Pietro Metastasio (1698 — 1782) b, Antonio Bonaventura TropassiANIELLO = ANONINO 1 Anietto, Pancrazio (18% century) Despite all attempts, | could find no biographical information about this composer. [a] ke non ho pju ‘la gri me ‘Ah che nom ho pid lagrime ‘An, | have no more tears, ake non 9 piu ‘lagrime per dis fo "gar taft'fan: no Ah, che non ho pith lagrime per disfogar—‘affanno ah’ [that] not = Thave more tears for tolet out the anguish ‘An, [have no more tears to relieve the anguish ke mi kon ‘suma il kor che mi consuma_— il cor. Which tome consumes the heart which consumes my heart. © ‘pure a ante "lagrime ti 'mostri pu ti'tan:no kon me E pure a tante —Ingrime th mostri pla dranno con me, and still at somany tears yourself youshow more tyrannical with me ‘And stil, at so many tears you are more tyrannical with me, kru'de le a'mor a kon me kru'éele a'mor crudele amor, ah, comme crudele. amor! cruel love ah’ with me cruel love cruel Jove ah, with me, crue! lovel Anonimo [Anonymous - composer unknown] led Tre Giorni, Nina Nina This song is attributed in many of the publications to Pergolesi, and in wo of them to Clampi. John Glenn Paton, in [64], gives the background ofthe song and establishes the composer as anonymous. tre ‘dgorni son ke ‘nina in ‘letst0 sene'sta ‘in (2) ane Tre giorni son che Nina in letto senesta, a leto~ in eto three days are that’ Nina in bed —_herself'stays For three days Nina has been in bed (Ta[6a] and [34] the verse continues ax follows: ‘son: mo las: sas:'sina aved:'a tela per pje ‘ta il somno'assassina, —svegliatela per _pieta! the sleep hermurders awaken her for _pity's sake Sleep is killing her, ewaken her, for pity’s sake!2 ANONIMO (cd ton [5 continues as follows: | © Yimbali etm pani E cimbali—e—_timpani and cymbals and drums ‘Cymbals and crums and fifes, awaken dear Nina for me. ‘kate mini ‘net ta svezliatemi —_Ninetta, awaken tome dear Nina per'ke non ‘dor ma piu perehé non dorma pia. sothat not she mayssleep more: sso she wil sieep no longer. Tau [34] contiraies as follows] ‘afem bali ‘pif fe ri ‘tim pani zve&:Kate ‘mie ni'net ta Cembali, pifferi, _timpani!Svegliate mia Ninctta, cymbals’ fifes drums awaken my — dear Nina Cymbals, ffes, drums! Awaken my dear Nina, at;‘tfo non ‘der ma piu aceid non dorma sothat not she may sleep ‘so she will sleep no longer. ‘mia ni ‘nett mia my ‘pitt fe ri ‘tim pani 'rfem bali Pifferi, timpani, — cembali, fifes drums |—_cymbals Fifes, drums, cymbals, awaken my dear Nina, ‘pifife ci 'tfem bali ‘tim pani zveA:'a te mini ‘net: ta Pifferi, cembali, —_timpani, svegliatemi_——-‘Ninetta, fifes cymbals drums’ awakentome dear Nina Fifes, eymbale, drums, awaken dear Nina for me, at;'tfo non ‘dor ma piu accid non dorma piv. sothat not she may sleep more ‘80 she will sleep no longer. (Gn [Gilis asecond verse] fe ‘mentre il sjor dot'tore a vizi'tarla va E —mentre il sor dottore =a visitarin © va, ‘and while the sir doctor, ~—to_tovisither goes ‘And while the doctor is going to visit her, ni'net:ta@ per a'more in ‘letito sene'sta Ninetia per amore, in etto_sene sta. dear Nina for love in bed herself'stays dear Nina, for love, is staying in bed. e —timpani_ ec fpiftfeci © © ‘imbali zveK:‘Katemi ni'net E —timpani_e __pifferi._ e+ clmbali,_—svegliatemi—Ninetta, {and] Grums, and fifes and cymbals awaken tome dear Nina Drume and ffes and cymbals, awaken dear Nina for me, at" non ‘dor ma pi eci) non dorma id. sothat not she may sleep — more: ‘so she will sleep no longer.ANTONIA=BAGH, J.C. Sy ‘ 4, 4, 4, BX Antonia [maria Antonia Walpurgis] (1724 - 1780) eave of Saxony, caughtr ofthe elector of Bavaria, she was a rained musician (a pup of Hasse and Porpor), snes Keyboard player axe patonece of he tno ars, she sang acing ales i cout performances of her own operas, i ton Sela tecot ced Talo, rogin cals Amazon both eet ther own texts Sho lso wrote the text for Hasses oratorio Le Conversione of San¢Agostino and for other and various cantatas, (tan the death of be doctor I 1763 and the deoine of cra fe atthe Dresden court, she experenced increasing Dorronal and arise Isolation, &s recorded inher exchenge of leters between 1763 and 1779 with Frederck tho Great of Prose She published her two operas under the pseudonym ET-P.A, (rmetina Telea Pestorela Arcade), her chosen name 96 2 momber ofthe Academy ot Arcadian B3] 'pren di ‘tul timo ad:'di o Prendi ultimo addio Receive my final farewell ‘pren di de 'pren di "lultimo ac:‘dio bek:'lidol a do'rato Prendi, deh prendi ultimo addio, —_bel’idol_-——_adorato teke pray take the final’ farewell beautiful idol adored Receive, please, my final farewell, beautiful adored idol piv non kja'marmi ip'grato ‘kio ‘moro a te fe'del pit non chiamarmiingrato, ch'io moro, te ‘fedell fore not tocallme ungrateful because] Iie to you faithful do not call me ungrateful anymore, because | am dying, faithful to you! ram:'mentati ben ‘mio ke Ia ‘ria ‘morte i ‘tes: Rammentsti ben mio, che la morte — istessa, remember you dearone mine that the awful death itself Remember, my dear one, that awful death itself ria) tien ‘alma ‘meno op:'presisa ke un ‘dubs bjo. si kru ‘dsl tien Palma meno oppressa, che un dubblo. sl_crudeh. holds the soul Tess oppressed than a doubt’ «$0 crue ‘rips the sou! less oppressively then [does] 2 doubt so ervel, ‘Bach, Johann Christian (1735 - 1782) ‘The youngest son of Johenn Sebestian Bach, he studied at an early age with his brother Garl Philipp Emanuel Bach, and was the orly member of the Bach ferly to compose operas. Though advised by his later teacher and his patron to pursue 1 career as a church musician, he may have written some opera arias incerted in operas by contemporary composers as rly 25 in 1755. His own frsifub-ength commissioned opera, Artaserse, was performed in 1761 at the Teatro Regio in Turin. Several cther commissions followed. A the end of 1763 Bach made his home in London, where he became music master to the queen and continued to contrute to opera composition and the composition of eries inserted in other ‘composers’ pasticcios ‘When the child Mazart wes in London from 1764 to 1781, Bach improvised with him at the keyboard, and Mozart retained a ifelong affecion for him, In 1772 Bach was in Mannheim for the fist performance of his Temistoclo at the court theatre; but he recelved no further ‘commissions from Mannheim. In 1778 he was commissioned to compose en opera for the Académie Royale de Musique in Pane; affer seven perormances, it was dropped fiom the repertory. Bach was under contrac! for a second French ath 3Bach, J. C. (68) from: La Clemenza di Scipione (1778) character: Luceio al'fin for tsa e ‘fre na le "bel: le ‘la gri me ‘Aifin forza 8...Frena le belle lagrime Atlast | must... Restrain your beautiful tears al'fin ‘fortsae —‘kio ‘parta ‘Allin forza’ cho parta! finally it isnecessary that | I depart ‘Atlastt comes to this: must depart! ma in si fa'tal mo'mento al'men kon'tfes:s0 me di lafifarti un 'pep:po Ma in si fatal momento amen concesso— sm’ di laseiarti un pegno but in so fatal moment atleast granted —tomeitis of toleaveyou a pledge But at least itis granted me, in such a fatal moment, to leave you a pledge del ‘mio ko'stante a'mor in ‘kwesto am'ples: so del mio costante amor in questo. amplesso. ofthe my constant love inthis. embrace ‘of my steadfast love witn this embrace, ar'sinda ma ot 'pjandsi_ a ‘mio te'z0r0 ado'rato ‘mio ben Arsinda, ma tu plangil Ah, mio. tesoro, adorato—mio._ben, ‘Arsinda” but you youweep ah” my treasure adored = my dear one But, Arsinda, you are weeping! Ah, my treasure, my de: adored one, ‘yeni il 'pjanto ‘rattieni il —_pianto! hhold back the weeping. hold beck your tears! ‘terdgi ta'mato ‘fit £0 ke piu maf fansna il tuo ke ili Tergi Yamato ciglio,-ché—pit_m'affanna il tuo che. i_—mio_periglto! dry thebeloved brow = becanse-moremetroubles the yours than the = my peril Dry your beloved eyes, for your peril troubles me more than mine! Vfrena le ‘bee ‘la grime ‘idolo del ‘mio kor Frena le elle lagrime, idole del_—mio. cory restrain the beautiful tears idol ofthe |= my heart Restrain your beautiful tears, idol of my heart; ke se ‘wi ‘sje gwi se ‘sje gui 2 ‘plan dge re che se tui Slegut, se slegul a plangere, ‘ad (dial) = (rod) ae because if yours. youcontinue if youcontinue 10 to weep siegul = (mod) segul fori you continue [your tears] - if you continue to weep, si'perde il ‘mio ya'lor la ‘mia ko'stan tsa siperde il mio. valor la._—mia_costanza, islost. the my courage the my _ steadfastness | will lose my courage, my steadiastness. ar'sinda ‘mio te'zoro ar'sinda a tw ‘pjand3i Arsinda, mio tesoro, Arsinda, ah, tu _plangit Arsinda’ my treasure Arsinda’ ah you you weep. ‘Assinda, my treasure - Arsinda, ah, you are weeping! od(68) from: La Clemenca di Scipione (1778) character: Arsinda dal do ‘lor ko 'tan to op: ‘pres: so num, ‘alma poet) deities = axine Dal dolor cotanto oppresso ‘So oppressed by grief dal do'lor ko'tan to op:'pres: so € kwe'stalma 9 ‘dsusti ‘nu mi Dal dolor cotanto.—oppresso—& —quest'alma,o_givsti fiom the grief somuch oppressed is thissoul 0 just This soul is $0 oppressed by grief, o just gods, ke dja Yfende i ‘mesti ‘lumi "eve ‘son:no a din gom brar che git seende—i——mesti_— lumi lieve sonno__ad ingombrar. that now descends the sad eyes gentle sleep _—to block that gentle sleep now descends to cover my sad eyes, o [68] Scene und Rondo from the Cantata Rinaldo ed Armida (1778) eb;'ben si 'vada lio ti ‘laf: fo Ebben st vada. [oti lascio Wel then, let us go... | am leaving you eb'ben si'vada trifonfi lara ‘dso ne Ebben —sivada, fl la ragione! well then Jet us go may triumph the reason Well then, let us go; may reason triumph! itene a ‘terra vergop:'nozi tro'fei ‘vill 'spof: Ae da ‘mor ene a terra, vergognosi —trofel, vill spoglie d’amor! fall to carth shameful trophies vile spoils of love Fall to the ground, shameful trophies, vile spoils of love! text of the Rondo by Meiastasio im pak li'di ska ‘tre mi Yazja al ‘mio. "brando ¢ —si'kandsino alin Impallidisea, tremi VAsia al mio_—brando, e —steangino alin may pale may wemble the Asia atthe my sword. ands maychange at last per ‘mio de'koro le ‘roze ¢ 'mirti in glo'rjozo al: loro per mio decoro le. rose- ¢ —mirti_— in. glorioso—_allorot ‘Brando tpoer) for my —bonor the roses and mts in illustrious laurel w spa May Asia pale and tremble at my sword, and may the roses and myrties change at last into llustrious laurels. for my honor. ma ‘eo saa ri'maldo di si e‘norme vil'ta Ma reo sarh Rinaldo di si enorme —_vilth? but guilty willbe Rinaldo of such enormous cowardice But will Rinaldo be guilty of such enormous cowardice? lnfi'forla 0 ‘dio laft'farla in ‘kwesto ‘stato a 'kio Lasciaria, 0 Dio, lasclaria in questo stato. ah, ch'io toleweher 0 God toleaveher in this stale ah that I To leave her, o God —to leave her in this state... a, | am lo Noldsimi 0 ‘kara al'meno ‘'pria.kio 'parta da Volgini, 0 cara, almeno, prin cho. parta_ da tumiome 9 dearone atleast” before that! ‘I depart from ‘pia ke mut 'ifida il "barbero dolore pria che m'uccida, i arbaro— dolore, before that meithills the cruel sorrow un ‘zgwardo di pje'ta se mon da'mo re un sguardo div pieth se mon d'amore! a glance of pity if not oflove rmi'per do imi perdi Tose myself te te, you printed,” not “ah; but “ah” makes sense here, inthe context ‘pra poet) = | prime Before | part from you, before the cruel sorrow kills me, o dear one, at least turn a glance tome ~ [a glance} of pity ifnot of lovBACH, J.C. jo ti ‘laifo e ‘kwesto ad:'dio se ‘sia ‘ultimo non 59 Jo ti lascio ¢, questo. addio. se sia ultimo, non so. 1 you Tieave and this farewell if itbe thelast- nat‘ know | am leaving you, and | know not if this farewell be the last one. a kia beh“Hidol © ‘mio. se. ‘mai piu ti_—rive'dro ‘Ah, chi sa, ell'idol mio, se mai pid ti_—rivedrd? ah’ who knows beautiful idol mine if ever_ more. you I will ee again ‘An, who knows, my beautiful idol, if| will ever see you again? ‘vengo 0 tfel «de laftJa ke ‘pena Vengo, 0 ciel! deh_—lascia, che penal come oh heaven pray leave what pain lam coming, © heaven! An, leave — what pain! per te sol ‘mio ben —pa'vento Per te so, mio ben, ——_—pavento. for you only my —_dearono I fear ear only for you, my dear one. 1 piu 'berbaro tor'mento ‘dgusti ‘dei ki ‘mai pro'vo Tpit —barbaro tormento, —_giusti_ dei!’ chi mai prove? the more cruel torment just’ —_ gods who ever _ experienced ‘Who has ever felt more cruel torment, 0 just gods! iow St yes you Yes, 1am & (68) mi ‘skor do i ‘tori 'mjei “dol tft au'ret: te ‘Mi scordo i tort! miel..Dolei aurette |.em forgetting my wrongs... Sweet Itte breezes mi‘skordo i ‘orti ‘mje di pu. non 'kjedo date mio ‘bene Miscordo i to miei; di pl non chiedo date, mo. —_ene. forget the wrongs mine of more not ‘Lask fom you my earone | am forgetting my wrongs; more | do not ask from you, my dear one, il ‘pion to ‘duna a'mante ne tu kru'del in‘ganzni un kor ko ‘stan te HM pianto—d’unaamante més tu, erudel’, —_imganni un cor costante! the weeping ofa lover. —nor you cruslone maydeceive a heart constant [Netther] the weeping of a lover nor you, cruel one, may deceive @ constant heart! ma kon ki ‘parlo oi'me i ‘deri 'mjei non ‘nde Ma con chi parlo? Ohime! [ —detti_—mici_- non ode. but with whom — [speak alas the words mine not she hears But with whom am | speaking? Alas! She hears not my words. 2 ‘die © ‘mente il ‘labrbro ‘mio 0 Dio, © mentre il —labbro. mio 2 God and while the ip mine Q God, | am raving; and waile my lips kol —pen‘sjer del ‘mio dwal 'foltle 1a'ds0na col pensier del ~—smio.duol_—folle—_ragiona, withthe thought ofthe my grief’ mad_—_reasons. reason with the thought of my mad grief,Bach, J.C. Yorse ‘parte il ‘mio. ‘bene 0 _-mabs ban ‘dona forse parte il —mio._bene = @_—m’abbandona. perhaps departs the my dear one _—_or_meabandons perhaps my dear one is departing, or abandoning me. dolfi au'rotite a oi por'tate le ‘mie ‘votfi ‘mio Dotci surette, ah, vol portate. Teme. vot mio, sweet litle breezes ah” you cary the my voices tothe idol mine ‘Sweet litle breezes, ah, carry my voice to my idol, ‘kio vi ‘segwo kol —de'2io di tro Varla an'kor fe “del for sgea" fe ch'io vi seguo col deslo. di. trovarla—ancor —fedel. | “sicguo,"on antiquated ‘hatI you follow withthe desire of to finder still faithful |_form rom rhe Ltn 2 | follow you with the desire of finding her stil faithful si vi ‘Segwo ‘doltfi au'rette si vi 'segwo ck'lidol ‘mio Sh vi seguo, dolei_—aurette, =, vi seguo’— aldol milo. yes you Tfollow sweet litle breezes yes you [fellow tothe idol mine ‘Yes, i follow you, sweet litle breezes; yes, | follow you to my idol. si Vise gwo kol —de'zio. di_ro'varla_ag'kor fe ‘del SL vi seguo col desio di trovarla—ancor—_fedel, yet you Lfollow withthe desire of tofind her still faithful ‘Yes, | follow you with the desire of finding her stil faithful co (08) from: La Clemensa di Seipione (1778) character: Luceio ‘mi ze co me Ke ‘veg: go nel partir bel 'lidol ‘mio Misero me, che veggo!nNel partir, bellidol mio ‘Wretched me — what do | see!.n departing, my beautiful idol ‘mizero me ke —‘veg:go a lop:'pres:se ill do ‘lor Misero me, che —veggot Ay oppresse dolor! ‘wretched me’ what Tse ah” heroverwhelmed the grief’ Wretched me ~ what do | see! Ah, griaf has overwhelmed her! ‘spo za ado'rata ar'sinda ‘mia spe'rantsa_a'skol ta Sposa adorata, Arsinda, mia speramza!_—_Ascolta! spouse adored Arsinda = my hope: Listen ‘Adored spouse, Arsinda, my hope, listen! © ‘stelle ke fa'r9 se non ‘mo de © stelle, che fard, se non mode? © stars” what Ishalldo if not me she hears stars, what shall | do if she does not hear me? 2 gventu'rato kor ‘tb: Aiti a ‘kwe sto spett'takolo fu'ne sto Ab, sventurato cor, —_togliti 2 questo spettacolo.——_funesto! ah’ unlucky hheatt free yourself from this spectacle funereal A, unlucky heart, free yourself from this funereal spectacle! il ‘mio motire © ‘kwesto il ‘fine ‘sia ‘dop:pi — mar'tire A mio morire, ~~ questo il fine. sin 'ogni—martire! the my dying and this. the. «end be of every agony May my death be hastened, and may this be the end of every agony! 78 Baci, J.C. nel par'tir ‘mio tab:ban'dono al ‘wo Nel partir, mio, abbandono al tuo inthe departing beautiful idol mine youTabandon tothe your grief In departing, my beautiful Idol, | abandon you to your grief ‘ewe sto 'batfo ‘kwesto ad:'dio nel par'tir_ bel: idol ‘mio Questo bacio, questo addio, nel partir, bell this Kiss this farewell inthe departing beautiful idol mine In departing, my beautiful dol, this kiss, this ferewell NafiJo in 'pen:no a te da'mor laseio im pegno a te d’amor. Tleave in pledge © you of love eave to you as a pledge of iove. ‘yengo 0 tel son ‘pronto 0 ‘dio Vengo, 0 ciel, son pronto, 9 Diot Teome 0 heaven Tam ready 0 God. am coming, o heaven; | am ready, 0 God! per te sol ‘mio ben Per te so, mio ben, for you only my — dearone Tam troubled only for you, my dear one. a tor'mento pj ti‘ran:no non pro ‘va ‘mai 'kwesto kor ‘in, tormento pi) tiranne nen prove mai questo cor! ce fermenr” move tyrannical not experienced cverthis—hemt fh, this heat hes never Flt torment more yraneal co 11,2,46) from: Carattaco (1767) Botiarelli non e ver TNond ver W's pot bus none ver ke as:'size in ‘trono ‘bel Ie an 'kor Non & ver, che assise im trono belle ancor not itis. true that seated on. throne noble ever, Te ‘kolpe ‘sono © ke per'dono Ia'spet:to —‘kwando 'd3upgono a rep: ‘nar le colpe sono ¢ che perdono —_'aspetto, quando giungono a regnar. the faults ate and that theylose —theappearance when theyarrive jo_toreign {tig not true that guilty ones are noble even though seated on the throne, end that they lose their faults wnen they come to reign. ‘sono ak:Yor ju ‘kjaroafi"Yet:to di ti‘ran:no insu sto or ‘goA: fo Sono allor pi chiaro.affetto —di_tiranno—inglusto—_orgogl they are then more clear desire of tyrannical unjust © pride “They are then a clearer exemple] of the desire of tyrannical, unjust pride "Desi" ban antiquated meaning of "ofeto”; but “eet” were a misprint for “eet,” would male ‘more sense. The ate then o clearor effect (vail) of tyrannical, unjust pide: a ke anirivano sul ‘'sof:fo. i ri'morsi a tormen'tar ah, che arrivano sul sogiio. i rimorsi a tormentar! ah’ that mayarrive —uponthe throne the remorses 9 fo orment ah, indeed may remorse come to torment [those] on the throne! ~BacHJ.C. 9 (8) from: Alessandro nell’ Indie (1762) Pietro Metastasio character: Alessandro non $9 "don de 'vje ne Non so donde viene | do not know from whence comes ns "don de yjene kwel 'tenero aft ‘fet to Non $0 donde viene quel tenero._affetto, not know from whence comes that tender _—_ feeling | do not know from whence comes that tender feeling, kwel ‘moto ke —igs'pato mii ‘nofi fe nel 'pett to quel moto —che_—ignoto—minasce =—nel_— eto, that emotion which unknown tome isborn inthe breast that emotion which, unbeknown to me, rises in my breast, kwel djel ke de 'vene —skort'tendo mi va quel ge che le. vene—scorrendo, = mi va. that ice-cold which the veins flowing tome goes that iciness which flows through my veins. nel ‘seo a de'star mi si “eri kon'tasti non ‘par mi Nel geno a destarmi si fiericontrasti, non parm, inthe breast to (fo)awakeinme such _fieroe contrasts| not_—_—it seems tome ‘To ewaken in my breast such fierce contrasts, It does not seem to me ke ‘bassti la ‘sola. pje'ta che basti la sola peta, that maybe enough the only pity that pity alone would be enough [o8) ‘rom: £'Endimione (a serenata: 1772) ‘ler Metastasion character: Diana sem pli fet to ag 'kor non ‘sai Semplicetto, ancor non sai Foolish one, you stil do not know sem pli'tfet:to ag'kor non 'sai ‘kwan toy amor u'nal ma afi fen ni Semplicetio, amcor non sth quanto Amor un’sima_—_affanni, foolishone” stil, not -youknow how much Love soul may trouble ‘kan to al:"Ietsti"kome in'gam:ni_— se ~—sKon'daka aso spi'rar quanto allett, come inganni © conduc 2 sospirar. fow'much itmayentice how —itmaydeceive and maylead to sighing Foolish one, you still do not know how much Love may trouble and entice a heart — how it may deceive and lead to sighing, a de a'skolta. il ‘mio kon'sif: 40 fudidsi'rai da tal_—_pe'ridi Ko ‘Ah, deh, ascolta illo fuggirai da tal_—_perigilo, ah’ pray listento the my youwill flee from such danger ‘Ah, please, listen to my advice: you wil fle from such danger ‘kome ‘dakwila lar'tif: fo swol —ko"lomba al: lon ta ‘nar pty come d’aquila artigo suol_—colomba_—_allontanar. {aol From the like of eagle thetalon—_isusedto dove toavert verb “toler like the dove is used to averting the clutches of the eagle. GL: AmorBACH, JS. Bach, Johann Sebastian (1685-1750) German composer, organist, keyboard virtuoso, and teacher femious during his lifetime, Bach holds a unique postion as. {composer in the history of music, having drawn together the achievements of his own and eafier generations with forward-looking originally. Schooled in humanistic and theological education, he held posts 2s choir member, sting player, court organst, o Kapelmelster in Laneberg, Amstact, Muhausen, Weimar, and C8then, From 1723-1720 he Was the most important musician in Leipzig, where he was responsible forthe music of ite four principal churches aa wel {a8, inthe employment ofthe town counel for other musical events. His huge output included elmost every genre ofthe time excepl opera: oretorios, passions, motels, and chorales, moslly to German or Latin texts, keyboard and lute works, orchestral concertos. and chamber music. He composed ve complete cyces of sacred cantatas for the church year, the cantata being an integral pant of the Lutheran Iturgy.. In addiion to some three hundred sacred cantatas he also prvided secular cantatas, of which only about twenty are extant, ‘or public events and ceremonies. ‘ach suffered eye trouble in his final years, eventually becoming totally blind. His wife Anna Magdalena, e singer and chamber musician, died in poverty, a his modest estate had fo be divided upon his death after a stroke among her and a {otal of nine surviving children from two marriages. a [69] ‘Note: Grove's records that this cantata is “not fully authenticated as being by Johann Sebastian Bach”. a'mo re tra di'to ce Amore traditore Treacherous love amore tradi'tore tw non min'gan:ni pju no Amore traditore, tu non m’inganni—_ pit, no, love treacherous you not medoceive more no Treacherous love, you deceive me no longer ~ no. non ‘vat: fo ju ka'tene non "va: £0. afi'fan: ni ‘pene kor ‘dod: oe —servi'tu Non voglio pid catene, non voglioaffunni, pene, cordoglio. —e —_serviti, not Twant more chains’ not want pains grief and servitude ‘want no more chains; | do not want anguish, pains, grief and servitude, 'vok: fo pro'var se ‘posiso sa'nar ‘lanima ‘mia ‘dalla ‘pjaga fa'ta le Voglio provar, se posso —sanar_'anima mia dalla piagn fatale, Iwant totest if Tamable toheal the soul mine of the wound fatal | want to see if| can heal my soul of ts fatal wound © ‘iver si'pwo ‘sentsa il ‘tuo ‘strale © viver sipud senza itu strale; and tolive itispossible without the your arrow ‘and live without your arrow, non ‘sia ju la_—spe‘ramtsa_tu'zinga del dolore non sin pid) la. speranza—lusinga © del dolore, ¢ not maybe more the hope alluring ofthe sorow and may hope no more be an enticement for sorrow, and [then] fa fds jo nel ‘mio "kore piu ‘two 'skertso sa‘ra‘nel:la ‘mia ko'siantsa la glojanel_—mio. core, pid tuo scherz>sarh nella min costanza, the joy inthe my heart more your jest willbe inthe my constancy the joy in my heart wil [no] more be your joke on my constancy ki in a'more a ne'mika Ia ‘sorte Chi in amore hanemica =a sorte, whoever in love has enemy the fate For whomever has fate as an enemy in love,BACH, J.S. © fol'lia se non ‘of:fa — da‘mar © follia, se non lascia—d’amar, tis folly” if not heleaves of to love itis folly ithe does not stop loving ‘spret: tsi ‘lalma le ‘krude ri'torte se non ‘ova mer'fede al pe ‘nar Sprezai alma le crude ritorte, se non trova—mercede— al pena ‘may scom the soul the cruel fetes” if not finds. reward inthe suffering May the soul scom crue’ fetter if it does not find reward in suffering, o (118,119) non sa ke ‘sia do'lo re Non sa che sia dolore He knows not what sorrow is non sa ke ‘sia do'lore ki dak: la'miko ‘suo ‘parte © non ‘more Non sa che sia dolore chi dal’amico suo parte. © non more, not oneknows what be sorrow —hewho fromthe friend his. parts. and not. dies He who parts from his friend and does not die, knows not what sorrow is. il fan ful'lin ke 'plora. © ‘dge me UN fanciuttin’, che plorae = geme the child who weeps and moans ed al:'lorke pju ‘teme vjen la ‘madre a konso'lar ed allorehe pid ef teme,vien © Ia_—smadre. a consolar. and just when most he fears’ comes the mother toto console ‘And just when the child who weeps and moans is most fearful, his mother comes to console him. va ‘dupkwe a ‘fenni del fe lo Va dunque a cenni = del_—clelo; 20 then at commands ofthe heaven Go then, at heaven's commands; aidempi or di mi'nerva il ‘de lo adempi or di Minerva’ il_—_zelo, fulfil now of Minerva the zeal now bring to pass Minerva's wil . ‘parti pur kon dolore ‘lafifi a ‘noi do'lente il ‘kwore pur © con dolore iasci_ «2 noi dolente il’ cuore. indeed and with sorrow leave tous sad the heart Leave, then, and with sorrow leave our hearts in sadness. fa ‘patria = gode'rai_ = ado'ver a servi'tai La patria. goderai, adover la serviral the native land you will enjoy properly it_you will serve You will take pleasure in your homeland; you will serve it well, varki or di'spon da in'spon da pro'pit si ‘vedi il 'vento e —‘londa varehi or disponda in sponda, _propizi vedi il—vento. © ond 05s now from shore toshore " propicious you see the wind andthe waves Go now from shore to shore; you will have favorable winds and waves. ‘wo saver al — ‘tempo e¢ lea —_—kon rasta Two saver al tempo © eth contrasta, your knowiedge atthe time andthe age opposes. ‘Your knowledge contrasts withthe times and your age; [saver/ =inod sapere] "12 BACH, J. S.— BARTHELEMON, MARIA viru e¢ va'lor sol a ‘vintfer "basta FW" (basta) te musing bs the invention, vitae valor sol a vincer——_asia. ‘he tranclation would be “wre and valor are Virtue and volor alone to toconquer is suficient | enough for you to be victorious”; and "bavi" virtue and valor are enough to be victorious. must = "bastan(o)" (plural), dhe "a missing ma ki gran ti fara puke non ur sti Ma chi gran ti fara pli che nom fusti? but who greet you willmzke more than [not] you were But who will make you greater than you were? anz'baka ‘pjena di 'tanti au ‘gusti ‘Ansbaca, lena distant «August, ‘Ansbach’ full -—of_—somany _venerable ones ‘Ansbach, populated by so many venerable people /iterally: Augustusos). Filet ti gra'mettsa © —pa'vento kwal noks'kjerpla'kato il ‘vento Rice gramezra = —pavento, qual nocchier-—placato’ il vento Reject sadness and fear ikea hlmsmin calmed the wind. ‘Away with sacness end foar, like @ heimsman who, once the wind is calm, piu non 'teme 0 siskolora pli non teme —@_si_scolora, more note fears or _himself'becomes pale 1no longer fears or pales ma kon'tento insu la ‘prora va, kan tando in fat: fa al ma contento insu la prora va cantando —_in fnecin al but content upon the prow goes singing ——_in the face of the but, content on the prow, sings in the face of the sea. GL: Minerva, Ansbaca age Barthélemon, Maria (1749 - 1799) ‘Aniece of Thomas Ame, Mary [Poly] Young was the youngest daughior in a large English musica faily. On a trip to Ireland with the Ames, she demonstrated hr talents at the young age of six by singing ‘perfectly in time and tune. She sang and played the harpsichord in a 1762 debut at Covert Garden in London, In 1785 she mamed the volnist and composer Frengois Hippoyte Barth6lemon, who was ‘the king's Theatre where sha had been engaged 10 sing minor roles. Their daughter, Ceci ‘musician and composer and appeared 2s a singer and pianist in concerts with her parents ‘Berthélomon publishod six sonatas for Keybostd and violin and, in 1766, a set of six English and ttalan songs. leader of the orchestra at Maria, also bocame 3 (68) fra un ‘dol tfe de 'li ro ra un dolce deliro Ina sweet frenzy fra un “doltfe de'liro son ‘ijeta © —s0'spiro Tn the repeat of the text. Fra un dolce deliro-—son_—lieta’ © ——_sospiros dolce sespiro midst a sweet fiery Tam — happy and sigh ‘snoot Ina sweet frenzy | am happy, and | sigh; kwel ‘volto mi 'pja fe ma 'patfe non ho quel volta. mi place, © ma_— pace non ho that face me pleases but peace not have that face pleases me, but | have no peace —BARTHELEMON=BEETHOVEN 13 kwel ‘dol tfe so'spiro ma ‘patfe non ho quel dole sospiro ma pace non ho. that sweetness 1 but peace not Thave | sigh for that sweetness, but | have no peace. Beethoven, Ludwig van (1770 - 1827) Recognized as a dominant musical figure of the 10" century, Beethoven individualized and extended classical traditions Inherited from Mozart and Haydn. Ator a noglgibio early education, in 1778 he became a pupil of Gotiob Neefe and then, NNoete’s assistant as court organist in Bonn. By 1789, not yet nineteen years old, he was head of his famiy, his mother hheving died and his father's singing career in jeopardy because of heavy drinking. Afler 1789 he actvely performed and ‘composed in Bonn, where powerful fiends such as Count Ferdinand Wakisein supported his musical actives, In 1782 Beethoven anived in Vienna to study with Hay, which study proved to be shortived; but he achieved remarkable success in Vienna 3s a viruoso pianist, as well a5 a composer, among the Vienne aristocracy, in Vienna he was passionately in love with the widow Josophine von Brunsvik who, though moved by Beethoven's ideals and his art ‘jected his proposal for mariage during the time he was composing his opera which would become know as Fidelio. In 1801 Beethoven confided to two fiends, one trained in medicine, that he was going deaf, By 1818 he was completely dansi 'patfe al'men Lascia che Vombre —ignude—godansi_-— pace __almen, let that theshadows naked mayenjoy peace atleast Atleast let the defenseless shadows enjoy peace, © non bani'par ‘mie ‘tjeneri di'nutile ve len © non bagnar mie ceneri__— inutile —_velen and not tobathe my ashes withfitile poison ‘and do not bathe my ashes with futle venom [tears]. o (70, 71,72, 73] Op.82, Nr3 Subtitled “Arietta assai serosa’ ftom: Adriano in Siria Pietro Metastasio Jaman te im pat 'isjen te L’amante impaziente 1d Op 82, NrA: two settings of the same text. Nr.3 is subtitled“ rietta buffs"; Ned is ‘The impatient lover16 BEETHOVEN ke fa il ‘mio ‘bene —per’ke non = 'vjene "+ There is nothing in this ext 10 Che fa il mio bene?—Perché non vien determine specifically ifthe soger is @ what does the my —__dearone why not he comest | “he” ora “she. “and therefore esther What is my dear one doing? Why does he not come? Interpretation would be reavoncble ve'der mi 'vwole lan'gwir ko 'zi Vedermi vuole Innguir_——cosl? toseeme —hewants tolanguish thus Does he want to see me languish lke this? 0 ‘ome e ‘lento nel ‘korso il ‘sole Oh come 2 lento nel corso. il_—_solet ch how is slow onthe course the sun ‘Oh, how slow the sun is on its course! ‘og: pi mo'mento mi ‘sembra. un di si Ogni momento mi sembra. un d,s cach moment” tome seems a day yes Each moment seems Ike a day to me yes. a ke fa il ‘mio ‘bene Abl che fa il mio—_bene? ‘ch whet does the my dear one ‘An, what is my dear one doing? per'ke non vjen il ‘mio ‘bene Perché non vien —il_~—smio._—_—bene! why mot comes the — my dear one Why does my dear one not come? lan ‘gwit ve'dermi ‘vwale ko'zi. sive ‘der mi lan 'gwir ko Languir yedermi vuole ~—cosi?-_— Si, vedermi—languir ——_cosi languishing 0 see me he wants thus yes toseeme languishing _ thus Does he want to see me languishing like this? Yes, the wants] to see me languishing like this! & 121,70, 71,72, 73] In [73] the tite is printed (incorrectly) a5 “L’ Apparent” Pietro Metastasio Ta. paren tsa La partenza The departure ‘ekcko kwel ‘fiero i'siante 'nitfe ‘mia ‘nitfe ad:'dio eco quel fiero istante! Nice, mia Nice, _addio! here is tha cruel__-moment Nice’ my —Nice_ferewell Here is the cruel moment! Nice, my Nice, farewell! ‘kome vivo ben ‘mio. ko'zi lon'tan da te Come vivrd, ben —mio, cos lontan date? how Ishalllive dearone mine so. far ffom you How shall live, my deer one, 80 far from you? io vila ‘sempre in ‘pene ‘10. mon avo ©—pju_ ‘bene [inlaw Yo vive). sempre in pene, ia non avra pia bene: —_| printing errors 1 shalllive always in sufferings I not Ishallhove more happiness | in “nom avr pi | ill live forever in suffering; | shall have no more happiness, a e om ki sa se ‘mai tisov:ve'ai dime © tu chi sa, se mai ti sovverai a) ad [eB eieemenic tes | and you who knows if ever youwill remember of me | “suvenire," ~ (mod "sovenire ‘and [as for] you, who knows if you will ever remember mel GL: Nice PeBEETHOVEN ~ BENCIN! ~ BERNASCONI (70, 71, 72,73], In{73] titled “Liebes Klage.” Op.82, Nr.2 Pietro Metastasio tin ten do si ‘mio kar Tintendo si, mio cor hear you. yes, my heart tin'tendo si ‘mio kon ‘tanto pal pi ‘tar Tiintendo si, mio con tanto —_palpitar youThear yes my with — somuch palptating so ke ti'vwoi lam'par ke atmante ‘sei so che tiyuoi—Iagnar che amamte sei, Tknow tha you want to-complain thar lover you are | hear you, yes, my heart; | know that, with so much throbbing, you mean to complain that you are in love. a ati it 'two dolor a ‘soffi il ‘tuo mar tir Ab! tai tuo dolor; ah! soft tuo mart ah silence the your grief ah suffer the your agony ‘Ah, silence your grief; ah, endure your agony! ‘atfilo e non tra‘dir fi af''fet ti ‘mjei taco, © non tradir gh affetti. mii, Ta{TT (AL and] pred silence it and not tobetray the affections mine “aft” rather than “et afi silence it, and do not betray my affections. Bencini, Pietro Paolo (1670 - 1755) Probably (2) bor in Rome, where he died, he was the most important member of a famty of composers. During his lifetime he held positions as maestro di cappella at various italian churches. His compositions, Inctucing orctorion, Cantatas, masses, psalm settings, and serenatas, nave not yat been extensively studied or rasoarched, (18,23, 48) ‘tam to so spire 'e9 ‘Tanto sospirerd | will sigh 80 much tanto sospire'ro ‘tanto milap:pe'ro ke in'tender le fara Tanto sospirerd, _tanto_—milagnerd. che intender = te_—fard, somuch vill sigh somuch I willcomplain that tounderstand toher | will make | will sigh so much, | wil complain so much, that | will make her understand ke per ‘lei ‘moro che per lei moro! ‘hat for her I die that | am dying for her! por ‘Tal ma le dim era. ta doro a Pur Fatma le dirk: Cara, adoro! (Gina poet) = anima | indeed the soul (ig.: heart) toher willsay dear one you I adore Indeed, my heart will say to her: “Dear one, | adore yout” y Bernascont, Andrea (1706? - 1784) tis bithplace is uncertain; his father setied in Parma afer withdrawing frm miltary service Bemasconi nels positons as maestro cappelia in Venice and assistant Kapelimelster, electoral councior, and then ‘apelmister, in 1755, in Munich. His almost two dozen operas, mostly extant. were very popula In Munich After 1772 Bemasconi devoted himself exclusively 10 church musi: almost allo hs move than 180 sacod works hve Deen lost. He also composed twenty symphanies, afte concerto, anda ne sata, 17EE —_—— 18 BERNASCONI ~ BIANCHI (65) from: Adriano in Stria (1755) Pietro Metastasio character: Farnaspe se non ti ‘mo ro alla to ‘Semon ti moro aliato IF do not pass away at your side se non ti‘moro al:'lato ‘idolo del kor ‘mio Se non timoro allato, doo del cor mio, —[_allaro= fia) if not [ftom] youl pass away attheside idol ofthe beart_mine_— | accania di fanco If do not pass away at your side, idol of my heart, kol two bel ‘nome a'mato fra Nab: bri ‘io mori's> a cot tuo bel nome amato fra’ labbri io morird: abt with the your beautiful name beloved between [the] lips. TI shall die alt | shall die with your beautiful, beloved name upon my lips ~ ah! ad:'dio ‘mie ‘vita non ‘pjandser il ‘mio ‘fa to ‘Addio, mia vita, mon planger—i|,——smio.— ato, farewell my life not tolament the = my —fate Farewell, my life; do not lament my fate; ‘mizero non son ‘io ‘sei fida e'dio lo 0 misero. non son io, sel fda edo lo 0. miserable not am 1 youare faithful andI it ‘I know | am not miserable ~ you are feithful, and | know it. Bianchi, (Giuseppe) Francesco (1752 - 1810) Born in Cremona, he studied in Naples and returned fo Cremona, where his frst opera, Giullo Sabino, launched his career, in 1772. In 1775 he went to Paris, where he worked for the Theatre-taien. Black in italy In 1778, he was named in 1785 as second organist of S. Marco in Venice. Bianchi began collaborating with the progressive librettets of tho day. Alonso 9 Cora and Calto, with Foppa, initated {an imovative era in Venetian opera. In Callo Bianchi introduced the clarinet to Venice; t became a regular orchestral Instrument five years later In 1795 Blancni went to London, where he prepared works for the King’s Theatre. Between 1802 and 1807 he travelled between London and Paris, composing operas and directing revivals; his works dominated opéra comique productions at Parisian theatres. He wrote @ highly praised theoretical treatise, Trattato darmonia. His output, apart from a grest number of operas, Included oratories and miscelaneous sacred, vocal, and instrumental works, ‘Bianchi commited suicide at his home in Hammersmith, London, despite a considerably successful career. [65] tn [65], tiled *Tu ssconda i vot mie,” Recitative and Cavatna (Prayer) fiom: L'Orfano dela China (1787) (Grave's list this wotk as L'orfano cinese] afer Voltaire "kwe ste ‘ki 'par go tu se'kon da i ‘vo ti ‘mje i ‘Questechio porgo..Ta seconda i vot mi ‘These which | offer...avor my vows ‘kweste ‘kio —'porgo u'mile pju kol kor ke kol "tabs bro Queste eh'io—porgo mile pit col cor, che col labbro, these which Toffer humble more withthe beart_ which with the lip a te gan ‘nume ‘fervide ‘peyi e ‘puri ‘woti a te gran nume fervide preci, € ——puri_—_yoti,_[/prece il prec) to you great deity fervent — prayers and sincere vows | (li) = preghiera e —'pjanto non son per me —pianto non son perme; ‘and tears not are forme ‘These fervent prayers, sincere vows, and tears which, with my heart more than with my words | most, humbly offer you, great god, are not for me;Banc 19 son pel «='mio. resto 'sono son pel ~=—smio. Rey to sono theyare forthe my King [it] are ‘they are for my King; they are per un 'po polo do'len te per un Popolo dolente, for an people sorrowful for an afflicted and sorrowful people ke il "bratz fo omni po'tente di ‘wa dgu sti ajsa im 'pla ea A che onnipotente di tua _—_giustizin plora; Printed is almighty of your justice implores | fantquate) “gusta who ‘who impiore the almighty arm of your justice; a piedi 'twoi ‘io Ia ‘kjedo per "Wi a’ piedi tuoi, jo Ia chiedo per Mui, at fect yours Tit Task for for him at your feet I ask it on behalf of him fof the King — or, of the people ("il popolo’)). per kwel la ‘kjedo'tene ro a'mato 'pempo ke del tfi'ne ze ‘re: po Per quel ta ehiedo-—teneroamato.—pegno’ ch" del cinese——regno for thatone it Task for tender dear_—=—=token’— whois. ofthe Chinese ‘kingdom ‘ultima ‘speme ‘wniko il‘lustre a'vantso di ‘anti ‘dgusti te ultima speme, unico lustre avanzo— di tanti gust re. [pene a) last__hope "only illustrious _survivor__of __somany _just___kings | = speranca ( arnted a vanto™ was ely “aan ithe orignal enter mang he mst sense: Tm Tali We liber of charging @—| | ask fort jusice] on behaf ofthat tender, beloved token who ste last Rope ofthe Chinese Kingdom ard] the ony ilustrous descendant of so many just ngs. tu ke lo 'pwoi tw ‘nor lo Tu che lo puol, tu Signor lo you who it youean you Lord him You who can do so~ you, Lord, defend him; pie'toza de ‘swoi di ‘kun ti'prendi pictosa de suoi di cura ti prend compassionate of his days care yourself take take compassionate care of his days, tu setkonda i Voti ‘miei Ta seconda § vot mie... you favor the vows mine You, (Lord), favor my vows, del Kle'mente e ‘djusto sei tu ko'rona la ‘mia fe del clemente, © ~—giusto.sei._—=— tu corona’ la. mia f&, ofthe clement" and just —youare you crown =the. = my faith 4s the mereiful and just one, you are the reward for my faith fausto ‘splenda il di_—nafi fente adun ‘or fano in:no ‘fen te Fausto splenda i nascente —ad'un —orfano_innocente, auspicious may shine the day dawning toan —_orfan.—_innocent May the dawning day shine auspiciously on an innocent ortan, © ‘sia ultimo per me © sla Pultimo per me, and letitbe thelast’ forme and let it be the last day] for me.20 BIANCHI u se'kon da it ‘voti ‘mjei tu ko'rona la ‘mia fe Ta seconda i voti_micl, © tu corona In_—mia_—fE. you favor the vows mine you crown =the = my faith ‘You, [Lord], favor my vows; you [are] the reward for my faith. & (65) from: L Orfano dela China (1787) [Grove's ists this work as Lcrfano cinese) alter Voltaire son tradi‘tore la ‘mia vir'tu non ‘tfe de Son* traditore!..a mia virtt non cede Jem a traitor'?..My vitue does not yield son tradi'tore tig ‘gan: ni se ‘tuo ‘suddito ‘fos:si fe'dele a te sa'rei Son traditore! —_inganni, tuo suddito—fossl,fedele. «ate saci Tam — traitor ‘you are mistaken Your subject Tere faithful to you T would be | em traitor’? You are mistaken; If were your subject, | would be faithful to The print sold and Begins with "So raditore," which must, corrocily, be “Sontradtiore™ to make sense ‘mek: fo ri'spet:ta ‘Kweli la vir'tu ke non ko 'nofs fia ‘ko ra Meglio rispetta quella virti, che non conosci_ ancora; beter” respect that-—=—‘vrtue which not youknow yet Rather, respect that virtue which you do not yet know; “ewesta ‘vita infe‘life © in ‘twa ‘mano lo 50 questa vita infeice = @ int’ mano, lo. 50. this life unboppy isin. your. hand. «it know this unhappy life is in your hands, | know. ma tu pur ‘sappi_ ke il ‘two potter ke ‘lira "twa non ‘temo Ma tu por appl che. «il = tuo poter, che ira tua non temo. but you indeed know that the your_power thatthe wrath yours not I fear But know, indeed, that | fear not your power, your wrath ‘fino al momento e'stremo kwe'stalma trove'rai ko'stante @ forte Fino al momento estremo —quest'alma—troversi_——costante =e —_forte, ‘punt atthe moment final this soul youwill find constant and strong ‘You will ind this soul constant and strong up unti the final moment, in fafa ‘dei tor'menti © ‘del: la ‘morte in faccin dei tormenti della morte. in face ofthe torments and ofthe death in the face of torments and death. la ‘mia vir'tu non ‘tfede di ‘tue mi'natife al 'twono no La mia virta non cede di tue —minaccie. = al_—tuono, no} the my virtue not yields of your _ threats tothe thunder m0 My vicue does not yield to the thunder of your threats — no; se fra kattene © il ‘piede ‘libero ‘serbo il kor si se fra eatene it pede, hero serbo. il cor, sh if among fetes is the foot five ——Tkeep the heart yes ‘though my feet are in fetters, | keep my heart free ~ yes. m il “id: ko rasse'rena se ‘karo an'kor ti "se no Tu il cigho —rasserena = se. ear. ancor ti sono. you the brow brighten. if dear still ~—toyou Tam {And you, my love,] brighten your eyes, if| am stil dear to youBIANCHI-BONONCINI, A.M. 21 lidea ‘dek la ‘tua ‘pena sa'rebrbe il ‘mio dolor LYidea della tun pena_—sarebbe il’ mio._ dolor, the ofthe your suffering wouldbe the = my —_ pain ‘The thought of your suffering would be my pain. Bononcini, Antonio Maria (1677 - 1726) ‘Composer and celist who was born and died in Modene, he was the younger brother of the more famous Giovanni Bononcini (1879 — 1747), alongside of whom he worked untl 1713. Records attest that Antonio Maria Banoncin! was a laacing cellist in Rome as of 1694. Shortly thereafter he joined his brother in Vienna and was first commissioned in 1705 to composs for the Viennese court ‘After returning fo italy ho re-sottied in Modena, whore four sons and a daughter were born between 1715 and 1722. ‘Bononcin achieved some fame throughout Italy for his operes composed for Venice, Rome, and other cites dominated by the Austrian emperor Joseph | untl the emperor's death in 1706. For the last five years of hi ite Bononcinl was maestro di cappella et the Modenese court His outwork, in adction to operas, included serenatas, cantatas, a few liturgical works, and instrumental sonatas. ‘Note: This composer's name is sometimes (incorrectly) listed ia music publications as “Maria Antonio. Bononcini” or as “M. Antonio Bononcini.” (32) ‘dat: ti pur ‘pate atti pur pace ‘Then give yourself peace ‘dat: ti pur 'patfe e ‘vivi ‘ljeto Datti pur pace e vivi_ Nieto, sive yourself then peace and live. happy Then give yourself peace and live happily ma nel ‘tuo ‘petite kon ser va a ‘mor ma nel to petto.— conserva amor. but inthe your breast preserve love but preserve love in your breast. o (56, 41) pa sto rel la ‘spe ea Pastore, spera Shepherdess, hope pasto'rel: Ia ‘spe ra ‘speea ke il de‘stin si kan dye ra Pastorella, pera, spera, che fl destin si canger’, Shepherdess hope hope that the destiny will change Shepherdess, hope —_hope, for your destiny will change. la tua ‘stekla men se'vera e¢ — pju ‘bella splende'ra_[ Printed nar era, "an easy La tua stella men severn © ph Bella splenderh, | probable) miscopying or the your ar less severe and ore Beautiful will shine | “severe, " which m ‘Your star (Fate] will shine [on you] less harshly and more beautifully. ent22 (CHELLERI- CHERUBINI Cheleri, Fortunato (c.1690 - 1757) CCholler’s uncle, a priest and maestro di cappella in Paima, cared for his musical education after the ceaths of both his father, a German emigrant, and his mother. fe wes a chorboy in Parma, Hotkepelimelster to the Prince-Bishop at Woraburg (Germany), and Kapelim Kasesl (Germany), where he remained for the most part of tha rest of his life. In 1726-1727 he was in London, ‘connected with the Royal Academy of Music. Chelier's music “represents the best by those ltaiantrained musicians who served the smaller German courts’ Grove’. im addon to many operas, he composed orators, Keyboard works, and Insirumental music, the latter being the besis of his reputation at the time. (62) from: Amalassunta, Regina di Gout (1718) G Gabriel kwel da'more © un ‘Yer to ‘male ‘Quel d’amore é un certo male Love is a certain malady kwel da'more e un ‘erto ‘male ke lo in'tende Quel d'amore @ = un certo—male_— che lo intende [that] of love itis. a certain malady that it understands sol kil "pro va e ritmedjo ‘effi non a sol chil prova © rimedio —egli, mon only he who it experiences and remedy it’ not has Love is a certain malady understood only by those who have it, and it has no cure, © un ‘iferto ‘male ke ri'medjo ‘efi non a % un certo. male che rimedio. gli non ha. itis a certain malady that remedy = it not_— has itis a certain malady that has no cure, ‘posta alma in ‘stret ti ‘nodi la Kkom"batie in ‘mille ‘modi Posia alma in streiti_ nodi la combatte in mille. | modi placed the soul in tight’ Knots it battles in thousend ways Having tied the soul in tight knots, i fights it in a thousand ways, fe mo'rire op:'por la fa fe — morire —ognor, Inf. and odie always it’ makes and always makes it de. hy Be cx 4 Cherubini, Luigi (1760 - 1842) concer. cache, ond tect he sued ith hie feo his nave Florence and wih Sain Man Gangover, conduc acer ond tent afr leinws” i 17Ba he wert to Londo, hath et eating oro Ca oreo In 1765 he ved Para wore Te woe duces Ma ra oe os or abe nec Pee hs home eon ang French azo Atenas ond Pas Soon As inign ohare company tre These de Maren the Tuto (lots n tocar pe ree Oral essai Gage come cian Sarak: foe vee eas the Rus Fenieeu in 170) anno (7) and as Coot jomees 180) wee a rote sucomes, the ase rene ote ca Mece nama Sunionart ttre ol Shape post he el i ial of a ee eae. tnd seats uc tra ib oovocey ered Tt the Garon yay 183, er card 1) he we made 9 Conmander of me oon OE a ee pathos His Requom maze nD mor (188) wos performed st Ne tale Has {ut o many opens, Chenklns ouput nuded anes, carta, srg a ee Keyboard works, and aCHERUBINI 23 i) ‘Note: The original French ttle of the opera fiom which the following text is excerpted (and was translated) is Démophon; in the French, the character's name is Direé, from: Demofeonte (1788) Jean-Francois Marmontel, after the libretto by Pietro Merastasio character: Dircea ‘ai ke "forse ‘ai ‘mjei di ‘Ahi che forse ai miei di Alas, perhaps of my days ‘nike forse 'ai—'mjei di Vultima aurora ‘splende ‘Ahi che forse = al_=—smiei._ dh Pultdma aurora splende! alas [that] perhaps tothe my days the last’ dawn shines Alas, perhaps the last dawn of my days shines! ‘ai ke ill ‘prentfe_ © = In'mante_-e lo. ‘spoz0. ke adoro ‘Ahi che il prence. e Pamante e to sposo. che ~— adoro, | prence falas [that] the prince and thelover andthe husband whom Tadore | fmod J prince ‘Alas, the prince, lover, and husband | adore, ‘mio 'skudo ‘mia di'feze o'zmida ‘lundsi © da me mio seudo, mia difesa,- Osmida_—tungt_ «= da._—sme. my shield” my defense -—Osmida_— faraway is from me my shield [and] defence, Osmida, is fer away from me. se dun se'greto i'mn ‘io ta'disko il mi'stero del ‘krudo deni tor Se d'un segreto imen io tradisco il_—mistero del crudo.__genitor if ofa secret marriage 1 betray the mystory ofthe cruel_—_parent al tre'mendo fu'ror abs ban do'nar ded: 'dsio Io 'spoz0 ‘mio al tremendo furor abbandonar —degg"io. © o._—sposom tothe tremendous firy toabandon mist]. «=the husband mine If reveal the mystery of my secret merriege, | must abandon my husband, to the tremendous fury of his eruel father; © me pure ome uma ledidge kr ‘de le © me pure me = una_legge —_crudele and forme aswell forme a law cruel ‘and for me as wall, 8 cruel law per ‘kwesto i'men fa'tal me kon'éan:na a mo'rir per questo imen —fatal_~me condanna =a mori. for this marriage fatal. «= me condemns. = ttodie condemns me to dio for this fatal marriage. ke ‘disssi 0 zventu'rata ‘ma dre Che diss? © sventurata = madret What Isaid ch misfortunate mother Whet did | say? Oh [me], misfortunate mother! un pe'rik:So mi'natrtfa il ‘karo ‘fi: Ko an'kor Un periglio —minaccia. = fl’_—~— caro figlio. amcor. 2 danger ——threatens_—=the.- dear. son still ‘A danger stil threatens my doar son. ‘si ‘sola kwan'dio vi'vea non ‘mai per me tre'mai ko 'ai Ait sola quandio—vivea non mai per me tremal casi. vive = alas alone when! Kwasliving not ever forme Itembled thus | owe ‘Alas, when | was living alone not ever did | tremble for myself like this.24 CHERUBINI ~ CIAMPI 0 ite al ‘mio kor trop:po ‘kara spet''tsar i ‘wo ‘lat tfi do'vrs © via al mio. cor_— troppo cara spewar i tupi_—lacci_—dovrd, 0 le tothe omy heart too dear twhreak the your ties. shall havewo life too dear to my heart, | shall have to break your ties. o ‘morte ¢ ‘spoza c¢ ‘madre ‘io ‘sono © morte e Sposa e madre jo. sono; 0 death [and] wife and mother. «1 Tam (O death, !am 2 wile and mother; il kor non pola Vita aime loft far cor non pub a vita, hime, _lascia the heart not isable the life alas. to leave my heart cannot, alas, leave this life. ‘ai ‘sola kwan'dio vi'vea non ‘mai perme tre'mai ko 'Zi Abi, sola vivea non mai per me tremal casi: ‘alas alone Ivasliving not ever for me [trembled thus ‘Alas, when | was living alone not ever did | tremble for myself like this; ma lofi'far kwel ke sa‘dora sipwo ‘mai ‘sentsa dolor ma laselar quel che s'adora’— si pu mai_—senza_—_ dolor? but toleave thatone whom one adores ispossible ever without pain but itis ever possible to leave the one whom one adores without pain? Ciampi, Vincenzo (1719 --1762) Clamp! stuced in Naples, where Nis fist six comic operas were performed. Mtr a short ime in Palen, he worked at the Ospedale dei Incural in Venice 2 of 1747; as magsio di coro there, he composed moteis and an oratorio as Well 2s operas; his come opera Botolde, Bertakdino e Cacasenno, composed there, nad great success in Paris in 173, influancing the development of ne opora comique In 4748, on a leave of absonce from Venico, Ciampi was in London a¢ composor and muse crector of an opera ‘company whch performed atthe Kia's Theatr. He remained in London unt the end of 1756, when he was beck in erica. By 1760 he was again maestro of coro atthe Incurabil, wrich post he held unt his death, In advon to operas, Clampl composed much instrumental music, and other vocal music including thee sets of concer arias ‘The sorg "Nira, sometimes atibuted to Clamp), |s fom Gir ccisbel rc (1749), a comic opera produced atthe King’s Theat in London during Ciamp's music rectorship. For "Nina" se9,page 1, ANONIMO. [2] se mi por'ta te afi fet: to ‘Se mi portate affetto you bear me affection se mi por'tate afi'fetto se mi vollete bene Se mi portate affetto, semi volete bene, if tome youbring affection if tome youwish well If you bear me affection, if you care for me, ne 'befife ne di'spet:ti non mi do'vete fer né —beffe, —né_—dispetti_ = non mi dovete far neither mockeries nor provocations not tome you ought to make you ought neithor to make fun of me nor provoke me. dal 'pjanto «= “dai 0 'spi ti kor —mi'bal tsa in al planto © dai sompiri il cor mibalza = in_petto, fromthe tears and fromthe sighs. the ‘heart mepounds in breast From weeping and sighing my heart pounds in my breast;Clamp! CIMAROSA mi ‘mapka 3a. il re'Spizo non 'posrs0 pju par ‘lar mi manca gi’ respiro, non posso pid) —_partar. tome istacking already the breathing not Ican more to speak | am short of breath [and] can not speak anymore, = Cimarosa, Domenico (1749 - 1801) Cimarosa spent eleven yesrs al the Conservator di S. Maria di Loreto, during which he excelled as a composer and studied singing, violin, and keyboard playing. The premitre of his fist ‘commedia per musica." in 1772 in Naples, intiated his future fame. ‘Though he held positions atthe royal chapel in Naples and at the Ospedaietto conservatory in Venice, Cimarcea wae often absent from those regular duos wile composing operas for other Italian ci In 1787 he arrived at the St. Petersburg court of Catherine Il to assume duties ae masstro di cappella, having made an important contact with emperor Joseph Il at the Viennese court along the way. In 1791, Catherine's court beginning to fade, Cimarosa let St. Petersburg for Vienna, atving there shorty after the death of Joseph I Though his operas ware popular among Viennese society, Cimarosa returned to Naples in 1792 as maestro della cappella reale. In 4786 the French capiured Venice; three years later the Bourbon king was forced to ee Naples. When the Bourbon troops retumed, Cimarosa was forced leave Naples. Despite the composition of a cantata praising the king, Fordinand IV had him arrested, and his deatn was spared only atthe intervention of powerful frends. Upon his release from prison in 1800, he went to Venice, where he died ANiso the composer of sacred works, cantatas, chamber music and keyboard music, Cimarosa composed at least sity stage works which were performed in all the major European cities. He was the major composer of Halen opera buff in his time, the predecessor of Rossini EE Ql from: La vergine del sole (1788?) Moreni tor ‘nar ta ‘bel: Ia au iro ra Ab, fornar la bella aurora ‘Ab, [I will no more see] the beautful dawn retuming a tor'nar la la au'rora pju mel fel ‘io, non ve ‘dra Ab, tornar la bella aurora pii_—nel_— ciel io nom__yedr’; th’ toretum the beautiful dawn more inthe sky 1 not ‘Twill see Ah, | will no longer see the beautiful dawn returning In the sky; ma kon'enta ‘io ‘moro ap'kora se a ‘voi ‘kara ‘io movi'rs ma contenta io moro ancora, se 8 Yoi_ cara io. but content = TI die still if tw you dear {I shall die but! die content if | will dia stil dear to you. padre a'mii ad‘dio ke ‘pene Padre, amici, —addio! Che pene! father’ friends farewell what pains Father, friends, farewelll What pain! ‘sen to il kor ke —sidi'vide e man'kando in sen mi va Sento il cor, che sidivide © —mameando in. sen. mi_—va. feel the heart which splits and falling in breast tome goes | eel my heart separating [from life] and falling within my breast a si ‘barbaro tor'mento piu re'zister non sa‘prei A si barbaro tormento pit’ resister nom saprei, at stich emel torment more toresist not I would know how ‘At such cruel tormet I would not know hovr to resist anymore. 28‘CmMAROSA a di ‘anti ‘mali ‘miei ‘io non ‘wovo 0 ‘dio pje'ta ‘Ab, di tanti mali miei fo nom _trovo,_ oh Dio, _pietd, th’ of somany woes mine 1 aot [find oh God pity ‘Ah, for s0 many woes of mine I find no pity, oh God ~ noma non ‘tovo 0 ‘dio pie ta no, m0, non trovo, oh Dio, _pieta! nono not Ifind. oh © God pity 19, no, | find, oh God, no pity! o [8,31] bel ‘nu me ke ado ro Bel nume che adoro Beautiful deity whom | adore bel ‘ume ke a'doro tm ‘versi di ‘spe me, Bet ume che adoro, tu yersi_ = di_—_speme pene (it) beautifal deity whom adore you you pour of hope speranse un ‘dol ife ri'storo in ‘kwesto ‘mio sen un dole ristoro in questo. mio sen a sweet comfort into. this my breast Beautiful deity whom | adore, you pour a sweet comfort of hope into my breast. kwel ‘rad: dj0 amo'rozo pje'toz0 = mi» “die Quel ragglo —amoroso —_pietoso mi dice: [Paseo oct, ad Tali) | that ray amorous. compassionate tome says (coves. glance That loving, compassionate glance says to me: Kon'ten to fe'litfe vi'vra kel two ben Ta [ST] anton“ rath Tan] contents felice—_viveal col two ben, content," reasonably suggesting that content happy youwilllive withthe your daar one | the sing is a male adavesrngaomele “You wil ive contentedly and happily with your dear one." > (4a) from: Clana e Bernardone (1781) Filippo Livignt character: Bernardone ‘mi ze ro ber nar'do ne maci'ta ti po ve rel: li Misero Bernardone...Maritati poyerelli Miserable Bernardone...You poor married men ‘mize ro ber nar'do ne Misero.Bernardone! miserable Bernardone © ‘kwale © ‘kwesta di kon'tiaui ma'lanni tem'pe stain dja vo'lata @ quale = questa di continui~—malanni—tempesta_indinvolat and what is this. of continuous mishaps _storm demonic Miserable Bemardonel What is this demoniac storm of non-stop mishaps! ‘kwan do "kredo ‘des: ser dg al Koper toe dal si'ku 60 quando credo esser_ gla alcoperto. ed al sicuro, when Ibelieveoftobe now —sheliered——and.safe Just when | think I'm sheltered and safe,CIMAROSA 27 ‘sono al:'lor pju fra lombre =e frat 'sku ro sono allor pia fra ombre =e fra’ oscuro, Tam then more among theshadows and among the darkness then | zm even more among shadows and darkness. ‘dove mi ‘sia mon so son si kon fuzo Dove mi sia non $0, som_si_confuso, where me Ibe not Iknow lam 50 confused Where | am | do not know; | am so confused, sor'pre zo stupe'fat:to ke al ospi'tal per ‘mat to dan'‘dar sa'sa ko ‘stret:to sorpreso, stupefatio che al_—ospltal’~—per_matto d’andar sarb_—_costreto. suprised supefied that tobe hospital for matic of to go_Twillbe forced ‘surprised, [anc] stupefied that | will be forced to go to the hospital as a lunatic. [oxpiaife] = tod, ospedalle) | 'ekcko il Yer'veklo dya bak lata fur'lana Beco, il cervello, git’ balla. Ia_—_furlana, fran a dance ereis the brain already dances the furlana ofthe day Look: my brain is already dancing the furlang; il ‘kapo ‘mio 3a 'bal'tsa._— wal pals lone 1 capo mio. gia balza —qual_pallone, the head mine by now bounces ike balloon i sentitmenti ‘per do di'gra do ig 'gra do 1 sentiment perdo di grado in grado. the canscionsnesses Tose step by step | am losing consciousness bit by bit atmii ‘ai matsta'rek li ‘io dsa__men'vado [re a a orm of verb "wdarione™ | Ami, al mattarelli fo gi man vado, [_pailarli a diminutive of “mato” = cram mad fiicads tothe asylums 1 bow Tgoall |" taalor o “parserell,” generic for "pchietic Friends, lam now going off to the asyium, Jaspal" tm Rome. the hosptal atached othe church sf Santa Maria dela Pats was clled “del paszrell. maritati pove'rek li dsa vi lafifo © ‘diko ad:'dio Maritati —poverelli, gid viluseio ——dieo.—_addios married men poorenes now youlleave and Tsay farewell You poor married men, | leave you now and say farewell, ‘kwalke'volta ‘ai mat ta'rel: li de ve'nitemi a tro 'var qualche volta ai_—mattarelli, deh, venitemi =a trovar. venire a rovare (ion) = sometimes atthe asylums th cometome to tofind to come 0 soe eh, come see me, sometimes, at the asylum. Vi ‘aft fo ads Vi Iascio, addi. you Tleave farewell ieave you — farewell kontem'plando il ‘kazo ‘mio fi ‘ski ‘bene a'prir dove te Contemplando il easo._—smio. gli ocehi- bene aprir_—_dovete, contemplating the ©case.~—mine the eyes’ «well ‘toopen _youshould Contemplating my case, you should well open your eyes, ke Te 'mofisi dga—sa'pete se le teste fan gon 'fjar ché es mogli gid sapete, «sede teste fan gonlfiar. because the wives already youknow that the heads theymake to swell 28 you already know that your wives make your heads swell28 CIMAROSA ‘sia ‘dgovine il ma'rito ‘sia ‘bello 0 ‘sia_kom'pito Sia glovine i marito, —sia_—bello.,~=—o sia. compito, be young the husband be ~—handsome or be well-bred ‘Whether the husband be young, handsome, or well-bred, ‘sia 'vekzkjo e ‘sia atitem'pato ‘sia ‘'fok:ko 0 letite rato sia vecchio ¢ sia attempato, sia seiocco 0 _leterato, be old and be elderly be Stupid) or scholarly aged and elderly, stupid or scholarly, le 'moK: Ai 'mjei sip'pori fan ‘sempre te fi'vet te Je mogl, miei signori, fan sempre le civette~ the wives my lords make always the coqueties the wives, my lords, will always be playing the coquette ~ tow om ty tu © a ‘swomo di or'netste [ft =s0me lad of “cooing” ora way oh ty te ft © a sume di comette iting meaningless tak (rating) coo coo oo coo coo and at sound of comets caret (= hare) sa terary (and c00, £00, co0, ¢00, coo"... and at the sound of comets musical) reference to ilnstretecuckoiing {fi'stan:noa kor bel: ‘lar ci stanno a corbellar. they are making a fool of they are making foo of you eo (3,44) : from: 1 Olimpiade (1784) Pietro Metastasio character: Megacle nel laf: Jar tio 'pren tfe a 'ma to Nel lasciarti,o prence amato In leaving you, o beloved prince nel lafi'for ti 0 'prentfe a'mato mi si'spet:tsa in ‘sen il kor | prence Nel lasciart, © prence amato, mi si spezza in seno. il’ cor: |_prencipe inthe leavingyou 0 prince loved tome breaks in breast the heart | (mod, principe In leaving you, o beloved prince, my heart shatters in my breast i al'meno a ‘lato per'ke a me si'njega an'kor [siriega~ i moriti faimeno a lato perch ame stnlega amcor? | (mod) sirems of odie (with] you atleast at side why tome isdenied sil fron “nego why isi stil denied to me to, at least, die at your side? or si a'tferbo af'fan:zno ‘dolfe a'miko o ‘mio te'zor jgnor! st acerbo —affanno, —dolee.-amico-—osmlo_—tesor! th lord so. bitter—— suffering swect friend «=o my — treasure: ‘An, my lord! ~ such bitter suffering, sweet friend, o my treasure! 2 de'stin ‘empjo ti'ran:no de mut'fida il ‘two ri'gor ‘Ah destin empio, tiranno! deh m’uecida il’ tuo rigor. ah destiny wicked tyrannical ah —-memay kill the your severity ‘An, wicked, tyrannical fatel - An, let your severity kill me. ‘karo a'mike sip:'por ke a'tferbo aft 'fan:no war shacerbo af Caro amico! Signor! che acerbo—_affanno! such bitter sufering dear friend lord what_ bitter suffering var. Amico! Signor! = Dear friend! [My] lord! What bitter suffering! Friend!_IMy] lordCIMAROSA 29 'yoi ke un ‘doltfe a'mor pro‘vate de spje'gate il ‘mio door Voi che un dolce amor provate deh __spiegate dolor. you who a sweet love youfeel_ pray explain. © the. my pain ‘You who feel a sweet love, pray, explain my pain. cd i fiom: Le astucie femminili (1794) Giuseppe Palomba kwel so'a ve e bel diet: to Quel soave e el dletio That sweet end beautiful delight kwel so'ave ¢ bel di'letto ke fin or pro'vaste al kore Quel soave © bel diletio. che fin or provaste al core that sweet and beautiful delight which until now you felt’ inthe heart “That sweet end beautiful delight which, unt now, you have felt in your heart — asx vi “legigo nek la'spet:to ke un vellen di'venta sa si vi leggo—nel'aspetto. che un velen—diventn. gia. now you [read inthe faco that a poison it becomes already ow | read in your face that itis already becoming poison impa'rate ke la'more © ‘una ‘brut ta infer mi'ta Imparate che amore & una brutta — infermitd, learn that thelove isan ugly infirmity Lear thet love is an ualy sickness. io ben ‘stimo stra va'gante ‘kweklo Yfokko © ‘flile a'more fo ben stimo —stravagante quello. scioeco ¢ —‘folle amore 1 well Teonsider peculiar that silly and foolish love | really consider peculiar that silly and foolish love ke a pja'fer di “farsi a'man te che ha pincer di farsi amante which has pleasure of tomake oneself’ lover which takes pleasure in loving one di ki amor per "wi non a di chi amor per Iwi non ha. of hewho love for him not has who does not love him back co (8) fiom: Gli Orac ei Curiazi (1796) Simeone Antonio Sograft ‘resta in ‘pate 'idolo ‘mio Resta in pace, idolo mio Rest in peace, my idol ‘testa in 'patfe ‘idolo ‘mio non skor'dar a ki ‘sei ‘spoza Resta in pace, foto mio, non scordar a chi sei_—=—_sposa: rest in peace doling not _toforget to whom youare bride Rest in peace, my idol; do not forget whose bride you are: kwalke ‘le grima pje'toza non ne'gar al two fe ‘del qualche lagrima pietosa non negar al tuo_—_fedel, some tear pitying not todeny tothe your faithful one 0 not deny your faithful one @ pitying tear, &‘CIMAROSA 156) from: 1 comito (1782) Filippo Livignt se mi 'pjatfe ‘mio kon ‘tino Se mi piace il mio contino If my young count pleases me se mi ‘pjatfe il ‘mio kon'tino ‘molto an'kor ‘voi mi pja'fete Se mi piace il mio contin molto ancor_—voi_—mi_piacete if me pleases the my youngcount much more you.sme you please if my young count pleases me, you please me much more; e ko'stante se sa ‘re te ‘io vi ‘vod: 0 komo ‘lar © costante se snrete fo vi voglio consolar. ind constant — if youwillbe 1 you Twant toconsole ‘and if you will be constant, | will eonsole you. kwel bel ‘Tabro. di__tfi'na bro kweli ola'kjet to si fur'bet: to Quel bel labro di cinabro, quellecehletto—si_furbetto that beautiful ip of_vermilion tattle eye 50 roguish ‘Those beautiful vermiion ips (and) those litle eyes, 50 roguish, un in'tfen djo male'det:10 nel ‘mio kor fe dys de‘star tun incendio. —maledetto nell. cor fe’ —gik'——destar. a fire cursed inthe my heart made already to awaken have already made an accursed fire str in my heert. ma ko'stante se sa'rete ‘io vi ‘vo fo kon solar Ma coslante se sarete_ io. _vi_—_voglio _consolar. but constant. if -youwillbe 1 you Twant — toconsole But if you will be constant, | will console you. ~ 116) fom: Cli Orazi e i Curiazi(1796) ‘Simeone Antonio Sograft character: Orazia se pje'ta nel kwor ser 'ba te Se pietd nel cuor serbate I you have fany] ply [lef] in your heart se pje'ta nel kor ser’bate de kal'mate il ‘vostro ardor Se picth nel cor serbate, deh! calmate il vostro. ardor, if pity inthe heart youkeep ch calm the your fry if you have [any] pity (eft) in your heart, ah, calm your fury, ke vel~—'kje de dga,—=smi'rnte Ia ‘mia ‘pena il ‘mio do'lor che vel chiede,gi——mirate, lamin pena, il’ mio dolor. because youit asks already yousee the = my pain the «my sorrow Since my pain [and] my sorrow aak you to do so, [as] you [can] already cee. torne'rete ar'mati in ‘kampo of friete ‘ai ‘kolpi_ il’ ‘petito Tornerete armati in campo, offrirete al colpi_— peta. you willreum armed infield -youwilloffer_ tothe blows the breast ‘Are you going to return, armed, to the field, and offer up your breast fo the biows? a ritorni il ‘dof afi'fetto a repr'par nel ‘vostro. kor Abi ritornt idole affetto =a regmar nel vostro. cor. ah —mayreturn the sweet affection to toreign inthe your heart ‘An, may the sweet affection return to reign in your heart. oeCIMAROSA ‘Note: The following was tiled “ARIA BUFFA nel Don Calandrino” in the publication edited by Gevaert, underneath the tite is printed "Le (our die monde” [The tour ofthe world"). I wonder if Gevaert, being French, added the sub- tile “for fu,” ori it was on Cimarosa's copy; one would have 10 see the “original” to know 43) fom: Don Calandrino (an intermezz0, 1778) [listed in Grove's as Il ritorno di Don Calandrino) ye 'dra i Ia for te 'bjon da a le 'man: pa Vedrai ta forte bionda Alemagna You will see the strong, fair Germany ?Perrosellint ve'drai Ia forte 'bjon da la ‘bel: ta bella, beautiful ale imap: pa Vedr Ia forte biondaAlemagna, la you willsee the strong fair Germany the ‘You will see the strong, fair Germany, the beautiful France, ‘fran tfa Franci France Homage ora speling for “Germania la ‘riks ka ‘span:pa ‘poi la pen'soza ‘se sja la ricen Spagna, pot la pensosn seria the rich Spain’ then the pensive serious the rich Spain, {and] then the pensive, serious England - in Inghilterra, England, ‘indi pju oltre si pas:se ‘ra indi pia) oltre sipassera. thence more farther one will go across [and] then we'll go on farther; 2 ‘belle ‘ko ze ‘Ah, bellecose —_ch’allor_vedremo; ah, _rideremo ‘ah’ finethings that then we will see ah’ we will laugh ‘An, then we will se fine things; ah, we will really laugh — yes! kal:'lor ve'dremo 2 ride'remo si si yes per ve rita per verith, intruth ve dere mo ‘fron ti ve de 're mo 'krini Vederemo fronti, basse, vederemo ——_erini wewill sce foreheads lowered we will see heads of hait ‘We will see lowered brows, Neads of twisted hair, big mouths, "bas: se "bok: ke bocehe mouths Yor ti torti, twisted ‘gran di grandi, [vederomo=) vedremo ‘nazi ‘storti‘dsenti 'meste ‘dential: ‘le gre nasi stortl, gent -—meste,genti_—allegre,—_facele noses crooked people sad people happy faces crooked noses... Sad people, happy people, white faces, biack faces, "fat: tfe ‘bjan ke bianche, white fot the facele faces ‘ne gre negre, black ‘mo ci ‘ur ki Mori, Moors Moors, ame ci'kani archi Americani, Turks Americans Turks, Americans. gi gan'tat ffi "bruv ti Gigantacci, ——_brutti frightful giants ugly ‘rightful giants, ualy dwarts — dawarts © ke ‘gusto ke sala ‘oh che gusto ches ‘oh what pleasure that will be ‘oh, what a pleasure that will bal la ‘kara i'eene ‘poi sa'ra ‘kwel:la_ ke tor to rel: la tortorel litle turle-dove my kwa la ‘man te La cara Irene pol sarh quella che qual'amante the dear Irene then willbe that one who like lover Deer Irene will then be the one who, as my ite turtle-dove lover la la the per per through ma ‘rina marina, shore per la per ia through the kam pap: pa campagna countryside fe'del fedet faithful se gwi'ra seguira ‘he will Follow will follow me faithfully over the shores and through the countryside, 3432 Cimarosa- Cocchi ve'draiJo'landave'drai = da framtfeye'drai_— Ja ‘span: pa Vedrai POlanda, —_vedrai ta Francia, yedrai la Spagna, you willsee the Holland you-will sco the France youwillsee the Spain You wil see Holland, France, {and} Spain; veldrai ia forte ‘bjonda ale map:pa ‘poi la pen'soza ‘serja in gil tert yedrai a forte —bionda —Alemagna, pol Ia pensosn seria _—_‘Inghilterra, you ill sce the strong fair Germany" then the pensive serius__England you wil see the strong, fal Germany, [and] then the pensive, serious England: ‘indi pj. ‘ole sipassc'ra abel Ie koze indi pit oltre. si passerds an, belle cose ~. [eee thence more farther one will go across. ah fine things [ang] then welll go on farther ~ ah, fine things! GL: Irene Cocchi, Gioacchino (c.1720 - after 1788) Ibis not certain were end whon Cocchi was bom, oF when he cled (probably In Venice); he may have studied in Naples, By 1750 he had extsblshod himeaf ex a reputed composer of intermezz0s and of sercus and comie operas He held the post of chor director atthe Ospedale deal Incurabli in Venice from 1750-1757; in 1757 ho wont to the Kir’ Theatre in London as opera compose, music drector and production superior. Though replaced at the Kings Theatre by JC. Bach in 1762, Cocchi remained in London for ebout ten more years, truch n demand 2s a singing teacher. Around 1772 he returned to Venice; the last record of him, a manuscript Dat Dominus, is dated 1788. CCocon's groatesteuccess as his comic opera La masstra (1747), lator widely parormed as La scaltra goveratice His compositions aleo indude oatoroe, cantatas, vocal chamber music, en instrumental music. (43) fiom: Le scaltra governatrice (175: ‘Note: to differentiate between what Tunderstand are the words of Antonio Palomba said by the nacrtor, the panishe, andthe “hero,” [am putting what im," our hero (the prisonet, in italics in the idiomatic translation. Ai 'zbirc ri dga Ia ‘spet: ta no GU sbirri gid Paspettano ‘The guards are now waiting for him i ‘dbir:ri gala ‘spetitano lo 'vak: fono Gi sbirri gia aspettano, lo —_vogliono the guards now = himawait, him they want_—_10 take as prisoner The quards are now waiting for him; they want to take him prisoner. al tribu'nal lo 'porteno fo ‘sen toe za mi ‘nar Al tribunal Io portano, fo sento._esaminar. tothe tibunal him theycary him Theat toexamine ‘They are taking him to the tribunal; | hear him being questioned. ki sei fio ‘sono un ‘mize ro «Chi sei?» fo sono un__misero. who youare I lam a miserable man, “Who are you?” | am a miserable man. ‘kai Yatsto un 'poko il ‘diskolo «Chai fatto?» un poco 1 discal. what youhave done a_—iittle. «the ‘troublemaker “What have you done?” A litle mischietCocch! 33 bu'dsardo tw 'vwoi—men'tir. sip: por. ‘ie ‘diko il ‘vero tw vuoi —mentir.» Signor! io dio. vera, you you want 10 lie sir Tsay the auth “Fibber! You li.” Sir, I speak the truth brik: kone men tsop: pero a'des:so ‘al: Ia ga'lera ti ‘oA: So kon dan: ‘nar “Briccone, menzognere! Adesso. alla galera,—ti_—voglio.-—_condannar, » rogue liar now tothe galley” you want to convict ‘Rogue, liar! To the galley now; | want to convict you.” oi'me to lo ‘sire pito “delle ka'tene ‘rud:dsini il ‘temo dga fi ‘por tano Obimé! Sento lo strepite delle. catene—rugginis- «i= remo gid glt_—_portano. alas ‘Thear the noise. ofthe chains rusty the oar now tohim they bring ‘Ags, | heer the noise of tho rusty chains; they are now bringing him the oar. In ttesta dga Ai ada no La testa gid gh radano. the head now tohim they may shave They will probably shave his head now. Pie'tade sip:por “dguditfe dun 'mizero dun sin:'nor je Pietade, signor —giudice,—d'un__misero, aun Signor! pietat [prea pity sr judge fora miserable man fora poorman sir pity | (aod) pies | Have pty, honorable judge, on a miserable man, a poor men! Sir, have pity! a brik: Kone malan'drino ti "yak: fo kati ‘gar «Ah briccone, malandrino!/ Ti voglfo_—_castigar.» ah rogue scoundrel you I'vant to castigate “Ah, rogue, scoundrel! -I want to castigate you.” ai'me ‘sento Jo ‘stro pito “delsle ka'tene ‘rud:d3i ni Ahim@, sento lo streplto delle eatene——_raggini aias "Theat the nose ofthe | chains rusty ‘as, I hear the noise ofthe rusty chains. o ke katene 0 ke ‘temo 0 ke ‘strepito On che eatene!_ Oh che reme!_ Oh che _strepito! oh what chains oh what oar oh what noise Oh, what chains! Oh, what oars! Oh, what noise! sips 'norpjeta dun 'povero dun ‘mizero ss malan'arino Signort pietat’ d'un povero, d'un miserot_ === «Ah malandrino’» st pity ofa poorman ofa miserableman_ ah scoundrel Sir, have pily for a poor man, a miserable man! “An, scoundrel” sin:'nor per pje'ta a per pjeta a laf fate to Signor, per peta! ah, per pieta! Ah! _lasciatelo! » sir for pity ah for pity ah_—_ let himgo Sir, for pity’s sake ~ ah, for pty’s sake! “An, jot him go! Jofi'fatemi a grat jae Mata dpa Latelatomit ta graria = fata gilt letme go the mercy is done now Let me go! Mercy has been granteatCosway Cosway, Maria (1759 - 1838) ‘Bom in kaly [née Hadfield] of English parents, sister of the architect George Hadfield, she was trained in both music ‘and art. Swiss painter Angelica Kauffman encouraged Maria in 1779 to re-ocato to England, where she mortiod portait painter Richard Cosway. She was acive in London as an eicher and a painter of miniature portraits and, landecepes, sso charming London high socialy as a musician on both harp and fortepiano, and in singing. n 1766-87 the Coewaye wero in Parle, where Maria mat, had a love affal, and iravelled withthe then American diplomat Thomas ‘Jefferson; Coswey and Jefferson never mot again, but they continued 2 passionate though sporadic correspondence. {See Jefferson in love: the love letters betwen Thomas Jefferson & Marie Cosway, edited by John P. Kaminsk., puidished in 1999 by Madison House, Madison, Wisconsin Richard Cosway died, insane, in 1821. Maria, a devout retumed to the convent-school which she had founded in 1812 in Loci and remained thore unti her death ‘mor mo ra il fu mi ‘fel: Io ‘Mormora il fiumicello “The litle river murmurs ‘mor mora il fu mi tf le 'riva fjo'ita Mormora it fiumicello = per la_—riva_ florita murmurs the ‘itleriver_—— slong the bank flowery “The litle river murmurs along the flowery bank © susurra il ventiltfel ua ij tami © susurra il venticel «trai rami and rustles the breeze among. the + branches land the breeze rustles among the branches, © tune ‘altro. @ —sospi'rar min vita © Pun ¢ Paltro 2 sospirar —m'nvita. and theone and the other to sighing me invites ‘and both invite me to sigh. il rozin'nolo par ke mi 'Kiami a ‘pjandger_ ‘50 10 1 resignolo —par_—che.—smi_—chiami_ a planger solo rosignolo i) famenting the nightingale itscms that me calls, «to toweep only iol iteeems that the nightingale, lamenting, calls me only to weep, € il soli"tarjo a'miko par ke —kom'pay'na a 'swoi dolor mi "bra mi © it solitario. —amico. par che compagna = a_—suoi_ dolor «mi rami. ‘andthe lonely fiend itseems that companion to his. somows_ me desires ‘and thet the lonely friend desires me to be companion to his sorrows. ‘sot to il me'rid: dso ‘poi fervido e fit to Sotto il meriggio == pol fervide, e+ fitto ‘beneath the midday then buming and dense Beneath the then dense and burning midday [sun] ‘glatfe a "lombra Ia ‘gred:dya ‘ove pu ‘swole Glace 2 Tombra In greggia, ove pit suole [wre t Glace in theshade the flock = where most __is accustomed, grease far ‘ombra_ un tronko —spa'tsjozo ¢ ‘dri to far ombra un tronco—spatioso, = dritto, tomake sade a tree trunk broad and straight Giace [grazes] her flock in the shade, where a broad and straight tree provides shade;Cosway 35 © 'mesta a le ‘mie ‘flebile pa'rale si'val dge_ in'tenta © masta a Je mie flee parole sivolge inten and sad at the my plaintive words tums iment e lapgwida © —pje'toza ‘pjandge al ‘mio ‘pinto al ‘mio do'lor_si'dnale © languida, e —_pietosa—_piange.al_—mio_pianto, al mio dolor —_siduole. and languid” and pitious weeps atthe my weeping atthe my sorrow laments ‘and, sad, she tus intently and tanguialy at my plaintive words, and, compassionate, she weeps at my weeping [andl] laments at my sorrow. su la na'tiva er'be:t 0 © ‘za Su la nativa —erbetta, © igo. orosa on the native young grasses either lily, or rose non ‘spunta ‘mai ke = ‘sentsa te non ‘sia ‘non spunta mai, che senza’ tenon sia not grows ever which without. you not be ‘aki ‘sk:ki in'gratokwel —‘kwesta no 'jo za, agli oechi ingrato. quel, questa_niosa; tothe eyes unpleasant thatone —thisone tedious Upon the native young grasses never grows either Ily or rose which wthout you would be to the eyes ‘unpleasant that ono = the lly] ot boring [this one = the rose]. de ‘mjei ‘kazi li'storja a'mara ce ‘pia de ‘salifi a'mani de’ miei casi Vistorla amara, e pla de’ sali = amar. [_Broria= of my —_lifeeventsthestory bitter "and _pitifil_ of __willows bitter _| mod) stona [=a te cart tie vt a EL eared insu le ‘skordze im'fido o si ‘kara a kwe'stalma ‘anima ‘mia insu le seorze —imcido, 0, sl_ cara, a quest'alma, anima — mia. [alma (poet) upon the barks Tetch” oh so. dear” to _ this soul heart mine |= aaima | etch on the bark of the weeping willows the bitter and pitiful story of my life, {which is] oh, so dear to this soul, my heart ‘pofifa 'diko pjan'dsen do in ‘kwesto ‘lido se letkdse'ra le ‘note Poscia dico piangendo in. questo —itide: Se leggiera. == Je note Teggierd then Tsay weeping on this bank if willread the words | (mad) leggerd Then, weeping on this bank, | say: If he will read the words, ‘ei ‘miei do'lori innamo'rato pere'grino ¢ ei miei dolori, —innamorato. peregrine, he my — sorrows cnamoured pile and (Cpeegrino = (mod) pellegrina ‘abe bjapje'te ‘dei 'mjei si Wrist a mori abbia —pieti—dei_—smici_ sl tristi_——amori pried "rise soa, mayhave pity ofthe my so__unhappy loves carrecly be “x ‘may he, loving and faithful pigrim, have pity for my sorrows, [and for] my so unhappy loves, © ‘sparga ‘sul: la “fle bile skrit:'tu ra © sparga sulla flebile—serittura and may shed onthe feeble writing ‘and may he shed upon my feebie words di ‘okeki il ‘'pjamto e “dale «=o man i fori da gi occhi i piamto, © dalle = man. ifort. fom the eyes the tears and fromthe hands the flowers tears from his eyes and [may he scatter] lowers from his hands. ko'zi ‘meno la ‘vita in'fausta © ‘dura Cost meno ta vita infausta, dura, this lead the fife’ unlucky” and—_harsh ‘Thus do | lead the unlucky and harsh life;