f pluRecril C PURCELL SESS HE ae a SG OE EER CEPR EK CK ERED ER BEBE, 40 SONGS FOR VOICE AND PIANO Pe eee rao (HIGH) (SERGIUS KAGEN) SEDEDE MONDE SEREDCIC RON Aone arene re mrglerneAaate mar No2071 SERCH RIENCE eB PACE EC HO EERE D REE, INTERNATIONAL MUSIC COMPANY NEW YORK. ESO HE OIE eI Printed is USK, SEO OOK Resa re ae Panera ranean erase oun aa ean raamaase saree, EEDRRE SG RSE Me PONDEES PURCELL RE BS SOOO RM 40 SONGS | FOR VOICE AND PIANO (HIGH) (SERGIUS KAGEN) No.2071 ECE INTERNATIONAL MUSIC COMPANY NEW YORK OO OOOO COOH Printed in US.A. BOO OE ON i HOCK,= tA SE ASA SATE scnecerancocensncesenset eater Sea = seca cee NHI sensi EE Sauter acetoacetate eau w eens eeu ewe In preparing these realizations of Purcell's songs and airs, the editor attempted to make his role as incon: spicuous as possible. Most of Purcell’s music for voice and continuo is a magnificent example of two part counterpoint ia which the melodic function of the bass part is fully equal to that of the voice. In Purcell’s time it was a common practice to perform the bass part on a bowed string instrument and to use a keyboard instrument (a clavicembalo, virginals or harpsichord) for the purpose of filling out the harmonic structure. The great disparity of timbre between a sustained bass line and the weaker and more percussive sound of the keyboard instrument allowed the listener to perceive clearly the melodic importance of the bass. This held tcue even when the keyboard part was realized in a most complex and ornate manner, But when both the bass past, as well as an ornate elaboration of the chordal progressions are played on the modern pianoforte, the historically legitimate complexity of the inner parts may, and often does, totally obscure the melodic function of the bass In these realizations the editor did his utmost to refrain from all contrapuntal elaboration of the inner voices that could possibly affect adversely the acoustic clarity of the bass melody, Such procedure can, and ao doubt, will be criticized by those who will hasten to remind the editor that the keyboard players in Purcel’s time allowed them- selves to improvise most elaborately in performance. No one can dispute this. Even on a modern pianoforte a pianist could do this more ur less successfully, provided a cello were playing the bass line, But since this edition is intended for performance in which the pianoforte is used as the only accompanying instrument, the editor feared that an elaborate keyboard part would tend to acoustically distort Purcell’s music, sometimes beyond re- cognition. The pianist should bear in mind that his bassline is fully as important as the voice line. He should attempt to play it as a melody and to phrase it as such, and never to allow the right hand to abscute it in any manner, This advice is, of course, aot to be followed in performing piano reductions of airs with orchestral accompani- iment, where a tele line (violin, fut, tumpet oF oboe) may be of great melodie importance, nor in performing florid reciatives", where the bas i often stationary In performing these extraordinary songs the singer must be fully aware of the descriptive function of the florid passages, They almost invariably occur un verbs and attempt to heighten and to illustrate the meaning of the word. The action of such words as “Ay”, “tear”, “arise”, “glide”, “swell” ete, is most faithfully illustrated by the shape and direction of the respective coloratura passages, and unless the singer accepts this premise he might perform them as senseless vocalises. Purcell developed 2 unique form of vocal writing which could be best described as “forid recitative”. Songs like "Tis Nature's Voice", "Not all my Torment," o the first section of "Lord what is Man” are some of the magnificent examples of this style of writing. They ought to be performed with the thythmic freedom of a ‘ecitative, so that the tempo and character of each coloratura passage could be determined by the meaning of the text it illustrates. A metonomically accurate performance of such music would amount to a parody. Because of this the editor refrained from endowing the accompaniments of such florid recitaives with rhythmically indepen- dent figuration which would not allow the singer the necessary freedom. ‘The folio edition of the Purcell Society was used as the original text, The voice part in the present edition is a precise reproduction of the une printed in the Purcell Society Folio volumes. However, the bass notes may bbe occasionally doubled, repeated or transposed an octave lower. Figures found in the original, whenever they ‘occur, are scrupulously followed. A few airs from "Harmonia Sacra” and “Orpheus Britennicas” were tealized from the original editions. All the dynamic marks and tempo indications not contained in the original ate in parentheses, It seemed ad- visable to dispense with the usual slurs in the pianoforte part. “Legato” and "non legato” are used instead, when necessary. However, occasionally, slurs are used to indicate the phrasing the editor suggests. None of these slurs are to be found in the original. In case of hemiolas and other polymetric devices square phrasing lines above the ‘music indicate the rhythmic division regardless of bar lines In a few airs written for the male alto voice or counter tenor (Tis Nature's Voite, Music for a while, Sound the Trampet, Your Awful Voice, Strike the Viol) the voice part was raised an octave in relation to the bass, and. the entire song then transposed to suit our present day voices, since the range of the counter tenor is entirely unique, being much too low for an ordinary female alto and too high for a tenor. In the reduction of airs for voice and orchestra the instrumentation is always indicated, so that the pianist ‘may properly adjust his manner of playing. SERGIUS KAGEN amsimnenceraeremacmnns Sena ee 5 a MMM SSeS ee ade ae a eae Ree. uke ‘9 Hoitatatnctacena halla ieee Sateen arse tute eeeCoutente 7 SEREEESE ES EEEE REE SESE ee ee . : : ‘ 1. We sing to him 2. Music for a while . 3. Ah! how pleasant ‘tis love « 4. Thrice happy Lovers . . 5. Sweeter than Roses .. . 6 7 8 . What can we poor Females do . . Fairest Isle . If Music be the Food of Love (3rd version) . 9. If Music be the Food of Love (1st version) . 10. I saw that you were grown so high... 11. Man is for the Woman made . 12. From Rosy Bowers ... 13. Ah, Belinda, I am prest 14, Thy hand, Belinda! When I am 15. What shall I do 16. Your Awful Voice 17. More Love and more Disdain 18. Since from my dear 19. The Blessed Virgin's Expostulation 20. The Fatal Hour 5 21. Tl sail upon the Dog Star . 22. Silvia, now your scorn . 23. ‘Tis Nature’s Voice . . . 24. Bess of Bedlam S 25. Cease, o my sad Soul. . 26. Strike the Viol 27. Lord, what is man . 28, Sound the Trumpet ... 29. Hark! The ech’ing Air . 30. Not all my torments . 31. 0, lead me to some peaceful gloom 32. Sweet, be no longer sad ....... 33. I attempt from Love's sickness to Ce 34. An Evening Hymn 35. There’s not a Swain on the PI 36. Nymphs and Shepherds 37. Hark! how all things . 38. Come all ye songsters . 39. The Queen's Epicedium 40. The knotting Song... .We sing to Him (Harmonia Sacra) Realization of the Figured Bas and Mig by SERGIO KAGEN HENRY PURCELL (Broadly, forcefully, not too slowly) (ea.1659:1695) Voice vio sing to Him, whose wis-dom formil the ear, our songult Him who PIANO gf) gave us wi - ces, hears Jey in God, who the Spring of _ rr ) who loves the har-mo- ny of Heavnand Earth; our hum. ble son - nets I (crese) shall that praise re- hearse, who is the mu-sic of-—stheUn - i - verse. (crese) # ——fr (Original key C minor) Practically unfigured Bass © Copyright 1958 by International Music Company, New York. 2071 Copyright Renewed,(A little faster and lighter) (mf) — Andwhilstwe sing, andwhilst we and of - fer up with ev’ - rytongue andwhilst we r — ~——_— (?) sing, we (crese.) ff) (poco rit) up, and of. for up with ev = ry tongue a_—_—heart. n SP ie (crese.) (poco rit.) ou os, us 2071Music for a while (Oedipus) (Original key C minor) (Andante) 0 Voice PIANO (py Il basso sempre legato ed espressivo) (crese.) = sic for a— while Shall all your-cares be - guile, shall all, all, (Nt basso simile sempre) all, shall all, shall all shall all youreares be - guile: = = = dring how your pains. were eas’d, eas’, — 7 Originally writen for male alto or counter tenor. In this edition the voice part is raised an octave higher in relation to the Bass. Editor Unfigured Bass 2071r (rese.) dis - dain-ing to be-pleastt, Till A- lec - to* free. Terese.) dead, till A-lec - ~ to. free the dead From their e- ter - = nal bands, tr Till thesnakes drop, P (PY, *)Alecto: one of the Furies or Eumenides 2onfrom— herhead And the whip, andthe whip from out her hands. sie for a while Shall all. your_cares be - (crese.) guile, shall all, all, all, shall all, all, all, _— shall alll_yourcares be - @ (crese.) guile, all, all, all, all, —allall, all, all,__— shall all youreares be - guile. + 20mAh! how pleasant ’tis to love (Original key) (Tempo di Minuetto) ) Voice AM! how pleasant to love, Some do make of pleasure, PIANO (P) (graztoso)} I meet, No- thing like love so ad - dressing To his nymph, — for— Unfigured Bass 2071° Thrice happy lovers Epithalamium from ‘* The Fairy Queen’ (Original key) (Andante) Voice ‘Thrice hap-py, thrice hap-py, PIANO (egato) (quasi recit.) thrice hap-py,hap-py, hap-py lo - vers, mayyou be for ev-er, * (a tempo) (quasi recit.) ev-er, ev-er free, may yoube for ev-er, ev- en, ev-er, ev-er (a tempo) free, From the tor - ment - + Nog in the Original Figured Bass 2071u Jealousy; From all the an-xious cares ae strife, Thrice Hap-py, thrice hap-pys thrice happy, happyshap-py, hap - ~ PY hap-py— lo ~ vers, may you be fur ev-er, ev-er, ev-er, ev -12 (Allegretto moderato) (I basso legato ed espressivo) o- ther true, be to one an - o - ther true, Tt Kind to her as she’s to And since the er = rors,since the er ~~~ rors of thenight are 2071B eve + stant, she be_ ev = er, (legato) 2071Sweeter than roses (Pausanias ) (Original key) (Quasi recit. Slowly and freely) — =) Voice PIANO =) or cool, cool —___ = ing breeze, Ona warm’ Figured Bass 2071= « = >) y — shore, Was the dear, the dear, ___ the dear, dear, dear. Fvegato) = = dlingmademe, made me freeze, (animato, a tempo) = made me freeze, ‘Then shot like fire, all, all, all, all o'er, then (animato, a tempo) yf eto), (ion legato) shot like fire, all, all,all, all,thenshotlike fire all, all o'er. Gp16 (Allegretto) (mf) egato) (9) (1 vasso marcato sempre) ma-gic has vic - tor - ious love! ‘What magic has vie - 2071love! Fegato) (legato) that dear, doar kiss, hour-ly, hour-ly prove, All,all, all, all is love, all, all, all,all,all, all is, all, all, all, all, all is love, o all, all, all, all, all is love, 207118 What can we poor females do (Original key) (Allegretto vivace) (pyistrongly accented) (crese. - Voice What can we, what can we poor fe - males do, When press-ing, teas-ing, PIANO (P) (strongly accented, non legato) press-ing, teas - ing ( —) (simile) poor, poor fe - males do? © What can wo,__ (simile) Le. poor, poor fe - males do? Fate af-fords no = ther way, But de-ny - ing gp Unfigured Bass 207119 (come prima) or com-ply-ing, But de-ny- ing or com-ply- ing, Whateanwe, whateanwe poor + (come prima) fe - males do, Whenpress-ing,teas-ing, press-ing,teas-ing lov - ers sue? © What can we, what_ can we poor, poor. fe - males do? What can we, what can we fe - males do? And re-sent-ing, or consent-ing, And re-sent- ing; ¥ or consenting our hopes be - tray, #) Note the cross relation, Editor. 2071what can we poor fe - males do, When press- ing, teas - ing, press - ing, teas - ing r lov - ers sue? What can we, what_can we poor, poor fe - males do? (—==) Fairest Isle (Address to Britain) (Original ey 8 Aa aoe) (King Arthur) (Moderato, grazioso) @. Voice 4. Fair-est isle, all isles ex - cel = ling, Seat of 2 Gen-tle murmurs, sweet com - plain - ing, Sighs that PIANO (legato) Figured Bass 20712 plea - sure and. Ve- aus here will blow the ‘fire, Soft re - pul - ses, choose her dwell = ~—ing, | And___ for sake___ her Cy. ~—prian kind dis - dain - ing, Shall be all___ the pains_. you (mf) Cu-pid from his fav-rite tion Care. and Evry swain shall pay his ty, Grate - ful mf) (P) wil re - moves Jeal-ous- - y, nymph shall proves And as these (P) [sons pas - sion, And des - pain that dies for__ love. in beau - ty, Those. shall be re - nown'd for_ love, N\2 If music be the food of love Third Version (Original key) (Andante sostenuto) Voice If music, If mu-sie bethe food_________ of lowSingonsing PIANO’ sing on, sing on, sing,, (tegato) (espe, Po a (egato) on tT am filNd with joy, —_ CPiccgato) fila with joys Forthenny listhingsoulyou move, (tegato, espress.) (—==])| (7) Figured Bass zonPrrtheamylisthing soulyou move, youmove To plea - rP ~suresthat canne-venne-ver cloy. Youreyes, (legato) Youreyes, ‘yourmien, 207124 (Allegretto) mp, Pleasures in - vade both eye and____ ear, Pleasures in - (mf) (non tegato) @ vade both eye and__ en, Su__—fleree,, trans ~ ports are, they wound, the trans ports are... they wound, Andall my sen - sesfeast - ed And all my sen ses feast - ed are; ‘Tho’ yet__— the. (tegato) sound, Tho yet—— the treat is, (Tempo 1) > Sure [must perish, [ must, Ymust per ish by. your charms, Un Tess you saveIf music be the food of love First Version (Original key) (Andantino) (P) Voice mu sic be the food of love, Sing on, sing on, sing PIANO (egato) on, sing ont Tam fil, om MM with— joy; Por : then my list - ‘ning —soul_ you move, For then my list - ‘ning soul. you—move, To pleasures that can ne - ver cloy. Your eyes, yourmien, your tongue declare That Untigured Bass 207127 = 7 (=) | )_(tegate (crzse.) tongue de-clare—That_ you Second Stanza Pleasures in-vade_ both. eye and__ ear, So fierce, so fieree, so fierce, so fierce, the trans - = ports are, ___ they wound, And all my sen- ses feast - ed___are, And ~ all my sen- ses__ feast - ed are; Tho yet_ the treat is on - ly sound, Sure - 4, 2. I must per-ish by yourcharmsUn-less you save_____ me in your arms.Sure arms. 2071I saw that you were grown so high (Original key) (Moderato) B) fr. Voice I sawthatyouwere grown so high, Youfore’d me from your com - pa-ny; PIANO (py (tegato) F = ? Though I con- sent-ed to your will, Yet you of thought naught but F fe My gen-tle words flew to your breast, Buttheytilere-in found lit - tle r -_ rest, Belug o-ver-comewith a false heart, Whichwas the cause that we did part. a i- a) Figured Bass 200Man is for the Woman made (The Mock Marriage) (Original key) (Allegro vivace) f Voice ‘Man,man, man is for the wo-man made, ‘Andthe wo-man madefor man. PIANO (f(non legato) (P), 1.As the spur is for the jade, Asthe seab-bard for the blade, scep-tre to be Sway’d, AS for nights the se-re - nade, wi-dow be she maid, Beshe wan-ton, be she staid, ? 4. dig-ging is the As for li quor is the 2 pud-ding is the Andto cool us is the S.well or ill Que-an, slut, or har-ri- 1.2, 3. is for the wo-man made, Andthe wo-man for_ the man.2.As the — man. 3.Be she PY fi Unfigured Bass. 207130 From Rosy Bowers (Don Quixote) Realization of the Figured Bass and tditing by SERGIUS KAGEN (Recitative) HENRY PURCELL (Andante) (c2.1659-1695) Voice From ro sybow's where sleeps tie god_— of Love, PIANO: nf (arpeggiando ad ti.) P iP (poco accel.) Hither, hi-they ye t-fle wait-ing Cu - pids, fly, fly, (a tempo) (poco pik mosso) Hi-ther, ye Ut. tte waiting Ci pids, fly. ‘Teach me, rt Ff (crese.) anne wh. ta. ledlamangy fom, Wik tm - deters Preset (Original key) Figured Bass According to Edmondstoune Duncan, Tom Durfey, the author of the text, describes this piece a8 "a Mad Song: by a lady distracted with love... performing in the tune all the degrees of madness", which are characterised as follows: "sullenly mad, mirth- fully mad (a swift movement), Melancholy madness, Fantastically mad, Stark’ mad” © Copyright 1958 by International Music Company, New York 2071 Copyright Renewed,31 (Tempo 1) (riten.) ®) pas-sion,my heart's, my hearts dar - ling joy. AR!_—detthesoul of music tune my -, 4 (Gim.) (cresc.) 4 voice, To win dear Stre-phon, Ah! Jet thesoul of mu.sic tune my caf FIP Of —) voice, To win. dear_. Strephon, dear,— dear, dear_Strephonyshomy soul. en- joys. (Vivace) e leggiero) Or if more in- flu - en - cing Is— to be Drisk and (pe leggiero, non legato) step and a boundAnd a frisk from the ground, I will trip like a - ny ,32 As once on I- da dane . ing, Were three ce - les- tial bo - dies, With an air and a face, Anda shape, and a grace, Let me charm like Beau-ty’ god- dess, With an air and a face, And a shape, and a grace, Letme charm like Beau. tys god - dess. (Recit.) ahi is in vain “Us all, all, all, all in_vain, Death anddes. * FF must end the fa - Cold— des pair, cold, eold__ des- 207133 pain disguis'd, like snow and rain, Falls, falls, falls, (Pia mosso) fp =e Bleakwindsin tempests blow, in tempests blow, iid (Tempo 1) veins all shiver andmy fin - gersglow, My pulse beats. Ss ) marc, My poe eels det_march for lot ro - itr ow. A (ny And to so-lid lump of ice, my poor, poor, fond heart is froze.(Andante) (1 basso ed espressivo sempre) (P) say— ye Pow'rs, thaw my - self,— or— drown, thaw myself, or drown?A - mongst the foam ing aa tears I shed, On beds of ooze and crys tal pil-lows,Lay down, (nf) peace to crown, — Shall I, shall I, shall I, shall T (P) Dil-lows,In - ereas- ing all_with down, down, lay35 ——— ) » down, down, down my love ~ sick head. peace to crown, Shall 1, shall I, shall T (P) shall I, shall, thaw my = self or— drown? (Recit.) (Allegro) No, no, mo, no, no, —-‘Tilstraight rum mad, madnad, mad mad, That soon, that Ss eS im) (Sostenuto) soon myheartwillwarm; Whenonee the sense is fled, is fled,— Love,Love has no-powh, no, no,-no,— (mY) 200 ~36 no, nopowY to_charmLovehas no— pow'yno,-no,-no,no,Love has no— pow; no,-.no,no,-no, NO,—no,- NO, ——— (poco rit) (7) (Allegro) ‘no, no pow to_charm, Wild thrdthewoodsIM fly, (a) rit) (my PI woods Tl fly, ——__ shall thus, thus, thus,— thus be— (legato) A thousand, thousand deathsfildie; a thou-sand,thousand deaths I'die (A) thus, thus invain, ere thus, thus invain, thus. in vain adore, (a (legato) : a37 Ah, Belinda, I am prest (Dido and Aeneas) (Original key) Slow » Voice ah! Be- lin - day PIANO (p, cantabile e legato (imile sempre) vee prest__ with tor -_ ment ah, Be - lin - da, (nf — Pp) am prest___ with tor not tobe con - fest, (mf) (P) ah, — ‘ah, Be- lin - da, am prest___ wilh tor - ment, fads |e Unfigured Bass; Postiude: string orchestra 207138 o—_— ® Pp, not tobe con - fest. P. stran- gers grown. lan = guish ‘tl my grief_ is known, I Tf (P) f = guishI lan - guish “tilmy grief___ is 2071P (@dim.) known, Yet would not, yet. would not 207Thy hand, Belinda! When I am laid in earth (Dido and Aeneas) (Original key) Recitative (PP) Voice ‘Thyhand,Betin - da! dark ness shades me, Onthy bo- som let me PIANO be (PP) rest. More I would, but Death in-vadesme; Death is now a wel-come guest. Song Larghetto ” laid, am laid rd (7p) (lt basso simile sempre) _S (crese.) (aim.) earth, may my wrongs ere-ate No trouble, no trouble in thy breast. = Figured Bass in the recitative.String orchestra in the aria. 20741 forese) in earth, may my wrongs— cre - ate No if (dim.) (P) trou - ble, no in thy breast. Re-mem-ber me, P im [0m | a (erese.) mem-berme, - Bel my fate, Re-mem-berme, lerese) \, Jt F dim.) ” for - get my— fate. (crese.)a2 What shall I do (Original key D minor) (Dioclesian) (Tempo di Minuetto) Py Voice ‘What shall 1 PIANO (ngtegato) millions of suf-fice? That whichwins oth - er'shearts,ne - ver can move her, (ff repeat p) me-thods of love shell des -pise, I will love more than men P r lov’ be-fore me; Gaze on her fitthe day, end_ melt all the night; Til for her ra own sake at last shell im_ plore me, To_ love___herless,to pre serve our de-light. Unfigured Bass ‘The counterpoint in the right hand of this realization is the second obve part of Purcell’s instrumental version of this piece (for 2 Oboes and Continuo). The frst oboe plays the voice part, 2071Your Awful Voice a (Original key C major) (The Tempest) (Recitative) Voice fouraw-fulvoiee 1 hear andl o~ jrother toJove and PIANO (Allegro) ‘monarchof the sea. R Comedown,-come down,come down, — my-blusterers, vue | — (mf) (plcresc.) “a Come down, come down,come down my blusterers, Swell ——— SP imp) (pilorese.) (cont! Originally weitien for 2 violins, bass and male alto, or countertenor.In this edition the voice part is raised an octave in jon to the bass. Editor.D——_ more, Yourstorm - @ bom (®) (reso) — $$ - y rage give— oe, — yourstonn — ‘at (p) (crese.) ESS oo, ee QL ——_. y—ragegive oes yourstorm - 7) (cont.) im.) PD lerese) Qe - y—rage give a @rese.) D45 (Faster) (fy Fine Toyour pri-sonsbe - low, Down youmust go, En downyoumust go. yy 141, wy. To your pri-sonsbe - low, Down youmust go, down, down youmust go. aaa aan ca Bet 207146 (Tempo I) (cont.) t vels make, call, your trem bling, your 2071() oe os (% D.C. sino al fine More Love or more Disdain (Original key G major) (Andante) (P) [ eannnad Voice More love ormore dis - dain I crave, Sweetjbe notstill in - dif - ferent, Give me a tem-pest, if “twilldrive Me to theplace where I would be, PIANO (Py(tegato) —=—— => Oh,send me quickly to my grave, Orelse af - ford me more con - tent, Or if youll have me still a ~ live, Confess you will be kind to me. = b- (> Or love or hate me more or less, For love ab-hors all luke. warm - ness. Givehopes of bliss, or dig my grave, More love or more dis - dain I crave. ? Unfigured Bass 207148 Since from my dear (Original key) (Andante) Voice Since frommy dear, my dear, my dea___—since frommy dear, my PIANO \(p legato, espr:) F (simile) —) dear, my deag__ my dear, my dear As - tre - a's’ sight I was 60 Pr r a = ly tora,My soul has never, ne-ver, never, has_ never, ne.ver, neverknownde light, Un - less it were— to mourn, (mf) ‘The wordubeloved” may be substituted for “Astrea! Editor Figured Bass. 207149 = 1 2. (erese, to mourn, un - less, = less it were to mourn, mourn, But PD - les, with weep = ing eyes. And bleed - ing, bleed - ing. heart = 1 Thinking on her, hher,— whose ab ~ sence B- - ‘That makes me wish makes me, makes. me 20750 The Blessed Virgin’s Expostulation (Original key C minor) (Harmonia Sacra) (Recitative) Voice PIANO tell quidely, quicc-ly, quick-ly say, Where, where does mySoulls sweet ______ Dar-ling bs e i op, fre __—________—__) Stay? , In Ty-ger's, ormore eral, more e d,eruel He - rod’s 1G s rather, rather let his lit-tle, little Foot - steps the Wil - der- Figured Bass. Note: See Luke 2,V, 42. 2071St ness, where mild - er, mild-er,where mild - er Su-va.ges re-sort, the deserts ‘sa - fer, = (crese) ) (erese, rants Court. Why, why, fairest Object of myLove, why, why dost thou frommy ) = D. longing Eyes re move? Was it, was it a Walcing Dream, that did fore-tell thyWondrous Ww) QD (—) we Birt? ThyWondrous, Wond --——rousWond-rous Birth? No Vision, no, no, no,n0, no Vi-sion 207132 (mf) from a - bove? Wherds Ga-briel, wherds Ga-briel now, that vi-sit-ed my all 4 (crese,) ee? 1 call, 1 call, Teall, I call, Teall © Gabriel! Ga-briel!’_Ga-briel! (crese.) . 5 wp (crese.) Gabriel! He comes not: Wheres Gacbriel now; that vi-sid-ed my cell? I call, I call, I WwW. (yf) ( Gabriel! Gabriel! Gabriel! Gabriel! He comes not; flatring, ——) | k b SS —S) «=> flatring Hopes fare- well, fare-well, farewell flatt-ring Hopes, fare ~ well. 2071(Grazioso, quasi minuetto) ® — Me Ju -dah’s Daugh -ters (PJ (Nt basso marcato ma teggicro) of Mothers, —the_most, (legato) caltd me of Mo - thers, the most, (egato) the most, (Recit.) Now fa - tal Change, now fa talChange of Mo-thers, of Mothers most, 2on 5354 ———— jp So most di-stressd, of | Mo-thers most, <== di-stress'a. Dy how, how shally Soul its Mo eF a how shall I stem, how shall I'stem the va = 20755 (———) ® ere5e.) —rlous, va - rfous tide,whilst Faith and Doubt my La ) (BD, erese.) (Reeit, Adagio) For whilst of thy dear Sight be - guild, I trust the Ob! 1 fear, the Child. * 207156 The Fatal Hour Realization of the Figured Bass and Editing by SERGIUS KAGEN HENRY PURCELL (Adagio, Quasi Recit) emanten Voice — The fa tal Rour—— comes PIANO (mf) >) a— pace, Which I had rather die: Dy, === than see, Forwhen fate calls —_________youfrom this place, Yougo to PD, tain mis e-ry, (my => » (m = tain mis - e-ry, ‘The thought does stab me to the heart, Andgivesme ——— (Original key) . =. x Figured Bass a Copyright 1958 by International Music Company, New York. Copyright Renewed, 2071 All Rights Reserved. International Copyright Secured,37 == ) —— eee (—=>=——.) GA no word canspeak, It wracks. —_———— i ferese) me in each vi - talpart, Sure, ‘sure when you = a ——_______ ip sure when you go, my heart will Break, sure, sure. myheart will break, # (Andantino) E 207138 °Tis you a - lone, tis you a - lone (mf) (legato) NS = Tis you a - lone, you a - lone, you @ - ‘Jone— these wounds can cure, Which (1 baseo Legato ed eapr.) foun - tains, are the foun - tains of. my— grief, Which rr foun - tains, are the foun - tains of. my_ grief. ror cP 207139 Tl sail upon the Dog Star (A Fool’s Preferment) eee (Allegro) D Voice YU sail up-on the Dog Star, PIANO (f marcato) (basso marcato) sail up-on the Dog Star, And thenpur.sue themorn - ing, and then pursue, andthen pur-sue the FM chase—— the moon "till it be noon, $ ‘HM it be noon, But 'Umake, T'imake her leave her (mp) (crese.) TM climb thefros - ty moun - tain, I'D climb the fros - ty y EF Figured Bass 2071n ‘moun - tain, Andthere Tl coin the weathers the rainbow from the the. rain. bow. from the— sky; And tig, and tie both ends to— ge-ther. err oF stars pluckfrom theirorbs, too, the stars pluckfrom thelrorbs, to0,And.rowdthemin mybudget!61 = ing boy Letall, let. all the na - tions judge it. Silvia, now your scorn (Otiginal ey) (Allegretto grazioso) Voice ‘Sil- via, now your scongive o - ver, Lest you lose — — faith-ful lov- Longhave To been un sro garded, Sighs nd tears sill un ~ re-war- ded; PIANO r (mf (non. Gato? F (marcato) If the humour you pur sue, Fare - wel love, and Sil - via too! If this does with you ag - ree, ‘roth, good Madam, — twont with me! brarato Unfigured Base 207162 . . *Tis Nature’s Voice (Ode on St. Cecilia’s Day) (Otiginal key F major) (Recitative, very freely throughout) Voice *Tis Na - tures voice, tis Na-ture's voice, thro’ all the wood, and crea - tures un : = der—stooa, (mf) ‘The u ~ ni-ver - sal tongue, the u -ni-ver- sal tongue, to none of all her x : (mf) PD = s Figured Bass ‘This song was originally written for male alto or counter-tenor. In this edition the voice part is raised an octave in relation to the Bass. Ed. 2071(crese, num’ rous race from her it learnt, L, (PR) —— the might y art, To court (my 5 Atonee the passions fo ex-press; and move, at once the passions to ex - press, to ex.press___ * = + Note the clash between the al in the voice and the ab in the Bass.Ed. 2071D @, ) = SS and straightwe grieve = = o (fast)__ (BD hate; andstraightwe grieve "or hate, rejoice ir GD (fast) o (M(slower) In un —seenchains it 4B cotta voce) ®.65 ——— ‘ ) @) ———_—— At once it charms (erese, ed accel.) if) the sense, andcap Terese. ed accel.) i.) a at once it charms the D—...... a sense, and cap > = thevates the mind. oO 2071Bess of Bedlam (Original key) (Andante, quasi Recit.) Voice From si-lentshades, and the -E-lys- ian groves, Where sad de-part-ed PIANO = spirits mourh——————_ their loves; Fromerys-tal_streamsand from— that coun - try. ri rys ; + (=) crowns the fields with flow -ers all senseless Bess, clotd in herrags and fol-ly, Is come to cure her love Figured Bass. *Note the clash bet yon the ff in the voice and the ff in the bass. Ea. 207167 (Pit mosso, a tempo) chol-y. Bright Cynthia kept her re -vels late, While Mab, the Fai-ry Queendid dance, (nf) tr did sit. in— state, WhenMars at Ve nus-ran— his - (Andantino grazioso) En - tombd in b 207168 fp (Quasi Recit.) (=, (Andante con moto) new. For sine my love is dead, and all__ my joys are gone, Poor Bess for his (poco riten) ger - land will make, = My = mu - sic shall be iad (poco riten.) ay __(a tempo) gpgge. TM lay me down and die, With - in some hol-low tree, = cor ravi and cat, The owl and bat,Shall war ble— forth my el- e - ? r r (Recit.) h Did you but see my love as he passd by you? == His. two flam ~ ing + PD 207169 (Allegro) gy eyes, if he come nigh you/lhey will burn up your hearts! La - dies; be - ware ye, , P (Recit.) (crese.) Lest heshould dart aflame that may en - snareye, Hark! Hark! T hear oldCha-ron (crese.) PD L, awl, His boat he will no lon-ger stay, And Fu-ries lash their whips and call, “Come,come a - i) Quick (a) way,come, come a -way? Poor Bess will re - tum to the place whence she 2 ad 4 af (mf) came, Since the world is. so mad she can hope for no 207170 a love's grown a bub-ble, a shadow, a name, Which fools do ad - mire_ and Cd) (Adagio wise men en - dure. Cold and hungry am I grown, Am- bro-sia will I e (Allegro) feed up ~ on, Drink nec-tar still _ and sing. Who is con - tent, Does all P sor - row pre - vent, And Bess in her straw, Whilst’ ~— free from the Gy, (poco rit.) thoughts is as great, (poco rit.) 207n Cease, o my sad Soul (Original ey) (Moderato) ooh, Voice mourn! I see my why ‘Thoudidlt ere - PIANO. —=" p love and faith are paid ‘With no thing but dis-dain and scorn, ate wo - men so fair? Or why did'st give themeru - el - ty; @) t — And 1 to my grief am be - tray, 0, then if she re-main Still To drivemen dai - ly to de - spair? Un - hap-py is his fate That —— ” B I may as well com-plain Un - to the wind. Yet un - de - ser-ved hate guar - dianproves. (>) OH) ) ¢ Laren aad 2 & Unfigured Base 2072 Strike the Viol (Original key Dninor) (Moderato) a) Voice PIANO (I basso_sempre legato ed espress.) (nf) (P) (nf) strike thes Vi ol, (simile sempre) touch,— touch the Lute; (nf) (ny) Unfigured Bass Originatty written for male alto or counter-tenor. In this edition the voice part is raised an octave inrelation tothe Bass. Fa, 207sing your (crese.) sing, sing, sing,* Lord, what is Man (Harmonia Sacra) (Original key) (Quasi Recit., Grave) ————_ Voice 7 Lord, what is man, lost manThat'Thou shouldst be somind- ful of him? PIANO jiando ad Lib.) (ary (9 bassa sempre) —_—, D a ) Lord, what is man, lost man, That Thou shouldst be so mind-ful of him? ‘That theSonof.God —for-sook his glo - ry, His a - bode, A. eee tor-ment - ed man! _—ee ——) man, That Thoushouldst be somind-ful of him? That the Son of God forsook his Figured Bass 20715 And that for =) (erese.) ‘And that for (orese.) me, for me, 0. ‘wondrous Tove, — (cresc.) wal, Ye 207176 S, =———) » (cresc.) Son of God toak to re.new lost man,Your va -cant pla-ces to sup - ply; p =, @) (poco pie mosso, Ney tell which, which did ex-cel, which was more prevalent, your joy. a (7? (Foco pity mosso) f (a tempo) or your as -ton - ish-ment, (a tempo) (oresc.) ‘That man should be as- sumd in-to theDe - i-ty, ‘That for a worm, —) God should die, should die, 20717 (Allegretto) @) for a quill, (Py (senza 8%bassa) (It basso sempre legato ed espressivo) ch! for a quill, drawn—___fromyour wing To write the prais-es, the— — = —. write the praises, the praises of ____e-tern - al — — oh! for a voiee, (crese.), —=) yours, to sing That an - them here, which onee,___which_onee. 2071———_—} an - them here, which onee___you (crese.) (cresc.) (Allegro moderato) Sf, RP dove, Hal-Je-lu-jab, hal-le - lu-jah! (f) (PB: marcato, non leg.) (legato) (mf come prima) (nf) ?) ——__ ==_ #- Hal-le-lujah, hable = Iu-jah! * 207119 P=) => on Hal-le-lu-jah, Hal-le - Tu.jub, Hal — A —_—_——) = Te-lu-jah, Hal-le - Tu -jah, Hal -le-1u-jah, fn ” (crese,) A=) (mfy_ —_ Hal-le - 1a-jah, Hal-le-Iu-jeh,Hol-le - lu-jah, Hal-le-lu-jah, Hal ~ erese.) g¢ ———) om Oo 2 lu - jah, Hal - le lu jah, @.(7p) eres) - le lu~ jah, Hal - Ie - (erese.) | (Pp) (eresc,) ——$—————— ) Wu jab, Hal =e - Iu - jah, Halle - Iu -joh, Halle - tu - jah, SSS lores ——_—_—_——_ =) ( ) Pp << Iu jah, Hal ~ f. D inp Ccrese) —§$ Hal - le - lu~jab, Hal ~ —$—$—_$—_ mp) (crese.) (8°* bassa al fine) (poco rit) P (poco rit,= umphytri - umph sings, umph, tri - umph sings. QQ (mf) hark! the echting air a tri - = umph sings, \i—==—) hark! theech?ing air a tri - = umphsings, a Pp 20712071 Cu - pids @ ~ umph, tri - umph sings, @), Oo a - round, and all__ clap— their wings, clap, clap, (mf) clap, ®) a- round clap. their wings;87 @ (mf Cu-pidsclap their wings; und all___a- round, and all. ® (nf) Cu-pids clap, clap, (P) (mf) clap clep, clap thein wings, clap, clap, clap, clap, clap. their ), = curpias ctaptneir wings. And alla - (PR)88 Not all my torments Realization of the Figured Bass and ising “AGEN caesar HENRY PURCELL (Original key) . + (ca. 1659-1695) (Andante, quasi recit.) (very freely) — of) $$ Voice Not all, all, not all mytor - PIANO: , = ments can your. pl - 5 : : : - ty = @ (—_——, (nf) Not all, all, not all my tor - ———) oe <—— es ments ean your pi - Uafigured Bu 20m Al Rights Reserved. International Copyright Secured. i Copyright ©1959 by International Music Company, New York. Copyright Renewed.89 (eee) , (= ‘move, Your scorn,yourseorn in-creas - es, yourseom in - creas - (mf) —= Yet to thegravel will my (a tempo) — (py SS rows bear; Yet to thograve I willmy sor - (mf) = ——} mp) (crese.) rows bear; I love,llve, I love, Tove, I love, I love, 1 (P) love, 1 love, 7)90 O, lead me (Bonduca) (Original key) (Andante) (py Voice o, ead mesleedime to some peace-ful PIANO: (P, legato) gloom Where none—— but sigh ~ ing, none but sigh - ing, sigh - ing lov - ers_come, fl —_— = =e @) ‘Where the shrilltheshrill trumpetsnever sound, _________ newer, ne-versound,But one e-ter - nalhush, one. e- ter - nal_ hush goes round. ——_) (P)(P) ‘There let me soothe “my — pleas - ing ne-ver, ne- verthink of wan ne-ver, ne-verthink of war, (erese,) (eresc.) Pf ‘pe-ver, ne.ver, ne-ver, never, me-Ven, ne-ver a (=——————)_ (Poco piu mosso)/mf) = gain, ‘What sinf)_| inlet, non Seve) 2071To con- quer, to con-quer yet be still a slave? What ) | (fon legato) slave, yet, yet be still, yet, yet be still, yet, yet be stil, still a___ slave? rr93 Sweet, be no longer sad (Original key) (Sostenuto) (mf) [ teamed Voice Sweet, be no lon - ger sad, Pri thee be ‘Tell me, oh tell =e now, ‘Where have you PIANO: (nf) (1 basso legato ed esprevsioo sempre) i um = — Re-call that quick-ness once you had In those fair ‘The ro - ses in your checks didgrow? © Where's the con - Me-thinks they're hea - grown, As — they were You once en = joyd?— where’ "Those pleas ing hearts to my heart, Unfigured Base aon!I attempt from Love’s sickness (The Indian Queen) (Original key) (Tempo di Minuetto) (P © grazioso) Voice I at - tempt from Love's sick-ness to fly. PIANO! (D, sempre leggiero e non troppo legato) (basso Legato) my own fe - ver, since (mf) self myown fe -ver_ and pain. No more now,no more now,fund__ heart, with (mf) # (mf) Pride nomore swell, Thou canst not — for-ces,thou canst (mf) Untigured Bass 207195 (P) I at - tomptfrom Love's sick-ness to “come prima) fe - ver, since Tam my - self my own fe - ver— and pain, For Love has more_ power und less mer - cy than fate, To make us__ seektempt from Love’'s__sick- ness to fly. (come prima) my own fe - ver, since and pain, I at temptfrom Love's sick-ness to fe ~ ver, since am my - self my own fe - ver and__ pain, 207181 Sound the Trumpet (Original key C major) (Allegro moderato) Voice the Trum-pet,sound tp. ———— the war-likeDrum, trp. ? ‘Theprincewill be with lavrelseryomnl . Unfigured Bass and Trum} ‘This hong war tiginally writen for male alto or counter-tenor.In this ition the voles part is raised an ostave in rae. 2071theprinoewill be with lau-rels crowd ____ Be - fore his, = hoodeomes py pleas! he_ is and gay, tp. # ‘Whenthe trumpet st i) whenthe trum-pet strikeshis eanP) he ts and guy, Hishandstikeshak = ip. D ing Wl - Wes play (crese.) De catdh, and eateh, and catch, atvdcatch <= FY speanand cate tm,Hark! The ech’ing Air (The Fairy Queen) (Original key) (Allegro moderato) tr. PIANO fp P Hark! hark! the nf) —=——— ecktingair a tri - ~ umph sings, hark! the ecbiagair a (mf) (————=>. 9) ) (————) (Ql basso marcato sempre) ing) —— (mf) Figured Bass, Trumpet in the Ritornell and Coda 207197 An Evening Hymn (Harmonia Sacra) (Original key) Slow (non troppo lento, maestoso) PIANO: (mp) (legato sempre) (8% bassa sempre) hath —veira world good - night, To the soft. To the soft, the * Note the ccnsecutive sevenths hetween voice and bass. Ed. Figured Base 207198 (poco erese.) H, —, ———_, Pose, But where, oe — God, e-ven in Thy arms, =e =~ ven in Thy @® (cresc. arms, andean there be a - ny so sweet, FPP FP 207199 (poco crese.) ==" = soul! to thy (——- p) soul! = And sing ~ - Ingypraise the mer-ey that —) (mf) — pro-longs thy days, and sing - = ingspraise the mer-cy that — Pro-longs thy days. (P) Hal-le - lu - jah, Hal-le - tu 207(crese.) (crese,) —===== (nf) Hal- le - lu - jah, Hal - le - 2071@P = = = —— ju = jehy Malte - tu = jah, Hal-le - tu - joh, Hal-le - tu - jah, Hal - {sempre eresc) 2071102 . There’s not a Swain (Original key G minor) (Grazioso, molto leggiero) @ Voice ‘There's not a Swain, on thePlain,would be bless PIANO @) (Il basso sempre legato) could you but,could you but,culd you but on. me smile; but you ap-pear so se- vere that tremb-ling with fear, my_heartgoes pit-a-pat, pit-a-pat, pit-a-pat, all the while: ‘When I ery,must I die, you make no reply, butlookshy, andwith a scornful eye killmeby your In the Original Edition this song has the following heading: "April. A Song, the Notes by ‘Mr. Henry Purcell, The Words fitted to the tune by N. Henley, Eq." Editor. zon103 (PP) (crese.) #1 = &% (ORI canyoubo, canyoube, canyoube, canyoube, canyou be, can you be, (How) 5 Pp Grese, 0 ———————____, pp) can you be, can you, ean you, can you be so hard (i Nymphs and Shepherds (The Libertine) (Original key) (Vivace e leggiero) (P) Voice 7 Nymphs and shep-henis, come a - way, come a-way, Nymphs and shep-herds, PIANO: (P) (non legato, moltolteggiero) come a- way come, come, come, come a - way. Unfigured Bass 2011) groves, in the grovesletssport and play, let's sport and play, let's sport and play, (Nt basso le this, this is Flo - ra's ho- li - day, this is Flo-ra’s ho- i - day, this is P Sa-eredto ease ——andhap-py love, To danoing, to mu — (non tegato) (legato) dane - ing, =~ sicand to _—_—_—_— ¥) The Purcell Society Folio Edition has E instead of D on the word "play", Edito® 2071‘Your flocks may now, now, now, now, now, now, ‘non |legato) Whilst you ex - press, Nymphs and Shepherds, come a - way, (1 basso marcato) (senza riten,) (imin, —"—_) opp) come a-way, Nymphs andShepherds, come a-way, — come-a-way,eome,come,comescome @ = way. t TE lee (senza riten.) (ppp) 207106 Hark! how all things (The Fairy Queen) (Original key) (Allegro moderato) PIANO: @ Voice (flenergico) hark! how allthings in one sound (mfp (1 basso sempre marcato) (crese,) = re- Jolce, re- joice,. _re- joice,_—_re- Joico, Pe String Orchestra in the Introduction. Figured Bass in the Aria 2071hark! how joice.— And the world seems to— voice, the world seems to— have one (come prima) hark! how all things in one sound.re - Joie, re = joice,_-_—re- 2071Come all ye songsters (The Fairy Queen) (Original key C major) (Prelude) (Allegro moderato) PIANO! Voice (Recit.) Come all, come all, all,all, come all yo song - = sters of the (mf) PRELUDE: String Orchestra. RECITATIVE and AIR: Figured Bass This song was originally written for male alto or counter-tenor. In this edition the voice part is raised an octave in relation to the Bass. Ed, 201110 (Air) @ (a tempo)( Allegro moderato) sky Wakeand as - sem-ble,wakeand as - sem - QD (mf) (It bas80 sempre marcato) all, al, (crese ) ‘come all, sters of. (y_lerese) gD and as-sem - ble, and as-sem - dle in *1n accordance with the Figures sn the Purcell Society folio Edition. Ed. 207111 = ding bird _be nigh, — (im, ding bird____ be nigh, nonone but the harm - ®) thegood, nonone but the harm-less, none— ®, Df the good, n0,none but theharm-less, and the good. D. sThe Queen’s Epicedium English translation by WALDO LYMAN Incassum, Lesbia, incassum rogas, Lyra mea, mens est immodulata; Terrarum orbe lachrymarum pleno, Dolorum pleno, Rogitas tu cantilenam? En nymphas! En pastores! Caput omne reclinat Junctorum instar! ‘Admodum fletur! Nec Galatea canit, Nec ludit Tityrus agris; Non curant oves, Moerore perditi. Regina, heu! Arcadiae regina periit! O! damnum non exprimendum! Non suspitriis, non gemitibus imis, Pectoris aut queruli Singultre turbido Miseros Arcades! O quam lugentes! Suorum gaudium oculorum mirum Abiit, nunquam, O nunquam reversurum! Stella sua fixa ‘Coelum ultra lucer. In vain, Lesbia, in vain, do you beseech me, The mood of my lyre is discordant; When the world is filled with tears, Filled with grief, Do you entreat me to sing? Lo, the nymphs! Lo, the shepherds! All heads are bent low Asif gathered in a herd! There is much shedding of tears! Galatea sings no more, Nor does Tityrus play in the fields; They are not caring for the flock, But are lost in mourning. The Queen, alas, The Queen of Arcadia is gone forever! O loss that cannot be expressed, Neither by sighs, nor by deepest groans, Nor by lamenting breast’s Unrelenting sobbing! Deeply afflicted Arcadians! O, how they are grieving! The happy look of their eyes Is gone, never, never to return! Her star, immovable, Shines on in the heavens.113 The Queen’s Epicedium (Elegy on the death of Queen Mary, 1695) (Original key) (Quast Recit.) (very freely) _, Voice In - cas-sum,in-cas- - - sum, = PIANO P laxpeggiando ad lib.) —=) a , (crese.) cas-sum,incas - sum ro-gas, Ly-ra me-a, mens, mens _ est im-mo- du op : : a (freely) — = (——— Gerese,) or-be lachry-matum ple-no, Ter-ra-rum or- be la-chry-marum ple-no,Do-lo - rum (crese.) Practically unfigured Bass 2071g-~ ple - no, do-lo - rumdo - lo - Greely) ————— ) (Andante)(Not too stowly) { - Bflarpeggiando ad tit, (crese.) —p - rum in- ster! 20712071 — (nf), en pas = to > rest co - put om- o (nf) 22 — Gh, —_ cli nat, june to - rum, junc- to - rum, june- to - rum —S s— ad- mo-dum fle - tur, ad- modum fle- =~ = = - - - - - : = - tur, adh by —— ) ST = = fle - 115 in- star! ad - mo-dum = tur!116 ———— ——— a+ gris; Non cu-rant, non — g, per-di-ti, Non eu- rant, non cu-rant, non eu 2071ting dd (Quasi Recit.)(Pii mosso) Re- gi-na, & (eres) SS Ar-ca-diae, re - gi- na pe-riit! = (p) O!_ damnum non ex pri-mendum! O!_ Ol_damnum non ex- primendum! 2071118 Non, nonnon, on, non sus - pit 1 i- misPec-to-ris aut_que-ru-li sin- gul - (P). ~ tre tur-bi-do. quam = lu-gen - tes! 2071 fe— (a (cresc.) su-orumgeudium o- cu - lo-rum, su-orum gaudium o-cu-lo-rum = mi ~ (Pp) = rum abi-it, Nunquam, 0, (cresc.) 0, ©, 0 —mumquam re-vor-su- rum! (ny rey lu-cet. Stol-la, stella sua fix-a © coo-lum ul - tra ul - D 2071" The Knotting Song (Original key) (Allegretto grazioso) Voice 1.“Hears not myPhil-lis how the birds, Their feath-er'd mates salute, They 2. *The God of love in thybright eyes Does like a ty - rant reigns But 3. “So ma-nymonths in si -lence past, And yet in rag - ing love, Might 4. Must then your faith-ful swain ex - pire, And not one look ob - tain, ? PIANO (Legato) (legato) 1. tell their pas -sion in their words, Must I alone, must I___ a lone— be 2 in thyheart a child he lies, With-out______. his. dart or_— 8. well de-serve one word at last, My pas - sion should ap: : 5 4. Which he to soothe his fond de - sire,__Might pleas - ing - ly ex - > FD Phil-lis, with - out_ a frown or___sanile, = knott - ed, and knott-ed, und knott-ed, and knott - ed = all the__ >) >) =) eVARIOUS SONG COLLECTIONS -IXCHY Soba Seo Ge P eee RESS ijt sles Sparel rsa apa) ach A incre OH Arigachen: oh), ANN: Lalit 2 @ Ey ton ntti PROONRGRTES. BOPTESISI. Gioramict¥z1 189) ao Ai haptr tan ne mein fe) acy nentinunneny craic _GIARPESTIER, Gases ct. 198) ‘Detour ns Yai BEI AS) ROGER AER mat ss0N, ten R88 OH UL Rene dereaur in tener ee ah ee Puipaatent £2 Be : fee ee aa MGB Goby bia Pareto es - cc Sn Suche ee oe fibre ae OR LESS ewe ay Pang High Cabetmeateerind