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    Scan KA Dido 1.teil

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    Franziska Schneider

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    3-2650 2.607: 1-0018 DIDO & AENEAS HENRY PURCELL Libretto by/Libretto von Nahum Tate Edited by/Herausgegeben von Edward J. Dent Revised Edition by/Revidierte Ausgabe von Ellen T. Harris German translation by/Deutsche Ubersetzung von A. Meyer VOCAL SCORE / KLAVIERAUSZUG ‘The chorus score is also on sale Die Chorpartitur ist ebenfalls kiuflich erhltlich Music Department OXFORD UNIVERSITY PRESS Oxford and New York UNiversitats Mozarteum § Preface iii Editorial Notes iv Overture CONTENTS / INHALT Vorwort vii Revisionsbericht viii 2 Act I [Part I, Scene 1) 1. Shake the cloud / Lass ie Stirne 4 2. Banish sorrow / Fort mit Sorgen 5 3. Ah! Belinda 6 4. Grief increases by concealing / Leid wird ‘grdsser in der Stille 10 5, When monarchs unite / Wenn Herrscher vereint u 6, Whence could so much virtue spring / Von tapfren Ahnen er entsprang 2 7/8, Fear no danger to ensue / Fircht” nicht, dass Gefahr erschien wns Act 16, Wayward sisters / Distr Schwestern 28 17. Harm's our delight / Tod unser Glick 30 18. The Queen of Carthage / Karthagos Herrin. 31 19. Hohoho 32 20. Ruin'd ere the set of sun? / Heut’schon, el die Sonne sinkt? 3 9. See, your royal guest appears / Sieh, Aeneas dor arsine ” 10. Capid only throws the dart / Amor einzig swt den Pel 18 11, Ifnotformine Is’ niht fr mick 20 12. Pursue thy conquest, Love / Die Liebe hat sigh 20 13, ADanceGittars Chacony /Gitarentare 22 14, To the hills and the voles / Euch Higels und Buchten 2 15. The Triumphing Dance Siegstanz @ Scene 1 {Part I, Scene 2] 21, Hohoho 35 22. But ere we this perform / Doch eh’ wir dieses tos 36 23, In our deep vaulted cell / In der heimlichen Gruft 39 24, Bcho Dance of Furies / Echotanz der Furien 41 ‘Act II, Scene 2 {Part Il, Scene 1] 25. Ritornelle 8 26/27. Thanks to these lonesome vales / Dank Dir, Du Einsamkeit 8 28. Gitter ground a Dance / Gitarrentanz 46 29. Oft she visits this loved mountain / Oft a lieber Berge Stelle 7 30, Behold, upon my bending spear / Sich hier auf starkem Lanzenschaft 50 31. Haste, haste to town / Schnell, schnell zur Stadt a1 32. Stay, Prince, and hear / Halt, First! und hor 55 33. Ritornelle 58 ‘Act IIT [Part II, Scene 2] 34. Come away, fellow sailors / Kommt an Bord, ihr Matrosen 58 35. The Sailors Dance / Matrosentanz 6 36. See, see the flags / Sieh, sich die Flaggen of 37. Ournext motion / Linser Streben 66 38. Destruction’s our delight / Vernichtungs- fren uns lacht or 39. The Witches Dance / Hezentanz 40. Your counsel all is urg’d in vain / Ich kann ‘auf Deinen Rat nicht haren n 41. Great minds against themselves conspire / Hochsinn sich selbst oft widersteht 76 42. Thy hand, Belinda / Fuhr mich, Belinda cy 43. When I am laid in earth / Werd’ ich ins Grab gelegt 8 4, With drooping wings / In senftem Flug aL DRAMATIS PERSONAE Dido Soprano Belinda Soprano Second Woman/Zweite Frau Mezz0-soprano Sorceress/Zauberin Mezzo-soprano First Witch/Erste Hexe Soprano Second Witch/Zweite Hexe Soprano Spirit/Geist Soprano ‘Aeneas ‘Tenor orhigh baritone First Sailor/Erster Matrose Tenor ‘Chorus/Chor MOZARTEUM SBC. im PREFACE ‘All Purcell lovers owe a large debt of gratitude to Edward J Dent for his edition of Dido and Aeneas first published in 1925, His attempt to recreate Purcell’ original score signalled the first such effort since the opera's appearance in 1689, and the continuing reliability of this edition testifies to Dent's scholarship and musicianship. In the lightof new or newly available source information, however, the ime has come to revise Dent's score. This task has been tundertaken in the hope of reproducing the spirit of Dent's own efforts—that is, of providing a score that is both scholarly, representing the original as closely as possible, and practical for performers. Dido and Aeneas was fist performed in spring of 1689, as has been demonstrated by careful study of the opera's spoken epilogue which was published, separately and refers t© ‘contemporary political events Purcell’s own score does not survive and no seventeenth-century manv- script source of any kind exists, but a single printed libretto preserved in the ibrary of the Royal College of Music, London, although undated, probably derives from the original performance. According to the libretto, this took place at & girls’ school in Chelsea run by Josias Priest, 2 dancing master. In the libretto the opera begins with a tnythological/pastoral prelude that allegorically honours the reigning English monarchs, William and Mary. There follow three equal acts beginning, respectively, with ‘Shake the cloud’, ‘Wayward sisters’, and ‘Come away, fellow sailors”. The second act is divided into two equal scenes, the first for the witches in ‘The Cave’, the second, beginning with “Thanks to these lonesome vales’ in "The Grove’, These act and scenic divisions become important because they are not duplicated in any of the later surviving sources, ‘After its performance at the Chelsea girs’ school, Dido next appeared in an adaptation of Shakespeare's Measure Jor Measure (London, 1700); it was broken up and used, Sometimes out of order, as entertainments at the ends of the acts, The first and third acts were not altered; in the second the two scenes were reversed and the Grove scene expanded. The Prologue was altered and expanded, and placed last? In 1704 Dido was again performed in London, apparently as a continuous whole and in the right order, as an epilogue to two separate plays” No contemporary scores or librettos survive ‘The first surviving score, the Tenbury manuscript (now housed in the Bodleian Library, Oxford), can be dated by its paper type to the second half of the eighteenth century ts lacking the Prologue entirely, but the remainder of the opera is presented in the correct order, although the act divisions are different from those given in the libretto. The first act runs through the Cave scene, ending with the Echo Dance, where there is the designation ‘End of Part I, Act I then consists of only the Grove scene with no musical setting for the concluding chorus and dance given in the Tibretto, Act Ill is unchanged. This lopsided formal plan appears to represent a division of the opera into two equal pati (afer the Echo Dance) a division which differs from the formal plans in either the 1689 libretto or the 1700 © W. Barclay Squire, Purcell’s Dido and Aeneas’, The Musial Times, liv (1918), pp. 2524; John Buttrey, ‘Dating Purcel's Dido and ‘Aenea’, Procedings ofthe Royal Masicel Associaton, wet (1967-8), pp. 51-62; and Margaret Laurie (ed), Dido and Aeneas, London 1979, p. ix * Brie Walter White, ‘New Light on Dido and Aeneas, In. Henry Purell (1659-1695): Essays on his Mus, ed. Imogen Holst, ,, London 1959, pp. 14-34 “The Landon Stage (1660-1800), Patt 2: 1700-1729, ed. Emmett 1 Avery, Carbondale 1960, vol 1, p. 55 (The Anatomist by Edward Ravenscroft: 29 January 1704) and p. 63 (The Man of Mode by Sir ‘wordbook. Because the role of the second woman has been, significantly reduced, and the elimination of one female part would make the cast list of Dido equal to that of John Eedles's masque Mars and Venus, which was performed with Dido in 1704, perhaps as’a replacement for the prologue, it seems that the Tenbury manuscript probably Gerives from this performance. The score preserves a late seventeenth-century notational style, indicating that it was copied from a much earlier source now lost. As all succeeding manuscripts reproduce the formal plan of the Tenbury, they must all derive either from it or its source. Libretlos from 1774 (New York Public Library) and 1778 (Royal College of Music, Portrait Gallery) attest to concert performances of Dido and Aeneas given by the Academy of Ancient Music. Cuts and alterations in the text make it possible to identify the musical manuscripts connected. With these performances: they include two scores in the British Library (Add. mss. 31450 and 15979), one at the Folger Shakespeare Library, Washington, DC (F770), and various sets of parts at the Royal Academy of Music, London (RAM 25). The musical adaptation to the facile rococo style makes these sources interesting documents in the history of stylistic change but of litle use in preparing an edition of Purcell’s music. ‘At about the same time as these performances, another copy of Dido was made which tends to reproduce the reading of the Tenbury score, but is modernized in the notation of time and key signatures, accidentals, and some stylistic details. An excelient secondary source, it is preserved by the National Trust at Tatton Park, Cheshi ‘The Tatton Park manuscript, copied by Philip Hayes, is dated 1784-5, and was probably copied from the same source used for the Tenbury.* Finally there is the so-called Ohki Manuscript which ‘once belonged to W. H. Cummings. It derives from the early part of the nineteenth century and is a collation of the ‘Fenbury/Tatton readings and the Academy of Ancient Music scores; it is now preserved in the Nanki Music Library, Japan? As the latest of the known manuseript scores, and one that derives in part from the altered concert version, it cannot be considered a reliable source. ‘After the Academy concerts in the 1770s and 1780s, no performances of Dido can be documented for almost a hundred years. However, in 1841 Alexander Macfarren. published both a full and a vocal score of the concert version for the Musical Antiquarian Society, and. this, ‘edition most probably spawned some performances even if documentation for them is now lacking. In 1888 William ‘Cummings published a new edition that took into account the reading of his own score (Ohki) and the newly discovered Tenbury source, but as Edward J. Dent wrote in the preface to his 1925 edition, Cummings still overrated the value of the concert version. Nevertheless, this edition stimulated new interest in the score, and with the approach of the bicentenary of Purcell’s death, performances began to accumulate; Liverpool (1877), Royal Academy of Music, London (1878), Bach Choir, London (1888), and finally a staged performance at the Royal College of Music, London (1885), ‘George Etherege: 8 April 1708); also p. 58, where Dido is not mentioned by name but the description of “¢ musical entertain ments” and the mention of Mars and Venus implies the same musical additions as on 29 January (The Anatomist: 17 February 1709), Nigel Fortune, ‘A New Purcell Source’, Music Review, x (1968), pp. 109-13, c Thogen Holst, “A Note on the Nani Collection of Purcell’ Works’, in Henry Puredl (1659-1695), op. cit. Appendix C, pp. 27-20 a Dent's edition, based mainly on the Tenbury score, brought international recognition to Purcell’s music. It cluded a German translation making it also accessible to German-speaking countries. The edition was used for a staged performance in Minster (1926), for the Austrian premiére (Vienna, 1927), Stuttgart (1927), Basle (1931), and 50 on. This edition was also used to introduce the staged version to the United States at the Juilliard School of Music, ‘New York (1932), and for the Italian premiére (Florence, 1940), among others In recent years 2 great clamour has arisen about the apparently missing numbers at the end of the libretto’ Act TI. In the modern editions that have appeared since Dent's, edited by Imogen Holst and Benjamin Britten (1960) and by Margaret Laurie and Thurston Dart (1961), these have been supplied by fitting the existing words to other Purcell pieces or by writing new music for the chorus, and by adding an additional dance movement. This seems un- necessary for two reasons. First, no matter how carefully it is done, the addition of these’ pieces introduces a non- Purcellian element into a score that illustrates the composer at the top of his form; tampering with Purcel’s delicate ‘word-setting is especially problematic. But second, the additions are unnecessary even for the dramatic and tonal reasons adduced. If Aeneas and two of his sailors help Dido and the courtiers to exit during ‘Haste, haste to town’ [BI], then their exit can be halted by the appearance of the spirit. The two sailors can stay until Aeneas’s line ‘Jove's commands shall be obey'd, Tonight our anchors shall be weigh’d’, which can function as a command to them. ‘Aeneas's soliloquy then provides the time span needed for the sailors to retum to the ships and to begin telling their comrades the news (‘Come away, fellow sailors’). The lack fof music for the witches, therefore, does not affect the ‘dramatic continuity of the plot; it also creates no problem tonally, Dido is tonally constructed in six scenes each in its own. key. Scene 1 ends with ‘Whence could so much virtue spring’ [6]; scene 2 begins with ‘Fear no danger’ [7] and runs to the “Triumphing Dance’ [15]. Scenes 3 and 4 correspond to the Cave scene and the Grove scene. Scene 5 begins with ‘Come away, fellow sailors’ [34] and runs to The Witches Dance [39]; scene 6 extends from ‘See, Madam, see where the Prince appears’ [40] to the end of the opera. The tonalities of these scenes are: C minor, C major, F minor-major, D minor-major, B-flat major, and G minor. In only a few cases are these keys interrupted. During the Cave scene, for example, the sounds of the hunt (from the Grove scene) intrude ‘upon the witches’ plotting, and these interruptions occur in the D major- minor tonality of that scene (D major in the hunting horn calls of no.20 and D minor in the witches’ plan to disrupt the hunt with a storm, ‘But ere we this perform’ [22)). The only other interruptions relate directly to Aeneas. His entrance in scene 2 temporarily moves the tonality from C major to E minor (from the middle of no.9 to the middle of, no. 11), and his discussion with the spirit and the following ‘monologue move the Grove scene from D major to A minor. Scenes 1, 5 and 6 are uninterrupted. By means of these tonal disturbances in otherwise stable scenes, Purcell indicates that Aeneas's actions cause disruption, just as the intrusion of the hunt upon the Cave scene is a disruption, ‘and Aeneas's ‘out-of-key’ ending to the Grove scene is totally in keeping with his ‘out-of-key’ entrance in the second scene. The ending of the Grove scene (without the libretto’s chorus and dance) also creates a perfectly sym- ‘metrical two-part form to the opera, as implied by the score, with Aeneas’s monologue in scene 4 balancing Dido's ‘Whence could so much virtue spring’ at the end of scene 1. Whether this represents Purcell’s intention, an alteration for the 1704 performances, or only a copying error cannot, however, be determined definitively. For those who insist on a tonal closure for scene 4, this edition suggests the simple repetition of the scene’s opening D minor Ritornelle, a function even suggested by its name. Performing material for this edition is available on hire from Oxford University Press. A companion miniature score is also published by Eulenburg, EDITORIAL NOTES Sources: Libretto (118); Royal College of Music, London [1689] ‘Tenbury manuscript (rN), full score [c1775]; St Michael's, College, Tenbury (now housed in the Bodleian Library, Oxford). ‘Tatton Park manuscript (11), full score [1784-5] copied by Philip Hayes; National Trust, Cheshire County Council. ‘The problem facing any editor of Dido and Aeneas is that there is no definitive source. The two best sources, the 1689 libretto and the Tenbury manuscript, suffer from serious shortcomings and discrepancies, and the editor must attempt to find the best reading by a careful collation of these. In musical matters the Tatton Park manuscript is also helpful, for it sometimes clarifies confused readings in the Tenbury. However, because it contains modernized time signatures (eg. 3/4 for 3), key signatures (eg. three flats, rather than two for C minor), accidentals (e.g. the replaces the b and accidentals cover the measure rather than the note), and stylistic details (e.g. the elimination of the scotch snap rhythm by reversing the rhythmic values ‘as on the phrase ‘full of woe’ in ‘Whence could so much, virtue spring’ {6] and throughout ‘Ah! Belinda’ [3)), the Tatton Park readings remain secondary to those from ‘Tenbury. The 1700 version, the manuscripts deriving from the Academy productions, and the Ohki manuscript are too altered to be useful. In this edition only the 1689 libretto, the Tenbury manuscript, and the Tatton Park ‘manuscript have been collated. Textual notes may be found in the published orchestral scores. ‘The 1689 libretto and Tenbury manuscript ‘The formal discrepancies between these sources have been, described above. in this edition the plan of the libretto has. been given precedence, but the apparent two-part plan of, the Tenbury manuscripts indicated editorially in brackets. "The authority of the musical source in the dispensation ‘of musical forces has not been questioned in this edition, so that when, for example, the quatrain beginning ‘But ere we this perform’ [22] is assigned in the score to two ‘witches as a duet, whereas in the libretto itis given to the Sorceress as an apparent solo, ithas been assumed that this change originated with Purcell, and it is offered without commment This edition follows the role designations of the manuscript when there are obvious errors in the libretto, such as when the lines ‘Aeneas has no fate but you. Let Dido smile, and Ile defie the feeble stroke of destiny’, are given to Dido rather than Aeneas. In some cases, however, the role designations of the libretto seem preferable to those in the Tenbury manuscript. For example, in ‘Whence could so much virtue spring’ [6] Dido sings the opening quatrain in C minor. Belinda then enters with a closed couplet (‘A tale so strong’) in the minor dominant (G minor). The next couplet (‘What stubborn heart’), which is set off by a distinct and abrupt change to the relative major (E-fiat major), is assigned in the libretto to the Second ‘Wornan, whereas the musical sources indicate no change of part. The music, however, supports the libretto’s reading fand the eighteenth-century manuscripts may represent changes made for the 1704 performance, as discussed above. ‘Wherever possible the text of the opera has been taken from the libretto. Spellings and punctuation have been silently modernized where it was thought they might confuse, but the convention of identifying individual lines, fof verse with capitalization at the beginning and punctuation at the end has been retained. In general, immediate repetitions of lines or parts of lines are not capitalized; repetitions of whole lines preceded by an intervening line are. ‘The libretto offers stage directions throughout, which are here given complete. The sometimes more elaborate stage directions and titles from Tenbury, which may derive from the 1700 or 1704 performances, or both, are distinguished by being placed in parentheses. For example, the thunder and lightning called for in the Tenbury manuscript at the end of Act I does not appear in the libretto. It probably dates from the 1704 performance as the direction makes no sense unless the score is continuous at this point (as itis in the two-part division of the musical scores) leading directly into the scene with the witches. At the end of the Cave scene, the libretto calls for a dance of the Inchantresses and Fairies; in the Tenbury score it has been changed to a dance for the Furies. This alteratio more than a mistake, as the direction at the end of the dance indicates, where there is a call for more thunder and lightning while the furies spectacularly rise and sink Presumably these changes, to0, derive from 1700 or 1704. In some cases Tenbury offers more precise directions for the entrances of characters, for it was a_seventeenth- century convention (which is generally followed throughout Dido) to list at the beginning of a scene all the characters that would enter during it and not to give specific entrances. Thus in the Grove scene, the characters are instructed to enter after the opening Ritornelle. In the last act, the sailors enter after the Prelude for ‘Come away, fellow sailors’, and in the same scene the Sorceress and Witches only enter at ‘See, the flags and streamers curling’ ‘These last directions imply either that the treble parts of ‘Come away, fellow sailors’ should be taken by the ‘shore nymphs’ who are being deserted (which seems dramatically unsound) or that the sailors sing all four parts. ‘This is the only scene to call for two dramatically distinct four-part choruses—the sailors and the witches. ‘According to the libretto, Dido exits from the Grove scene after singing ‘Haste, haste to town’ [31]. Belinda and the chorus should exit by the end of the following chorus (which is lacking in the libretto). Although two or three of, Acneas's men may remain and hear ‘Jove's command’ (as happens in the 1700 version where they are given lines to sing), they should exit when Aeneas gives the command for the anchors to ‘be weigh’d’, leaving him alone on stage for the monologue. ‘The libretto also calls for a number of dances that seem to be lacking from the score. Most of these, however, were probably danced to a sung movement. For example, the Basque in Act is certainly danced to ‘Fear no danger’ [8] as the libretto gives the indication: ‘Dance this chorus’. Similarly, the ‘Dance of the 2 drunken sailors’ may occur during ‘But ere we this perform’ [22], and the Cupids Dance may occur during a repetition of the final chorus, ‘With drooping wings’ [44]. The Tenbury manuscript encloses this chorus in repeat marks without any indication of whether it is to be sung upon its repetition. In this edition an instrumental repetition as accompaniment to the Cupids Dance is assumed. ‘The pantomimed dance calling for a ‘Jack of the Lanthorn’ (or nightwatchman) to lead ‘The Spaniards out of their way among theinchantresses’ is surely represented by Tenbury’s Witches Dance [39], which occurs at the same point. The pantomimed dance of the libretto belongs to the Seventeenth-century tradition of antimasques (or comic divertissements before the entrance of the formal dancers), and occurs in the opera just before the scene leading Dido's death. t would be appropriate that this dance be comie. Ii Act I and during the Grove scene, guitar pieces over repetitive basses are indicated for dances. These were probably improvised in 1689. As they occur at important moments, however, it is dramatically useful to include something at these points. For the Dance Gittars Chacony {13] in Act, this vocal score offers a harpsichord transcrip- tion (not a reduction) ofthe first six bass repetitions of the orchestral C major chaconne from Purcell’s Fairy Queen (1652), based on the Royal Academy of Music manuscript and Ms. 114d atthe Royal College of Music, which indudes bass and treble parts only. This dance may accompany Dido's pantomimed acceptance of Aeneas’ suit, which action is otherwise lacking inthe libretto If this movement is not used, the music should be continuous, as in the Tenbury manuseript, between ‘Pursue thy conquest” [12] and “To the hills and the vales’ [14]. Otherwise the tonic chord of no. 12 should coincide with the fist chord of the dance, whose ending should coincide with the first measure of no. 1d For Gitter ground a Dance [28], the harpsichord transcrip- tion of Purcel’s ‘Crown the alta’, a D minor ground from Celebrate this Festival (1693, a Birthday ode for Queen Mary) in British Library, Egerion 2959 (f. 16), is offered with Simplified omamentation. It may be played during a pantomimed ceremony honouring the goddess Diana or simply to accompany a reorganization of characters on stage after the worship of Diana in ‘Thanks to these lonesome vales’ [27] and before the entertainment of ‘Of she visits’ [23]. In the parts available for hire both dances are given in guitar transcriptions. ‘The Tenbury and Tatton Park manuscripts Tenbury is the most important musical source and it has been closely followed in this edition. In the full score, however, the somewhat compacted Tenbury score has been expanded s0 that, for example, Belinda’s staff at the end of ‘Shake the cloud’ [1] is extended through the first line of ‘Banish sorrow’ [2] and the necessary rest added without comment. The sharing of staves in Tenbury explains the occasions on which the instrumentation is clearly given: these indications only occur where a question might arise about the disposition of parts within the system. For example, at the beginning of ‘Harm’s our delight’ [17] the first and second violins are specifically marked because they are written on a single staff. The ‘orchestral indications for strings do not indicate that in ‘other unmarked places wind instruments should be included. Rather they are a corroboration that the orchestral parts are for strings only. ‘Tenbury follows a late seventeenth-century style of notation. In the present edition key signatures have been modernized without comment (therefore corresponding to ‘Tatton Park). Accidentals also have been changed to follow ‘modern practice. Time signatures, however, have not been modernized and have been based on the Tenbury manu- script, for they have significance beyond the indication of, ‘metrical division: still closely tied to the old proportional system, they also indicate tempo. Thus the crotchet of c equals the minim of 2 equals the dotted minim of 3 and two dotted crotchets of 3/8, The proportions can be illustrated as follows: ¢J-24-a4.-81.4 Following this pattern the tempo of most pieces can be determined proportionally. ‘The system is most clearly seen in the short succession of movements beginning with ‘Grief increases by concealing’ [al Ifthe tempo of this in c is taken at J=c. 66, then at the change to 2 for 'The greatest blessing’ the tempo becomes 11566, and at ‘When Monarchs unite’ [5] the tempo is J.=66. ‘That is, one tacus governs all three metres and tempos. The tree sections run on continuously in Tenbury with no breaks or double bar, and the upbeat in each eae occurs Inthe tempo of the preceding section. In the present dition thelookof unbroken continuity has been preserved Shroughout, and tempo relations are indicated editorially by showing, which mote value in the movement equals Which note value of the preceding ‘the proportional system of Dio is even clear in some of its failures "Tempo markings, for example, only occur where a change of tempo is desired within a single mete, Sin the second half ofthe Overture orin Belindx’s Pursue thy conquest, Love’ (121, both of which are in Quick ¢ rather than, Inthe overture section tempo equivalent to works, and that tempo proportion has been suggested This quick ctempo then holds through Banish sorrow’ [2 In-Parsue thy conquest, Love’, however, the tempo must fal between ec and 2; the ‘Quick c in this case clearly fection an allemate tempo fo those provided by a time GRAN! Belinda [2], Tenbury gives no metic sign even though the division changes rom double inthe preceding Seetign to tiple, The only marking isthe tempo indication Sfslow. Apparently, the copyist was without a proper time Signature fr this tempo. Tne signatore of 3 implied much toast a tempo, yer Hike 3, the song contains three Crotchets to the ba: The mos logical choice would seem to fe s sow 3/4 but this metre is used in Tenbury for The ‘Tramphing Dance as an implied equivalent of 3. As the opyiat wes left with ao appropriate and avallable signature forthe tempo of At Bena, he used the tempo marking instead. Tm the one other slow song in pe time, ‘When | tim lad in earth 43), the signature 372 is used forthe only time and relates to the proportional system in the ratio Gi2 =) = (co) that i, bar equals ba. The score contains other tempo-meie problems as well. In Act Il, the Sorceres's reetation iz given in 2 in "Wayward sisters [16] and "The Qucen of Carthage’ [15] Jn the tied instance, however, in Ruin’ ere the st of sun’ ‘he Trojan rine’ (20), the time signature is but surely this section is not meant to be fice a5 slow as the preceding (wo. Assuming the tempo to be unchanged tis Then possible to take But ere we this perform [2], which Ismarked as2,at what is effectively 1, a much better tempo than 2 implies. Perhaps the copyist deliberately shifted level, In this edition the tine signatures from Tenbury have been preferred "The one Seemingly impossible time signature is the 3 of “Our next motion’ [7A slower tempo has been suggested ‘Throughout the edition, however, the continuity of the Score as been emphasized, For example, Tenbury notates the measure that connects ‘Destruction’s our delight’ (281 tnd The Witches Dance [33], both of which are 2, as falows: J) fee3 Im this edition the double barline has been eliminated, as it 0 often is in Tenbury in similar junctures, as between ‘But tere we this perform’ [22] and ‘In our deep vaulted cell’ 23}. ‘Similarly the shift in The Witches Dance from 3 back to €(or 2) is notated: J J Jed) In this edition it appears as: ¢J J ‘withthe change of tempo (and metre) occurring in the last taro the sgn in 3 In some other cases» single Dakine has been substituted fora thin double brline (alter 2,8, 1, 17, 19, 26,31, 4), but no her notational alterations have been made The slur, dynamic markings, and continuo figures (adjusted to modem key signatures) inthis edition represent 2 conflation of the Tenbury and Tatton Park sources. In these matters both manuscripts are inconsistent, but they taraly contadict. For example, Tatton Park includes the indication sft over the continuo upbeat to "But ere we this perform [22} Tenbury offers no dynamic marking, not a Gonficting one. Thus the dynam markings from both sources can be eaily combined inthe use of slurs, the purpose of this edition has not been either fo reyulaize or follow a consistent pattern in Al cases but tov study the ferences. Thus all vocal teismas are not automaticaly shirred. For example, the dotted melismas in ‘Of she visits” [29] are not slurred in ther source In Our next motion 97), very stl dotted passages are slured the tempos ofthe two pieces are taken {ito tecount then the appearance of lack of slur would ‘emt point to distinctions inrhythasieal performance: In the slow tempo of ‘Ot she visits (inc) with its walking bass the dofted passages should be very pointed and probably overdotted.n the very fast ‘Our next motion (in Jy however, the. slurred. dotied passages should most probably be. performed. cover to tplets than dotted Figures. "Thuo fm these cases the slurring distinction has teen maintained as. clue towards thythmie interpretation father than legato or non legato performance Ina case similar to Our ext motion, the chorus ‘To the hilly and the vales(W4] is also im 3 and contains many Mhotted melismas. In Tenbury only the last two notes of these passages are shared” 3777-3) In Tatton Park the whole phrase is slurred. The present edition follows Tatton Park. The fast tempo at which this chorus should be performed will, as in ‘Our next motion’, turn the dotted figures into triplets, One should perhaps think of this movement as a wedding gigue. Not only the slurs, but the conflicting rhythmic rotation of the upbeats, (which is s0 typical of Baroque pieces written in double subdivision that demand a performance in triple sub: division) indicate a triplet rhythm. Thus in bar 9 the upbeat in all parts isin even quavers. In bar 20, however, at a repetition of the phrase, the upbeats are all dotted ‘quavers and semiquavers, and at bar 35 the two versions are mixed throughout the parts and even on doubling parts, (Violin Il and Alto). These rhythmic inconsistencies have been maintained as an indication of the presumed per- formance of those passages in triplet rhythms. Such conflicts occur nowhere else in the score Tn an attempt to resolve the difficult problem of the continuo in a practical way, these companion editions present a variety of solutions. The vocal score contains a Keyboard part that is partly reduction from the string parts, and partly realization, the latter given throughout in small notes, This score should thus be especially well-suited 10 reading, studying, and rehearsal. Although the hire full Score contains no realization, the figures, which have been Conflated from the Tenbury and Tatton Park sources, have been augmented by editorial figures in brackets. It is the hope of the editor that by providing a complete set of figures, improvised realizations will be encouraged. How- ever, a short score with a full realization is also included. with the parts in order not to hinder the performance of Dido by amateurs and school groups whose organizations this score has served so well. The published orchestral scores contain only those figures found in the Tenbury oF Tatton Park sources. "The realizations are based on Dent's thus: those of the songs are essentially his, those of the choruses and dances (largely not provided by him) and the declamatory sections, are essentially new. In all solo pieces melodic and dramatic considerations have been paramount. In the choruses and. dances the realizations mainly provide a regular rhythmic pulse through simple harmonizations. Depending on the Size of the hall, these can be augmented through the doubling of parts or the enlivening of the texture with guicker notes. ‘For more detailed discussions of the problems raised in the Preface and Editorial Notes, for musical analysis, a literary history and interpretation of the text, and a performance history, see the editor's forthcoming book on Dido and Aeneas (Oxford University Press). The movements have been numbered editorially; in the vocal score editorial ties and slurs have a vertical stroke through them. Excepting these, all other editorial additions are shown in square brackets. Ellen , Harris VORWORT Alle Liebhaber der Musik Purcells sind Edward J. Dent far seine Ausgabe von Dido und Aeneas, die zuerst im Jahre 1925 erschien, 2u groBem Dank verpflichtt. Sein Versuch, die originale Partitur Purcells wiederherzustellen, war die terste derartige Bemahung seit dem Erscheinen der Oper im Jahre 1689, und die fortbestehende Zuverlissigkeit dieser Ausgabe ist cin Beweis far Dents Leistung. als Gelehrter und Musiker. Nun ist jedoch, im Lichte neuen, coder seit kurzem verfiigbaren Quellenmaterials, die Zeit gekommen, Dents Partitur zu revidieren. Diese Aufgabe frurde in der Hoffnung ibernommen, den Geist: der Bemihungen Dents wiederzuerzeugen, dh. eine Partitur vorzulegen, die beides ist: musikwissenschaftich fundiert, indem sie das Original so getreu wie moglich wiedergibt, und praktisch far die ausfahrenden Musiker. Dido und Aeneas wurde im Fribjahr 1689 uraufgefthr, wie durch sorgfatige Untersuchungen des gesprochenen Epilogs der Oper nachgewiesen worden ist, der gesondert verdffentlcht wurde und auf politische Ereignisse der Zeit Bezug nimmt, Purcells eigene Partitur ist nicht erhalten, und es exitiert auch keinerlei handscheiftiche Quelle us dem 17. Jahrhundert. Aber ein einzelnes gedrucktes Libretto, das in der Bibliothek des Royal College of Music in London aufbewahrt wird, stammt, obgleich undatiert, vermutlich von der Erstauffahrung her. Diese fand nach ddem Libretto in einer Madchenschile in Chelsea statt, die von Josias Priest, einem Tanzmeister, geleitet wurde. In dem Libretto beginat die Oper mit einem mythologisch- pastoralen Vorspiel, das. in allegorischer Form. den fegierenden Monarchen, William und Mary, huldigt. Es folgen drei gleichlange Akte beginnend mit ,Lat die Stime”, ,Distre Schwestemn” und ,Kommt an Bord, ihr Matrosen”. Der zweite Akt ist in Zwei Szenen gleicher Lange unterteit, die erste fir die Hexen in der ,Felsenhohle" und die zweite, die mit ,Dank Dir, Du’ Einsamkeit” anfingt, in der ,Schlucht”. Diese Akt und Szenen- tinteilungen gewinnen deshalb an Bedeutung, weil sie sich in Keiner'der aus spaterer Zeit Gberleferten Quellen wiederfinden ‘Nach der Auffahrung an der Maidchenschule in Chelsea wurde Dido das nachste Mal fir Shakespeares Measure for Measure (London, 1700) adaptiert. Die Oper wurde zer- stickelt und in mitunter veranderter Reihenfolge zu unter- haltsamen Binlagen am Ende der Akte benutzt. Der erste tind der dritte Akt blieben unverandert, im zweiten Akt wurden die zwei Szenen vertauscht und die Schlucht- Szene erweitert. Der Prolog stand in veranderter und erweiterter Form am Schlus Offenbar als kontinuiezliches Ganzes und in richtiger Reihenfolge wurde Dido 1704 in London als Eplog zu zwei verschiedenen Sticken wiederum aufgefahrt’. Partituren der Libretti aus dieser Zeit sind nicht erhalten. Die erste Uberlieferte Parttur, die Tenbury-Handschrift (die jetet in der Bodleian Library, Oxford, untergebracht TW, Barclay Squire, ,Purel's Dido and Aeneas’, The Musical Times, LIV (1918) §, 252-4; John Butrey, ,Dating Purcel's Dido and Aeness”, Proceedings of the Royal Musial Association, XCIV (1967-8), §, 51-62; und Margaret Laurie (Hg), Dido and Aeneas, London 1979, 8. x 2 Ene Walter White, New Light on Dido and Aeneas“, in: Henry Purcell (1658-1695) Essays on his Music, hg, von Imogen Holst, London 1959, 8. 14-34, 9 The London Stage (1660-1800), Tell2: 1700-1729, hg. von Emmett L. Avery, Carbondale 1960, Bd. I, 5, 55 (The Anatomist von ist), la8t sich anhand des Papiertyps auf die zweite Hallte des 18, Jahrhunderts datieren. Hier fehlt der Prolog ganz, aber die dibrige Oper wird in der richtigen Reihenfolge wiedergegeben, obwohl die Akteinteilungen von denen des Librettos abweichen, Der erste Akt reicht aber die Hohlen-Szene hinaus und endet mit dem Echotanz, bei dem sich det Vermerk Ende des I. Tells” findet. Der zweite ‘Akt besteht daher lediglich aus der Schlucht-Szene ohne die Musik fir den im Libretto vorgegebenen abschlieGenden Chor und Tanz. Akt Ill bleibt unverindert. Dieser un- ausgewogene Formplan scheint eine Teilung der Oper (nach dem Echotanz) in zwei gleiche Teile darzustellen, eine Unterteilung, die sowohl von dem Libretto von 1689 als auch von dem Workbook von 1700 abweicht. Da die Rolle der Zweiten Frau bedeutend gekiirzt ist und die Auslassung einer weileren weiblichen Partie die Besetzung von Dido derjenigen von John Eccles’ Komposition Mars and Venus angleicht, die 1704 zusammen mit Dido aut- sgefiihrt wurde, vielleicht als Ersatz far den Prolog, hat es den Anschein, da8 die Tenbury-Handschrift méglicherweise von dieser Auffihrung herrihrt, Die Partitur behalt die Notationsweise des spaten 17. Jahrhunderts bei, was darauf hindeutet, da8 sie von einer viel friheren, heute verlorenen Quelle abgeschrieben wurde. Da alle nach- folgenden Handschriften den Formplan der ‘Tenbury- Handschrift wiedergeben, missen sie alle von ihr oder ihrer Quelle abstammen. Libretti von 1774 (New York Public Library) und 1787 (Royal College of Music, Portrait Gallery) zeugen von Konzertanten Auffihhrungen von Dido und Aeneas durch die ‘Academy of Ancient Music. Steichungen und Anderungen im Text ermoglichen die Identifikation der Musil handschrifien, die mit diesen Auffahrungen in Zusammen- hhang stchen. Zu ihnen gehéren zwei Partituren in der British Library (Add. mss. 31450 und 15979), eine in der Folger Shakespeare Library, Washington, DC. (F 770), und verschiedene Stimmsitze in der Royal Academy of Music, London (RAM 25). Die musikalische Angleichung an den leichten Rokokostil macht diese Quellen zu interessanten Dokumenten fiir die Geschichte des Stilwandels, bringt aber wenig Nutzen bei der Vorbereitung einer Purcell- Ausgabe. Etwa zur Zeit dieser Auffihrungen wurde eine weitere “Abschrift von Dido angefertigt, die in der Tendenz. der Lesart der Tenbury-Handschrift folgt, jedoch in der Notationsweise des Taktes, der Schlussel, der Vorzeichen tund einiger stilistischer Details modernisiert ist. Diese ausgezeichnete Sekundarquelle wird vom National ‘Trust in ‘Tatton Park, Cheshire, aufbewahrt. Die von Philip Hayes kopierte Tatton Park-Handschrift ist auf 1784/85 datiert tund wurde vermutlich von derselben Quelle abgeschrieben, die fir die Tenbury-Handschrift benutzt wurde’ SchlieSlich gibt es noch die sogenannte Ohki-Handschrift, die chemals W. H. Cummings gehdrte. Sie stammt aus dem Edward Ravenscrof, 29, Januar 1708) und S. 63 (The Man of Mode von Sir George Etherege: 8 April 1704); auch 5. 58, wo Dido nantenlich nicht erwahnt wird, aber die Beschreibung der "A musical entertainments” [t musikalischen Zwischenspice,d. fibers und die Enwatinung von Mars axd Venus impliziert, dat ‘es sich um dieselben Musikbeigaben wie am 29. Januar handelt (Tie Anatomist: 17, Februar 1708) “Nigel Fortune, ,A New Purcell Source’, Music Review, XXV (964), 5. 108-3. frdhen 19, Jahrhundert, und in ihr sind die Lesarten der Hlandscheiften von Tenbury und Tatton Park sowie der Partitaen der Academy of Ancient Music kllationtert Si (vied jetzt in der Nanki Music Library in Japan aufbewahrt Kis jfingste der bekannten handschriflichen Partituren, {ie aucle zum Teil noch auf der veranderten Konzertiassung, fut ist sie nicht als vedaBliche Quelle anzusehen. ‘Nach den Akademie-Konzerten in den siebziger und achtriger Jahren des 18. Jaluhunderts lassen sich fast fundest Jahre lang Keine weiteren Auffilrungen belegen. Doch publizierte Alexander Macfarren 1841 fir die Musical Retiquarian Society von der Konzertfassung sowohl eine Dinigler als auch eine Vokalpartitur, und walscheinlich Patie diese Ausgabe zu einigen Aulfhrungen, selbst itnn heute Belege dafir fehlen. 1888. veroffentlichte William Cummings eine neue Ausgabe, die der Lesat seiner Uigencn Partitur (Ohki) und der new entdeckten Tenbury- Bele Rechnung tug, aber noch immer die Konzertfassung Sberbewertete, wie Edward J. Dent im Vorwort 2u seiner ‘Rusgabe von 1925 schrieb. Dessen ungeachtet rief diese ‘Ausgabe ein neues Interesse an der Partitur hervor, und da Aue Parcells zweihundertster Todestag naherte, begannen SiG aie Autfuhungen 2u hiufen: Liverpool (1877), Royal aanjemy of Musicr London (1878), Bach Choir, London (As86) ugd schieGlich eine szenioche Auffalrang,im Royal College of Music, London (1895). ‘Dents Ausgabe, die sich hauptsichlich auf die Tenbury- Hundschrift stitzt, brachte Purcells Musik internationale Necrkennung, Sie enthalt eine deutsche Ubersetzung, die Qe auch den deutschsprachigen Lindem zuginglich machte Po Ausgabe wurde fir eine Bahnenauffahrung in Master (006), fer die Ssterreichische Erotautfahrung (Wien, 1927), fix Auffihrungen in Stuttgart (1927), Basel (1981) usw. Tanutet Sie diente auch zur Binfuhrung der Bahnenfassung ieiden USA an der Juilliard School of Music, New York (Go82) und unter anderem fr die italenische Estaufféhrung (orenz, 1940) eden letzten Jahren ist viel Lirm um die beiden Nummer am Ende des zweiten Aktes des Librettos Miistanden, die offensichtich fehlen. In den modernen, Saf Dents alton erschienen Ausgaben, die von Imogen Hilt ‘und Benjamin Britten (1960) und von Margaret Terie und Thurston Dart (1961) herausgegeben wurden, TAU sie ereitgestellt worden, indem die existierenden Werte anderen Sticken von Purcell unterlegt wurden oder wee Musik fir den. Chor hinzukomponiert und ein seeitalicher ‘Tanz. beigefdgt wurde, Dies scheint aus pweieriel Grinden unndtg. Zam ersten flr die Beifogung Teer Sticke, s0 sorgfaltig sie auch geschehen sein mag, Sieiremdes, nic von Purcell stammendes Element in eine fanitur ein, die den Komponisten auf der Hohe seines Konnene zeigt—die Einmischung in Purcells feinfablige Toubehandlang ist besonders problematisch. Aber zum ‘Fechen sind die Beifagungen selbst aus den angefbihrlen aeematischen und musikalischen Grinden nicht notg. Wenn Aeneas und zwei seiner Matrosen Dido und thren Toftingen wahrend des ,Schrell, schnell zur Stadt” [31] beim Abgang behilflich sind, 50 kann ihr eigener durch Herbrscieinen des Geistes aufgehalten werden. Die zwei —_—_—___—_____ Matrosen kénnen bis zu Aeneas! Zee ,Zeus"Befehten gilt Mein Leben, Heat” Nacht la8t uns die Anker eben leiben, die als Befehl an sie fungieren kann, Aeneas’ Betbetgesprsch schafft sodann die Zeitspanne, die die Matroger’bendtigen, um zum Schiff zurtickzukehren und Mette anzufangen, ihten Kameraden die Neuigkeit at detnten (-Konmt an Bord, ihr Matrosen"). Wenn also die Sut fo die Hexen fehl, hat das Keine Auswirkung auf qudtamatischen Fortgang der Handlung; ein musikalisches Problem entsteht ebenfalls nicht ‘Daoist von den Tonarten her in sechs Szenen aufgebaut zone Lendet mit ,Von tapfren Ahnen er entsprang” (6; Seene 2 beginnt mit ,Farcht’ nicht, da® Gefah erschien” frond geht bis zum “Siegestanz” [15]. Die Szenen 3 und 4 va amresinen der ,Felzenhohle” und der ,Schlucht”. Szene Sfangt an mit »Xommt an Bord, ihr Matrosen (38) und ent Eis sum Tanz der Hexen” [39]; Saene 6 erstreckt sich Behe igieh, Dido, dort Aeneas kommt” [40] bis zum SchluS Wor ner’ Die Tonarten der Szenen sind: Moll, C-Dur, fMolvt-Dur, d-Moll/D-Dur, B-Dur und g-Moll, Diese ‘Fonarten werden mur in wenigen Fallen durchbrochen. ‘Wihend. der Felsenhahien-Szene mischen sich zum Belapie Jagdklange (avs der Schlucht-Szene) in die ltrige der Fiexene und diese Unterbrechungen ereignen sich in Sein a MolV/D-Dur-Bereich jener Szene (D-Dur in den Jagdhomneufen von Nr. 20 und d-Moll in dem Plan, der Heanor Jagd durch einen Gewitersturm zu storen, voch, ch’ wif dieses tan” (22). Die einzigen anderen Garerbrechungen stchen in direkter Beziehung zu Aeneas. Barvceinem Auftatt in der zweiten Szene wechselt die Tonast zeitweilig von C-Dur nach e-Moll (von der Mitte ‘ent 9 bis zur Mitte von Ne. 1), und seine Unterhaltung Wet dem Geist und der anschiiegende Monolog lassen die BukiuchtSzene von D-Dar nach a-Moll wechseln. Die Soonen 1, 5 und 6 werden nicht unterbrochen. Mittels hose Stérungen der Tonarten in sonst festgfigken Szenen Geet Purcell an, da@ Aeneas’ Handlungsweise Strung qenusacht, ebenso wie das Eindringen der Jagd in die $flucheSzene. Und daB Aeneas die Schlucht-Szene atoiner falschen” Stimmung [d.h. in einer von der iRguldten ‘abweichenden Tonart, d. Ubers) beschliest, abt wolig zu seinem afalsch gestimmten” Auftritt in der Pavelten Suene. Der Sci der Schlucht-Szene (ohne den ee iibrette vorgeschenen Chor und Tanz) verschaft der Gper auch eine vollkommen symmetrische, zwetelige Rem, ‘wie in der Tenbury-Partitur implizier, wobel ‘Reneas’ Monolog in Szene 4 seine Entsprechung in Didos ‘Mion tapiren Aten er entsprang” am Ende der Szene 1 fucet, Ob dies Parcells Intentionen entspricht oder nur ine fAnderung far die Auffahrungen von 1704 darstelt Ger lediglich einen Fehler in der Abschrift, lat sich Slierdinge nicht endgiitig entscheiden. Denjenigen, die a cingen Schlug in der richtigen Tonart bestehen,schlagt Giese Nusgabe vor, das Ritornel in d-Moll vom Anfang det Signe zu wiederholen, eine Funktion, die der Name Sogar naheleg ‘Ruffahrungsmaterial fir diese Ausgabe ist leihweise ‘von Oxford University Press erhaltlich. Eine begleitende Taschenparitur ist auch bei Eulenburg erschienen. REVISIONSBERICHT Quelten: Libretto (112), Royal College of Music, London [1689] ‘Tenbury-Handschrift (78%), vollstindige Partitur [ca 1775]; St. Michael’s College, Tenbury (jelzt aufbewabt in der Bodleian Library, Oxford). Tatton Park-Handschrift (raz), vollstindige Partitur [1784-5], Kopiert von Philip Hayes; National Trust, Cheshire County Council. Jeder Herausgeber von Dido snd Aeneas sieht sich vor das adiem gestalt, da6 es keine definitive Quele gibt. Die F jmogen Holst, ,A Note on the Nanki Collection of Purcell’s “Wonks ns Henry Purell (1659-1695), aa. ©., Appendix C8. 127-30. _—__ beiden besten Quellen, das Libretto von 1689 und die ‘Tenbury-Handschrift, leiden unter ernsten Mangeln und Widersprichlichkeiten, und der Herausgeber mu8 die beste Lesart durch sorgfiltiges Vergleichen herausfinden. In musikalischer Hinsicht ist auch die Tatton Park- Handschrift hilfreich, denn sie Kirt mitunter Stellen, deren Lesart in der Tenbury-Handschrift unklar ist. Da sie jedoch modernisierte Taktvorzeichnungen (2.B. 3/4 statt3), Tonartenvorzeichnungen (z.B. eher drei statt zwei b far ¢Moll), Akzidentien (2B. b wird durch } ersetzt, Vorzeichen gelten cher fir den ganzen Takt als far die einzelne Note) und stilistische Detals (.B. die Eliminierung, des Rhythmus’ der sogenannten scotch snap [die Folge von kurzer, auf betontem Taktteil stehender Note mit nach- folgender lingerer—vergleicibar dem lombardischen Rhythmus;d, Ubers.] durch Verkeh rung der rhythmischen Werte wie auf den Worten ,voller Schmerz” in Von tapfren Ahnen er entsprang” [6] und durchweg in ’,Ah! Belinda” [3]) enthalt, bleiben die Lesarten von Tatton Park der Tenbury-Handschrift untergeordnet. Die Fassung, von 1700, die Handschriften, die von den Academy- Auffihrungen stammen, und die Ohki-Handschrift sind zu stark verandert, um nitzlich zu sein. In dieser Ausgabe sind nur das Libretto von 1689, die Tenbury-Handschrift tund die Tatton Park-Handschrift verglichen worden. An- ‘merkungen zum Text sind in den verdffentlichten Orchester- partituren zu finden, Das Libretto von 1689 und die Tenbury-Handschrit Die formalen Abweichungen zwischen diesen Quellen sind weiter oben schon Deschrieben worden. In dieser ‘Ausgabe hat der Formplan des Librefos Vorrang erhalten, aber aut di offensichthich zweitellige Anlage der Tenbury. Handschrift wird vom Herausgeber in Klammem hin- * flinsichtich der musialischen Kraftevertelung ist die Autoritt der Musikquelle in dieser Ausgabe nicht an- fgecweifelt worden, Wenn zum Beispiel der Vierzeller init ddem Anfang ,Doch eh’ wi dieses tun” [2] in der Partitur den zwei Hexen far ein Duett zugewiesen wird, wogegen inn im Libreto die Zauberinoffensichlich als Solo erhal So ist ancunehmen, dal diese Andening auf Purcell Zurickgeht, und daher wird sie nicht Kommentirt im Falleoffensichtlicher Fehler im Libretto folgt diese ‘Ausgabe den Rollenvertellungen der Handschrift, etwa ‘wenn die Zeilen ,Aeneas kennt kein Los als Dich. Wenn Dido lacht, bin ich gefeit Vor schvrachen Schicksals Schlag und Leid’ lieber Dido als Aeneas zugetelt- werden Allerdings sind in manchen Filen die Rollenzwvveisungen des Libretos denen der Tenbury-Handschrift vorauziehen So singt zum Beispiel Dido in ,Von tapfren Ahnen er entsprang” [6] die ersten vier Zeilen in e-Moll. Davauf ttt Belinda ‘ein mit einem geschlossenen Zweizeler (,En starkes’ Lied) in. der Moll-Dominante (g-Moll). ‘Das nichste Reimpaar (,Kein hart Gemit), das durch einen plotalichen ‘and deutlichen Wechsel in. die verwandte Durtonart (Es-Dur) abgesett ist, wird im Libretto der Zweiten Frau zugewiesen, wogegen die Partitur keinen ‘Weehsel der Partie anzeigt. Die Musik cintersttzt jedoch die Lesart des Librettos, und die Handschriften aus dem 48. Jahrhundert sind viellecht verinderte Fassungen fir die Auffihrungen von 1704, wie oben erliutert Wo immer moglich, wurde der Operntext aus dem Libretto gewahlt, Rechtschreibung und Zeichensetzung sind dort stillschweigend modernisier worden, wo sie 20 Unklarheiten Anlaf gegeben hitten, Aber der Brauch, die einzelnen Verszelen durch, Groschreibung am Anfang find Satzzeichen am Ende kenntlich 2u machen, wurde beibehalten. Im allgemeinen sind unmittelbar wiederholte Zeilen ‘oder Zeilenbruchsticke am Anfang. nicht groS- teschrieben, hingegen ganze Wiedetholungszelen, denen Einschibe vorausgehen, doch. Durch das ganze Libretto zichen sich Bihnenanwei- sungen, die hier vollstindig wiedergegeben sind Die mitunter ausfahlcheren Bahnenanvwelsungen und Uber. Schriften der Tenbury-Hlandschrft, die villeicht von den Auffahrungen in den Jahren 1700 oder 1704 oder von beiden stammen, werden durch Parenthesen abgesets. So erscheinen zum Beispiel Donner und Blitz, die in der ‘Tenbury-Handschrift am Ende des ersten Aites verlangt werden, nicht im. Libreto. Die Anweising,stammt ver- mutlich aus der Auffaheung von 1704, denn sie ist eur Sinnvoll, wenn an dieser Stelle die Partitur weiteriaut (wie ts bei der Zweiteilung der Paritiren geschieht und direkt in die Hexenszene dbergeht, ‘Am inde der Hahlen-Szene verlangt das Libretto einen ‘Tana der Zauberinnen und Feen; in der Tenbury-Partitur ist daraus ein Furientanz. geworden. In dieser Anderung steckt mehr als blo8 ein Fehler, wie die Anweisung am Ende des Tanzes zeigt, denn dort wird mehr Blitz und Donner gefordert, wahrend die Furien effektvoll auf- und Diederseigen. Vermutich stammen ach diese Anderungen von 1700 oder 1704 in einigen Filen gibt die Tenbury-Handschrft genauere ‘Anweisungen fir die Prsonenaufrtte, denn es war im 17 Jahthundert dblich (Dio hal sich ofensichtich durchweg daran), 21 Beginn einer Szene alle Personen aufeufahren, die. in ihr erscheinen sollten, und nicht die einzelnen ‘Auftrite anzugeben. So werden in der Schlucht-Szene die Personen angewiesen, nach dem Eingangs-Ritornell auf zutreten, Im letzten Akt kommen die Matrosen nach dem Vorspiel zu ,Kornmt an Bord, ihr Matrosen’ herein, und in derselben Szene treten die Zauberin und die Hexen erst ber »Sich die Faggen, Wimpel wehen” auf. Die letzten ‘Anweisungen implizieren, da8 die Diskantpartien von “kommt an Bord, ihr Matrosen” entweder die Land- ‘ymphen, diesoeben verlassen werden, bernehmen (was “helt sel de Sern a? aw ‘Sa- gen mussich, mussichDir ein- mal, ~~ eS Be -lin- da, “I am prest,—_._ with. Be -lin- da, mei - ne Qual, sa Set SSS = =a: ahi Be = lin - ahl_ Be ~ lin con fest, ein - mai : I iad . _ gees : aS p aS oe jhe guish tillmygief—_ is known, 1 lan ‘mer —al-leWelt— soll lern? mein Kum guish ifltygriel ‘mer al-le Welt— is known, soll lern! 10 @® ted BELINDA pew BELINDA Griof increas-es by con- ocal-ing Mine admitsof no re - Then let ame speak— Leid wird gross-er in der Stil- le Da her meines Kurmers__ So bir mir ae U 4 SECOND, WOMAN 5 Gioa We To-pinges Ind yeu en-au es. The dem asia: jigs te weleden Sto Dv ha Zens Pare 3 b Our Carthage to © - cure, and Troy re - whe. Thegrat-ost Kar- tha go gleich wie Tro - ja neu ge ~ schenkt. Zungriss-ten ¢. . © Aho Whence couldso much vir-tue 5 Yon taeten nen or ert- Le what battles did he von Sohaht-en tone set = anaes = Jourmix’d with Ve-nus r_—Ve-mus apm charms, Howsoft, how Mild; © Wie sft, wie soft____ in peace andyethow fierce, sanft_— als Freund, unddoch wie art. how fiero: in in —sei- ner Wef- fen arms, A tale so schild! Bin star-hes SECOND, ‘WOMAN, == 5 a pes strong — rocks as well as_you, What B eras Sa PGS >} B stubbomheart unmoved could se, Such dstrs, such pi = o-ty. Mine with ‘art Gemit er blik-ket ohn’ Ge- winn, — Sol-ches Leid,_—solch _from- men Sinn Da_ mich = ar ere Sass + t 2 ® ee a ‘ Go $i ey a’ cpmest, Is tug bp. y the ds. Tad Ser ee, «Hae mach dace dates ge (ea Pe] (Spee SS 553 =| » io = = at 2S sore ee 6S =| Mantreishe’ gief can touch, So. wih, ain- Ste my Auch Ar - mer — Lei’ ‘ich faht’, So sanft,___ | Empfin - dung itonge- ey a SS a 2 ted) on — ste == rs of oye best, But ah but aM ty, ghty hs toch tide) Dochacl=_doch acl ichfret, main Mie 38 tu ' = et ag q = = f Sa SECOND WOMAN ate pede A Fer no dan - ge to en + sue, The he-10 Frirelt’ nicht, dass Ge - fale er - schien, Dein Held liebt p= SE (eS =n= =a ( ir += = —— a +t zal oy : i Ev-er gm- tle, ever —smil- ing, And the aes. of ife be - guil- ing, Vol- ler Froh sin, m= rrer’ el ~ te, Kime — Sar - gen itniche wei - ter, HRS ea 5 i is oi {Mt ail ie E e & y + I mT | tT a | Wl ee 4 aN EE Sa 7 ae Ged) eee ek Gas ton Kee re ess a SSS - pe Se pede BSS Term ane ge = oe I 7 a Bil, EO eS al he ie RS A — f—Fs — a === (SSS = | lt _ : B res ee === cvronus ® ira | LJ pd Lad = ete ret ° Fear 10 f f dan = gor to en Fircht'nich, — dss. Ge ~ fain or sw, The he-1o lows schien Dein Held edt — Dich 0 det SE wil = 4423 g J [fe] 204 ime pia (15 time for.) ° ‘By - er gen- tle, ev-er smil- ing, And the Bee ae anak eee soe nea) lee 6 B= 7-=3=-a5 4 tl 2 a @ { gags ia rotor ire ? ? fT rytr yt t = | ‘Dance this Cho[rus). The Baske," Tancen wahrend des Gesangs. Baskische Tanz, "See Editi Notes Aeneas enters with his train, Aeneas tritt ein mit seinem Gefolge, Qua BELINDA ae _-_ _—_ ; — = t E Eee se Spee voor alas apes How — godike is theform fe Sih, seh, nevas drt Bin. Mersch nSchinbet Gort ver - de PELs Ta SS = 8 I 4 AENEAS- | | a ea | ‘bears, n, when, roy-al fair,shall Tbe blest, With cares___ of __ = int! Wann, ‘wann, Sclinste Du, wird mir ge ~ schenkt, Die Sorg’— wn — i a = — hh = SA 5g Sid = Peat sade. tre, Fatefobidewatyarpaae, Ye-e- tes toe butyou Ris wea sat eoiienoes eae eee BoE | aaa iy, wl MO - wry Wenn Di- do lacht, bin ich ge ~ fet Vorschwwuch - en Schick - sals Schlag und Lei eee = Gu- pid on - ly Ay mor cin 2ig 3 ze = SS ip - ‘ = aie ae == Cu - pid on - ly That's dread-ful to a war tior’s heart, that’s A - mor ein- zig tod: lich fiir des Krieg - —ersHeil, der 4H ———— : SS SS = 5 aut, Gy tow Heda Thats denPfei, Der throws the drt, That's +g wirft— den Pell Der | hb Sie ——— | dees oe — I to war-tior’ heart. And she that wounds, and she that wounds can fir Krieg: orsHeill Und ma die Lieb} urd mur die Lieb’, mr ce : = a dio = (fo wars eu Al eat wd and a at woud . téd lich des Krieg ersHeil. Und = mr die Lieb; ‘wd mur ‘Lieb! mr _——— = SS SS eid - toa yae-vio'sfear, And she that wounds. and sho tht wounks an tod - lich fiir des ‘Krieg- ers Heil Und = ma die Lieb; und = mur die Lieb, mur er SS a —— + =: dad «ful toa ——_yae-ror's rar. and he that wounds can Wd Hot Be de) Arg op Hal Udrih tap ei Nie bt ee \ = SSS af = = or rr = 2 |e lhe oe = a Boo _ _ {pte tp pig to ee = = ty, on ly awe theamaran on- lyon - ly Se arn tris- ten mich in Ki’, mur Sie_kurm_tris ~ ten 9 = —— ee on iy, the smmtean on - ly, on-ly ‘Sie kan mur Sie kar trds- ten Sie kara ln BW mur Sie Kinin tes ten | ae ee ~ Ie a —- —— v oe ons iy, on ly cme the smarfan on ly, on ly Sie Karn tris - ten mich in Bil, mw Sie kar trOs- ten _—_ ? Tf not for mine, for Em-pite’s sake, Some pi ty on your qi Ast’s nicht fir mich, sei’s fir Dein Reich, Dem Ee ben - den Dein == == | \ 3 3 #8 5 | love Cc = Z = = | —— —- = ae == r=! == 2 rise | lov. ertake. Ah, dhl rukenot in. a hope -— lessfire, A he -ro Haz" er-weich Oh, oh! lass mich nichtim Few = erstehnOhot'Hoffaargs- i} gts = =j 4 | | = 2 at 7 oa 5 ooo rte a , ly OE = + = be = ==: = f f | ! © Quick BELINDA soft Mee ry fill, —— and Tioychoe ore ex - pt, Pur - sw thy conqut, pe strabi—undvie-der_ Tria un tr go Die” Lie-te fat “geste,” =e He . — —- oe 3 = i — I po SS pur - sie, purste,, sie hat” gesiegt, FR sete Z FE 24 fs _ a: aS eee ~ sue thy_con-quest,Lowe, Pur - sue thy con-quest,Love, pur - sue thy con-quest, Love, atewie E Stet satraer & a Z SSS SS === SS eS s é pea eae ma ea soe a ee oe ie Ja, die Lie-be, die Lie-be—hat_ge - siegt. Sie © a th a += a a = ——# fr rsp edsty hes tes eyes confess the flame fertongue do - rics. er eyes Confess the Seseenteine imme «oe toe da ist == 5 3 q FP y i i ro SS af Sse SSE flame, her eyes con-fess the flame. her tongue de - nies Pur-sue thy oon -quest, selbst, sie blickt das Feuer, das ity Wort er ~ sticke Die Lie-be hut ge - SSSA ——S Bae SS ae 2h ie ee pur- sue thy conquest, Love, die Lie-be_Iut. ge ppur-suc thy conquest, die Lie-be_ hut ge = alee} CHORUS © Apanee citar chacony? Gltarrentanz (Chaconne) ee To the ills and the Buch Hi-geln und t ff —=——=s SE 6 Piss 2 To the ils andthe vles, to the rocks and the mountsing Tothe om - si - al Bich He-gerund Buhign uch or wnt “Matton charg rch - ae be. 2. e ioedeal Ee pr step le boy = Fo =": { == Je groves, and the cool sha Sehighiytich— Que - Iv dy foun -tuims, Let the ti im Schatten,’ Sei die Frew St owes, and the aol sha Schluchten, Ech Quel - len fee Js od = dy foun-tans, Let the i umphs, the d jim Schatten’ Sei die Fru. de,” die Frau eS ga ee tee fw F goes, wd the col he dy foun-tains, Let the ut ‘Schtuchten, Ewch. Quel - len err Schging Bch— Quen im Soh ton’ Scie Pew - sei die —— ee ee 2 E ce * * Se a a + - rows, and the cool sha - dy foun-tains, Let the triumphs, letthe trl - umpls, the im Schat -ten’ Sei die Freu~ de," seidie de die R parte pope eee ee ; Is Sa So A = ¥ I = = a sumphs of — Love and of Beau ty be shown. Freu = “dean Lie- beund Schinbeit ge - zeigt rican aaa Ona ed Frau p= SSS: Se ee of Low and of | Beau- ty be shown, a Lie- be und Schin- heit ge - zeigt FSS =e Love and of | Beau- ty be - Lie bend Schom-heit ge ~ 2 oe —= of Beau- ty be - shown. Lie - be und Schinteit ge - zeigt ae TH Hh Let the Sei die —— =e Let the Sei die Let the Sei die ee Let the tri - umphs, let the ti Sei die Frew - de,’ sei die Frew - ase F aa, SS a oe ee a eels se ee + ty + ge Se a ttt umpls, the tri-umphs of Love and of Beauty be shown. To the hills and the de Few de an Tbe unt Schone zg: Beh — gc ed Pt Sie pete to triumphs, the tri - umphsof_— Love and of Beau-ty be shown. To the hills and the Freie | die Fru de an—— Lie - be und Schinbel ge - zeigt. Buch Hi- gen und == | | l . ( | | 2 = umphs of Love and of Beau-ty be shown.To the fills and the dean Lie - be und Sclvinhait ge - zeigt. Buch. Hil- geln und t = — = | =: pla Goa ee eeete. | | - == SO ———_ OT ae » 2s et ty St ere ee Sie & a” See Sa” erect eta Paghtg, Buch Pel- sen ed Mt tr Buch — sang rech- on Scher, Buch Qucl- ten im é SS ph t == = SSS wale, to te rods and he mmo, Toke ms - ah - clean tec aa dy Beeler ich — FFel- sen und — Mat~ ten, Buch sang - reich - en Schluchten, Buch Quel-len im . ote Paros. ee | —— =| ‘as, to Ge petal the una To te musi al _gowandtlo ol cy Buchten, Buch Fel- sen und = Mat- ten, Bh sarg- reich - en —Schluchten, Euch_Quel-len im e ra t PS ee ee pace. " 2 ee te eee vales, to the rocksand the © mourtains,To the mu - si cal ‘groves,and the cool sha - dy Buchten, Buch Fel- sen und — Mat~ ten, Buch sarg- reich - en Schluchten, Buch Quel-len im rf aC =a ' a Pit pee ert piper pet —_— f a | op <= = se F z= Ge F + a ht Saami ieiscai |e urpte of Stee Set de Pru De ade Poe ama tS | 9 = foun, tte = Sou ion Sade : SS sa eee res | nti) Lt te , ot Stuucton’ Sa de Bee Ted de Pc aed am | pet ae SS" ee , er tr te + SS 0 £ oF —— fount Let the tt uryés, tu lsu dp ous Supine Soutien’ Si de nc "de at de Brad de Fra Bacay = a ~_ ie ree int ayy Ob alae inl a a Lah |: i lg gels. wills. Hy 24 th i aE CE MS AE se | sshys| 23 lla oll eg ge (ad en ay ay ll ay a ae 4 Al y oe ais tree ly as 3 |p meg lit Sx [ire tin oe ' | SOMES Nae 3 22 Ay ak : is Bs MY ES te te es : all; de lope ae ! : 2 : : An a8 aS My ad Ze i es ae i Noy 2E is de tr il lnas if i athe) : | +B Sy as 33 aed seh Pe lies Ley ens t 4 5 a yak Type ; . 7 2 Salinas as " Ne x ji The Triumphing Dance Siegestanz Pau tha a ==— ) eels £ se (ee i oe Ad Ja, (het Pe pee lof? if iid 2 [fe 2) 24 1d Act II. Scene 1 [Patt I, Scene 2 {Prelude for the Witches (Priudium fis die Hex: SSS be. bt f ~ ' Se shy Doce Bl ay Han be i = \@ e5 eS <> x fe —— =—S Bay bial d Ses SS cage night, Whole ds - nal yes _cy ing, Beat the ia im te eg chai) Se hens S i \ ° = & Sale —_ a be ¢ ——— + ——— i 5] eS ee QBS dete Bietemenon Bi a candela (ae + == a = + ; == Se ye 3 i a ae 4 —— = — sh == SS S=-e= a tgs tne. App Did XO img ~ tn Esch, & = ——— = lo tite a os -— re ye Sy, Wdam ayes D ans === Heft = SS ae =| mis - chicf_ - , harm'sour de - light and Gh > eil— ssh ural, "Tod -ser Glick, hein Farm's our de - light and is - chief all our_— kil, harmtsour de - light ‘Tod unser Ghok, kein Un ~ hell ist usr, Tod -ser Glick, _ a pe ee Tod unser Glick, kein Un heil asst uns ruhn, Tod unser Ghick, kein a SS ee F lum our de tight and mis - chief all cur skill, harms ourde - ight Tod wr-ser Ghck, kein Un - hell = lasts ube, Tad ser Giick, =e needa dA pete Tr lr Tt doe $s 2 |e #£ r ts ge | a ae i ee —_~—~_ 5 te ——— Seah = Fe eae =e mis - chef alow ski, chi mi - det ae due low al Th 2 Sat ize ma Bh SSE Te Se ie tow hae = gee yd pee wis diet lou sll, and mh ete ns ccf alow er a a =f] SS aeeee ‘low al ards - ci mis it, ms» cif alow eum iy den Un et’ Oh fe Oe se as - > _ = . . = : 5 ff free ce =F a wee sdb diet alow of, and mi - die? allow ll —— BGS Boek ee i tn pe pee ee agt widhe be J Eb =F} = rf t=] — bo = — —+ — a =| ie So SSeS Se The Queen of Car - thige, whom we hate, As we do Ce 7 a 2 Le | ——— J —- — fo ica i we Sli mee i a ¥ F SUC \ a b | —— b J—pj—J poy ——— a, Ne tt I I @ Wl gee $5 MV oe sun? aSv aE a wanaaaane e a = = SS (09 34 6 == = as SS - J Es Pee te ate 1 fa lan ground. TheQueenandle are now in chase — SEBS STE Sime Lam Mie a a jt i Wald — rT 5 toe : ea = PIRST WITCH a | ark! ik Horch! horeh! fe pangs pi einep te u, ie ae aeser — = aera the exy_——comes on a _- pace Wieder” ~— ge Horrut schol } SORCERESS 1 ; & —{—=$ SS ee ta Tut ven thoes P idan ot Nec-eu -1y m= “9 Baten theyvedone, BY Gaon, Al Hermes er ge = =~ 35 = = = — 1 = == se AAs sent from Jove shall chide, his stay, And rennst, Von Zeus ge - sundt, triffst Du. ihn dort, Und i + \ome — ee = bee 7 mo 20 Z a charge____ him sail to-night, with all his fleet a. seh thn a= bende Wer gun-zen Pot. te = | 9 2 pe ei Tr Jon, Ho ho ho ho ho lest == a EF Tet aa al | || 2 ta Tt at] Ha se aH i dit? ait . | 2 I | Ne ate : | oh he ty 1 EF J = a pa 2 ; oe 4 4. SS SS — aoa edd dp 4 na SS == et ST yd pd FIRST WITCH SECOND WITCH == SS 5] But ere we this per -form, But Doce die «Bat im Deck == = =e = Tut ere we th per - form, Well con-jue fora Dock ah wir die = Ser un heb! Sch Sturmiind \ ==en: = aS =; 4 \e a a 5 = =I 2s F 9 = Fe SS | SS eh’wir die - ses tun, Er - heb’ sich Sturmwind nun,. & =. — Sa SSS ee storm. To mar theithunt’= ing = heb Mah Sturt — mun fun” Ver - der- bet ik = rah SE 2p E — : ~ jus fer a tom, But storm To Ben Sturmovind “nun Bock ‘au Ve. a SSS xs ri on ~ ee SSS Se — f =F spot to mar ther hont- ing sport, And Sport, ee SS es mar theirhunt + ing mar their hunt - ing der ~ bet. ih - ren Sport,ja, ih - ren Sport, "Onde =a = ey = - = =e ——— ~~ vem back to bet sie nach Hau - se— i te ~ em back 10 eLnach Bas = 6 is court, and drive: vfort, und trei SS eee SS court, and << ‘fort, ime . 2 ose ig I — ; — a : : Sete wk Bask $2 Sov to. Got === =| = — + eS = TT Oe NS Ber. Se oe fort, SSS =s = = GEES ert fi ae SSS SSS @)_ CHORUS (in a Manner of en Echo) Choy. {oie Be) a oud ~—— Softy Loud ; ; ts ja SS ee be == Se ee In our deep vault-ed cell, -ed cell, the —charmwe'll pre. - pare, pre - pare, T In der heim-ti-chen Graft, chen Graft, das Werk selvoll - brachi,voll - brachi, are gio ad pS === = Sa (Loud | oie Soft \ Loud bpp tl SSS foo icectstch set's Menon So schecksdeh vor ~ TERT gee mo SRAM tao gd il 4 a4 J Ags ptt tld + ———= Pat | ge gt (== SSS het SSS Se See == 4 z, a Se F; fe —s— > — ee Eccho Dance. Inchantresses and Fairies Echotanz. Hexen und Feen (Echo Dance of Furies) (Echotanz der Furien) Act II. Scene 2 7 [Part II, Scene 1] Scene: The Grove Enter Aenes, Dido and Belinda and their Train® Die Schtucht. Aeneas, Dido, Bell Gefalge Idd) me ey fi aA @ leed1 BELINDA — ‘Thanks to these lone Dank Di, Du Ein le sert hills. and dales. - gel ver - bas sen so weit, re pe So fair the game, so rich the spon ; : pp (fF == lx. SSS == “ 5 = SSS ===; aS met a oa et a ( = = = = eT de _———— See ee 6 So schon die ae Beu-te zu - gleich, Di r 2a + ons self na selbst might to these wo: hut wohl hier. dr. 7 sort reich. ods re-sort Be - reich 4s ® conus ~ ae : — > aS —— SS sot (eee ee “Thanks to these 101 lone-some vales, These de - sert, de sert ee oe cei 3 3 Thanks to these : Tone-some ales, These de -sert, de - sent Dank Dir, Du pt ‘Thanks to these lone Dank Dir,Du Ein -sam- keit Eivsom elt Te» kr und) H-gel ver Sef vales,These de-sert, de = sert eit, Ta - ler und Hitgel ver - a= = sea ] pe — =} ee — = { [ieee = hills and___dales. So fair the game, So rich the sport, Di- s-sen so weit. So schindie Jagd, Beu-te zu~ gkich, Di- Ha = i} : e ieee = ps So fuir the game, so rich the So schin die Jagd, Beu-te 2u - i = sais == ‘les. So fair the game, so rich the sport, i weit, So schon die Jagd, Beu- te 2u - gleich, Di- —e_ . \ — are 5 ——+*f |} —| hills and dales So fair the game, so rich the las senso welt. So schon die Jagd, Beu- te zu - a t aATT selfnieto thewevoatbe - sort So ftir te game, ve seth er whl hey Be eh 5 seine Sued 6 5 = BBS] | sport, Di a-na’s self might to these woods re - ‘So fair the GEG, Dilacna sebst er vohi- her thr Be So shin die ee Sj 6 rey ze Sar Yam wifmgto-- tor woods re-sort So it the game oon Sister wohl. Mer the Bereich Soschondie Sue ee eet = iS} oe EE =| ae por, Di-a-mas selfmghtto these woods re - son So fair the CAME DEM taterwont “hier ir Be- reich So schon de 1 ! & , (ie Py ag F ——— er +, \6 : SSS 1 y. inar p | dete te le St =piete*f — ae ° oF i f= SS eee ee lee F =e ee wrath the spor, Disa - mas selfmyjtto the woods w - sor Bevis su -gbek at hatwoht hier Be = elk Is : at = == === pe caifmgiuwo there woods re = rt a Stsetarwokt ‘ner ihr Be = reich te mee = = ee =H et SSS e so rich the sport, .'s__._ self might to these woods re sort, fet ee Dhl gna seit ar wohI—-Mer ir Be - rech : eee - —esI = game, So rich the sport, Di-a-na’s self might o_— these woods re-sort ad Fane Dicalne tester wohl hr Tir Be reich eect dd Sg oh fan ——— E of f ian ys etal - Re—t e 5 = | 2 Gitter as a Dance? F 1 See Appendix and Editorial Notes sisarrentanz, (Chaconne). maceertete it SECOND WOMAN (ei = Se Toe ee Oft she vi sits this loved moun-tain, Oft an ie - ber Ber - ge Stel - le, ie 5 Oft she bathes her in this foun - tain, — Oft be- sucht sie die - se Quel - Ie, stele, Rhehe 5 rr a = See pert = et Oft an ie - ber Ber - ge_ Stel - le, Oft she vi- sits this loved moun-tain, Oft she bathes her. inthis foun tain Oft be- sucht sie— die - se Quel - le a ar aa *F rete. thet, - eo} =| eo B 2 i 4 peat ASS Spt gE oe Kien Inara oel et = weft tem heal Ase Her Mel AE. Woon gigcmGnn, Berar Ab ca Saas | = tae - on—_met— his — Phr-sued

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