co- - shafts for low - ly_— lov-ers, Darts of__ steel for heartshe-ro - > > Copyright, 1894, by @. Schirmer, Inc. wie Copyright renewal assigned, 1926, to @ Schirmer, Inc. Printed in theU.S. A.steel__ = ee: SSS z = = F a tempo. > P ee tee = = Poi Jan - guen-do in mez - zqai— fo-co del di- ~ ‘Then con - sum-ed by fire— they— languish Of his ge Po SS + yer-so ac-ce- - so stra-le per og- - get-to none- - fiercely en-kin - dled_ ar - rows; Old or—— young, a - like— their une33 gua - le que - - - sto man- - ~- ca,que- - ~ sto sor-rows, None____ so _ bold, no, none so ————————_—S= X—™—— Pp man - - eqequel vien me> - ~ no, que - = - sto cold, can play the sto - =~ icy none so rit_assai. ee man + -ca,que - - sto man-eayquelvienme- - uo. bold, no, none so_ cold. canplaythe sto - ic. col eanto. P Spes - so vi - bra per suo— Oft__ the. blind - fold boy doth— = > S marcato.gio- - co bran - dish, pet - to, lov - ers, a ttempo. Ss atenpo. ff ante stral__ Darts of. il While > crese. stral_ di__ Darts_ of __ gia 34 ft do - ro inu - ~ gold for low - ly Pal, fer - ro-in wo - bil se - steel for— hearts he- ro - P col canto. prall.assat. fer - roin no-bil se - - steel for_heartshe-ro - - 4 P col canto.aot Se tu della mia morte. (Wouldst thou the boast of ending:) Aria. English Version by D! TH. BAKER. ALESSANDRO SCARLATTI. Andante. @d.- 56) (1669 . 1725) Voice. Piano. aT Se tu delia mia mor - te a questa de-stra Would’t thou theboastofend - ing A life and love of - P > SS SSS for - te Jagto-rianonvuoi dar, dal - lagtuoilu- - mi, dal- - fend-ing De-ny tothis righthand)Grant it to thine own eyes, wrrant Copyright, 1894, by G. Schirmer, Inc. 1113. Copyright renewal assigned, 1926, toG: Schirmer, Inc. Printed in the U.S. A.36 P P laatuoilu - mi. tu del-la mia mor-te a it to thine owneyes. thou theboastof end-ing A a z e == SE 2S ? que-sta de-stra for - te la glo- ria non vuoi dar, life and love of - fend - ing De - ny to this righthand, = la, dal - la_attuoi I~ mi, Grant it to thine, to thine own eyes, Pp dal - = = tay dal = la_attuoi - mi; Grant it to thine, to thine own eyes; "S: rit. col canto. 43eee es 37 L— eil dar- do del tuo sgnar-do sia quel - [o che mue- s lanc-es keen, thy glanc-es beswift andsure in erese. ci - da, sia quel - lo che mue - ci 7 da slay- ing A heart they so de ~ spisey a mi con.st - mi; sia quel- lo che muc-ci - | dae they so— de.spise; Be swift andsure in slay - - ing a Pp mi con-su-- mi. heart they so despise. Se tu del-la mia mor - te % que-sta de-stra Wouldst thou theboastof end 5 ing A life and loveof- aep> for - te la glo - rianon vuoi dar, dal - la _wtuoi lu.’ - fend - ing De-ny to this right and,Grant it to thine own Eee ea elle P la_atuoi un --mmi it to thine own eyes. _ ft. Se Z tu del-la mia mor - te a Wouldst thou the boast of end - ing A > crese. que- sta de-stra for - te la glo-bia non vuoi dar, dal =~ da,” dale life and love of - fend-ing De-ny to thisrighthand, Grant it to orese. P, rit. molto. = = re pesitsh + =A 7 o la _dtuoi I - mi, dal - - la; dal- laatuoi 1 - mi. 7 thine,to thineowneyes, grant it te thine,to thine owneyes. rit.col canto.39 Un certo non so che. (There's one, I know him not) Arietta. English Version by D! TH. BAKER. 1 ANTONIO VIVALDI. Con moto ed affettuoso. (¢-69.) (ies = 1748) = Voice. Un cer-to non so There's one, I know him Piano. con|delicatesza. crese. — riten, col canto. Sa. -———— Sa. % a tempo. feupe —== che mi giun-gep pas - sail giun-gee pas-sajl not, In - to my heart did in - to my heart did a tempo. ——=== a. St P ere - non &y he brought, Sa. ge Sa. ge Copyright, 1894, by G. Schirmer, Inc. Copyright renewal assigned, 1926, to G. Schirmer Inc. wtta Printed in the. S.A40 a do —===f BP poco rit. %——_ do - lor brought, — Fp non, poco rit. —, Pitt sostenuto. __ : & Un cer-to non so che, un brought. There's one, I knowhim not, there's "EL a. ————— animato, _ eFése. t cer-to mon so che, nonso che mi pas -sajl cor, e one, I knowhim to my_ heart did royey And animate. Ta & erese. S=— p_ rit. non pur do—lor non he brought, yet no pain he —— — fa. * Fa. ae attaat plento. a. Se que-sto fos-sea = mor? . brought. Can this Un-known be Love? | I col canto pp fitnp.. =a = = —— nel suo vo- ra. cear - dor, nel suo vo-ra-egar-dor gid po-siin - Whofainhis powr to prove; —— whofainhis powr tS. proverA” foot ua ~ Sa tempo. alll lve “{F = Sa # ga. * ng Sostenuto espress. a tempo. siil pie! se questo fos-sea- mor? caught! Can this Unknownbe— Love? Sf a, Sostenuto. nel suo vo-rascearador "Bid po - siin- suo vo-ra-cear-dory who,fain his powr fo prove, A foot un - fain his powr fo proves (e lod atta, Ef42 a =— cau- ta, po - sill pit, in-cau - tail pie! war-y caught, a foot unwar - y caught! crese. #* fa. fa # gf molto ritard. uf a tempo. erese, Un cer-to non "so che mi giun-gee pas-sail cor, mi Theres one, knowhim not, In - to my heart did rove, in - pa tempo. col canto. Sa. n t crese. giungee passa jl cor, e pur non 2, e to my heartdid rove, And yet he brought, and fa. # eae aE Oe SP ovo rit. do - lor e,______ do - lor___ uon_. &. no pain brought, no pain—_ _he_ brought. — | : = re oe a P IM sooo rit. Ra. # 1a Rae43 Pri sostenuto. Un cer-to non so ehey un cer-to won so There's one, I knowhim not, theres one, 1 knowhim Sa. SS anata. pO che, — che— mi-_ pas - sail cor, not; — to my—_ heart did—— rove rey SSS | 07° ani animato, crese. portando. non he brought, crese| S=——— PP rit. ————__—_—_—_—— pur do lor non & i giun-gee pas - sajl yet_ no— pain he brought, in - to my heart did atiSt dim. = = giugee pas-si - to my heart vc fo #* Ba. # orese.ed affeltuoso. > ——> ——— lor non— non pain he brought, = and yet no pain he crese. Ro. # eS ritard. i %— do - lor_ non, %— do - lor— non a! brought,no_ pain he— brought, no pain. he brought! col canto.45 Pur dicesti, 0 bocca bella. (Mouth so charmful.) English Version by Arietta. D! TH.BAKER. ANTONIO LOTTI. (4667-1780) Allegretto grazioso. (# -69.) ue ae Piano. Par i - ce - sti, 0 boc - ea, boc - ca bel - la, 0 Mouth — so charm - ful, © tell me now, © tell me, 0 boc - ca, boe - ca bel - lay -a = we tell me now, © tell. me Why thy sweet - ness so =S=——— Copyright, 1894, by @. Schirmer, Inc. . Copyright: Pe vewal assigned. 1926, to @ Schirmer, Inc. Printed intheUS A 11115,© rit. il mio pia - cer. mine. tut - to il thee—all__ mio pia - cer, dliss is mine, all bliss is a tempo P erese. — Pur di - ce - sti, 0 Mouth so charm-ful, @ tempo Pp zit.con grata. molto. 7 boc - ea; boc - ca bel - Ia, 0 bow - ea, boc - tell me now, O tell me, 0 tell me now, LPP rit.col canto. 11015tf ——— Spy eon grasia. va - vee ca - ro sh quel so - sweet - ness lures me Why— thy > > portando —_erese. > —== vee ca = ro che— fa tut - toil om pia- sweet - ness lures me That- in thee all bliss is Pp smors. il mio pI all bliss i cer, il mi-o fia - cer, —_ mine, all bliss_ is. mine Se cer, vee cao sy mines eee = ness Inres____ me so, Aan48 smors._con grasia. = = i 7 eer 2 : SSS = i che fa tut - to That_ in thee il mio pin cer, all bliss is che fa tut - tail mine, that in thee all rite eee — smors. | ; cer, il mio pia - mine, alll bliss. is. ben cantando. nor di sua fa - cel-la con un ba - cigA-mor ta - pri,— charms to vow com - pel me, Cu-pid—ope'd thee with a kiss, ans49 PP —_= aoa = uf con. mm ba - cigA- mor fa = pri, dol - co Cu - pid ope’d thee with_ eee kiss, Thou sweet vocalizcato con grasta. PP - > fon - te— fount of vit. col canto. | PP at del go - fount of joy di - — Pur di - ‘Tempo I Mouth so { Dp | ben cantando e legato. PS ans 7 ¢ lsempre p50 —_==_ ce - sti, 0 boc- ca, boo - ca bel - la, 0 boc - ea, boe - charm - ful, O tell me now, O tell me, O tell me now, so - - vee ea = 40 thy sweet - ness Inres me tut - to il mio pia - cer, il tee all bliss is mine, all mio pia bliss is 115,BA Pp crese. molto. pprit. con grasia. SSS : Pur di - ce - sti, 0 boe-ca,boc-ca bel - la, 0 boe-ca, bow - ca Mouth so charm.ful, © tell me now, O tell me, Q tell menow, O erese. molto SS ro. bel = lay qnel_— tell me = Why— sweet - a0 me so, pp con grasia. ———— + = pho 3 7 SS quel. so - a = veg ew Why thy sweet ~ ness Iures. meso, That in tat = to ilo mi pia - thee all___ bliss is mine, all = A (aS re 7 sis,BP smors. il mio pia - cer, so - a - vee all bliss is__ mine, —— thy sweet - ness 7 si, che fa tut - te il mio so, That_ in thee all_.__ bliss smors. con grasia. rete ene mere e res == a > che fa tut-tgjl mio. pia that in thee all bliss_. is ea |? fomors. mio pia bliss is = ben cantando.53 Sebben, crudele. (Tho not deserving.) Canzonetta. English Version hy Df TH. BAKER. ANTONIO CALDARA. ‘ ’ (1671 - 1768) Allegretto grazioso. (e = 84) > = P spars. > > i > Piano. f Voice. P Seb ben, eru- de -" le, mi fai lan - gui, sem-pre fe - Tho not de - serv - ing Thy cru-el — scorn Ev-er un - lores Bee eer ee pi erese. —————— rit. de - by fe - de-le ti vo-glioa - mar. swerv - ing, un - swerv-ing Thee on-ly I love. Nee Nite ores. uf. = Seb-ben, eru-de - le, Tho not de~serv - ing Copyright, 1804, by ©. Schirmer, Inc. ae Copyright renewal assigned, 1926, t0G. Schirmer, Inc. Printed inthe U.S. 4.54 crese. tf rit. assat. ——— mi fai lan - guir, sem-pre_ fe - de - le ti_ vo-glio a- Thy cru-el Scorn, Ev-er_ un - swerv-ingThee on-ly ; * cre3. rit. assat. nf crese. fas mar: Seb-ben, orn - de - le, mi fai lan - guir, love. Tho not de- serv - ing Thy cru - el scorn, > r——~| is r apie —__ tt. assat. P— ee a sem-pre_ fe - de - leti_ vo-glio a-mar. Con la lun -ghez - aa Ev-er_ un - swerv-ingThee on-ly I love. When to thee kneel - ing f e_ | rit. assat. oe we del mio ser - vir la tua fie~ res - ga, la tua fie - All TL have borne, ‘Thy pride un . feel - ing, Thy pride un - > > > ses = > ae Pea | ot <2 111655 =— la tua fie - rez - za Thy pride un- feel - ing e-Soigatacais sa- pro stan - car, I then shall move, > > > > > > _—— rit. sa - pro stan - car. th |— move. I then shall__ move. _ Panors. P > Seb-ben, cru- de -' le, mi fai lan - guir,— ‘Tho not de - serv - ing Thy cru-el scorn, = 7 ee ana pee tert pect Eee, P oe crest. piit orese. — sem-pre fe - de - le, sem-pre fe - de-le ti vo-glio a - Ev-er un - swerv- ing, ev - er un - swerving Thee on -ly 1 Nw Tyee | Ses 7 — rt 11146& Seb—ben, cru - Tho not de - crese. t - de - ke i swery-ing Thee mi fai lan - guir, sem - pre_ fe serv - ing Thy cru-el scorn, Ev - er_ un - a - mar, eru- de - le, mi fai lan - de- serv - ing thy cru- el vo - glio on-ly 1 loves rte rit assat. guir, sem-pre_fe - de - le ti_ vo-glioa scorn, __—-« Ev-er_. un - swerv-ing Thee on - ly I ~ Fr te TS rit assai. ~ 1111687 Selve amiche, ombrose piante. (Kindly forest.) Arietta. English Version by Df TH. BAKER. ANTONIO CALDARA. (1671 - 1768) Andantino. ( Voice. = Sel-vea - mi - che, Kind-ly for - est, Piano. Pp legatissino e ux poco pesante. sel- vea - mi- che, om-bro-se pian - te kind -ly for - est, ye. shadowy arch - es, —————<——<—— pe legato it basso. I | > ——————— =] = =a jel mio co - re, del_ mo co - > re, heart, of -mineheartcon - fid- = - ~~ ing, fi- dgal-ber-go del mio co - Reéf-uge of mine feart con - fid- Copyright, 1894, by G. Schirmer; Inc. n7 Copyright renewal assigned, 1926, toG. Schirmer, Inc. Printed intheU.S. A.tratt. sempre ¢ con grasia fi-dogl-her-go del mio co. re, del mio co - re, fi - dewal - ber - go del mio Ref-uge of mineheart con - fid-ing,of_mine heart con-fid - ing, of mine heart con- (rat. sempre e con gra. + —— fi -do_al-ber - : : : - : -g0 del mio of mine heart, mine heart con- P == - = fs chie - dea voi que - Here a soul in st’al-maa-man-te qualche pa-ce, qualche pa - ce al suo do-lo- love that parch-es, All her sor-row, all her sor- row would fain be hid- eres. 7 a759 pa - ce, sor - row, qual- che pa - ce all ber sor - row = agsai. Ff rit. ae = $F =e al suo do - lo~ - -re. wouldfain be hid- - -ing. Sel - vea - mi - che, Kind -ly for - est, Sat f del he: mio eo - re, del mio art, of _ mine heart con - uui7 7 sy = a = -— SS — om-bro-se pian- te, fi - dgal-ber-go del mio co- - : ye shadowy arch-es, Ref-uge of mine heart con - fid- 7 z60 == . fi doal-ber-go del mio co - re, del mio co - re, fi - do al- sing, Ref-uge of mine heartcon-fid- ing, of mine heart con-fid - iny Sete fi-doal - ber- SEE ere eames of mine hea rtse-ceeteteese ere eeee ee erat eeeeeeeee eect ber - go del mio of mine heart con- - go del mio co- - - - ~ re. mine heart con - fid- ts = > rit. assat. utyot Come raggio di sol. (As on the swelling wave.) English Version by DI TH. BAKER. Aria. ANTONIO CALDARA. (1670 - 1763) Sostenuto. (d= as.) Voice. erese. molto. ———— din. Piano..|” ppp | $2 | SE P Co - me rag-gio di sol mi-teeg se - re - 10, As on the swelling wave in i - dle mo - tion, simili. —_—_—_———— co - me rag-gio di sol As on the swell-ing wave so-vra —pla~ -ci - di flut-ti si ri- po- sa, Wanton sun - beams at play are gai-ly rid- — -ing, + u18 Copyright, 1894, by @. Schirmer, Inc. Copyright renetoad assigned, 1926, to @ Schirmer, Inc, Primedia eS &ez Ufrett. poco a poco. ~ > Pp men - tre del ma- re, men- -tre del «sma - re nel pro- While in the bo- som, while__ in the bo - som of th’un- { ae E afrett. poco a poco. ae sta la tem - pe- ‘Trerelies a tem- erese. e string. a tempo. —_—__— Sf tit. rall. | pa tenpo. tranguitio. eo-si rie -so ta - lor ga-ige pa - ca-to di con- So are ma- -ny that wear a mien con - tent- ed, Ma-nya 3 = ca63 = di gio-iaym lab - brajn - where - on a smile e’er stent. men- tre nel suo se - gre - to il cor pia - ga- - While, deep with - in, the bo - som a heart tor - ment- - crese.e string. _ dim. ¢ rit. san-go-sciaeg si mar - to- In se ~ cret an-guish cov~ == lim. eorit. dim: assai.64 Consolati e spera! (Take heart again:) English Version by Aria. DI! TH. BAKER. DOMENICO SCARLATTI. Andantino. (J= aa) (aes - 1787) q piacere. ten. a tempo. poco rit. Voice. Con - so - la- tif Take heart a - gain po - trai dal-tro og - get - to pia lie - to go- Thovlt find one as__ charm-ing, Nor need she he poco marcato e¢ rit. erese =. cs der, pit) lie - to go - der. Con - so-la - ti! e coy, nor need she be coy. Take hearta~- gain! ne'er col canto. pint Deus: # Printed in the U.S. A, f ¥ See Copyright, 1894, by G. Schirmer, Inc. a Copyright renewal assigned, 1926, to G. Schirmer, Inc.SS spe - ra! po - traid’al-tro og - get - to pit lie - to go- fal — fal _ ton ae find one as__ charmring,Nor need she be pitt, go - der, pid_lie- -to__go-der,pia. [fe = to go- der! Con- be coy, nor_need__ she_be coy,nor need_she be coy! Take =" a po - trai_d'al-troog -get- -to_._ pit Thou'lt find.one as charm - ing, Nor peer lie- -to go - der, pit lie- to go- der. need__she be coy, nor need she be__ =—rit. col canto. | Poe ben cantando ¢ larga pif stel - la pit = eS a star__ but may marcato p smors. co - ra Vaf- fap - uo mu- te—< rein pia - cer, sor - row so last - ing but yield - eth to joy, __ => ta- yield - ——— - rein pla - cer, pnijan-co - ra Paf - fan-no,l'sf - fans eth to. joy; No sor- rowso__ last-ing, 80 last - - >. f ui969 Affanni del pensier. (O agonies of thought.) Arietta. English Version by Df TH. BAKER. GIORGIO FEDERICO HANDEL. (1683 - 1754) Larghetto. (¢-: 62.) = ———_. Piano. - to fan — ni del pen-sier, un sol mo - men ay - 0 - nies_ of thought, one mo-ment on - ly + Copyright, 1894, by @. Schirmer, Inc. Copyright renewal assigned, 1926, toG. Schirmer, Inc. tant Printed in the U.S. A.70 da-te-mi pa — ce almen, da -te-mi pa leaveme in peace— a-gain, leave me in peace a-gain, wf portando erent poi tor- na te, turn and rend me. ree oe smors. > . =f aN Ps pen - sier, un” sol. mo-men - to of_thought, one mo-ment on - ly Fa da - te-mi pa- ce almen, e leave me in peace poi tor-na- te, ain, then turn and rend___ me, carr 1112067 t a piacere. a fempo. ae. pe uf ee es oe care a a no mu - ta - rein pia-cer! Con-so - la- ti! e ~~ ingbut yield - eth to joy! Takeheart a- gai Ne’er = A. Ee PS rit. | a piacere. ST po trai dal-tro og ~ get - to pia Se Tht find one as__ charm - ing,Nor =e ‘ = =} P > ¥ d. f ra poco marcato. rit_assai. lie - to go - der, Ne - to go -der, con - so- la - ti! need_she be coy, nor need she be coy! Take heart a - gain! e spe - ral po - trai dal-tro og - get - to pia ver fal - ter! =e one as charm-ing,Nor *Tie - to go - ders go-der, pit lie - to_go-der,pia Tre - to go- need she be be_coy, nor need she be coyjnor need she be = b = poco rit. pins a Dy a sap fe Seas ar a et fe Se trai_@al-troog-get - to piu find_ one as charm -ing,Nor P der! Con - so -la-tid coy! Take hearta -gaii : ee P =—— 7 “He ; aan lie - to go - der, pit to, pit lie - to go - der. need she be coy, wor need she, norneed she be coy! — =. ==" |p cot canto ——— lento_a piace pp # —s- Spe- - / -ral Take heart a- gain! or eoutesy Se? | marcato. P \smors. 22 un sol mo - men - da -te-mi pa - eegl- one mo - ment on - leave me in peace a - reir ers RO = B men, © poi gain, thenturn = = — te 6 poi__ tor-na - te; Af -fan-ni del pen-sier, ment, then turn andrend me; 0 ag- 0 - nies_ of thought, r rs r da - te-mi pa - ce glmen, poi tor-na—< te, e poi, leave me in peace a-gain moment on - ly, and then,—— > = ES > rer f 11120ced po then turn asiz073 Ah! mio cor. (Ah, poor heart.) Aria. English Version by DI TH. BAKER. GIORGIO FEDERICO HANDEL. (i683. 1754) Andante stretto. (= 108) Piano. a sempre crese, TT Voice. @ piacere a 2 Ah! mio Ah, poor rit.assai e ff\ col canto Copyright, 1894, by @. Schirmen Ino. Copyright renewal assigned, 1926, to @. Schirmer, ine. aa Printed in the U: S. A.4 Tempo I. = scher - ni - to he scorns thy Stel - le, Nu-me — da- mote! Hear me, ye gods a - bove! mo tan -to, puoi la-sciar-mi ‘sola in on - ly, Canst thou leave me weeping pian "to? puoi la sciar - — mi,oh lone - ly? canst thou leave me, 0 am12t% De - i, per = che? tan - to, Heav -en! and why? love thee, f. PR — 7 . 5 < #8 - ida - seiar-mi so - la, so - la, thou leave me weeping, weeping, 'F. ah. tf so-la in pian-to, puoi la - sciar-mi, oh De - i, per- weeping and lone-ly, canst thou leave me, O — Heay-en! and =< un FP ausAh! Ah, mio poor ft De - i, Heaven, to - re, trai-tor, pian - to, lone - ly, sciat-mi leave me m1 0 - re, heart! seherni - to he scorns thy Nu - me ye gods th - mo tan-to, oh 0 Heav so la, weeping, - da, weeping, weeping, I se love. puoi la-sciar-mi solain Canst thou leave me weeping, puo canst so-la in pian - to, lone - ly,7 puoi la - seiar-mi, oh De - i, por ~ cha? canst thou leave me, O — Heav-en, and why? ; chi? per - che? puoi la-sciar-mi so-lain — pian-to, why? and why? canst thou leave me weeping, lone-ly, Sarpy pe | pip S largamente > SS > > = it. De - i! puoi la - sciar-mi, oh De- i, — per - chi Heav-en! canst thou leave me, O Heav-en, and why? ao Peer = => aa \e= = S largamente, cot = Sy canto > > a riten.assat e ff 12178 Il mio bel foco. (My joyful ardor) Recitativo ed Aria. English Version by Df TH. BAKER. BENEDETTO MARCELLO. (4686 - 1739) Recit. nf Voice. Tl mio bel fo -"co, 0 ton-ta- nop vi - My joy-ful — ar-dor, wheth-er near or far a piacere Piano. "f= ei -no ches-ser pos-si - 0, sen - za can-giar mai tem-pre per dis-tant fromthee I tar-ry, Un - changdand con-stant ev-er, For e Es ca-re pu-pil-le, ar-de - ra O my be - lov-ed,Shall languish Copyright, 1895, by C. Schirmer Ine. Copyright renewal assigned, 1926, to G. Schirmer, Inc. tune Printed intheU.8. A79 Allegretto affettuoso. = => >> Quella fiam-ma__ che mac - cen-de, In my heart the flamesthat_ burnme, h/ quel-la—_ fiam-ma. che om in my_ heart the flamesthat_ erese. =A pit f —_—— — + cen -de pia-ce tan-toalal-ma mi - a, pia-ce tan-te gll’al-ma burnme All mysoul do so en - rav-ish, all my soul do so en- > rit. ————— = =———. S portando che giammai se-stin-gue - ra, se - stin-gue - ra, se-stin~gue- ‘That they ne’r shallcease to glow, shall cease to glow,shall cease to : > +. f= maepeaeearece v PB dolcemente legato ec pia-ve tantqal-Til-ma_ omi-a he giam - mai ve -stin-gue- All my soul do so_en - rav-ish,That they ne'er shall cease to ae Pp sempi ri, se-stin - gue - ra, che giam - mai se - stin - gue - glow,shall cease to glow, that they ne'er shall cease to ibmpre| @ tempo Ta, se-stin- gue - ray se -stin gue -rh. glow, shallcease to glow, shall cease to glow, —————— mo oa = crest. eae —= AP er canto \a tempo B legato con grazie. E seil fatga voi mi And should fateto ye re- mT —=== “ i SL pdim. smors. ay al SS P sue— ren-de, va - ghi rai del mio bel so-le, al - tra luce el-la non turn me,Wan -dring rays of my fair sun, Oth - er light I cov - et wo Ss x, — P > + + a . yuo - le ne vo - ler giammai po - tra, ne vo - none, Nor the wish can ev-er know, nor the erese.| poco late = @ poco in Pp erese. poco a poco FF re giammai "po - tra, Me vo - ler, nb vo - ler wish can ev - er know, nor the wish, nor the wish po - tra, giammai po - tra, neve - ler giammai po - know, can ev-er know, nor the_ wish can ev - er 4 ue82 @ tempo fiam-ma__ che mac - cen -de pia-ce tanto al-Val-ma heart the flames that burn me All my soul do so en - —_==— ee mi-a, pia-ce tantegl-Val-ma mi -a, che giammai se -stin- gue- ravish, all my souldo so en - ravish ‘That they ne’er shall cease to 7 a se - stin-gue - ra, se -stin-gue - ra, pia-ce tantqal - Val - ma__ shall cease to glow;shallcease to glow; All my soul do so_ en - ge,83 == orese. mica che- giam-mai —sb-stin- gue - ri,__se-stin - gue -ra, chegiam - ravish,That they ne'er shallcease to glowshallcease to glow, _that they —— tempo See eee COS se - stin shall = gue - Ta, se-stin-gue- ra,__se — stin - gue- cease to_ glow, shallcease to glow, shall__ cease to— > Scot canto |a tempo a + > a P dolee —ma———=———- ssw Oo DB Ya, quel - la. fiam - ma. giammai,giammai_ se glow,that they. neer shall___cease,that they ne'er shall @ tempo ra. glow. ———.. S4 : Ogni pena piu spietata. (All of anguish most unsparing.) English Version by Arictta. Df TH. BAKER GIOVANNI B. PERGOLESI. Andante. (4= 72) 4740. 1736) a ¢ a Piano. P con grazia. Voice. (Pp con grasia spe - ta - ta, — pit ing, most un - spar-ing 0 - gni_ pe - na_ pil All of an guish most un - spar - spe - ta- ta Copyright, 1894, by G. Schirmer, Inc. mnie Copyright renewal assigned, 1926, to G. Schirmer, Inc. Printed in the U.S.A85 sof - fri- ria que-stal- maaf-flit - tae de - so- la - ta, Fain would bear this soul —for- sak - en And — de-spair- ing, tratt. eres —— = fe nf > se go- desseu- na spe-ran-za di po- ter-si con-so - lar. ah, if her hope remaind un-shak-en To con-sole herself once more. ah,— col canto | erese. Nees ah, di po-ter- si_con-so - lar di po- ter-si_eon-so - lar. ah,— to con-sole herself once more, to con-sole her-self once more. uf col canto. 412386 > > pe-na_ pi spe - ta- ta, pir spre - ta - ta sof - fri - an-guish most un - spar-ing, most un - sparing — Fain would a ri-a que - st'al-maaf- flit- tae de - -so- Ia - ta, bear this soul. for- sak- en And o- gui de - spair-ing; all of frat. pe-na pid spie - ta-ta sof-fri - ri anguish most un- sparing Fain would bear this soul for - sak-en, questalmaaf - flit-ta, se go - If her col canto. crese.ed aninando assat desseu- nat spe-ran-za di po- ter-si con-so - lar. hope remain'd un-shak-en To con-sole herself once — more, 128.87 con grasia, poco rit. he peed = ahy_ di po-ter- si_con-so- lar, di po- ter-si con~so- tar. ah,— to con-Sole herself once more,to con-sole herself once more. Povo pti mosso. a = col canto. uf Tempo I. Ma, ohi-me, ca-de o-gni speme,non cé lwo-go,non ce vi- ta, non co But, a- las, how endlessmy torment,Theresno vi-sion, theres no moment,There’s no S ritenuto_un poco. mo-do di spe-rar, non c mo-do_di spe-rar, non ce mo-do di spe - ray_of hope in store, theres no ray of hope in store,therésno ray of hope in col canto. ses88 Tempo I. O- gui pe- na pit spie - ta- ta, pit spie Al of an- guish most un - spar - ing, most un - ta- ta sof - fri- ri-a que - st'al - maaf- flit - tae spar- ing Fain would bear_ this soul for - sak - en de - so - la - ta, o-gni pe- na pit spie- ta - ta sof fri- de - spairing, all of — an-guish most un - spar-ing, Fain would89 rit. _ woe rit. erese. ed animando. oe ria_que-stalmaaf - flit - ta, se go- des-sen-na spe-ran- zit di po - bear this soul for - sak-en If her hope remaind un-shak-en To con- io h col canto. f= ter-si_ con-so - lar, ah,— ah,— di po - ter- si con- so - sole her-self once — more; ah,— ah,— to con- sole her-self once ritenuto assai. >> 54> lar, di po - ter-si_con-so - lar. more, to con - sole her-self once more. Poco pii_mosso. 2 t90 Stizzoso, mio stizzoso. (Unruly, Sir, unruly?) English Version by Aria. DI TH. BAKER. ) GIOVANNI B, PERGOLESI. Allegretto. (¢= so.) (i710. 1738) Voice. Stiz- 0 - so, mio_stiz - zo-so, voi fa-tejl Un- ru- ly, Sinun - And fain to Se > Piano. Se 0-80, no, ma non vi pub gio - va- re, bul-ty? naught, naught you'llgain by violence, Saas bi- so-guaal mio di - vie-to star to end this ri-ot, Be > >> > = no, on vi pud gio~ va - 1 naught, — naught you'll gain by vio-lenc f Copyright, 1894, by @. Schirmer, Ine. Copyright renewal assigned, 1926, to G. Schirmer, Inc. auea Printed in tuoU.8-A,ot non par - la-re, And now keep si-lence, zit zit Ser-pi- ua yuol co - si, hush! hush! Ser-pi - na_ you'll o - bey; Ser- pi - na. co Ser-pi - na— you'll o mio_ siz - Sin un - wnaqiga 92 zo-so, voi fa-teil bo- ri - 0-80, no, ru-ly, And fain to play the bul-ly? naught, > te ma non vi pud gio - va-re; bi - so-gnaal mio di - naught you'll gain by vio-lence; Tis time to end this © non par - la-re, And now keep — si-lences nit zit Ser- pi - na vuol hush! hush! Ser-pi - na_ you'll 093 “at fa-teil bo-ti- 0 - so, ma non vi_pudgio-va-re, bi ~ sogniagl mio di - fainwouldplaythe bul-ly, But naughtyoullgainby violence;’Tis time to end this fr ber pp vie-to star che-tae non par - la - re, ait ait ri- ot; Be qui-et, andkeep si-lence, hush! hush! ft e non par- lar, Ser- keep si - lence now, Ser- yuol co - si, yuol co - si, Ser- pi - na_ na you'll o - bey, you'll o - bey,Ser- pi - na_ = aa94 => a P, vuol co - si. you'll o - bey! @io che min-ten - de-te, si, che miinten - de-te, si, che mfinten- think you com-pre - hend me,yes!_ you compre-hend me,yes! sé you compre- eas de - te, da che mi co- no - sce-te son moltig mol-ti di, son hend me, For you'venotdaredof - fend me This ma-nyandmanya day, this ml - = ti, mol - = ti e ml - ti di ma - - ay, ma - - ay, — this. ma - nya day. _b, Sf, sua95 P, Stiz - 20 - Un - ru - 0-80, voi fa-tejl bo- ri - 0-20, ma no, ru-fy, And fain to play the. bul-ly? But naught, = ma non vi pud gio - va~ res ma no, ma non vi pud gio- naught you'llgain by violence, But naught, naught you'll gain by f za,96 = va- re; bi - so-gnaal mio di - vie-to star vio-lencey'Tis time to end this ri-« che - - to, Be qui- - et, € non par - la-re, it zit. And now keep silence, — hush! hush! Ser-pi- na_vuol co - si, ait zit Ser-pi-na_you'll o - bey! hush! hush! —— vuol eo - sh. Stin- you'll o - bey! Un- tua97 20-50, mio_stiz - 20-so, vol fa-tejf bo-ri - 0-so, ma ru-ty, Sinun - ru-ly, And fain to play the— bully? But > > > > ot P no, ma non vi pud gio-va-re: bi- sognaal mio di - vie-to naught, naught you'llgain by violenceyTistime to end this ri- ot; > PP che - - to; © «non par - Ja-re, aif qui- - et; And now keep sitence; hush! rr? Ser-pi-na_vuol co - si, voi fa-teil bo-ri - 0 - so, Ser-pi-na_yow'll 0 - bey! You fainwouldplaythe bul-h wanon vi pud gio-va-re, bi - sognaalmiodi - vie-to star che-tae non par- naughtyou'llgainby vio-lence;'Tis time to endthis ri t; Be qui-et, and keep SP Era PP a Ja -.re, mit i che ~ to, vite si-lence; hush! - et! hush! @ non par - lar. keep si-lence now. Ser- pi - vuol co - si, na wills it so, wills it sl, Ser-pi-na_vuol co - so, Ser-pi - na_wills it aga99 Se tu mami, se sospiri. (If thou lov’st me.) Arietta. English Version by Df TH. BAKER. GIOVANNI B. PERGOLESI. (4740 - 1736) Andantino. (J 8s.) a Pp Voice. Piano. crese. rit ~ ts — se tu 80 - spi-ri. Sol per me, gen-til pa - stor— lovst me, andsigh- est ev-er But for me, 0 gen-tle_ swain, a pa tempo rit. Ho do-lor de’ tuoimar-ti-ri, Ho di-let-to deltuga-mor, Ma__ se_pen-si Sweet [findthy loving fa-vor, Pi-ti-ful I feel thy pain, ShouldStthouthink tho} = pttempo Copyright, 1894, by @. Schirmer, Inc. 41185 Copyright renewal assigned, 1926, to Schirmer, Inc. Printed inthe. 8. A.100 a a tenpo che_so-let-to Io_ti_deb-ba ri - a-mar, Parsto-rel - lo, sei sog-get-to that demurely Ion thee a-lone_maysmile, Simple shepherd,thou art sure-ly a tei je erese. = pp Fa-cil-mentea tin-gannar; — Pa-sto-rel-lo, sei sog-get-to Fa-cil-mentea Prone thysens-es to beguile; Simple shepherdthouart surely Pronethy senses_ erese. P tin-gan-nar, Fa - cil - men-tex_ Pingannar, — Bel-la ro - to be-guile, prone thy sens- es. to be-guile, As a. fair red poco eres. see-glie- ri, Con la seu - sa choose to-day, Hap-ly if__ he por- po - ri rose, a__ lov- er 11125104 sempre crese. del-la spi-sa Doman poi la sprez-ze-ra, Doman poi la__ spres-ze-rh, thornsdis-cov-er "Tis to-morrow thrown a-way, Tis to-mor-row thrown a-way, sempre crese. erese. un poco Ma de-gli gomi-nj jl__ con-si-glio To per me'non se-gui-rd. — Nonperché mi Allmen say of maid - en-fol-ly Finds no fa-vor inmineeyes, Nor because I ~~ = > > > a = lerese.un poco rit. pia-cejl gi-glio Glial-tri fio-ri — sprez-ze - rd. love the lil- y Shall 1 oth-er flow’rs de-spise. @ “20 —_ Se tu. ma- mi, se tu so- spi-ri Sol per If thou lov’st me, andsigh-est ever But for wes102 rit. in pa tempo Pe me,gen-til_pa - Ho do-lor de tuoi mar-ti-ri, Ho di-let-to = me, 0 gen-tle swain, Sweet 1 findthy lov-ing fa-vor, Pi-ti-ful 1 (pa tempo deltuga-mor, Ma__se_pen-si che so-let-to To_ti_deb-ba ri - a-mar, feel thy pain. Shouldstthouthinktho, that de-murely I__on thee a-lone_maysmile, frit. a tempo —==== =p Parsto-rel - lo, sei sog-get-to Fa-cil-mentea tin-ganner, —Pa-sto-rel - lo, Simple shepherd,thouart surely Prone thysens-es to beguile; Simple shepherd, a tempo > erese. vit.assaé = =~ sei sog-get-to Fa-cil - mentea_timgannar, Fa- cil - mentea_’in-gannar. thou art sure-ly Prone thy_sens-es_ to beguile, prone thy_sens-es_ to beguile. rit.assai - — a8 5to3 O del mio dolce ardor. (O thou belovd.) Aria. English Version by DI TH. BAKER. CRISTOFORO GLUCK. (4714. 1787) ——— Moderato. - 46) p doleissino. Voice. oO del mio dol - cear - O thou be-lovd, whom. Piano. —=—= bra-ma - - taog - get my heart de - sir Copyright, 1896, by G. Schirmer, Inc. aue6 Copyright renewal assigned, 1926, to G. Schirmer, Inc. Printed inthe U. 8. A.104 ———_—_—— Lau- - ra che tu At length the air bore al-fin re- spi my soul in - spir - 1126A126 105 a - ques guar- -doio gi - = roy Le tue mine eye may wan - - der, Still of ~ ghe sem-bian - ze A - mo-rejn me—di- pin - ge: Il some vague sem - blange Doth Love —a-wake with-in me, My mio pen-sier si fin - - ge Le pit — lie ev -’ry thoughtdoth win____ me To yet fond orese. orese,Tin. assat, spe - rain - - er re - mem - - oH : nel de - si~ che co - si in this ar - dor _that all__ — pad ar mem - pie il pet - to Cer -co te, bo - som so fir - Thee I seek; orese. D ten. PP chia-mo te, - =m e@ 80. Thee I call, Fond - = ly and | eer P col canto pp a A126107 as SS @ piacere) p—= PP ——————— 0 del mio dol - cegr - 0 thou be-lovd whom bra - ma - taog-get - - to, bra-ma - tong- my heart de-sir - - eth, = myheart —de- = ———————————_—— Van - ra che tu re - length the air thou 11126108 —_— Pee SSS SS al- fin re~ my soul in - ———_ - na! chi vuolychi vuol com -prarla? - ry! Who wishes now to buy her? tr Zz bella ca-lan - dri ~ beauti-ful ca - ua - ft z & r a_JS, a P, chi? Ven- ga! ven - gal Sem- preg buon who? Come now! come now! A bar- gain a EA tr > tr sar : pat - to_la_ ven - de - rd, Sem-pregbnon pat-to—la_ ven- de - ‘tis, such as_ n€er__was seen, a bargain tis: suchas_ ne’er_was 11108112 fr at -te) EB ven-der- Ja deg si gentilha— co - si dol-ceil_ can - -ly, Al - tnd I sell her, pretty;too, and sings so sweetand lear - a> e gio che Ya-mo tan- to; Ma que-stodil mio me- stic - rey Nel fe per pia- still I loveher dear-ly; But “tis to—earna liv - ing, Not forpleasure P, ce- rel ‘Ven - gal ven - gat Sempreg buon pat - to— la— striving! Come now, come now! A bargain is. such as— a . ven - de - to, Sempre buon pat - to_la_ ven- de - rd. La ne'er was seen, a bar-gain ’tis, suchas_ ne’er__was seen, The 11105bel-la ca-lan - dri. - = na! chi. vuol,chi vuol com - prarle? beauti-ful ca- na - - ry! Who wisies now to — buyher? aA a £ rr Zz S. P. Ven- ga! ven - ga! Semprea buon Come now! me now! A. bar-gain a tr wt 7 pat -to_la_ ven - do - rd, Sempreabuon pat - to la ven - de - ‘tis, such neer_was seen, a bargain 'tis, such as__ne’er__was 11105 b114 Ombra cara, amorosa. (Gentle Shade, well beloved) Scenaed Aria. English Version by Dr TH. BAKER. TOMMASO TRAETTA. (de a8) ‘ 1727. 1979) Largo. (4 48) erese. assat. ae Piano. CEPCEr Cereer dim, assai. dim. assaé. & Voice. Pp amorosamente. Om.bra ca-raa-moro- - sa, abl per-che ma- i tu Gen tle Shadewell be - lov - ed; ab,whereforehast thou To CHF P a cor-rigl tuo ri-po- so, ed io qui re - - sto? thy re-pose depart- ed, and mefor-sak - - en? ] Copyright, 1894, by @. Schirmer, Inc. Copyright renewal assigned, 1926, to & Schirmer, Inc. a Printed in the U.S. A.145 nf sost. Tu tran- All the quit la godra =i nel-le se- di be - a - te o - ve non calm now enjoy - est thou Of tWa-bode of the bless - ed,where-to ex- giun-ge né sde-gno, nd_ do - lor;— nb sde-guo, nb.— do - lor; do -ve ri- fendeth Nor sor.row nor_ dis - tress, nor sor-row nor_dis-tress; __wherefromare rit, o-gni cu- ra mor- ta - le e~ ter-nogb-bli- - All the cares of this earth, and ef-facd for ev. - ante716 of nd pitt rammen-to-ra - i, Un-heedful wherethounev - er —=—== an k Crest. mm PS meer Ae ae fra gligm-ples- si pa-ter - ni ill fpignedt eee cee In thy fa -thersembrac - es shalt hear my la-ment - ing; i N SSS ae is = ar be crest. = - que ~ sto @ que- sto di do-lor. call no -call no sor - row tranguillo, © —=—_ gior - no in-fe - sto.Om-bra ca-raa-mo-ro - sa, ah! per- che ma-i tu of thouhast partak - en.Gencle Shadewell be -lov - ed, ahwhereforehast thou To snie7a7 > ng > rit. Jf cor-rial tuo ri- po - so, thy re-pose de-part - ed, Andantino. (d= 108), rasta. > > re-sto sem-pre a pian-ge-re do-ve mi gui-day- 1 still un-hap-py am wandering Whither my fate may > do-ve mi gui-dyp - gnor Whither my fate may eer $= f_ —= dun in un al- ~ tropr -~tor, Deep-er_in dark de - spair, ee 11127118 Ft ft dun in un al - - traor- ror Ja eru-da sor- = deep-er in dark de - spair Cru-el- ly lead Ea ter-mi-uar le And neershallceasemy — a> 0 do - tory ahi che von giungean- te flow, Nor. aught of joy 1 —,__ = la-grime, pie - to-saal pi-ti-ful, My mourn-ful uf Za rit. =, cor_ per me Ia mor - te, io know, Till death has freed. me. re - sto sem-prea still unchap-py am ig cot cant! B p aninato. anta7149 = pian. ge-re, ea ter- mi-uar le la-grime, pie-to-stal mo o- wandering, And ne'er shallcease my pi-tiful, My mournful tears to Ere haterereren i iat? eee > —= «= at =—— rity. - lor ahi! che non giungean-cor per me la mor - | flow, Nor aught of ji I know, Till death has freed_ rit.col canto. te, nu giun-gean - cor per me—. la mor-te,per me—— la mor - me; Nor aught_ of joy—_I know Till death,tilldeath has freed “oe a> per me la mor till death has freed aS220 O notte, o Dea del mistero. (O night, mysterious Goddess) Aria. English Version by D! TH. BAKER. NICCOLD PICCINNI. (4738 - 1800) Andantino sostenuto, (=48 and #108, Voice. Dé - es - se du__ mys - t2 - re, not - - -le, 0 De- a del. mi - ste- ro, night,—____ mys - te- rious God - dess lone-ly, Copyright, 1894, by — Ine. Hiss * copyrigat renewal assigned, 1926, to @ Schirmer Inc. Petated inthe. 8. A424 pe SS —>= uf =e i —— SSS St = dou - cc com -pa-gre de Va - moun 0 dol - ce com-pa - gnada@ - mom 0 Love's dear com - pan - ion and friend, 0 oo ye a Saad 7 ee Pe PP |. 2 $9 — = a aE Ra. erese. == SSS St ee 0 not - night, T west en tol que jes - pe - rel 7 “te, Bin te $0 -~ la vh'io spe- rol T can hope Perea eee in thee on - ly! SSS SS me ai crese, hi- te = toi deh sae Haste,O —hast~ = v 1b 263 rhe chas that=== == <—" a= NS SS aT aaa Sa —de chas - ser__ jour, de chas-ser___ le jour,de chas-ser___le - cia del__gior-nojt ful-gor, del giornasl ful - gor del__giornotl ful - ~ en, that day do end, that_ day end, that. day_ do tyr H- guish,. mo - ment ae - stan- 0 hours sn128trou - _ - - 7 - -ble et de bon - fa EEE Eee eee eee eee er ede Ete emeae reson sjoy see Ee eee Eee eee eee tage ore dete heur, mor, erese. paramere S crains, trem- -ble, je "dé - te- -mo, to tre- -mo, ede - fear, (Ps boxe.- - ~ Te et mon coeur tour a tour. - : -70 @ da-mo- re sv- spi - ra, s0- sou- -guish,And my heart sighs in love, sighs in des - poir et de fra ~ yeur, i mio cor, di spe-meg di ti - mor, di it__ doth share With hope and with de - spair, with de fra - yeur, et. de spe - - di th - mon edi hope. and__ with de - spair, and with de - # Za, * pitt tranguitlo. | SSS] v Oo nuit, Dé - 0 not- - -te, 0 0 night, 6 sere msde F Pe123 aoe + 5 5 5 kK = SS = - — es-se du mys - te - re, dou - ce com- pa-ghe de l'a- de-a del. mi - ste- 70, dol - ce com-pa - gna da- te-rious God - dess lone - ly, Love's dear com - pan - ion and mous, mor, friend, ha - te - deh. toi de chas-Ser__ le jour, sea -eia del gior-nojl ful - gor, hast - en, that day do end,nuit, toi, en— toi que jes - pe- re, ha - te- si, é gior- no il fal del. night, I can hope,I__ can hope in thee Haste, 0 a _————~. ——— —_ ™ — +. $49 872-5 zoo = a= | 2 = dame = to * con affetto. . ve toi_de_chasser__ le jour, de_chas- ser___ le_—_ jour, de_chasser__ le__ gior. —-no il ful - gor, del_gior-no it ful - gor, del giorno il ful - that day do_ hasten, thatday_ do end,___that day do end. nm = allayzundo. — col canto.127 Chi vuol la zingarella. (Who'll try the Gipsy pretty.) Canzone. Lideclict cases GIOVANNI PAISIELLO. Moderato. 744. 1816) Voice. Piano. ma Chi vuol lu zin-ga - Whol try the Gip-sy e rel-ig gra ziosa.se-cortag —_bel-la?_ Si - gnoriee - co -la— qua, pretty, So winning,wise and wit-ty, As— one and all may see, As eS gnorige - co - la qua. Le don-ne sul bal - co - ne one and all may see? For la-dies at their win - dow Rete VF VF LR Copyright, 1894, by @. Schirmer, Inc. 29 Copyright renewal assigned, 1926, t0 @. Schirmer, Inc. Printed intheU. 8. A.128 50 bene in-do-vi - nar. T giovani_aleau-to - ne ‘Their fortune I can tell; The laddies at the inn,— too, FH FG CF [FRR es | CH oe ! Xe ° 30 meglio stuzzi - car. A vecehj in-na-mo-ra-ti seal - dur fo le cer- can amuse as well. When oldmenfeel loveburning,I_____set their heads a - Ge VF NF rit. a el Lie ee Vel -la, seal - dar fom—le cer -vel la, a. veechi_inna - mo - ra” > ti, Chi turning, set _theirheadsa - tura-ing,When oldmenfeel love burn - ing. Who'll iE ge to ie # vuol la zin-ga - rel-la, chi vuol la zin-ga -rel-la? Si - gnotijee - co-la— try the Gip-sy pretty, Who'll try the Gip-sy pretty? Come one and all to— 1129129 P qua, si - gnorige - co - la— qua. Le don-ne sul bal - me, come one and all_to_ me. For ladies at tt PP eo = he so bene in-do-vi - nar. I giovani_alcan- win - dow ‘Their fortune I can tell, ‘The laddiesat the FFT FFF Se 50 meglio stuazi ~ car. A veeehi_in-na -mo - I can amuse as well. When old_men FF FS PS eee ra - ti, a yeechiin-na-mo - ra - ti seal -dar fo le cer-vel-la. Chi burn -ing I settheirheads a - turn - ing, 1 set theirheads a -turning. Who'll ORR FFF SFT Os cal canto 129130 @ tempo vuol try la vin -ga - rel - la gra - aio - sage -cor - tag the Gip-sy pret - ty, So win - ning, E2 @ tempo bel - la? Si = gno-rieo - co - la qua;— wit - ty, As one. and__. all, may__—see,_— gno-Tiee - co - qua, gra ai - 0 -sa.ae-cor - tas one— and all__ see; So win-ning, wise and S-, AP bel-la, gra=ai - 0-sagecor-tae bel ~ la. Si - gno-rijee - co - la wit-ty, so winning, wise and wit - ty, As one and all may 1129134 SS qua, grr=zi - -saac-cor-tag bel - Ja, gra -ai - 0 - sa.ge-cor -tae see, so Winning and so wit -ty, so__ winning, wise and L aninando sempre e erese. bel - la, Si - gno-riyee - co -la qua, si- guo -ri, As one and all may see, so winning, ——¢ ‘animando sempre _@_crese. gno - ri, si - gno-rijee - co - la qua, si - gno - ri, wit -ty, As one and all may see? so win -ning, gnori, si -gnorijee-eo -la qua, wit-ty, Come one and all to me. 29132 Nel cor pit non mi sento. (Why feels my heart so dormant.) Arietta. English Version by DY TH. BAKER. Andantino. (.= 58) GIOVANNI PAISIELLO. (i744. 1816) 2 dolce| Voice. p Nel cor pit non mi sen - to bril -lar la. gio - Why feels my heart so dor-mant No fire of youth di - ca = gion del ‘Thon cause of Copyright, 1894, by G. Schirmer, Ino. Copyright renewal assigned, 1926, to G. Schirmer, Inc. a 11130 Printed inthemor, sei col - pa tu, Love, the fault_ is thine! pun - gi-chi, mi nlas -ti-chi; squeezes me, he wrenches me; th, pie ta, pie - ti done,have done,have don risoluto di - spe-rar—_mi fa. drive me to_—de-spair! | 3 4. 11130 133 Mi He pia - ai-chi, mi teas - es me, he stuz-2i-chi, pinches me, che co-ag? que - steahi - m2 pie - What tortures 1 must bear Have134 Tl mio ben quando verra. (When, my love, wilt thou return.) English Version by Aria. DF TH. BAKER. | GIOVANN1 PAISIELLO. Andante. (6: 44.) a “C71. 1818) Piano. Voice. Pp dolce at quan - do ver- ra When, wilt thou re-turn, a Copyright, 1894, by G. Schirmer Inc. a Copyright renewal assigned, 1926, to G. Schirmer, Inc. : Printed inthe U.S. A135 === SS = => bei fior - te- rh the shore doth burs, spiag - gia, la spiag-gin a - flow - ers, the flow-ers are nol ve = do, my lov + er ahi - mb! re - turn, 7136 il____ mio ben, ahi-mét 10 1 see, re-turn! Woe's ahi-mé! non vien? re-turn! Woe’s_____ me! treal - Tau - re spie - ghe his sweet-heart onthe Sia fiamma, i Me-i la > men-ti, her sor-row in pi - ti - ful__ cry-ing, ae mi - ti au-ge- i vin - se - - gne - rh pit Re- spon - = sivemountains her plaint will bear, More 13441131 dol - gen - 137 ci ac tly re - ci, pit dol - - - tly, more gen - = E No il mio be - ne still my lov - er am- mn - to - ti. makes no re ply. “cen = - ply - non Vo - do, can hear him? z chi vo - di? voice hear If F1at 138 = eui - ly stan - ca ech - 0, whose pa mio. pian - to, e = 60 com - plain-ings al - read = nae them, and chie - 2 SS. te, Draw chie thou my o - ma —E~ git - tience with to - sa, pie - - do____. tire, __ dol - gen - + cea te - tly th thee = dela spo = — fond de - sire.189 Pian, mi chia - mas Hark! he calls me; sempre ppp abi - mé! ahi- woe’s me! woe's orese. von mi chia-ma, oh Di-o, oh 0 heav-en, 0 mi! ho, No, hedoesnot call me, > . Di-o, none. heav-en, "tis not el4140 Plaisir d’amour. (The Joys of Love.) English Version by H. MILLARD. GIOVANNI MARTINI. (744 ~ 1816) Allegretto grazioso. (4-246) 6 pits. SSS SSS So du = re qwun mo = ment: cha - grin dy - chen dé sol won du ra: mor tir da - swift - ly do de - part, Its sor - - rows Copyright, 1474, by G. Schirmer. 11108 ¢ Printed in theU.s. A.la vi - z te gH ta du - : - ra. a life - - time _____ prove, mour du-re tou-te mor tut. ta la ot bit - ter thro’ Yai tout quit - a Tut-to seor. dai per I gave up SS : = té pour Tin- gra-te Syl - vi le-t, per Stl-ota in - fi - all tor c= el ‘Syl- =—— din. —_ | erese. -Ie me quit - test prend un au- trea - -lagr me Seon - davgd al tron - mor suf-fé - soo 1 find am- oth - er owns ‘her SS == 11105 ©142 Plai-sir Pia-cer The joys mour—___ du - re qutun mo - ment: cha - nor chown dd sul wn da Pasar. lowercase swift - tio de - part, Its PL da - -mour du. re ite lal vi du - - mor tul-ta ta vb. ta de = rows bit - ter ting a— life e. m. prove. 11105 ¢148 “pant que eet-teeau - cou Te - ra dou - ce ~ ment vers (chin ~ che tranquil’ - to seor-re-red ru. soel_—_ th ‘Long as thisbrook - let shati soft- ly on- ward flow, The tuisseau qui tor-de la—prai-ri- -€ iv fai - me- ver-seitmar che cin. ge lt pit. uu ta ~ me- mead -ow pass - ing on— its joy - ous way 1_ will ( PS : a pe-tait_ Syl- vie, en er would Syl ~ Via Lean cou leven - eon. el - lea chan- gé pour Stor) reil ré ~ aim. con mata = groin va. Sti flows the — stream, —— but chang’ is - via 11105144 con dolore Plai - sir da. Pia - cer du. The jes of tant —— pin ft mour—— ne. dure qu'un mo ~ ments" - grim da’ - mor ptt cheun dé sol_ non de - ra: mar-tir da - love er swift- ly do de- part, Its sor - rows mour du-re tou - te la mor tutta la_ vila - ra, dit - ter, bit- terthrda - time prove. erese. A060Schirmer’s Scholastic Series Vocal Methods and Studies (Order by number) ws RE BUZZI-PECCIA, A.—ITALIAN DICTION. A Practical Course for Singers, Students and Teachers 62, HEIN, CARL—31 DAILY EXERCISES 56. MABON, CHAS. B.—THE ART OF RECITATIVE, as applied to Oratorio and Opera, for Soprano 3 37. —The same, for Contralto ‘38. —The same, for Tenor 59. —The same, for Bass . MARCHESI, MATHILDE C.—18 NOUVELLES ETUDES DE STYLE. For high or medium voice NEIDLINGER, W. f.— 5 EARLY VOCALISES, for the medium voice eee ieee aa occ «| 7) —Alto or baritone “IE POWELL, ALMA WEBSTER— 75. —-ADVANCED SCHOOL OF VOCAL ART ‘SHAW, W. WARREN— 167. —-HUMPTY-DUMPTY. Vocal Exercises 112, SILVA, GIUL{O—ADVICE TO BEGINNERS IN SINGING. First and second years of study.) English and Italian 28, VANNINE, VINCENZO—8 VOCALISES. In chiave di sol ‘Translations by Dr. Th. Baker A few years ago, G, Schirmer, Inc., launched a new list of put lications under the above title—devoted, as the name implies, to Works of an educational character. “The Series embraces only copyrighted works. "Material for vocal and instrumental study—from the very eastest to the most difficult.” Complete catalog of Scholastic Series will be sent on request Abs