RICORDI’S CHEAP EDITION Complete Operas for Pianoforte solo Special Edition for the United Kingdom, the British Colonies and the U. S. of America, ited by TITO PAGLIARDINI. G. ROSSINI LA GAZZA LADRA AN OPERA IN TWO ACTS. Performed for the first time at ta Scala Milan, 31° May, 1817. Price: ONE SHILLING. RE BORER OEE RE RE ORE REE ERE EO 8 REET ERE REO RORO ROR ROE Sinfonia 6 ee ee ee Paget ACT SECOND. ACT FIRST. Daclio - Forse un a conorcerde - Ninelta e Giane Introdusione - OF obs giorua jortunato! 13 | neto. tee Page 82 CCavatina = Di pincer mi lates id cr « Ninetta . . «25 | Avia ~ Si por wi, pupile amate- Podesth . . . . 9 Cavatina - Stringhe eforri da caizte saeco Coro - | Duetto - Ebien, for mis monoria ~ Nine e Pippo. 98 Viva, 8002 ve ev ee ee Bt Avia Acuat di furts « Femando . . ss. 104 Covatina - Vieni fra gueste ivaccia - Giannetto . . «34 | Scena, Coro del Giudisio e Quintetto - Gib disco nel rindisi - Teeckiome, eviana - Pippo. . » . . « 39 | suo toto fe + 110 Ductto - Come frenare i! pianto! - Ninetta e Fernando 43 | Aria - A questo somo = Lucia oo wee 38 Cavatina = 11 mio piano 2 proparato - Podesta... 51 | Coro e Preghiera ~ Dek tu reget in tal momento «Ni Tereetio- Ok Namebnefco- Ninets, Podestie Feranéo 55] uett2 se. 2 es bee 136 Finale primo see ee ee ee eee 66 | Finale seeomdoy se ee ee HO Ent, Sta, Hall, Tito di Gio. Ricordi 265 — REGENT STREET — 265, LONDON, W.GIOACHINO ROSSINI A Biographical and Critical Sketch acm Rossi composed La Gazza Jadva in 1817 for the Scala SA Theatre at Milan where it was represented in the spring with Ma- dame Belloc, a certain Madame Galianis, Signori Monelli, Botticelli, Filippo Galli and Ambrosi as the principal singers. This opera was SSTAN one of those of Rossini which obtained the most brilliant success, and the surviving musical epicures of that period still entertain a lively recollection of the glorious days of the Gazza ladra, ‘The libretto of the opera may be called a veritable éméraglio; the action proceeds through a series of expedients and combinations admissible only in the libretto of an opera; yet the poct Gherardini managed to create situations to interest an audience and move them even to tears. One of the most str ing amongst these is that of the celebrated Terzetto — Ok nume benefico. Fernando Villabella, condemned to death for an infringement of military law, finds means to escape and go to his daughter who is in the service of a certain Signor Fa- brizio. Ninetta consoles her father and refreshes him with a glass of wine. In the meantime the Podest& (mayor) arrives, meditating within himself — 77 mio piano 2 preparato, He hopes to find Ninetta alone, and to make certain proposals to her best known to himself, Ninetta implores her father to feign sleep, in order to avoid the risk of being discovered. The intentions of the Podesta are frustrated by the arrival of a messenger bearing a pressing letter. The Podest’ has for- gotten his spectacles, and, cursing all business matters, he asks Ninetta to read the letter to him. On casting her eyes upon the letter, Ninetta turns pale. It is the document relating to the search for her father, who has deserted; she reads with much difficulty, substituting with hesitation another name for the true one, and changing one after another the descriptions given in the missive. And here comes in the famous Adagio — Oh nume benefico! — which is one the most beautiful inspirations of Rossini. The father withdraws and the Podest& resumes his interrupted mancevres, and pours forth to Ninetta a whole volume of prote- stations of the most ardent love, however ill-timed. Here the father re-appears, and upon Ninetta, justly offended at the Podesta, treating him with all the con-4 LA GAZZA LADRA tempt he deserves, the father, no longer able to contain himself, bursts forth in the celebrated — Uone maturo, ¢ magistrato! — thus compromising himself in defending his child. The Overture of the Gazza dadva is one of Rossini’s gems, and is written with that grandeur and simplicity which constitute the work of genius. Amongst the other most striking pieces in the opera we will cite the Cavatina of Ninetta — Di piacer mi balza il cor, — the Allegro in the Air for the tenor — Ma guel Piacer che adesso — an Allegro which none of the tenors of the present day could sing as it is written, — the passage for the tenor — Zi to la cvedea V istessa onestd! — an outburst of grief and despair which the music expresses with great power in the magnificent scene of the trial. Another justly celebrated piece in this opera is the Duet for the soprano and contralto. Gioachino Rossini was born at Pésaro on the 29. February 1792, of poor parents whom want had driven to become musicians. His father was a horn- player, his mother a seconda donna, and they travelled from town to town, whe- rever their miserable engagements called them. Upon the talent of the little Gioachino being discovered, however, he was put to board with a sausage. dealer at Bologna, and entrusted to the care of a certain music-master named Prinetti. It appears that his progress was not considerable under such a teacher, and he was consequently sent to the Academy of Music at Bologna, where he studied under Mattei. In 1808 his first musical work appeared in public, It was a Cantata entitled : 12 pianto d’ Armonia por Ia morte d’ Orfeo. This was the foundation stone of that imposing edifice which was crowned by Guillaume Tull, His complete works consist of thirty-nine operas, the Stabat Mater, the Piccola Messa, and Les Soirées Musicales, several Quartets for stringed-instruments which now cannot be found (unless they are among the Archives of Bologna), several sacred pieces, a large number of compositions for the pianoforte, some symphonies, &c., &e. Gioachino Rossini died at Passy on the 13: November 1868 leaving all his property to the town of Pésaro for the founding of a Conservatoire of Music,4 LA GazZa_JUADRA _G.RossIni_ Simrowa > MARSTOSO ~ MARZIALEet — qa ae —— | Sa + - - ees ee : SS 4, HATREIE J 2 = = - + - ¥© 44aes-ee5 ANNBR~Bavaan-68288 2 E sao core 2 ats ANues~66 5= ST aaraticee “seta “ees + oe SEE esteFF atte forse WANG ~68 5NANRB 68st + $= Seete- = + z =—— Hes s 3 peo ey Aa eR 68+. === “Ses i = 1 2 et cI ==nates 66ATTO PRIMO Invropuzione BRILLANTEQheche giorno forta_ 4 StDope tothe tnt wy 2ah 15 porte E Etee, =—__ spesi i fra gli st fF esiin guer _ raefraglisten — ti uP guer — me efen gl sign Uy ti it pa dronritor. nei — fgeekt vienio pa dron_ ci _ no, forta_nn.to! oh che so aanes16 Non so niente. @ Macar2s Pian? Pipysip gs gg Crib chimatoye 9 és = We chi slato., EEE grrr. a =i ==Sa=a Bratta gazzn maledetts, che ti colga Ie snmcbbedite? east = swale . tite, 5 anaeeChe flemma!sbrigatevi: piglia . te, atendete. Mio figlio,il sapete, dee tosto arri- Ft piscer? * air, de tostoarrivar, Avetostoarrivar. Che giorno bene to dob~ prt tempo Bai, -Tito dove adesso se nesta? ‘Tuo ma _ rito tao ma. 2 tempo o2- ee. yaaa49 E_ gli viene, eugli siene,o min Lan eA aR: : 4 ~tito ee — ala qos. nett —— ayy 07 fry ey 7 ewali reca,egli reca I alle se aT p “e178 1 TD TIE ary reca il nettare, il nettare spamonte Vic gocre,il vigor, Ja 7 — ni 7 8 Ex Vie va. Brceo,vi-va Raceoels can ti — BR, Je gi i. 2,fe Wi Brceo, Raccorle emma — an me- gi os Ahche alfin col suo enn a ae ANA66oggi torna if figlioumato!, wyey erent ey oy ee eee * fe22s = der A me tocon il dargli -moglie; questo affare a me sia apettea me, a me, me sia (us eazza) . = spetta. Bgl de 2 © sposun...¥inerte Minette. Al In guzzaha indovi = ke Tasensaie! = mato, ani! Gh’é stato? —-MYhw hee ex — to,mha becea — to, Eben tiSe fa gazzuha indovina . to, 2 > sete gezzahaindovi — op titeees Fees. ALTE CON BRIO if _goglio brillario ve a f2 = moor di bells pi ite £ 2. = net — to.a.cua madre,alla sposa vi- ci no,or@orgoglio brillar lo ve -dre_—moordi sone vi of posist f° fete fe Eo f8te 3 bella pict sospiaase6padre,alla sposa vi - ei — hella pietd sospi — petie® E geste pact tt Efe te, — = mardi OE tte ( (24 s anaesCavarinn - NiNETTA MODERATO viseofieties, #2 & = | ptgisad Swe? Di pin - cor — mibatzail ah brasmar di pit nom so: Pa manteeilgesni. tor — final =e ae oo 4 Sth =men te rive . dro io rsve . dro Ie meet t Ee ee eS ss io vive -ar, Pitas, pas Sar Luno at sea mi stringe = rt; Paltrow. altro, . ahehe fara? Dio daQt _mor, covfido in te; deh tu pre - mia la min (8! Dio d?amor, confide in \ £2 £228) : fohamep tl | | oS te; deh tu premia a £8! Di pin— cer —mibalzaileor; sh bramar ai pit non so: Vee > . = man — te,il ge- ok_ tor ficnalmen _ te rive — dro io rive ~ ard io vives ett . . ee wanes28. pid ie - te gior — no brillarnon pd no no ‘no no non pud; = » = ott a et | pit ie | to gior ~ nobrillarnon pubno no ‘v0 nonon pud. Ah git di 5 AAME29 men — ti:quanticon_ten _ _ ti alfingo — dra! Ah gia die mention i__miei tor _ menti; quanti contenti,si, al - fin go _ dra! a 4 piacere oz Tat to cor = Fil dew re mi veg. goin tor. ~ nos ve pih ie © to gior — no brillar nonpudno no, 0 no on pad ao? atk st Fam30 = menti = coi micitor. men. tisquunticon ten — ti alfin go. ded! Ah gid diCavartina au Isacco = Conc ALLE MoODYe © nea Pietra goltanel =. Ui, 2 3, = 2. 25. £ Foye Avintia cyan MODERATO e chi wool ven.de re 0 ba-rat—tar=—_— -(332e2| Eee Ma qual sage! tort: _ ato! E Gisnnetto! Oggetto a_mato, deh ai ay eS33 vient, deh mi vienia conto. tert sh monmen-tojah so-menato for~ tu pea > __.__ =. ami a FF : y , oh Hee, ob oa i aturt iiaor& or doh ome che Melee che dale pln #{ Fuori, fuori,® ritor-nato: doh ve~ ( er ce 5 Manse =Bainoisi PIPPO MODERATO. Sac ocen . dapap — po zum pillay > se spa mae willy eps Ete ric = chie pi - toc - chi e- sul. © ta. _noal-tor, rie. 2 ehie pil -toe - _ chi e = -saltemo esul ~ tano al - | |Tl nappoddi- Pippo la pips e la poppa: il pecchero accoppa le pene del. cor! Che ALLEGRO, > eee gee ar Pipa, che poppayche pretto sa. por! che pipa,che poppa,che pretto sa - por! 2 ; ot Seas i sf 22 .5% # 49 2+ te y43 Duerro NINETTA © FERNANDO ted 2.> eoett” te Beets E pur di spe~meun rag ans = cor vegg?io —bril_lar; © pur di speme un rag. =. gio am ~ —=~ = cor, Yogg’io bril- lar, sncor vegg? io brit — 3 gS = ef tase ae 7—F —_. ve pid spe mes ‘ cr. + toy 8 cer toil mio pe — ri _ gli,8 cor - to # mio pe 45 J certo il mio po, - riglio, -Tiglio, eee : Wawett * Solo ume ter noe-si - Quzeglio, oh Dio! mi pad sal a ts a e var, ‘oh Dio! mi poo sal. var, ‘oh Dio! mi pud mi46 ANDANTINO vi. de mai del mio pid bar 2 bare do tor!) PerMi = demi det mi opi bar bar dolor,AS Oh Dio, chi viene! Cai mai Dok Stee ot + TT Pode _ sta, Bh eche diciy Son per. see oe pe om tet ca = fate. Come far? Oph gel se dre, ‘rim seapre..Raneondete quelle fata. tt thf mare mai... Oh erndel Pa. vento... Che fiero Che FIVace tor_ mento! tor. mento! 6 AbME setar! I nembo @ vi_cino, tremer le = ler! I nembo & vi_gino, tremendo a ino, tremendo destino, mi tre. mendo de —stino, mi | | . TianWANS osbi Cavatina PopEsTA tD) MODERATO marcato «set r ot Th mio piano 3 pre. pa - ra_~ to, e fale _ lite © fallicre non po- triBz Pria di tutto con do . strezza, > $8 ete. = le solletico Vor. goglio. No, won posse... chimt. non fe so Hi - tee ri. di ~ cole; formo_lario formolario omai amaceato! Matra ee cor pia _ un fang to j ALLEGRETIO Si, 1, Ni See sotto voce53 = let = ta ti trove 9 rove. 7b, Quel earo vi" sobritlar « un ( + risag. io ti fa ro. Epoi chein estari di dolce amo ~ re tivedrd stendere lamano al core, £4 eee YS Presto rinvigo—to,ringiovi - sotto woce @ stace, ‘eel be) Ll Soe 5 tansTenzetro 53 NETTA, PODESTA e FERNANDO o>. (Re ~ spiro.) -~: Mia coral MAESTOSO Partite. oe ne No. me bene . ff co cheil giv. ~ sto di_ fen = di, pro STse il = di; =e di seou _ stan = wanesfammi a parte del tuo cor, fam (of L hb hd Dyas sg = parte, Bench’ soln, ft»henchis sols _~ ty ny rhe oe Ssese we de se ee P atre > ~ta__rio! Non gridate. Vi vo_lete, vi vole_te rovi_nar! Vieni aS r= > & a a e EL Fa me co... Sciagurate! Ri- _ spet _ tate, rispettate Iinnocenza.Cor's questa imperti- fe . Vintendo, Brutto vecchio,se pit tardi...Infeti . ev! tu mi guer. diye th eb = mo mi sento HHeorscoppiar. Non x0 quel che fa ~ are. i smanio, deli.roe fre. mo.A questo pastoe— stre. 5 AANe 6s MAE y+ Infe _ tice! tu mi guerdi, © ti debbosoh Dio fasciar. Now sotto pore sminio,deliro © fre mo. A questo paso e— stro — = + r= fre mo. A questo asso» _ etre _ -unto fered66 Finace Primo ALLEGRO stato _ ogg ra = pito. 3 QS > Fa. pito... Avete Rees 22 22 = ~ genio per uw. so dt man. giar.( Che bestinghegiumento!) RZDer Mi sento w rosi — cares. Che bestia,che gin ~ e o. 20 mn. to! mi fa traseco _ Di tuo: pa dre quel il Scie pene eepP = nan - do Ville. belle. Villa . betta! Come, | come? oN > © intendoyfurfentelt: quel briceon ers to padre, — e222 q Zi, 0f Free s eases os68 Me Pe. ven. tal Le mie squadre lo saprannoaccaluppiar st lg sapranno lo sa = Ww eT er = Prin nonce — Lappin 7 Y K —_ ‘Solfo tace -ler, Eh! tu mentisei, ehlta_mentisci. Presto, presto, presto seri - oe [eewrite Se, ee a tete tates the bey ciod? Parlor non posso.Cadute sei net cake eo ‘ee Ses 4 tt — ~ TFS oy Tres there BE seo ARDSWW me gist senestbse tins. oh erodel fatali_ ti! s 7 ~ fe (BALL MIE yb HT = perbia,la superbiseVardi.men . to fi ft. ed ben io passaryben io pasnars Gik vie 5 4NeB 8Che co. sa ae com _ prasteio la eres dela Vii. ates. an o- ne. sti!) O-uu =stin tore ribile! Ma fate presto, ms fate presto. Quai ci = sfre werano? = An-co_r questo! an_eo_ra questo! te steaeletfere!.. - mise.ra me! Quii cifre Werano? ANDANTINO sor. te see15oa = : “aa "% me a —io =: ==. SESS. i £ | ee =— Mu qual ramore! ALLEGRO ——— rea Pe In pri. Siu. rol ALLO VIFACE oes es | FR. ES Se cielo! fermate,o temeten a et iet 2 2 reas= -vento gelacremi fa, Mille (et (peNilto ffettinel petto mi sento: lo spa-vento gelare mi fa, ‘Mille furien#l petto mi sento; In spavento gelare mi fe. + Tefal + tnNRE‘atta foraa s Mase os Fine dell “Lito Primo