Scribd Logo
Upload

Welcome to Scribd!

  • 45 Handel Arias, Vol. 1 (Low)

    Uploaded by

    MollieLawler
    5K views177 pages
    45 low Handel arias, volume 1

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    45 low Handel arias, volume 1

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    5K views177 pages

    45 Handel Arias, Vol. 1 (Low)

    Uploaded by

    MollieLawler
    45 low Handel arias, volume 1

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 177
    [ WANOLT 2 x HANDEL § BRODER 45 ARIAS from Operas and Oratorios FOR VOICE AND PIANO OOOO (SERGIUS KAGEN) wow ‘VOLUME 1 er EC I INTERNATIONAL MUSIC COMPANY NEW YORK 10016 EDI ON I De DOO RE CCCC BD RE B ROE ORR RE BOBO 5 OOOO CORO OOOO OOO HANDEL II 45 ARIAS from Operas and Oratorios FOR VOICE AND PIANO Selected and edited by SERGIUS KAGEN Englch translations by Nicholas Granite and Waldo Lyman wow) VOLUME 1 er No. 1694 : 5 A 3 5 3 3 3 3 5 ct COCO OOOO OOOO OOM INTERNATIONAL MUSIC COMPANY 437 FIFTH AVENUE NEW YORK CITY FRO HE DOC et SEEEEEEE, Preface In selecting the material for this edition of Handel's arias, che edicor's primary concean was to compile a practical collection. Handel's ousput was so vast, chat any acempe to use a collection of such modest size a8 this one for the purpore of illustrating che various facets of Handel's compos tional seve or the suges of ts developmen, could not possibly succed. ‘Therefore the editor tried to assemble in one collection a number of the most famous and often performed arias, many of which have only been available in single copies, often of doubsful accuracy Because practically all of Handel's operas are now forgotten at sage woks, the arias extracel from chem survive today only a8 masie and se n0 longer asocited in ‘ou minds wih aay characters na drama ‘Ths, the ype of voice fr which dhe at was ‘ginal intended becomes in many cases» consideraon of litle practical importance ‘The cuizent practice of considering certain excerps from the opetss of Pei, Caccin, Lilly, Purcell Scarlati snd other old maser, a5 Song, abd singing them in whatever key happen tobe most stable forthe individual type of voice iy inthe opiion of tht ed, fllyjusied, and can be applied with equally good reals wo many of Handel's ais. “Therefore the eitor fle chat a collection of Handel's arias divided ino volumes for Sopeano, Alto, Teno and Bass woul be of lest practical valve than one for high aed low voice in which some ofthe aris appear in both the orignal key andthe erate: sed version. [acually, cern aia are no anspsed, some because ofthe textual considerations, cers, becaus the editor flr hat tanspotiion may afc adversely their color of Character However, the singly ape and adie manner of weting fr the Woe in Sich Handel exelied, aswell he esenally wo pare contrapuntal wing employed by him in moss of his vocal sol, makes many of his soprano and alto arias suable for ‘oor of bast and vicewersa Nove of he “Messiah” arias are included inthis collection. The “Mesih” piano score is avilable in'a muliade of ediions, and the editor believes thar every ager cuighe to own one “Te incision of "Dank sei dix, Hex", an air of very dnbeal origin, semed jus tied, since the editor considers can exelent plce of musk (n0 mater who wrote i) fod ince i i widely pecformed as an aia by Handel All of the tempo and dynumic marks notin parentheses are 10 be found inthe anignal scores as pried in the Handel Gevellicefr Baion, ‘The elvor's suggestions fe always in penises, While some of the piano reductions and realizations have been newly made for this collection, those thae were taken from the Hiindel-Gesellschaft Edition and other reli able sources have been thoroughly checked and, when necessary, adjusted t0 conform (0 the Orchestral Scores, SERGIUS KAGEN 5 ERE ESESE EERE RRR Eee EEE, i ieee eee eee eee ee D BEEEEES: Contents VOLUME 1 1. Vi godendo (Serie) 4 2. Come and eip ic (Allegro) 7 5, Cara Sposa (Rinaldo) 10 4. Where'er you walk (Semele) 14 5. Chi sprertando (Passion) 16 6 Gro mai vi posss (Soe) 18 7. Laxia cho pianga : (Rinaldo) 23 8 Ah! Spietato! { Amadigi) 26 9 Ombra cara (Radamisto) 29 10, Furibondo spira il vento (Partenope) 33 M1 Recit Nulla temer “Aria Genecoso chi sol brama (Seipione) 38 12, Sle amare (Tolomeo) 42 13, Father of Heav'n : (Judas Maccabens) 46 14, See the raging flames (Joshua) 52 15, Rect rage, Let, I bur “Aria O rudder than the checty (Acs and Galatea) 38 — Volume II Volume IIT 1, Cares Asene) 1 ew in (Perdane) 2. Non ld col bbeo— (Telomeo} 2 Affna dt peace 7Oron, 3 Re ond tener 3 The cot amcor cSuplone) ‘dite Ones at Fa (ser) 4 Dank sera, Hert 4. O'S wy dot thea (Semele) 3, Plnge iste 3. Rene steno (Sour) inio Cee) & Sumi oe hatte) 6 Bach ever Fie 9 Yea pat ans) Alexander's Feat 1 Cingddspetio (ames) 1. Con rico mormon, 5: Ame arm ybeve (Judes Marebet) (Rodetnds) 10. Abts non sa “onow) 8. Del minciar dt vento "Yortond} 11 finch ie mate (risadene) 5: Dovey amie bene 12, How wll my paternal ve (Rodelinde) Samson) 10, Honor and Arms “(Semon 15, Revenge, Tine cris 10: Nace a Bosc (ise) ‘Alene Feet} 12. Bene rane (Amadig) A. Sita cop ‘aerenes 15: Rem 9 od of Hous 7Sem) 15: Vout Sora 1 Soge tna (onde) (Detingr Te Deon) 5 glow Deeds Semon) Va godendo (Serse) pedro ire Siete ae dehy ones dete Ongar mse j GEORGE FREDERICK HANDEL (Allegretto grazioso) (6s19) Voice We gos teed weeze-wnelelle gary = els le Nber > Et Thr-be con om =e cne-re etal mere cor-ren = doh TF ir pF == P onl ro oe recs tr © Cont 15 by eros Music Campy New Yor iy or ie (Tempo 1) o. Adagio ee as beta Come and trip it (L’Allegro) (Original ky Cio) Menuetto — a ne a Voice Come, dod trp kas — yo go, te Wain - facie tn, tpi tip eons, andl cathe ight fin turtle ton, comes dod tap (nf) Contig 199 by tntruons Muse Conany, New York Gin ae Totrsonal Cop Seed we yenge, tp tp tp trip mth Uigitan- tatie tn, rs cpctheliittae susie toe on MEE eit fan -toe-Ge toot om_thelgh fan tse tom, trp te tp te + 10 Cara Sposa (Rinaldo) bee ie orm pant mit? ice cone i ‘back hear my entreaties! sla face del mo adegno th ei of ey om, Tot soap Teleppear on theater one your darks! (Ova ky) PIANO: we rh 99 Ion Mas Cony No Yo iy Allegro Dal vovsto Boe = by sul! To vi of. dy Gable foc del london, fo vi afl a, “ Where’er you walk (ri ey 8 si) (Semele) Largo ¢ pianissimo per tutto Voice Wher = eer you walk ~~ sempre 6°" Basen ‘eleesallfetiegade ‘oeswee you staal erm o-to shade, 3 ‘Teese you sithallerwtin - to Wer = eer youl, ol galeg sill fas the sleds al crowd = ty a aad 7 ony 199 by lata Mase Capa, New Yok Gi Tetmatonal Cop erred ‘hinge arb, “things our-ab, wher. Adagio: Dc. tae ; ca Chi sprezzando (The Passion, text by B. H. Brockes) (sgt key Fie) Adagio (ma non troppo) Voice Bic thr Gk = tan Gandver - alu - ty und mil % to ahom " Gadegroccer = ten. deth, But re Cy spretan dh Somme Be | ne cl pea ee “Tis Ae wien ser a Tin ie ave Te rg et Geom, sen Coon 199 yt Ma Cp, New Ys Cy 7 dee Sin = dnl, ‘heirmeos ~ re fi stttmtty pacta ~ i wonn ie Frucht, wasn die Fruct Sin = don When your sine, when your alan Ue ment = ore Ch’io mai vi possa (Siroe) TE xo Mia (Oriel key Fico) Allegro Voice & ie mat pons ae i ai mtn per giowce | Wibgaae me = Shmm por loco via 21 os $ Adagio (Tempo 1) ey oF. 7 es cave ye> pill la bel foro Adagio (Tempo!) % ds capo al segno 23 Lascia ch’io pianga (Rinaldo) ‘epider een Yen ed em a gui co doolo cero vive sits Aud bee, in eral ft Joe SE Serie eriponcantncn ce, phe epg cscon ou SE se i Ease Serer iting a Grits fen Comte ra Vic aNo ‘ ow a) Sig wert AA! pero = th | Tateeind —plage-re o a # ‘ong 1959 by Intrmtions Mase Company, New York Gy to Tauratnt Copght Sed 2s Da Capo al Fine Ah! Spietato! (Amadigi) ae rt lorese) te TR tan = pun epee dan in coal PRR RR TF IPT PP ines | PR REE EF FE Cont yim Mes Cn, New Yo iy we ch Sc freee |rrerce || terre lrrrrrr rrr Allegro np) Microdata town, co-ne a enguarom= al = ma emande, cb (aga ee a D.C. at fine Ombra cara (Radamisto) eo ent at La Seer age he SESE tree (ogi key F nico) Largo ma non troppo on Intern! Capit Scred alt= paeate is — Wacapetta la ven = alt Tre Genre di min posal’ hp le - acepetala ene Ths press te - Uacapecta In v= dettala vem ante, oe E pi to meteae < ceerh, © Paltade ve D.Sat fine Furibondo spira il vento (Partenope) aston si vent The wind Hos fri scones eis dng he and ot Ta aden Fann oto Tat ton fl my 0 ‘ata dl mi dat Paid by mone (igi ty) Voice inf) Sp att vt ‘Conyigh 999 lta Macc Caapay, New York Gy ae Tetranal Copp Seared 37 ‘it mio del, _— m_ Adagio a mist, angela te delat ‘Da Capo Recit. Nulla temer Aria: Generoso chi sol brama (Scipione) Voice em pemrt0 cot ay Geplarede a pete de nna ie seat ama to sso ben i opyih 99 by arto! Mai Cmpany, New Yok Cy “he tou EZ in cttn mbiatd or 1°) tm mast ofthis period, Er. 40 4 Da Capo al Fine 2 Stille amare (Tolomeo) Sie 6 vs fa ody Se Sa nia ems a ea at vn mae, Ossin to? Voice msl pS Sei oy 9 on Mii ea Nw Yak iy ARIA Larghetto ———) ‘Note the orginal hay sigaatne, although the rectatve and aria ae both in Bp minor. Btr, — — nf) tut ten se-no, fo morteactinmn gh vin-to tat - tk som, o 4s Te foam = fo tor- nila bean @, Sul - team - ry gihvl son-to Meteinse ~ 90,18 mor-teachianan ® of) ail-feene-re,givisle—tlteinse nods morthacman ddi D (cate spate ep H nt 46 Father of Heav’n (Judas Maccabeus) vo Andante larghetto Fa ther of Heww'nt from Thy eternal thone, trom brerepmer tri Cnyigh 199 by lara Mae Campy. New York City a7 ok with an eye of bles = = sng down, vile we pre = pare ihn = Bytes, tom a0 Lem pa te the feat of lat ror 49 this alte rise with ca tals of i-umph ant Joy, (hie abr pid raise with carole of tic umph-ant Joy, < mph = ant joy, Fa = ther of fom Thy ¢ = ternal tone, fom », ook with an eye of Blessing See the raging flames (Joshua) Allegro pianoy 7 33 he rieing mera ve, the te = ag. ange Twa prone and eles, Taal poms ted 54 a -tal day of wrath is come,Proud pri cbohuthmet her doom, 37 ee ~ behobat met ber doom, Pood jer = S-chohath meter Adagio doom, Proud er-4-cho hath met her doom, 38 Recit: I rage, I melt, I burn! Aria: O ruddier than the cherry (Acis and Galatea) (Origa hey) Recit. accomp. Voice : = Furioso vo eA) ba me Loree Tome 1 bat ‘The feeble god has ‘Adagio Furioso, D g , seese see eh 09 mi Ms Cn Nor Ys 1 lay thee Wl Bring me 4 hundred reeds of de-coatgrowh To makes Dw ca pa ~ cow mouths te ‘Adagio e piano evcents let me breathe Sweet Gal-a-teca's beausty, and my ‘> ngs Blithe and aser= Fy ‘moonshine night, Lke Ki Ings blithe and mer= oy! 6 “te, No lii=y Bas wach lasue Yethard tO tameas raging flame Andere astormathat| ae ‘Dal Sago 30 ITALIAN SONGS of the I7th and I8th Centuries (LUIGI DALLAPICCOLA) High, Medium, Low. In 2 volumes. Conlonds VOLUME 1 1. CALDARA —_Selve amiche 2. CARISSIMI Vitoria, vitora 3. MONTEVERDI Lamento di Arianna 4.SCARLATTI Gi il sole dal Gange S.CACCINI ——_Usite, amanti 6.CAVALLT ——Sorpii di foco T.CACCINI Bellerose purpusine 8 FALCONIERI Bella porta di robin 9. CAVALIERE 10. DURANTE ——_Vergin, ratoamor 11, GIORDANI Caro mio ben 12 CACCINT ——Sfogava con le elle 13, PERI [Nel puro ardor 14, MONTEVERDI Di misers Regina 15, SCARLATTI Sento nel core VOLUME II 1. CACCINE == Amari 2. LEGRENZI Che fero costume 3. DURANTE Danza danas, fancilla 4.CACCINI Occhi immoral S.CAVALLI Sono ancor pargoleta 6. SCARLATTI © este di piagarmi 7. STRADELLA 8. FALCONIERI 9. SCARLATTI 10, RONTANI —Caldi sospis 11, FRESCOBALDI Soneto sprituale (Madden alla Crt) 12. FRESCOBALDI Soaeto spinal i stile 13, MONTEVERDI Illusiatei, 0 ciel 14, ROSA Vado ben speno ‘angiando loco 15, PERL Gioite al canto mio INTERNATIONAL MUSIC COMPANY 437 FIFTH AVENUE NEW YORK, N. ¥. 10016 Ne ists Complete Vocal catalog sent free on request Vanious Sa Collections maz omar siecle sae re taee For Bos 19 Ava crnessox : Re eee osoncake {W tlian Song of the 7A (8th Coma una eee serena eee Duease Can San Sere Het c= “rel voki Ee ic ory spuaneiecag tuner ve FAURE 4 Toh Simp (FE Meda) New Renate EE ee ws Ait ‘SCHUBERT ee iy came smo 888 ere ote iii Sie ements 2 ITALIAN SONGS ae on TI Seay cme np om 8) sees some MAHLER 2 Ata RGIUS RAGEN) Mom mammegen nee ne ee wous See ee INTERNATIONAL MUSIC_ COMPANY 437 FIFTH AVENUE NEW YORK, N. Y. 10016 OO OO, HANDEL CRC 45 ARIAS from Operas and Oratorios FOR VOICE AND PIANO SO (SERGIUS KAGEN) «ow VOLUME It = No. 1696 HR INTERNATIONAL MUSIC COMPANY NEW YORK HococecoccooeecosEseCEsERCCCeCnesTIOOe KEE I I, OE HANDEL EO 45 ARIAS from Operas and Oratorios P HANDEL | FOR VOICE AND PIANO Selected and edited by SERGIUS KAGEN LUteral tine by tne translations into English by NICHOLAS GRANITTO and WALDO LIMAN wow VOLUME I er No. 1696 eee al INTERNATIONAL MUSIC COMPANY NEW YORK SooooncoueeeccoCoseSCOCCeR COCO CC CET TRH SCOCOCBOOOOOOROGUCCCOROO CORO CDCR COCO CCUG T GOGO z | ; : 3 : i DO DO SOCK es es Preface In selecing the material for this ediion of Handel's asias, the editor’ primary concern was 0 compile a practical collection Handel's ouspac was so vast, chat any acempt co use « collection of such modest size as this one for the pucpose of illustrating the various facets of Handel's composi tional style or the sages of ts developmen, could nor possibly succeed. Therefore the edior tied to asembe in one collection a aumber of the most | famous and often performed arias, many of which have only been avaiable in single copies, often of doubtful accuracy. Becase pracy all of Handel's opers are now forgonen as sage works, the asian ext from Sem survive ty only a8 ase and sno longer ssouated in ur minds with any characters in «dean Thus, the pe of woe for which te ait was originally intended becomes in many cases a consideration of litle praca importance. “Tae cacene practice of considering cetain eacerpe tom the opeas of Peis Cac, Lally, Purcell, Scares and other od masters, as song, and singing chem in whatever key happens tobe mose suitable fr the indvaual pe of woe ie inthe opinion of tht editor, ally josed, and can be applied with eal good tesulto"many of Handel's aca Therefore the editor felt that a collection of Handel’ arias divided into volumes for Soprano, Alto, Tenor and Bass would be of less practical value than one for high and low voice, in which some of the atias appear in both the original key and che tcane- posed version [Narually, certain arias ace noe transposed, some because of the textual coasidecations, others, because the editor fele thar a teansposiion may alfece adversely their color 0 character. However, the singularly ape and adroit manner of writing for the voice in ‘which Handel excelled, as well a5 the essentially wvo-part contapuntal waiting employed by him in most of his vocal soli, makes many of his soprano and alto arias suitable for enor or base and vice-versa, [None of the “Messiah” arias are included in this collecion. The "Mestah” piano score is available in a mulkiude of editions, and the editor believes that every Singet foughe to own one ‘The inclusion of "Dank sei dit, Here", an air of very doubtful origi, seemed jus: tified, since the editor considers ican excellent piece of music (no matter who wrote it) and since itis widely performed as an aria by Handel All of che tempo and dynamic marks nor in parentheses are t0 be found in the original scores, as printed in the Handel-Gasllichjt Edition. ‘The editor's suggestions fare always in parentheses, While some of che piano reductions and realizations have been newly made for this collection, those thac were taken from the Handel-Gesellichaft Edition and other rel able sources have been thoroughly checked and, when necessary, adjusted to conform the Orcheseal coves. SERGIUS KAGEN a Contents VOLUME IL 1. Cate selve Sommi Dei 2 3 4, Noa lo dito col abbro 5. Recit,Rasserena, Madre ‘Aria. Rend’il sereno al ciglio 6. Recit, Frondi tenece Avia Onibea aif 7. Veuchsafe, 0 Lord 8. Verdi prac 9. Ab! enon sai 11, Finché lo serale 12 Recit | feel the deity withia Avia Asm, arm, ye bravel 13, Cangid daspero 14, Sra i ceppi 15, Revenge, Timotheus cries Volume 1 VA godendo (sere) 2 Gatesad ips cide 3 Gin spose (Riva) {Mery wate ene sper io 6 Chima v possa ‘Siroe) 4 asco ange (Rtmldo} Ate Siete (smatig) 5. Omb are (Kaloo) 10, Ranbondo spi i vento Partenpe) 11; Geneoso ci sol bra (Scipane) 12 Sle amare (Felons) 15, Father of essen (dar Macabenr) 14, Se the aging Flames (Joshua) 1h pe tan ‘ris pie han the cher (aes and Galatea) EERE REESE EES (© sleep, why dost hou leave me? 10, How willing my pacernl love —=— (Atalanta) 4 (Rademisto) 6 (Semele) 8 (Tolomeo) 10 (Sotarme) 13 (Sere) 16 (Deninger Te Deum) 18 (Alina) 20 (Ottone) 23 (Senson) 26 (Ploridante) 28 (Judas Maccabrus) 31 (Admeso) 36 (Berenice) 40 (Alevanders Feast) 44 Volume III 1 Alma mia (Poridante) 2 Afton det poser fOtnone) 5 Maem raccoleancor—_(Sopione) 4 Dank se di, Here 3 Piaget seems (Gino Cone) 6. Bacchus eve Fir " Atexande’s Feit) 7. Con eu mormon. (Rodelinds) el inacar del vento fOr) 5. Dove ser, amatohene (Roden) 10. Hover and Arms (Son) 1 Nase a Bosco ‘si 1 Pena tran (Amal) 15: Reta, God of Hous Sens) 1. Sow tsa (Ottndo) 15h elroue Deeds (Samson) Care selve (Atalanta) GEORGE FRIDERIC HANDEL (qsns1959) A Fe vw conan © 1959 Sommi Dei (Radamisto) sonmi ei Sipe gts he once mal i Yak hd of ny arn "ome an met eo! Proc on apy (igi Le Ea) Largo ¢ staccato ‘nie advisable to take a neath before Mt mall Er, rote: eeteunme = ato oo ‘ O sleep, why dost thou leave me? (Semele) (gin Bey E mse) 9 Largo Savona? Why dont tht aves sf - move? Igoe er) Non lo dird col labbro (Tolomeo) SP iso Went at net Bera pele Smt a igual ‘inn a et (Oxia ko) Andante PIANO} (ote) | & (sine) ator diosa, (orseconle fa-vi-le de’ acwis de pus pl by er Ja Ba a —=— of) Airey me a ar doy To sguaedy parte No in lr cl Ibe, che a = tanctoar = aie mon SS on We les eal b= rw, my sou ase ol ab = Oe, 1B Recit. Rasserena, o Madre Aria: Rend’il sereno al ciglio ‘Sosarme) eer noma elt a Serena orate tae Seer BES ann Pepe, = Saas Phone Ee This tbe revaain Cee Eee ee Beare leita terete po eso Se in Bees (onan Bes Recit.* Voice Basra © made malo iogloh Opal de =f dat Git heme a ETO-raceo-ta del Gis - toy ; ‘is netati btedtnal ops mac the Alloa oprane tates rect tain may cit Teoma ens te Ty morta eer maarel Cle? Bi ARIA Largo assai e piano - = Bend ee-rgz giule = pi rar —— *» Madre ton anger pi! non flanger ih, not Modrehinplangyr ht pam oleae oda os Thad mpen ge v nen flanger ii Tr er poco forte ‘emer datean erogl, Ogi come pol tv? OK ~ i » Adagio (Tempo) peste otra ee e.e ante te tet —S Mer, tmplager pil ninplinger pl, ol Madrgtonpangye yt Tat tere = no ae 7 os Matra Str vor Recit. Frondi tenere Aria: Ombra mai fd (Serse) eae ed baal, cpt Pm : "Rect. accor Voice plo platen amt, pir PIANO: era eee ARIA 7 Larghetto Vouchsafe, o Lord (Dettinger Te Deum) (se ler) Largo) Voice ne 2 Wrest oh Land 19 (eres) Terese) — ——_ » Tt meg, oh Lard, ne ey upon om how | paw -. merey epson ch Lond, tet Thymer_— ey pht-en op on us ue our = = te te Theo wor trl — Verdi prati (Alcina) co pate nee Green meadows, tly wat Pe {on ve yur ben Hest oi ‘ry ower api ke ‘Presto tn val st cangerh nit soon henge is The hol et as itor el pat pet We Somaya te a ame, han ry wl ar Jou (Osi ke) ne (Andante con moto) ys Voice Verdi. pra-th, sel -vea - mene, Sat c= dal pel-mo ae pet - to 2 23 Ah! tu non sai (Ottone) ei Bt at tae 28 a ete ter dere (niin! Ay 7 ” Larghetto © piano SS ) ” Voice) od (erese) 2 AS How willing my paternal love (Samson) (tv bo) Larghetto Pods, PIANO! a wight 10 sare of = teas “nl pire of ar = rob ‘whist Finché lo strale (Floridante) Res eat gna, (Ost ey) PIANO: Fae fo airte mo guages te ge, ene er fIncehbto sirale—ongiongeal snagoe pen-ser re - ge = le i 30 nf (Canam ai = oeocpee eee dun reef, Anon dh = atop — Tis on “ rege, fl conanal o Ree nen Irecve oh, 1 cor- wale - pro— Pe Babi, coreanall” 9 = pre non ince rh Pn Recit. I feel the deity within Aria: Arm, arm, ye brave! (Judas. Maccabeus) (ovat Recit. (Miaesioso) _ Voice The Bright che = r-bim between peserepte tp Ppt pa Eg pp ate Tis diane glory or dis~ play’! = eecel's disvene fal pray be SS a ow a= Thath vousia'@ = graciour ear; and polo out Macaca ~ be -us to hel ald * beciee, sme Ble oe 33 = — ‘nue ofHeav'n your seal demands, tno - ble came, the came of Heavn your Kast wo ble cause, the caus of Heavin your seal demands! ‘hms aim ye Dive at, eam, ye bevel + = 7 frm tem yebrivel ano > ‘blecaue, the cause of eav'a your ‘haps ofHeav'n your seal de Tn de fence of your nation, re = li~ gion and laws thlal-migh= y_Je-o- vah will io * c oceghthen you hands, Th de - fence of your on ton, inp) @ ‘aod laws ‘Bialmigh-ry Jehovah will mvenght = tem, tom, ye bavel a Tt Whe cause, he Gua” Sl Hoaw'a de mandiyourzeal, = ‘le enue, ‘im arm, ye bavel Arm, am, ye bravet the came of Hew o F Th 7 Cangid d’aspetto (Admeto) © to i rtf E 8 nao n I (sin er) Voice Cangibaanspet= to ends fe =, Balk rina to atoll ple-een, 2 ¥ m2 Pa nm nm to pene im 40 Si, tra i ceppi ( Berenice) Siureance Apne tan ont tem Sica Moai (Cai er) Come alla breve. oP Shuat ep-ple le t- ort Loma @ a 4 ‘Suet ew-p, Sutra cep-pl ele nh = torate Le mis Le mia ei-plende 8 lene et trie P 42 Stak cep-ple le = torte La mia Adagio De Capo (colta voce) Revenge, Timotheus cries (Alexander’s Feast) (sia er) Andante allegro vwenge, Te motheus eer revenge, TH ~metheus cet, re = , * 46 = Hes, the war Merthat fash tn tele eyes! Ree venge, Th ~ mothe exem ‘venge, Th = motheus ile ce ~ venge, se-venge, re-venge, re -vengel See, the fe sor = sae! See, the miles that they reat, how they 2 47 and the pares that fla Se their eyes 48 Behold a ghamly band, 4 ghastly band, exch torch in hishand, 385 torch inishandl ‘These ave Grecian ghony that fo battle were dain, and ue Sie. =~ bu - ed remain, ta glorious on the plain ‘glorious hs + rpige ie raf) om theplaint These Gre clean phos, that in battle were alain, and un t s wwe da capo al Fine PURCELL - 40 SONGS Realization of the Figured Bass and editing by SERGIUS KAGEN HIGH and LOW. In 4 Volumes Contents Low Voice VOLUME 1 VOLUME 11 1 We sing to. Him 1. From roy Bowes 2 Mase for 2 while AR Belinda {am prest with 3. Thrice happy Lovers ‘Terment See j Tay. hand, Belinda : Whrenlambidin Earth J: Ah, how plesant ‘sto love |, WhealambidinEarch 6. What can we poor Females do |‘ What shall doto he r boas oe - Your awful Voice 1 hear 8.1 saw that you were grown | § More Love snd move Disdain sw ha you wee More Ln isd 9 If Musie be the Food of Love | 7, sinte fev my dee (ard version) ‘Man is for the Woman made ro. If Mase be the Food of Love | 5: Raouing Song (st nts) Blessed Visin's Expostulation VOLUME IIT VOLUME IV 1. The Fatal Hout ‘An-Evening Hymn 2 Til ell upon the Dog Star , Hark, how all Things 3 Sylvia, now your Sor give edo lend me tosome pect over loom 4. °Tis Nature's Voice Notall my Torments 5. Bess of Bedlam Nymphs and Shepherds Cesc There's sot Sen onthe Pia 1 Suike the Viol pron bee lage fa Lord, what is Man h (oes avi soneiies 9: Sound the Teampet or e's Sickness to, Hatk, the echling Air 10. Queen's Epicedium Alto available PURCELL- Six Songs for Bass 1. Anacteon's Defeat 4 Next, Winter comes slowly 2 Yerwice tenhundred Deities | 5. Arise, ye subterranean Winds 5. Wondrous Machine 6. Hence with your trifling Deity INTERNATIONAL MUSIC COMPANY oe Complete Vocal catalog sent free on request Various Saas Colhctons BERLIOZ Lapham atti (P) ocrenentec BRAHMS gine (Gu). GERGTOS acEN) Sires eae oaulaneran (EE) High Medium, Law aa spp nenel as ee uanc sagen EES ons 188i notes nacey) ox) 0 Sonn (SERCTUS KAGE) (ROE) taba nA rl 9 Sonp ‘ae FORTY FRENCH SONGS Sec ned ld SERGIUS KAGEN ih Ness an ae GRANADOS 11 Song (Foals) Sh) HAHN 12 Sep (SERGIUS RAGEM) tho Le HANDEL 145 A am Op (GERCTGS ac ow Fran sons og Ti eBoy soon ita sr weit va sega ge = i odes Gee (eer of inj) (bk) Hg oe a INTERNATIONAL Music “COMPANY MOZART ‘isn tom Oe Mn gare otal Dri nt a trp, (SERCIUS KACEN) repo fr Yo ty 1 les Soe pans Seng an Dn ol Death Ora seri "Ret a con MARION Fanaa gh th “sie stein DUPRE Tig Nery ACilad Se Ren wth “Buh Tene ue) Ot iey ‘oBRADORS Ca Spnih Songs SNE) Media, PURCELL Woadenng by seneiOs Rac Hove toe You sSepler im Sehotos cicen, (eancrO KAOEN) pe toe RAVEL pee iree ‘fo et cn rRocrcontog socherande FE) High SCHUBERT. 202 Son SERGIUS KAGE) (CE) igre arn nim SCHUMANN ‘ep gnctos exch, soon, (SeherUs KAcEN) (GaE) tw STRAUSS 29 Seon (SERGIUS KACEN) (COE) "i Mei oc Low SuBIRA ‘uta Span Sn (12 (Spm. #) VIVALDI fase rumen we i aaa te, AE etre wou 8 rm (enous exceny Complete Vacl catalog sen fret on request SHC PR RO CCE ERIC OO OI 45 ARIAS from Operas and Oratorios tt FOR VOICE AND PIANO (Low) VOLUME III _ (SERGIUS KAGEN) Ww No. 1698 FA K x | g x g x g K x x & g x g & x x g & x g & % i RRO BE NEW YORK FRC CROCOCOCOCOORO OO CO COC OCR RIE Tete USA POPPE P PEP t ht Et EEE et bb te tet INTERNATIONAL MUSIC COMPANY 5 HANDEL ~~ HANDEL HC IH ES 45 ARIAS from Operas and Oratorios FOR VOICE AND PIANO SOO (LOW) VOLUME III (SERGIUS KAGEN) er No. 1698 HHO I HH INTERNATIONAL MUSIC COMPANY g NEW YORK EERO C OC OOCCCCCCOCO ROR OE OO ES OOD In selecting the material for this edition of Handel's arias, che editor's primary concern was to compile 2 practical collection, Handel's output was so vase, chat any attempe to use a collection of such modest size as this one for the purpose of illustrating the various facets of Handel's composi- tional syle or the stages ofits development, could not possibly succeed ‘Therefore the editor tried to assemble in one collection 2 number of che most famous and often performed arias, many of which have only been avaiable in single copies, often of doubul accuracy. Because practically all of Handel's operas are now forgotten as stage works, the arias extracted from them survive today only as music and are no longer associated in four minds with any characters in a drama. Thus, the type of voce for which the aie was criginally intended becomes in many cases « consideration of litle practical importance ‘The cuscene practice of considering certain excerpts from the operas of Peri, Cactni, Lally, Purcell, Scarlaci and other old mascers, as songs, and singing them in ‘whatever key happens to be most suitable for the individual type of voice i, in che opinion of the ed, ll josie, and canbe applied with uly good feats to many of Handel’ acas ‘Therefore the editor fele that a collection of Handel's arias divided into volumes for Soprano, Alto, Tenor and Bass would be of les practical value than one for high tnd low voice, in which some of he arias appear in both the orginal key and dhe trans posed version, [Nacually,ceetin arias ace not transposed, some because of the textual considerations, others, because the editor fele chat a transposition may alfece adversely their color of character. However, he singularly ape and adroit manner of writing for the voice in ‘which Handel excelied, a5 well a5 the essentially wo-part contapuntal writing employed by him in most of his vocal soi, makes many of his soprano and alto arias suitable for tenor or bass and vice-versa, None of the “Messiah” arias are included ia this collection. The "Messiah piano score is available in a multitude of editions, and che edior believes that every Singer ‘ought fo own one, ‘The inclusion of "Dank sei diz, Hert, an ait of very doubeful origi, seemed jus: tiled, since the editor considers it an excellent piece of music (no matter who wrote it) and since i¢ is widely performed as an aria by Handel Al of the tempo and dynamic marks not in parentheses ae to be found in the original scores, as priced in the Handel-Gerellichaft Edition. ‘The editor's suggestions are always in parentheses. While some of che piano reductions and realizations have been newly made for this. f collection, those that were taken from the Hindel-Gesellchaft Edition and other cei fi able sources have been thoroughly checked and, when necessary, adjusted to conform to by the Orchesteal Scores, SERGIUS KAGEN —_— Contents VOLUME IL 1, Alms mia 2. Dank sei Dis, Here 3. Afanni del pensier 4, Del minaciar del vento 5. 6 ‘Tusea eaccolea ancor Aria Pianger® la sorte mia 7. Songe infausta una procella 8, Return, oh God of hosts! 9. Honor and arms 11, Con rauco mormorio 12, Dove sei amaro bene? ‘Aria. Pena tcanna io senro 14, Nasce al bosco 15, Bacchus ever fair and young Volume I 1. YA glen (sere) 2 Gatti (Lally 5: Gare Spe ‘imd) 4 Where"eryou wake Somde) 5: Ch spend fronton) & Ghia pe ‘irce) Siacetin inp adaase) Ah spate (imate) 9. mth an (Rilenite) 18: Pando Spi ives (Pane 11. Geer bist bea (Spee) 1 Sie ame (isles) 15. Father Heaven (edes Maccabens) 1A, Se the aging Flues ost Diiapiaa ‘AsO edie tan the ceey ‘ts and Galatea) Recit.E pat coal in wn giomo 13. Rect. D'un sventurato amante 10. Thy glorious deeds inspired my tongue 1 Caeseine (Ploridante) 4 6 (Ottone) 9 (Ottone) 12 (Scipione) 16 (Galo Cesare) 18 (Orlando) 22 (Samson) 27 (Samson) 30 (Semion) 36 (Rodelinda) 42 (Rodeinds) 46 (Amadigi) 48 (Eto) 32 (Alexander's Feast) 36 =——— Volume IL Non to did col aro eat Pron tenere Avs Ona ta fi © Step, why dos thou Rend cena Sommi Det Ver ange dasa ‘Arm an jebrave (Jader Maceabeus) ‘A to non (Orone) Frodbe i sete (elon) How wl my paternal ove (samion) Revenge, Tinaheus ver (Alenonder's Feat) Sitesi cep (Berens) Voudbatere Lord (Dating Te Dew) Alma mia (Floridante) BREE som at he mpi gods ti ft i (ovat) GEORGE PRIDERIC HANDEL Larghetto sss) eee me) * Voice Adagio S atoms (erese) o fore) Mote Company, New Yok. Copy Renred eee eee al po ter de some Dept da fonan nape = top bade ne ‘ Dank sei Dir, Herr. (All Thanks toThee, Lord.) English version by HUMPHREY PROCTER-CREGG ‘Andante lento ma non Adagio Araged eo eed by SIEGPRIED OCHS Voice PIANO: Bi He, Du ha Bein Volk a ti Se, Lord Who hast” browght af mit Dirge = het, Thy peo - ple font, Meer Pon egrasone . Det- ne Hand oy Thy hand vit Dir ge Ae Thy peo - fe Tons, 1 ea tem v w 1H Affanni del pensier (Ottone) ‘Atel dl pees, My outed thoughis Dave pace alien, tae % = tanh al pee, ad = ty AL femal at ps, Dastemipa-ceaine, FE : Del minacciar del vento (Ottone) (Org! ey) oe hesocardel wy = Si rhedequachanan-ns, Che (eres) ‘A Rie Ree Iteration ConyaO Secae 4 ten = taLewmse ne Beet BS Hhedeqnecaan-newas, Gow conto val tne (at tm) Checen-tn valine cen = to Lesemee oe So 9 Dy 15 ‘Ta, ak forctvan a? ants, Jo sogle'aotar In front, Cha sb che Tor =e ~ > lowes AD aterm om A Katernionpod, Tat aie fh for tomaon-ts, lo 7 von ii id Tutta raccolta ancor (Scipione) Tata ct nor od xd Twterecoliaancir ml ae Corman 0199 by Iterations Mas ork Cope Renewed "AI Res Revere ne se * Recit. E pur cosi in un giorno Aria: Piangerd la sorte mia (Giulio Cesare) ars ro fate grander? day Lae ero of ip my bod ie, elas bees ihre ope lem ie? tet a "mall de bo my by ‘i ft si! Cat, ms el mae, ose Beene’ gin teal at yuo io ay yur cokin an gorcm, pendo Gavtie grin - deo? AN Mh bo ¥ PIANO! = bi g » y ARIA % Largo 20 in pets —— Allegro Mapa wor tat aa ins tr ewe mm (Adagio) ar eer DS Fine / Sorge infausta una procella (Orlando) Sette. (Osi ey) Allegro Splinede fauevds poi He LyClongnt Quid yi dt do = We-reCuanin-amm - wo f: ? —> 27 Return, oh God of hosts! (Samson) Largo * tnt he PIANO4|” Voice (nf) i _ Retum, se-tum oh God of one Uys - vant in direst ‘A! Kits Rene Iteration Cope Scie Godt re tumeh God of hots! becoliibe held, be ~ olbe-boldtr servant, hy eevant ia dite! Godt retumoh Cod of eas! behold, behold thyser~vant in dies Tae “S nor by theneatinen be or by the heathen Be sf tld! heathenty— the heathen be it told, nor by theheath -en be tld 30 Honor and arms (Samson) (Onin) PIANO: ae 1 “Though could endthee st = Blow, Though ‘endeiee at & blow Though I ould end thee at «Sow, 33 34 aie dain, 80 Ven quit = lave that = dain, Tdi dai, reap pais meen ot -amphe ate eae (aa Hib) 1 dis-dain, —=

    You might also like