21 CONCERT ARIAS FOR SOPRANO COMPLETE VOLUMES | AND II SCHIRMER'S LIBRARY OF MUSICAL CLASSICS Vol. 4482 MOZART Twenty-One Concert Arias for Soprano Complete Volumes | and II (Original Texts with English Versions by LORRAINE NOEL FINLEY SGN COMAIGT 1907, RENEWED 1967 BY G SCHIVER NCSCHIRMER'S LIBRARY OF MUSICAL CLASSICS Vol. 4482 WOLFGANG AMADEUS MOZART Twenty-One Concert Arias for Soprano Complete Volumes | and II Original Texts with English Versions by LORRAINE NOEL FINLEY SBN 978-1-81774-106-7 G. SCHIRMER, Inc.18 39 53 61 B 82 106 119 125 138 148, 157 173 190 204 218 229 238 246 CONTENTS Voi avete un cor fedele, K. 217 (You've a heart benign and loyal) Ah, lo previdi!, K. 272 (Ah, my foreboding!) Alcandro, lo confesso...Non so d’onde viene, K. 294 (Alcandro, I confess it...I know not from whither) Basta, vincesti...Ah non lasciarmi, no, K. 486a (Silence! you've conquered!...Ah! do not let us part) Popoli di Tessaglia!, K. 316 (Thessaly’s people) Kommet her, ihr frechen Sunder, K. 146 (Sinners, come!) Ma che vi fece, o stelle... Sperai vicino il lido, K. 368 (Tell me, ye stars... trusted my haven was nearer) Misera, dove son!...Ah! non son io che parlo, K. 369 (Where am 1?...Not mine the voice complaining) A questo seno, deh! vieni...Or che il cielo, K. 374 (O come to me... They who feel not love’s devotion) Nehmt meinen Dank, K. 383 (Thank you, my friends) Mia speranza adoratal...Ah! non sai qual pena, K. 416 (Dearest Hope, my Beloved... You know not how my heart is breaking) Vorrei spiegarvi, oh Dio!, K. 418 (fT, O Heaven, could tell you) No, no, no, che non sei capace, K. 419 (No, no, no, truly you know nothing) Non pid. Tutto ascoltai...Non temer, amato bene, K. 490 (No more, I heard it clearly...Do not fear my love may alter) Ch’io mi scordi di te?...Non temer, amato bene, K. 505 (I forget you, my dear?...Do not fear my love may alter) Bella mia fiamma...Resta, oh cara, K. 528 (Heart's beauty flaming...Stay, Love, I perish) Ah se in ciel, benigne stelle, K. 538 (Friendly stars, if yet in Heaven) Al desio di chi adora, K. 577 (Let my longing and supplication) Alma grande e nobil core, K. 578 (One whose spirit is true and noble) Chi sa, chi sa, qual sia, K. 582 (Who knows my swain’s affliction?) Vado, ma dove?, K. 583 (Whither I’m going I know not)FOREWORD Of these twenty-one arias for soprano and orchestra, six were written by Mozart for singers who interpolated them in operas by other composer, namely Galuppi (K. 217), Anfossi (K. 418, 419), Cimarosa (K. 578), and Martin (K. 582, 583). In Mozart’s time singers did not hesitate to replace arias that did not suit them by others especially written to show off their capabilities. Even Mozart's own operas were not immune to this strange procedure— K. 490 replaced the beginning of Act II in a special performance of Idomeneo and K. 577 was substituted for “Deh vieni, non tardar” in performances of Le Nozze di Figaro given in ‘Vienna three years after its premier. Almost all of the other pieces in the present collection are known to have been written for specific vocalists, either to supply them with a brilliant display piece for a particular occasion or to furnish an effective repertory item for their appearances with orchestras. ‘The soprano most generously served by Mozart in this manner was Aloysia Weber, with whom the composer fell in love when she was about seventeen and he twenty-two. She eventually married a painter by the name of Lange and Mozart married her younger sister, Constanze. For Aloysia, over a period of about ten years, her rejected lover, and later brother- in-law wrote K. 294, 316, 383, 416, 418, 419, and 538. K. 486a was composed for Dorothea Wendling, wife of a flutist Mozart became friendly with in Mannheim and creator of the role of llia in Idomeneo. According to Alfred Einstein, K. 368 may have been written for her daughter Elisabeth, the first Elettra in the same opera. Josepha Duschek, a singer from Prague, and her husband, the clavier virtuoso Franz Duschek, were friends of the composer for years. For her he wrote K. 272 and 528. Concerning Catarina Ristorini (K. 217) and Baroness Pulini (K. 490), little is known, Countess Baumgarten (K. 369) was a favorite of the Elector of Bavaria. K. 374 was composed for Mozart’s Salzburg colleague, the castrato Francesco Ceccarelli; K. 505 for Anna (Nancy) Storace, the first Susanna in Figaro; K. 577 for Adrianna Ferraresi del Bene, who sang Fiordiligi at the premiere of Cosi fan tutte; K. 578, 582, and 583 for Louise Villeneuve, the Dorabella in the same performance. ‘These arias represent a little-known but important aspect of Mozart’s work. Most of them were composed when he was at the height of his powers and rank with the best of his output in other categories. But six of these works (K. 217, 316, 418, 538, 578, 582) have never before, as far as can be ascertained, been published in editions for voice and piano and most of the others have been either impossible or difficult to obtain. The publisher therefore takes pride in presenting herewith a substantial group of hitherto unavailable masterpieces.Voi avete un cor fedele (You've a heart benign and loyal) K.217 ‘Anonymous Wolfgang Amadeus Mozart English version by Lorraine Noel Finley Piano reduction by John Verrall ‘This aria, which was inserted by Ristorini into Act I, Scene 4 of Baldassare Galuppi's opera buffa, Le Nosze (the Wedding, finds Dorina expressing her misgivings as to the constancy of her fiancé’s affections. Andantino grazioso Voi a-ve - teuncorfe-de - le, ‘You've a heart be-nignand loy - al, <= de - de, co-mea-man - te ap-pas-sio - na - to, co - me a- loy_- al, Filledwith lov - ing and pas-sion blend - ed, Filled with (Copyright © 1952 by G: Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved.teap-pas-sio - na-to: mamio spo - 50 di-chia- and pas-sion blend-ed: Butdearsuit - or, my in- = di-chia - ra - to, che fa - re - te? Will you grieve me or deceive me? re - te? leave me? man -ter-re - te fe - del-ta, fe - del - ta? Will youleave me un - consoled, un - —_con- soled? St te fosmi po - tre-ste cor-bel - lar, Youmight mockme, I'm a - fraid, Non an-co-ra,non per T foresee it, and would non mi vuddivoi fi- dar, di voi fi - poxFaithmight be byyou be-trayed, my faith be -non mi Faith might vad di voi fi - dar. cre- do. Gik pre- be by you be - trayed. ri - sion Clouds my tfve- do, mi po - tre-ste cor-bel - lar. Non an - co-ra, non per vi- sion, Youmight mock me, I'm a - fraid: I fore- see it, and would — we SP lp pst Pe non an -co-raynon per o-ra,non mi vad, non I fore-see it,and would flee it,Faith might be, faith Pas di voi fi - dar, non mi vud di voi fi - dar, di voi fi - be by you be- trayedFaith might be © byyou be - trayed, My faith might rt 2, re poe Sip dar, di voi fi - dar. be by you be - trayed. F10 Di-te, di- te, Tell me, tell me, re - te? di- te, di - te, grieve me? Would you leave me, Tempo Primo re-te? Voi a- ve - teuncor fe - de - Ie, ceive me? You've a heart benign and oy - al, de - ie, co-mea-man - te ap-pas-sio - na - to, joy - al, —‘Filledwith lov - ing and pas-sion blend - ed, Sa eSre- te? leave me? ap-pas-sio- na - to: with pas-sion blend - ed: di-chia - ra- to, Wouldyou grieveme man-ter - re - te ‘Would you leave me che or 11 ma mio spo But, dear suit fa - re - te? de - ceive me? ra che sa - the fu - ture12 ere - do. - ri - sion ve - do, mi_ po - tre- ste cor - bel - vi - sion, You might mock me, T'm_ a - oP po- tre - ste cor - bel - might mock me, Tm a - te Non an-0o-ra,non per 0 - ra, non mi vud di voi fi- I foresee it, andwould flee it, Faith might be by you be-13 dar, di voi fi - dar, trayed,my faith be - trayed, F.14 Ma mio spo-so di- chi O dear suit- or, my in - vud di voi fi - dar. be by you be - trayed. ra - to, che fa- re - te? can-ge - re - te? tend-ed, Wouldyougrieve me or de- ceive me? di-teal-lo-ra che sa - ri? man-ter-re-te fe-del - ta, fe-del-ta, fe-del- Tell me;will your love grow cold? Tellwhat will the fu-ture hold? Shall I be un-con- ere- do. Gid pre - ve- do, mi po - tre- ste cor- bel- = ti sionCloudsmy vi - sion, You might mock me, Tm a - — —. — Z£ Pe £— £— |e t—15 Non an - co-ra, non per I fore - see it, and would a Se a a p ~ ks non an - ¢o-ra,non per o-ra,non mi vud, non flee it, I fore- see it, andwould flee it,Faithmight be, faith might. oe et e i# f Pp t rm Tempo 1° dar. Voi a - ve teuncor fe - de - trayed. You'vea heart benign and loy - a16 de - le, co-mea - man - te ap-pas-sio - na - to. loy - al, Filledwith lov - ing and pas-sion blend - ed: +t 2 Non an- co But de-ri - sion Clouds my mon mi vad dis ois fi You might mock me [m— a - vod di voi «= fi_ ~~ dar, mon an-co - ra, be by you be -__trayed Would yougrieve me17 - ma, non mi vid di wi fi - dar, ceive me? Could your love— for— me— grow. cold, dar, di voi fi- dar, di voi fi - dar fraid; My faithmight be’ by you be - trayed. 7.18 Ah, lo previdi! (Ab, my foreboding!) K.272 Assumedly by V. A.Cigna-Santi English version by Lorraine Noel Finley Wolfgang Amadeus Mozart ‘The text is from Act If, Scene 9 of Paisiello's Andromeda. Andromeda vituperates Perseus for the slaying of her betrothed prince; then, in her agony, she beseeches the soul of the slain man to wait until she can join him in death. Recitativo Allegro risoluto Andromeda ‘Ah, lo pre- vi-dit Abymy fore-bod-ing! Po- ve-ropren-ce, conquel fer-ro i- stes-so, che me sal - vd, Poor, trag-ic Princeling, Of the ver- y sameweap-on that saved my life, ti la-ce- ra-stiil ‘You have be-come the Je Copyright © 1952 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved.19 Ma tu si fie-ro scem-—pio per-ché non im-pe - dir? Could younot be pre-vent-ed fromsuch a cru-el deed? be de-le, dun mi-se-ro a pie - t& non ti mo-ve-sti? pas-sion? Could you not bemovedto mer-ci- ful compassion? Qual ti- gre, qual ti-gre ti no - dri? Do-ve, —_do- ve, ‘What ti - ger, what ti-ger nourished you? Tell me, tell me! Ab! tlin-vo-la, tin - vo - laagli oc- chi mie - it ‘You must van-ish! Be - gone frommysight for- ev - er!20 Aria Allegro +, Yin - vo-laagl’ oc- chi mie - i, be - gone from sight for - ev - er, P 2 2, ma vi - le, in-gra- to un - grateful, cru el Vin - vo- la why — lin- ger? Stvi- le in trai - tor, come ea - gio-neoh Dio, have been the cause F de - le! mon- ster! 2122 Ya, spie - ta - to! Fly for - ev- erl ——— t Vas tra’ «desig «- «read Go to re - join all your tra le fie - To the lair read where ca - gio-ne, oh _ Dio, tu sei 1 mio _ bar - ba-ro, have brought to me as suf- fer your bale - ful wrong!23 Va, tra le fie - read Go to re - join all your bru pe _' |p24 Spie - ta - to! trai - tor!25 vo - laagl’ oc - chi mio - it gone fromsight for - ev - er, vin - vo-laagloc - chi mie-i, al - ma vi - le, in- be - gone fromsight for - ev- er; You have proved vile be - to cor, be - liefi26 mio bar - ba-ro, en - dur - a-ble cru - de - lel © mon-ster! tf Va tra le fie - re ad oa - bi - Go to re - join all your bru - ip ||P Bd tra le fie - read To the lair where27 eru- de - le! © mon-ster! t oru- de - let Spie - ta- to, va! © mon-ster! ‘The cause of grief! f28 fie - re ado oa - bi - - join— all your bru - ~ fie - read i tar, tra le fie - lair where long, Seek the lair29 Recitativo Allegro Mi - se-rat Mi- se-ra! — in-vanma - di-ro, Woe is me! Wretch-edone! Invainmy —_an-ger! e nel suo sangue in Mean-whilemy Love is tan-to nuo - ta gia Ti- dol mi-o. ly-ing Drenched in his blood, your vie-tim. cia-ro,oh Perseo, che fa- ce-sti? Mi sal-va - sti poe’ an-zi, weap-on done, Per-seus? How you chill me! First yousaved me from dy-ing, tg30 mi sal-va - sti po’ an- zi, or miuc-ci - de- sti! = First yousaved me from dy- ing, But now you kill me, ba 1S san- gue, ahi, la bell’ al - ma, ec- co, gik a - sci, no - ble’ soul has de-part - ed; Crim-son streams the blood, dal - lo squar-cia - to se-no. Rend-ing the wound - ed bod-y.31 Sio-scu-ra il gior-no a-glioechi mie - i, My eyes are Dblind-ed; all nowmust grieve m e nel bar - ba-roaf-fan- no Un-der ter - ri-ble sor- row = q P Ah, non par-tir, om-bra di- Ah, my Be-lov - ed, do not32 tan - to de il end che mue - ci - cause my pain will soon fer - ma-ti, O tar-ry, Cavatina Andantino Sul _gra-doe-stre- mo, in- O wait a lit- tle! Be- do - lor, in Death, fer - marti al- quan - to! Wait for my spir - it! attacca subito33 non var-car not dark Le ni- ma del__ on this side,— Ua deh, non var-car, leh, non var-¢ar,_ 00, quell’ on - Ab, wait for me! not, Be- lov - ed, the tor - 2 r34 tra spon- da, ab - hor rent: _——— gna anch i - 0, vo - glio ve- them af - fray you. I, ‘too, will —~ =e glio vo- nin, ve- on_ the brink! 035 con te. non var - car, the's stream: not, dear Ghost; - non var-car,— 0, quell’on - dat not, Be - lov’ - ed, the tor - rent. thee & anch i - 0, convey you. vo - glio vo - nin, glio ve-nir con I long to come; — wait, OLove, for36 o non var = car, not, dear Ghost, Fer - ma-ti! Wait for me! gv - gnaanch i - 0, them af - fray you. _——<—,37 & ve -nir con com- pan - ion non var- car,— no! not, Be - lov - ed! ?38 Allegro Vo - glio ve - nix, Cross not, the stream, ve - nir, the stream,39 Alcandro, lo confesso . . . Non so d’onde viene (Alcandro, I confess it... know not from whither) K.294 Pietro Metastasio Wolfgang Amadeus Mozart English version by Lorraine Noel Finley Piano reduction by John Verrall Originally the text, which is from Act III, Scene 6 of Olimpiade, implied King Clisthenes? astonish- ment at the discovery of the identity of his'son, whom he believed dead; Mozart, however, seems to have changed the meaning to suit the conflicting emotions of a woman's awakened love. Recitativo Andantino Clisthenes ‘Al-can-dro, lo con-fes-s0, stu pi-seo di me stes-s0. ‘Al-can-dro, I con-fess it, My won-der, how re - press it? Nl wl-to, il ei-glio, la vo-ce di co- ‘The like-ness, ex - pres-sion, and ac-cent, all are Copyright © 1952 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured, All Rights Reserved.40 Andante stui _nel cor mi de - sta un pal-pito im-prov-vi - so, che lo ri-sen-teino-gni fi- bra il his. With-in my heart there a-wakes a sud-den throb-bing, In evry fi-bre of my be- ing I SP ip Fra tutti i miei pen - sie - ri Ja ca-gion ne ri- I ask my-self the rea- son for this strange new © - Andantino fra tuttii miei pen-sie - ri Ja ca- I seek in vain the rea-son _for this, gion ne ri-cer-co, enonla tro-vo. strange new e-motion But donot find it.41 De-i, che sa-ra, giu-sti De-i, que - sto chio pro - vo? an-swer? Havethegods found an an-swer? © Have they di - vined it? Aria Andante sostenuto42 Non so don- de vie-ne quel IT know not from whither has — fet - to, quel te - ne - fec - tion, has come my = F mi na- sce nel pet - to, quel gel, che le from ev - ry di-rec - tion, Like hoar- frost has ve - ne scor-ren-do mi va, chilled me and fro-zen my veins.te - ne - ro af- fet-to, come my af - fec-tion, non I — 80 know 43 don - de vie - no quel not, from whith - er has quel mo - to, The feel - ing nel pet - to, di - rec - tion,do - de vie - ne quel te - ne - roaf- fet - to, not from whith - er has my af - fee - tion, a nel pet - to, quel gel, che di - rec - tion, Like hoar - frost Cecrertr |e te rc. do, scor-ren ~ zen,and fro -45 mi va, gel, che le my veins, has ae ee ne eat ee Saek ken BESy ve - me scor - ren - chilled me and_ fro -46 Allegro agitato de-star a-wak sempre p ri con - tra- sti = dic- ti mi sit fie - ri con - tra - sti non, ened to fierce © con- tra - dic - tion, | What a +247 mi che ba - sti aid for af - flic- tion is pit- y a - lone? — de - star - mi si fie - ri con- a - wak - ened to fierce con- tra - star - mi i fie - ri con- tra- sti wak - ened to fierce con-tra - die - tion.48 ba- sti, flic - tion, non pi che ba- sti what, af - flic- tion non par - mi, af - flic-tion! che ba- sti, suf - fi - cient?49 Tempo Primo so don-do vie - ne,don-de vie- ne —quel_te know not from whith - er it comes hith - er, I know ne-t0 af - fet - to, my af - fec-tion,50 quel gel, che Like hoar - frostS1 don - de vie - ne = quel’_—Sstte -—sne - roat- from whith- er has come_ my af- Non I 80. know__ not fet - to, quel gel, fec - tim. A feel -FPS = do, scor - ren + zen,has fro53 Basta, vincesti... Ah non lasciarmi, no (Silence! you've conquered! ... Ah! do not let us part) K. 486a Pietro Metastasio Wolfgang Amadeus Mozart English version by Lorraine Noel Finley Piano reduction by John Verzall Text from Act II, Scene 6 of Didone abbandonata Dido Forsaken). Dido reproaches the betrayer of her affection and begs him not to leave her. Recitativo | Andantino Ba-sta, vin- ces-ti, ec- coti il fo-glio. Si-lence! you've conquered! Here it is,your let-ter. = ey] Ve-di quan- to th- do- ro an-cora in-gra-to. See how much, though you're thank-less, I still a- dore you. — mi to-glio- gni di- fe - sa _e mi dis- leav-ing me de- fense-less, Withease dis- Copyright © 1952 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved.54 ed ai cor di tra-dir-mi, ed ai By your glance I amshak-en. Willyour cor di tra - dir - mi? e poi la - sciar - mi? heart play the trai - tor? Am I for- sak- en? 4 Aria Andantino espressivo Ah non la-sciar-mi, Ah! do not let us tHe ae ib drt 3 ro72 | no, bell” T= dol mi part,— My own Be - lov55 Ah non la- seiar- mi, Ah! Love, we must not non la-seiar-mi; di chi___ mi fi- de- nev-er leave me; To whom will go my56 - ta man-che - re - i, of part-ing fills me,57 nel dir - ti: ad - di - 0, nel dir - ti: ad- And lost hope now kills me, While Deatl’sman - tle —LS oS —_——=— 2, me. ver. non po- tre - i pi - ness that - Re fra tan - ti af - fan - nil And heart-ache -be_~—iban - ished. af - fan - ni, might find new rap - ture, o>58 Recitativo ‘Allegretto aA Ah_ no, non la-seiar-mi! ah no, non la-seiar-mit Ah! Love, do not leave me, Ah! Love, do not leave me. Andante espressivo Ah non la-seiar-mi, no,___—S> bell’ Ss - dol mi - oO, dell’ Ab! do not let us’ part, | My own Be-lov - — ed, my dis chi___ mi_ fi- de - To whom_ will go my59 la-seiar-mi, no, non la-seiar-mi, wemust not part, — ! nev - er leave me; R P di chi smi fi- de - ra, , to whom will go my heart, to —_ se Love, — P 2 di chi_ mi fi- de- To whomwill go my _—_ <360 se tu min-gan - ni, We must not thus__ part, tu min-gan own Be - lov i =61 Popoli di Tessaglia! (Thessaly’s people) K.316 Raniero da Calzabigi Wolfgang Amadeus Mozart English version by Lorraine Noel Finley Piano reduction by John Verrall Text from Act I, Scene 2 of Gluck’s opera Alcesfe. Alcestis, exemplary wife and mother, who has pledged to the gods to die in place of her husband, King Admetus, comes to join the Thessalians in lamentation and prayer for pity. Recitativo Andante sostenuto e languido P Alcestis Po - po-li di Tes- =~ ————er Thes - sa-ly’s peo- ple, Ah, mai giu- sto fill’ vo-stro pian - to, Such__lam- en - ta-tions are tru-ly fit - ting; ie —— Copyright © 1952 by G. Schirmer, Inc. (ASCAP) New York, NY ‘International Copyright Secured. All Rights Reserved.62 A voi non menchea que - sti in- no-cen - ti fan - Not less to you, dear —_—peo- ple, than to these harm- less ciul- li — Ad-me - to. children Ad- me-tus re; la no-stra so - la spe- spo-s0, @ voi Ya-ma-to This cru- el fate has be- hus-band, and yours, a _no-ble king; — Se ran-za, il nostroa-mor ¢’in- vo - la que-sto fa - to cru-del. reft us of that one hope we cher-ished and of our loy-al love.63 Ne so che pri - ma in si gra- ve scia-gu- ra ‘@ com- In this mis-for- tune shall I first mourn the king-dom, or be- iEgFe eR pian - germap-pi-gli del re-gno, di mestes-sa, 0 de’mici fi- gli. moan my af-fliction, or shall I,' as amoth-er, weep for my chil-dren? 3 La pie-t& de-gli De-i s0-la ci But now all that re-mains is our intor-64 aim-plo-ra- re, aot-te - ner. for somemer- cy fromthe Gods. 72d fs2aIT chloe Ver-rd com-pa-gna al-le vo - strepreghiere, ai T cometo join you inyour prayers and li- bationswith- vo-stri sa-cri - fi- zi; in the sacred temple. u-na mi-se-ra madre, a discon-solate moth-er,65 tuttoun po - loin pian - to pre-sen- te- rd co- and a me = fon in "gor - 20%, all these will pre- que - sto spet-ta - co - lo fu- an- ger of Heavn_ will be pla- nes - to, in cui do-len- te gliaf - fet - ti, i vo-ti suoi di-chia-raun cat - ed whensuch a king-dom, ~ af - flict - ed, —_u-nites in vows of true de- fin sa-ra del ciel spec-ta-cle of grief | and an-guish.66 Aria Andantino sostenuto e cantabile AS i py a NF ‘sotto | voce67 mail mio dnol con-so - li al- me-no, con - But to light my path of sad-ness, — my__ = t ¥ r68 rag- gio di_ pie - ta, wel- come pit - y’s glow,6970 di pie - ta, qual - che_ ness I know, I would qual-che rag - gio di. pie - ta, I would wel - come pit - y’s_ — glow— 47 Non com-pren-dei ma-li_ mie-i, neil ter-ror, che m’em-pie il ‘They who know not love ma- ter-nal, Normy fear - fulheart's de- “lf ? Vare flter-ror, che m'em-pieil —_pet - to, my fear- ful heart's de - jec-tion, =72 di moglie il vi - voaf-fet - to, a lov= ingwife’s_af- fec- tion,73 moglieil vi- vo af fet - to, lov - ing wife's af - fec- tion,747576 dre il cor row that al 4 Sada7778 Kommet her, ihr frechen Siinder (Sinners, come!) K. 146 Anonymous Wolfgang Amadeus Mozart English version by Lorraine Noel Finley Piano reduction by John Verrall ‘This Lenten hymn was probably composed to be included in an oratorio. Andante con moto 1.Kom - met her, fre - chen _Siin- der, 2.Kom - mot, — seht Ma - ri - ame - ben 3. Dan - ket’ nun fiir sol - che _Lie - be, 1.Sin - ners, come, frome - vil sev- er; 2.Come, be’ - hold sweet Ma - ry stand-ing 3.Ren = der thanks for self de - ni - al, Copyright © 1952 by G. Schirmer, Inc. (ASCAP) New York, NY ‘International Copyright Secured. All Rights Reserved.79 bens - more your lich_ for ing_ tal80 <>. —— a a ee a ae] pf eS = tan - send Qua - len, dis er____ selbst den_ muss sie se - hen, wie ihr — Sohn. am_ Bund mit ih - nen, im Lie 7 ben_ sore af - flic - tion his —_ soul leaves stark ob - Ia -_ tion, Watch - ing___ him in new en - deav - or, Fol - low. them toward = i > + + + SSF if SSS P f - 23 bal + 2 fe + f Dyp— Ses fot te ? anf - um am Kreuz die Kren - 20 und sie Tisst = es = doch ge - trea m sein, und hin - fi - ro eu - re flesh be - hind, He re - deems by ecru - ci - an - guish there;_ So that we might win sal- paths a = dover Let your lives con - tain. for- — ie8182 Ma che vi fece, 0 stelle . . . Sperai vicino il lido (Tell me, ye stars... I trusted my haven was nearer) K. 368 Wolfgang Amadeus Mozart Pietro Metastasio English version by Lorraine Noel Finley Text from Act I, Scene 4 of Demofoonte. Timante, with marriage vows endangered, entreats the stars for succor. Recitativo Allegro assai Timante Ma che vi fe-ce,o Tell me, ye stars and che tanteu-ni- te that all to-geth- er stel - le, la po - ve-ra Dir a, plan-ets, what fol - ly she com - mit - ted, Sp ba tu- re con- tro le - it join to bring mis-for-tune. dbccebe 2 Ft cf Copyright © 1952 by G. Schirmer, Inc. (ASCAP) Now York, NY International Copyright Secured. All Rights Reserved,83 che in- spi - ra - ste i castiaf-fet - ti al - Ie nostr’ who in - spired us, and gave our souls their no- ble af- voi,cheal pu-di-coI-me - ne - 0, fo- ste pre-sen- ti, di - fon- You, who il- lu-mined the wed-ding rites with your glo- ry, Pray de~ s de - te-lo, 0 Nu-mi: io mi con-fon - do. fend, O Gods, this marriage! Ab! I am faint-ing! f