BENJAMIN BRITTEN OPERA ARIAS TENOR © BOOK 1 af ® comppled byDan Dressen BERKELEY PUBLIC LIBRARY BOOSEY (cy HAWKESINTRODUCTION ‘The operas of Benjamin Britten in the Boosey and Hawkes library probably comprise the most consequential body of operatic literature from the ‘twentieth century. This is certainly true if one considers only operas written in the English language. The objective of this anthology of arias is to make more accessible for singers, teachers, coaches and accompanists some of this wonderful music. It is interesting to note that as the ‘twentieth century reaches its conclusion, we find access to the arias from its most important operas less readily available than those of Puccini, Verdi and Mozart, or even Gluck, Weber and Massenet. This anthology is an important step in remedying this situation. The editor sees the value of this volume of arias for those looking for recital or audition material. Many of the operas represented here have entered the standard repertory of professional companies and opera workshops where selections from the ‘opera and composer are frequently requested in auditions. This collection can also serve as a handy resource for students and teachers wishing to use a Britten aria simply for study. This edition solves the problem of extracting arias from largely through-composed opera scores. All accompaniments have also been arranged for one pianist; some complex orchestrations had to be reduced and sometimes melodic material sung by a second character was placed in the accompaniment. Dan Dressen November 1991 Cover design by Lynete Wiiamsce, EINLEITUNG Die Opern von Benjamin Britten im Katalog von Boosey and Hawkes bilden die wahrscheinlich konsequenteste Sammlung der Opernliteratur des 20. Jahrhunderts. Dies gilt sicherlich mit Blick auf die englische Opernliteratur. Der Sinn dieser Anthologie der Opernarien ist es, ein Teil dieser wunderbaren Musik fiir Singer, Lehrer, Korrepetitor und Begleiter 2uganglicher 2u machen. Es ist interessant zu beobachten, da® je niher das 20. Jahrhundert seinem Ende rilckt, wir desto ‘weniger Zugang zu den Arien seiner wichtigeten Opern im Vergleich mit denen von Puccini, Verdi und Mozart - oder gar Gluck, Weber und Massenet haben. Diese Anthologie soll auch dazu dienen, dieser Situation Abhilfe zu schaffen. Der Herausgeber schiitzt den Wert dieses Arienbandes fir diejenigen, die Repert. Liederabende oder zum Vorsingen bendti der hier vertretenen Opern gehdren inzwischen zum Standardrepertoire professioneller Opernensembles und Opernwerkstitten. Deshalb werden Ausziige daraus hiufig zum Vorsingen gewahlt. Diese ‘Sammlung kann ebenfalls als handliches Werk fiir Studenten und Lehrer dienen, die eine Britten-Arie lediglich studieren méchten. Diese Ausgabe lést das schwierige Problem, aus, ciner weitgehend durchkomponierten Oper einzelne ‘rien herauszuldsen folgendermafen: simtliche Begleitungen wurden flr Klavier 2-handig transkribiert; einige komplexe Orchestrierungen mufiten jedoch reduziert und manches melodische Material, das von einer zweiten Person gesungen wurde, in die Begleitung eingefigt werden. Dan Dressen Im Novernber 1991CONTENTS Now the Great Bear and Pleiades Durch der Sterne Gewaltigkeit zicht auf jetzt die Wellenwand from Peter Grimes Go There! Mach’ zu! from Peter Grimes Here the Thirsty Ev’ning Has Drunk the Wine of Light Seht, der durst'ge Abend, er trank den Wein des Lichts from The Rape of Lucretia Tarquinius Does Not Dare Tarquinius wagt ¢s nicht from The Rape of Lucretia T Am an Old Man Ich bin ein alter Mann from Billy Budd God 0” Mercy! Gott im Himmel! from Billy Budd I Accept Their Verdict Euer Spruch ist giltig 42 from Billy Budd We Committed His Body to the Deep Und wir weihten den Leichnam dann der See from Billy Budd © Copyright 1996 Boosey & Hawkes Music Publishers Lid,FORE by Erie Crozier Iwas privileged to work with Benjamin Britten during one of the most active periods of his amazingly creative life. He was twenty-eight when I first knew him, and he already had twenty-eight published works to his credit, plus a great deal of unpublished music. It was then, in 1943, that he began work on his first large-scale opera. He asked me to read and criticise the libretto Montagu Slater had written for him, and from then on I worked regularly with them both. I staged the world premitre of Peter Grimes in London in 1945 and the ‘American premitre at Tanglewood in summer 1946. I staged Britten's second opera, The Rape of Lucretia, at Glyndebourne in 1946, then wrote the libretto for Albert Herring. Meantime, we had set up our own ‘opera company, The English Opera Group, and one rear later we launched the first Aldeburgh Festival ‘of Music and the Arts, the opening concert of which presented our new cantata, Saiat Nicolas Looking back now, fifteen years after Ben's untimely death, I marvel at the immensely wide range of his interests and sympathies - wider than those of anybody I have ever known. Throughout life, he learned from his friends ~ from W.H. Auden in America, from Peter Pears, from myself, from William Plomer, from Myfanwy Piper and many others. He accepted challenges beyond any other composer of his time ~ settings of Rimbaud'’s visionary prose-poems, song-cycles based on the Michelangelo sonnets and the convoluted Holy Sonnets of Jobn Donne: his work embraced a whole galaxy of English poets with profoundest affection — Francis Quarles, Thomas Hardy, Wilfred Owen, Edith Sitwell and TS. Eliot. Nowhere is the extent of Britten's creative vitality, more apparent than in the thirteen operas he composed between 1941 (Pau! Bunyan) and 1976 (Death in Venice), and all admirers of his achievement will welcome this series of volumes in which Dan Dressen offers anthologies of Britten arias each designed for a particular type of voice. WORD by Nancy Evana ‘My first experience of Benjamin Britten and his, music was in 1946, when I shared the role of Lucretia at Glyndebourne with Kathleen Ferrier. This was a most exciting and stimulating opportunity: Britten's standards musically, vocally and dramatically extended the abilities ofall his performers. His word-setting, the pacing of his recitatives, and his rhythmic vitality demanded very high standards, and by working with the composer himself, and with such admirable colleagues as Peter Pears and Joan Cross, I acquired a new awareness ‘of his genius. He insisted upon an absolute respect, for the setting and phrasing of words and a true feeling for rubato and colour. Britten never admired a beautiful voice for its ‘own sake: always he called for a subtle feeling for character and situation based on a true legato line which would make full use of the dramatic colours inherent in the music and the drama. He greatly relished Purcell’s dramatic vitality, his individual rhythmic style, and his use of elaborate melisma in such essentially individual scenas as Afad Beas. The enduring quality of his own operas is shown in the host of splendid operatic parts that he created, which inspire all singers with opportunities to enhance their repertoires with musically and dcamatically fulfilling roles. In 1947, when Britten composed his comic opera Albert Herring, the part of Nancy was written for me and even named after me. Other Britten roles which Iwas fortunate enough to create were Polly in his version of The Beggar's Opera, and Dido in his realisation of Purcell’s Dido and Aencas. He also composed for me his song-cycle, A Charm of Lullabies. (© Copyright 192 Eric Croir & Nancy Evans (© Copprighe 1995 ic Crier & Nancy BvantNow the Great Bear and Pleiades from Peter Grimes Words by Music by MONTAGU SLATER BENJAMIN BRITTEN German translation by Claus H. Henneberg Adagio (d= 66) PETER poser —> Now the Great Bear and Plei-a- des where der Ster ~ ne Ge - wal-tig-keit_ __ziebt oo erese —— ——— Are draw - ing clouds of hu - man die Wel-len ~ un ~ ser Schick-sal | 77 ‘Copyright 1845, 1996 by Hawkes & Sons (London) Lis Copyright oral counties. Al rights reserved Printed in U.S.Aexpress. tenebroso Breath - ing so ~ lem=ni = ty — Fei - er-lich senktsie sich — | we | ape is | == : Who can deci - pher Wer kann ent-2if - fern AS AS SH os ——— star-light the writ =ten —cha-rac = ter of a friend = ly fate Stir-men, —weleh freund-lich Schicksal ihm — dort ge-schrie - ben steht — = : Pp dolce — j — oe aes =_- J. —x it espr molto animato St Bur sky tums the world for us to change. Him mel sich, wan - delt sich das Los. if the ho-ros-cope’s be - wil - der-ing, Doch wenn — das Ho-ro-skop ver - wir-rend ist, ing wr = moil_— le Nee ei molto ersetranquillo Who, who, Wer, wer, — can tun skies = hile an das =... PB —$$—< SO OO OOOGo There! from Peter Grimes Words by Music by MONTAGU SLATER BENJAMIN BRITTEN German translation by Claus H. Henneberg Peter Grimes’ hut: His apprentice staggers through the door asi thrust rom behind. Peter flows ina towering rage lbw Potor Grimes Hite: San Lounge taumo ren ei Tras ate man im einen StoBversotet I ‘Allegro Peter flat itm in rasender Wut PETER i — i Fe G~ ZF — pA Go there! Go — theret Mach’. zu! Mach”. zu! f— pw He throws the sea boots at the boy. Er wit die Seestetel nach dem Jungen. conviolensa = =. Andante moderato (¢ = 56) al Here's your sea boots! Take those bright and fan-cy buck-les off your Dei - ne Stie-fell Zieh" so - fort die fei-nen Le - der-schu-be a = = =P (© Copyright 1945, 1996 by Hawkes & Sone (London Lid (Copyright fr al counties” Al igh reserved Printed in USA.fs con fora feet! ‘There's your oil-skin, and sou-west-er! aust apres Hier ‘die Olbaue, der Std-wes-ter! rese. molto Stie your pins, ‘we must get rea - dy! Es ist Zeit, ‘geb’und be-eil’ dicht dolcss. e legato —— = - > — ot I the jersey that she Pull-o-ver, den sie kknit-ted, strick-te, ‘with the an-chor that she _pat-terned. mitdem An-ker, den sie stick-t, 3 3 molto erese. He throws the clothes at the boy—they fal on the floor around him. = ae Er wit ie Kleider nach dem Jungen—sie legen auf dem Boden um ihn herum. : molto accel, > = Pil tear the _col-lar off your Ich rei’ den Kra-gen dir vom cola parte‘The boy is crying silently and Peter shakes him. Der Junge weint leise und Peter ritalin. “a tempo f Sat Don't take fright, boy! Kei - ne Ban - get P ‘trl. ee eter goes tothe cit door, opens it and looks out Peter gat zu der Felsontr, oft sie und blckt nach drauBen. id ———, t aanimato £ Look! Now is our chance! ‘The whole sea’s boil - ing! Get the nets! Come, boy! Sight Uns" re Chancel Die gan - ze See kocht! Bring das Netz! ‘Mach’ schon! Vivace con forea They lis-ten to _mo-ney these Bo - ro! Sie ach-ten auf Pen-nies, die lie - ben Poco a poco pit animato gossips, lis-ten to. mo-ney, Only to. mo-ney. Ill fish the sea dry, flood the Nach ach-ten auf Pen-nies, mur auf die Pen-nies. Ich fisch’ die See leer, dann aw poco a poco cree. mar-ket, chance to get_a good catch, Mark-te. Chan - ce fiir gu-ten Fang.10 So ets mo = ney to choke Down ru- mour’s throat! 1____ will see up stopf ibn - en mit dem Geld das Maul, Grimes ______schafft es doch, With house and home and shop Pio mar - y Mit La - den, Haus und Heim. Ich neh = me sempre molio D suga ip, — Pa ru ich he be pip He tums to see the boy stil siting onthe rope coil, tears of his coat and throws the jersey at him, BD] Eft sich um und sient dn Jangen immer noch au dem auigroiten Tau sizen, ight seinen Mantel aus und wit den Wollullover nach im. “Andante (come sopra) f. =nu ad ti gee _ gin My boy We're going 0 Mein Jung. wir geb’n auf’s 1 ert 7 con fuoco Peter gives the boy a shove, which knocks him over. He lies sobbing miserably. Peter git dem Jungen einen Sto8, der ihn zu Boden wit Erbérmlch schluchzend liegt er aut der Erde. Meer! Fenn tat isle | ——— sd Setabey ——S= —__s_ vi igh bie te Qs # _—_———— —=—=- ss JS &2 E] Lento tranquillo (d = c. 48) SS f BP __conespansione a In dreams T've built my - self some kind - lier home, Warm in my Im Traw - me baut’ ich mir ein sch ~ mes Haus Warm — war mein > lf expressive ——— op BP crese heart and in 2 gol - den calm, ___ Where there'll be no more Herz und vol ~ ler gold”- mer Rub’. Da gab’ es kei» me _—— _————— 2 > F] Adagio (4) = 66) f=— and no more storm. And she will soon for - get her schooLhouse und kei - men Sturm. Sie lief’ die Leb - re - rin - nen - haf - tig aa aaa i a a or. dae S73 S73 afzisaa spress. ea la - bour of those wea- ry days Wrapped round keit, und sie ver - gis - se je - den tru-ben Tag, ge - bile ——————— — 2 7d fas13 = = sempre like Sep - tem - ber wie Sep - tem - ber - at__ their books have no more store. «OF ha ben nicht an Weis beit mehr, als lose bechind our door. Com - pared with us Dach zu fin den wir Und ge - gen uns — ee = ee eee [Se mimawn mss lit mare. oleis,¢ legatoSs es as stars the life that we might share, seen in___stars__ the life we'd zig - ten mir die Zukunft an, zig - ten mir die Zu _- kunft —> aS a Sun ee share. Fruit______ in the gar - den, an. Obst_____blitht im Gar - ten, Qaim & nf—— xpress im. POs s —— shore, 9 A whit and a—_ wom - an’s_ care! Strand, ge - alk ~ spr ~ bar die Frau - en ~ handt —— —— = — —S a ee And a wom - an’s. care! Ja, die_ Frau - en - hand!15 Here the Thirsty Ev’ning Has Drunk the Wine of Light from The Rape of Lucretia Words by Music by RONALD DUNCAN BENJAMIN BRITTEN German translation by Elisabeth Mayer i Lento tranquillo (+) = 88) “The scene is a camp outsido Rome, with the generals tet in foreground, Das Bhnenbid 20g en Lager ausserhalb Roms mit dem Generalszelt im Vordergrunde, PP iv sb MALE CHORUS EAZAHLER BP legato the this - ty ev'-ning has drunk the wine of. der durst’ - ge A-bend, er trank den Wein. des © Copylght 1946, 1947, 1996 by Boosey & Hawhos Lid | Sapa ettntn as seed Piedin USASa-ted, the sun_____ falls thro’ the Stil le, die Son =e sinkt bin - term ho-ri - zon, the air Sits on their Ho - ri-zont, die Luft hocke dumpf und = rlando pp Only the noise of crick-ets al-le - vi-ates The weight Nur das Ge-zirp'der Gril-len cerleich-tert das Ge-wicht A = bends — molto eres backs like a hea - vy bear schwerwie ein plum - per Bar. — of this si dieses. stil pocof Horses sens-ing thun-der Pfer-de, Don-ner wit-ternd, _———7 stamp in their sta bles; stam = pfen in Stal lens S tent note; Cen - eu - tions their men, chen Ruf: Zen - tu ~ rio dem Mann, their luck ‘As they look t'wardsRome’s dis - dem Los; fer - ne sieht er Roms lok - ll18 beck - onthrough the winkt es durch = die flow - ing with night, rin - net mit Nacht, where wine sheds der Wein gibt or their time kken, denn die Zeit pit espress, Andlife is dark wie trib’ ist Le it esprese,19 Tarquinius Does Not Dare from The Rape of Lucretia i Words by Music by: RONALD DUNCAN BENJAMIN BRITTEN German translation by Elisabeth Mayer Tarquinius paces slowiy up and down, Lento tranquillo (2 = 88) Tarquinius schretetlangsam auf und ab, MALE CHORUS ERZAHLER BD sens voce —= Tar-qui - nius does not dare, Targui ~ nius wagt es nicht, = Pit espres, ——$—$___—_ | Pit F When. Tar-qui-nius does not de-sire; wenn. Tar-qui-nius sie nicht be-gebrt (© Copyright 1846, 1847, 1996 by Boosey & Hawkes Lis ‘Copyright forall counies. Al ight reserved, Printed in S.A20 i 3. But I amthe Prince of Rome. And Lu - Doch ich bin der Prinz von Rom, — und mein ie

it espressivo VERE pam 5 —=—— T am an old man. whohas ex - pe rienced Ich bin cin alter Mann und ha-be viel oe PPP ‘© Copyright 1951, 1952, 1961, 1977, 1996 by Hawkes & Son (Londen) Li, (Copyright fra countres. Alright reserved Printodin USA.T have been a man of Dennich war _ ein Mann von ————— fi git 27 72 nom cresc) and have fought for my King and Coun - Hab! zur See gevkimpft. fiir KO Po ——, T have al - so read books and stu-died and pon-dered__ and Ich las man-cher-lei Buch, um gribelnd und sin-nend die ae eee expres. tried to fa-thom ¢ - ter : nal, @ - ter : : ral Wabr- beit zu su-chen, dase : : wi ge, ew" : ee Gtetenws tt tek fek OL ere £ 4 t33 — ‘Much - good has been shown me andmuch e - vil, and the good has_ne-ver been Licht. Viel Gu-tes er fubr ich nd viel BO-ses und das Gu - te war un-voll- ee — ———_ pp ‘getting livelier 8) ‘animando per- fect, There is al-ways some flaw init, some de kommen. Da ist man-ches recht man - gel - haft, man-ches some im - —per- fec-tion in the di- vine— Manch” Un - voll kom-men-heitin__ Got - tes _— im - age, some fault in the an-ge-lie song, some stam-mer Bild-nis, ‘manch’ Miss-ton im En-gels- lied, manch” Stam-mebn, — ~ (EX34 3 in the di - vine__ selbst im Wort Got De - vil still has some-thing to 3 SF. con forza So that the Es scheint, der 207 25> 25 3 do with ev - ‘ry hu-mancon-sign - ment to this. Teufel hat im - mer noch sei-ne Hand im Spiel beim mensch-li~ chen Schick - sal auf’ dem plan-et of earth. Er = den = rund, "polo eres rT © what, what owas ab’ broadly—largamente ‘passionately © what have I done? — Was hab ich ge-tan’ have 1 done? ich —_ ge-tant —‘uy " yi ray uu? 35 B intonsely so much iscon-fu sion! 1 have tried . rung, so viel istVer-wir ~~ rung! = Hab'ver-sucht - die —_. guide others ight-ly, but I__havebeen lost on the in ‘an_- dern zu lei- ten, doch ich— war ver-lo - ren auf end ee ee eS a AP dim po A finite sea, the in : fncite sea. lo-ser See, auf end lo-ser See. NNO ——————— Who has blessed me? — Wer be-schita-te. ==) + Ppp Who saved me? Wer talf mir? 2 + g—— 1.36 Words by E, M, FORSTER & ERIC CROZIER German translation by Alfred H. Unger God O’ Mercy! from Billy Budd Masic by BENJAMIN BRITTEN Bly’ right st shoots out, stiking Claggart on the forehead. Claggart falls and after a couple of gasps, ies motionless. Bilys rechte Faust schiesst vor und tft Claggarts Sti. Es sturzt zu Boden und bleibt nach einigen Zuckungen Quick ¢ ‘bewepungsios iegen. oF i Billy doesnt move. Vere raises the body. Bily ist estar. Vore rchtet den Toten aut, Vere kneels by the corpse. Vere kniet an der Leiche nieder. God o' mer-cy! Here, help met Gott im Him-melt Ob, bilf mit Hilf — mir! ‘fale back. — er zurck fat {© Copytight 1951, 1952, 1961, 1977, 1996 by Hawkes & Son (London) Lis, Copyright fr al counties, Al igh reserved Printedin USA37 Fa-ted boy, whathave you done? Unglicks-kind, was ta test du? TEN | 2. 2 God help us, help us all. Gott bilf uns, steh’ uns eit = Vere goes tothe door and cals. Vere geht an oe Tar und rt: a PP Boy, fetch my of-fc-ers at once! uf die Of-f-zie-re her! Slow—Lento B] accel have cleared 1 ist fort pp _/molto eres ISA. Sa,ceeee Very agitated 4 (d) = 126 Wy _ ee IE] ote egro O ter : ror, whatdo I 0 Him : mel, was mu ich seh’? — —_—_———. a poco.f ma intenso Seylla the straits Sola : : der Eng = pass Lo sempre sim. 1 se Jetzt blartuw F F a> Dye Beau - ty, hand-some-ness, goodness Schén-beit, E ~ del- mut, Gi - te — com = ing to tt steb’n vor Ge ~ richt. — — Beau = ty, hand - some-ness, _good:-ness. com = ing to Schin - hei, E - del-mut, Git te, steb’n___ vor Ge -40 x E| How can I Wie ann ich heart's Herz bro bro - ken. bricht — bricht mir. am am con - demn him? tein?tt uu 1) ULL 5 | al a f= —> => => — isnot his trial itis ist nichtsein —Ge-richt, es ist PP with horror sist mein, Hand! Bp cvese: 42 i I Accept Their Verdict from Billy Budd ‘Words by Music by E E, M, FORSTER & ERIC CROZIER BENJAMIN BRITTEN German translation by : Alfred H. Unger i Measured d= 54 Misurato VERE p 1 ac - cept their ver - dict, k Ewer Spruch ist gill - tig, pesamte their ver ~ dict. is the _pen-al-ty for ist gil ~ tig. istdas Straf-ur-teil fir —— those who break the_laws of earth, 1 whoam den, der ird” - sches Recht ver - letzt ich, der ich © Copyight 1951, 1952, 1961, 1977, 1996 by Hawkes & Son (London) Lc. Copyright forall Counties. Al'ights sewed. Printed in USA.5 > —————————— king of this frag-ment_of earth, Herr die-ses Krieg-schiff-es bin, x 8 = ing mon-arch-y, ken K6- nig-reichs, — Bur I have seen the di - vine Doch sa6 der Him mel selbst judge-ment of ‘auch zu Ge-ver - thrown, mf dim. S Tl Coopedin this narrow ca - bin I have be - held the mys - ter - y of i Hier in der en-genKa- jd - te habvich er - lebt_ die Got - tes - machtdes B] moving forward - PR —3—)— sringendo And 1 am a - fraid, good-ness. Gu + ten Und ich ba-be Angst | Be - fore what i bu-nal do 1 stand Vor wel - chem Ge - richtsshof werd’ich steb’n, =cee eee ees atompo d= 60 45 ZIAD des-troy good-ness? ich das Gu - te? hhas struck. and the tesschlug 2, und der stringendo - - ~~ through durch is for -me_______ to des. ist mein Los, euch - 2m ver = mf an - gel En - gel - yy, hand-some-ness, good -ness. + beit, — B ~ del mut, Tu - gend, troy you. wich ~ tent aDtin lost with all @ + wig ver Quick Allegro 1= 160 SF. animato i T__ am_ the mes = sen-ger of death! Ich bin der Bot - — schaf-ter des Tod's!) utr! sen-ger of death. schafter des Tod's. a — tf = can he par - don? How er erste - hen? Mir ver=zei~ hen?48 We Committed His Body to the Deep from Billy Budd Words by Music by E. M. FORSTER & ERIC CROZIER BENJAMIN BRITTEN German translation by Alfred H. Unger Slowly moving (d = 56) The light grows on Vere as an old man, a inthe Prologue. Andante Licht auf Vere als alten Mann, wie zu Anfang. VERE pocof” mit-ted his bo - dy to the deep, weib-ten den Leich nam dann der See. aD nde de gd — yd —___# py or terer FE sea - fowl en ~ shad-owed him with their wings, their MO - wen uum ~ kreis-ten ihn in der Luft, tbr oe eee ES OS SO © Coypight 1951, 1952, 1961, 1977, 1996 by Hawkes & Son (London) Lis, ‘Copyright forall counties. Al ights reserved. Printed in USA49 harsh cries were. his qui-em. Krei ~_schen___war— sein gui-em. z Peek sz, ; SSE PEE p sos. AY —_ But the ship passed on un - der Doch das Schiff litt bin, leicht im Pr oy therrer; ) ter’ y > trees = =f — wards the rose of and soon ~ hin, zum Mor - gen ~ Und bald. 4 Ce eee Ce eee er oo com pie forza — it was full. day in its clearness and strengeh, = war. hel-ler Tag— voller Klar-heit und Pracht. ————— Pp ale al '50 stringendo ancora pit eae could have saved him, 1 could have saved him, knew it, konnt'ibn ret - ten ich konnt'ibn ret ~ ten supe’ es, i ship -mates knew it, though earth - ly laws si - __lenced them. Mann-schaft wut’ es, das rd - scheRecht hemm - te uns. PPP so 3 3 B] broadly— pasionately largamente fs 4 © whathave 1 done? © what, what__ have 1 done? Was ab’ ich ge-tan? Ach, was’ ab’ ich ge - tan? But he has saved me and blessed me, Trote-dem hat er — mich ge - seg + net,1 Lu W love Lie that pass-es_un-der-stand- ing has cometo. me. be, die uns alle seg - net, sie kam 2u mir Twas lost Warver-lo Ss DP sempre Pve sight - ed a sail inthe ich spa - te ein Se gel im far - shin - ing and Tim con fun ~ kein - den und bin gar a$2 seen where she’s bound for. enn’ woes hin ~ ziebt. I ' E TJ —_——— i land where she'll an - chorfor © - ver, whereshe'll an ~ chor Land, wo es an - kert fir im - mer, wo es an - kert SF molto crse BD crese. molto| t 53 Tam an Bin jetzt ein ‘poco a poco dim. and my — mind can go back in peace ‘Mann, und ich kann mun mit See - lem - frie ~ den — to that far - away sum-mer of seventeen hun-dred and nine - ty - seven, = je-mes fer - nen Som-mers von sieb - zehbn-bun-dert und sieb'n - und ~ neun = zig long a - go now, years a - 80, centuries a mich er = in - ern. Lang’ ist’s ber, Inn -der - te von ‘completely dying away—morendo lpm 8 when 1 Ed-ward Fair-fax Vere, com-mand-ed the In - dom it - a ~ ble ren, als ich, Ed-ward Fair-fax Vere, be - feb -ligt die In - dom-it - a - ble mn