HANDEL PRR SO ere et, 45 ARIAS from Operas and Oratorios ( GANDEL - x, FOR VOICE AND PIANO ORES RECO EO er (SERGIUS KAGEN) (HIGH) VOLUME I No. 1693 SS CECE EIDE INTERNATIONAL MUSIC COMPANY NEW YORK SECO CCOO OEE Printed in US.A. BEET EEE EEE EE EE EEE EE tt tt tt it ttt DORON OKO UOROCHON Oo HANDEL ROO 45 ARIAS from Operas and Oratorios FOR VOICE AND PIANO DOCK ORES aa (SERGIUS KAGEN) English translations by Nicholas Granitto and Waldo Lyman (HIGH) VOLUME I No. 1693 EE EO INTERNATIONAL MUSIC COMPANY NEW YORK SOOM OOOO OCC OOOO Printed in US.A. OOOO OURO ON OM ROM a CO OU OotSrarerererer er enenmeenemenenanen sera o es aaa eee eeu uate Satta tte : Preface In selecting the material for this edition of Handel's arias, the editor's primary concern was to compile a practical collection. Bs i 5 Handel's output was so vast, that any attempt to use a collection of such modest size as this one for the purpose of illustrating the various facets of Handel's composi- tional style or the stages of its development, could not possibly succeed. Therefore the editor tried to assemble in one collection a number of the most i famous and often performed arias, many of which have only been available in single " copies, often of doubtful accuracy. I Be Be te te fe te te te Because practically all of Handel's operas are now forgotten as stage works, the arias extracted from them survive today only as music and are no longer associated in our minds with any characters in a drama. Thus, the type of voice for which the air was originally intended becomes in many cases a consideration of little practical importance. The current practice of considering certain excerpts from the operas of Peri, Caccini, Lally, Purcell, Scarlatti and other old masters, as songs, and singing them in whatever key happens to be most suitable for the individual type of voice is, in the opinion of the editor, fully justified, and can be applied with equally good results to many of Handel's arias. Therefore the editor felt that a collection of Handel's arias divided into volumes for Soprano, Alto, Tenor and Bass would be of less practical value than one for high and low voice, in which some of the arias appear in both the original key and the trans- posed version. Naturally, certain arias are not transposed, some because of the textual considerations, others, because the editor felt that a transposition may affect adversely their color or character. However, the singularly apt and adroit manner of writing for the voice in which Handel excelled, as well as the essentially two-part contrapuntal writing employed by him in most of his vocal soli, makes many of his soprano and alto arias suitable for tenor ot bass and vice-versa None of the “Messiah” arias are included in this collection. The “Messiah” piano score is available in a multitude of editions, and the editor believes that every singer ought to own one. The inclusion of “Dank sei dis, Hert”, an air of very doubtful origin, seemed jus- tified, since the editor considers it an excellent piece of music (no matter who wrote it) and since it is widely performed as an aria by Handel. All of the tempo and dynamic marks not in parentheses are to be found in the original scores, as printed in the Handel-Gesellschaft Edition. The editor's suggestions are always in parentheses. While some of the piano reductions and realizations have been newly made for this collection, those that were taken from the Handel-Gesellschaft Edition and other reli- able sources have been thoroughly checked and, when necessary, adjusted to conform to the Orchestral Scores. i SERGIUS KAGEN ESS eee eae ace {Ree S See SEE ee ee eeserscouent, re Ratan usa any nas cosecocoonscon ai srsmcoscmaeca nesta nearer Sede CAREER petersreneeee ftps exe 10. WL 12. 1B, 14, 15. = Sune u a eetatsaea Suna Contents VOLUME I Va godendo Come and trip it Cara Sposa : Where'er you walk . Chi sprezzando Ch’io mai vi possa . Lascia ch'io pianga . Ah! Spietato! . Ombra cara Bel piacere .: Let the bright Seraphim . . Let me wander 13. Or let the merry bells 14, Lusinghe pid care 15, Recit. Deeper and deeper Aria Watt her, Angels ea av een ° 10. iL, —_A~— Volume II Care selve (Atalanta) 1 Mirth admit me (EAllegro) 2. Non lo ditd col labbro (Tolomeo) 3. had I Jubal’s Lyre (Joshua) Recit. O didst thou 4 ‘Aria As when the dove (Acis & Galatea) 5. Recit. Frondi tenere 6 Aria Ombra mai fu (Serse) 7. O Sleep, why dost thou leave me (Semele) 8 Recit. O worse than Death Aria ‘Angels ever bright (Theodora) 9. Rendi il sereno (Soserme) 10. Sommi Dei (Radamisto) nL. Sweet Bird (II Pensieroso) 12. Sound an Alarm! (Judas Maccabens) Be. There the brisk sparkling Nectar 4 (Choice of Hercules) Verdi prati (Alcina) So shall the Lute & Harp (Judas Maccabeus) 15. + .(Serse) 4 . (L’Allegro) 7 (Rinaldo) 10 (Semele) 14 (Passion) 16 -(Siroe) 18 (Rinaldo) 23 . (Amadigi) 26 (Radamisto) 30 - (Agrippina) 34 (Samson) 37 « (L’Allegro) 42 » (L’Allegro) 44 (Alessandro) 47 (Jephta) 54 Volume III . Alma mia (Floridante) Affanni del pensier (Ottone) ‘Amor commanda (Floridante) Dank sei dir, Here Endless Pleasure (Semele) Halleluja (Esther) Mio caro bene (Rodelinda) Piangerd a sorte mia (Ginlio Cesare) Qual farfaletta (Partenope) Quando spieghi (Orlando) Se pensi amor (Deidamia) Tatta raccolta ancor —_—_(Scipione) Total Eclipse (Samson) V'adoro Pupille (Es blaut die Nacht) (Giulio Cesare) ‘V8 far guerra (Rinaldo) eigen MSI i: a Be ie rgmrammcrrcoramswrememnse Se eee ees ReEEES SESS EES SESE ee eee eesVa godendo (Serse) endo vezzoso¢ bello oyousty and graciously ripples Quel ruscello a liberta, Sut free Howlng brooket Bra Terbe con onde chigre ‘And with clear waves trans through the grass Lieto al mare correndo va. Gaily towards the sea. (Original key) . GEORGE FRIDERIC HANDEL (Allegretto grazioso) (1685-1759) Voice endo vez-20-s0e bello quelru - scelo la l- ber - th, PIANO r con_on- de—chiare —e-toal___ma-re_cor-ren- dova, 1689 Copyright © 1959 by International Music Company, New York Copyright Renewed.eo] PRT quel ru seel-lo, va go -DP. Adagio (Tempol) 1693Come and trip it (L’ Allegro) Menuetto — (Original key) PIANO come, and trip— it a5 you go, on the lightfan - tas-tic toe tripit, trip it, comeyandtripit part on the Lightfantastic toes (mf) 1693 ©Copyright 1959 by International Music Company, New Yorktrip It, trip it, trip it, trip it, onthe lightfan tastie toe, | -——~ on thelighifan - tas-tio tos, on tho-—lightfantas-tic__toe! ig fan —t ie — Come, and trip__it as. on helight fantastic toe, trip it, trip it, 1693tip it == on— the light fan- tas. tie toes ‘come,and trip— on thelight fan-tas-tic toe, comecome,and trip— it as _— you go, on thelight fan - tas - tic toe! —10 Cara Sposa (Rinaldo) Cara sposa, amante cara, Dearest bride, dearest beloved. Dove sei? Deh, ritorna a pianti miei! Where are you ? Come back, hear my entreaties ! Del vostro Erebo sull’ara, T challenge you, evil spirits, Colla face del mio sdegno With the intensity of my scorn, To vi sfido, o spiriti rei! To appear on that altar out of your darkness! (Original key Deninor) PIANO ©Copyright 1959 by International Music Company, New York 1693tor - maapian - ti_ mie - 169312 do_- ve sel, do- ve sei? Deh ri-tor- na miei, ri tor_- _ naa pian 169013 Allegro Del vo-stro E-re- bo sul’ sdeg-no To vi sfi- do, ~ ce del mio sdeg-no Io vi sfi- do, spir- tire - it del_mio sdeg- no, gir- tire - i, 1693. Where’er you walk (Semele) (Original key) Largo e pianissimo per tutto Voice PIANO gales shall fan the glade; ‘Trees,where you sit, ‘Trees where you sit shallerowdin - to. ‘Wher-e'er youwalk, cool galesshallfan_the glade; ‘Trees, where yousit, = aa Pree oo |Copyright 1959 by International Music Company, New Yor sees ©Copyrit y wal Music Company, New York15 ‘Trees, where you sit, shall crowd in - to aschade, the blushing flows shallrise, things flour-ish, wher Adagio er you tum your eyes, wher. der you turmyour eyes,wher-eler you turn your eyes. .16 Chi sprezzando (The Passion, text by B. H. Brockes) (Original key) Adagio (ma non troppo) Voice thr Got tes Gna ver - su - met, und mit to whom Gods grace ex - fen - deth, But re- sprez-zan - do il Som-mo “Be - no col. py on. PIANO (simile sempre) (crese.) Sinden Sin - den hiufl, und mit Sin - den Sinden hiuft: ject it, sin - ning still, But re ~ ject it, sin-ning still, ol-peac-eu - mu 1d, col ~ pea col - pe ac-cu-mu- Ib, (crese,) ‘This Aria is widely known under an Italian title, as above. The original text is German. naval ©Copyright 1959 by International Music Company, New York17 wonn die Frucht der Sin - den reifts When your sins their measure fil seil mal frut sell frut-to ma-tu - rd, ®, @ o ket, das Strar a pun = ish - ment sia cru - dee giu n18 Ch’io mai vi possa Chto mai. vi possa Tasclar dame, Non lo ereete, Neimen per gioco Vingennerd, nb, Voi fosteye siete Le mie faville, (Original key) Allegro PIANO; That I could ever Cease to love you! Do not believe, 0 dearest eyes, Not even in jest Will T deceive you. You were and are My love's flame ‘And you will be, Dearest eyes, My true love So long as I live fr, Voice 1693 ©Copyright 1959 by International Music Company, New York19 vin-gan- ne - ro, pu- pil-le_ca- re, nemen per gio-co— vin -20 Gitio mai vi pos-sa po-pil- lo ea - rel nb_ men per gio co vin- gan ne - 1d, men per gio-co———21 a pu. pil- le ca- fe, nb men per. gioco vin- a ft Voi fo- stee sie-to il mio. bel fo-co22 ) voi fo- stee sie-te mie_ fa - vil- le, © wi_ sa - re-to, co fin cio | i - il mio bel fo- co Adagio (Tempo I) fin— aio Wi- wd, da capo dal segno ®23 Lascia ch’io pian: (Rinaldo) Ba Colla forza d'abisso RECIT. Pisiless Armida! With fiendish force RECIT. Armida dispictata Rapimmi al caro Ciel di miei content, You heve abducted me from the blessed _ ‘earen, rom my happiness. E qui con duolo eterno viva mi ini, ‘And bere, in tern batn, you bold me "in tormentosolaferoo. ‘dive. tormented in Hell Signor! Ah! per pet lasciami piangere Ob Lord, bave pty ter me weep. ARIA _Lascia ch'io pianga mia cruda sorte ARIA Let me weep my cruel fate, E che sospiri la liberta! And let me breathe freedom! Ti dvolo infranga quest ritote Letsorrow break there chant ‘De’ miei martiri, sol per pieta. Of my sufferings, for pity’s sake. (Original key) Recit. Voice dis-pie - ta = ta, PIANO. ra - pim- mial ca - ro i con - ten - ti, in tor-men-to- so Infer-no. Dh, c (P) Sig-nor! Ah! penpie - th las-cla-mi—plan-ge -re- Q @) ——__ 7 1690 ©Copyright 1959 by International Music Company, New York24 ARIA Largo (8% bassa sempre) 1693— tr sol per—_ ple ‘Da Capo al Fine 169926 Ah! Spietato! (Amadigi) An! spietato ! e non ti muove Ali, eruel one! And you are not moved Un affetto si costante, By such faith{ul affection Che per te mi f& languir! That makes me languish for you! ‘MA crudel, tu non sai, come But, pitiless, you do not realize that Pai sdegnar un alma amante, You scorn a loving soul, Che tu brami di tradi Whom you wish to betray. (Original key) Largo — Voice PIANO 1699 ©Copyright 1989 by International Music Company, New York27 fet- -to | rrrrrer 169928 (oreso,) mi fa lan - guir, mi fa lan-guir, che (Fine.) al- -maa-man - te, che tu29 OS (P) mi cru-del, tu non sai, oo co-me fai sde- gna - : w re un al - maaman- te, che tu bra -mi— = di_ tra -dir, f Da C ves ¢ Cape30 Ombra cara (Radamisto) (Ombre cara dt mia spose, Precious shade of my Beloved, Deki riposa eleta aspetta Rest and await peacefully La vendetta,che ard! My revenge! pol tostoove tu sta, And then, 1 where you te Mi vedrai venie a volo, You will see me fy. 1 fedel Cabbraceied, And ever faithful 1 will embrace you. (Orginal ky) Largo ma non troppo PD gg Ne i ©copyright 1959 by International Music Company, New Yorkven-det-ta,che fa - rd! om-bra t spo-sa,deh! _ri- po-saelie- -taa-spetta la a eas |. ££ hd 1690po-sie lie- -taa-spetta la ven ~ det-ta, la po-sae lie- -taa-met-ta la Ja ven ~ det-ta, che— fa- id33 E poi to-sto,o-ve ta a an @) (Fine) veenirea vo- -lo,efe - del Wab-biac- cle-18, e fe- -del tab-brac- -cie-r5, e€ poi tosto,o-ve tu sta - i, mi ve- drai ba. pd) 6 1693 Da Capo dal Segno34 . Bel piacere (Agrippina) "Tis great pleasure to enjoy, To enjoy a faithful love! Bel piacere e godere, E godere fido amor! Questo fa contento il core. This brings contentment to the heart Dj bellezza non s‘apprezza lo splendor; Splendour is not measured by beauty, Se non vien d’un fido core. If it does not come from a faithjul heart, (Original key) (Allegretto) PIANO questo fi éon-ten - toil con questo fi con - ©Copyright 1959 by International Music Company, New York 169335 fa con - ten - {ofl con que- sto = 2 2 ‘The original has no bass except in the instrumental introduction and interlude. ‘The voice is at all times accompanied only by two violins in unison, Editor. 169336 - prez-za—_ lo splen - don, oS (poco rit) non sap = prez - za Jo — splen - don — (poco rit) (—) dun fi - do D.S.al fine 165937 Let the bright Seraphim (Samson) (Original key) Andante 2 f2l7}2 PIANO 0 Voice (mf) Let thebright Se- raphim in — burn - ing row, ©Copyright 1959 by International Music Company, New York38 D loud, up- lift - ed _an-gel trump-ets blow, let the bright Se-ra- phim ) - ing row, in ————————) up = lift-ed an- gel trump a Sa” loud, up - lift-ed an-gel trump - ets blow,39 (crese.) D thelr loud, — Ff, oudup - lift-ed an gel - trump - etsblow, —yvp (nf) let thebrightSe-raphim in burn - ingrow,40 aan - gel-trump-ets blow, their loud, aS an- geLtrumpets blow, ee Ee — loud, __up lifted angel-trump- ets blow. Let theQheru - ble host, (Fine) 1699tune - fullchoirs, touch their im- mor-tal harps____with gold - —enwires, let theCheru-bie host, in__ tune _-_ful choirs, touch their im- mor-tal harps, touch theirim-mor-tal harps. with gold = en harps——with gold - en wires. (crese.) f, ‘This aria has no Da Capo in the original, since it leads into the next chorus. However, a Da Capo al Fine seems advisable for a concert performance. Editor. 1693,° Let me wander not unseen (L’ Allegro) (Original key) PIANO Voice Let me wan- der, not_ un - seen, By hedge-row elms on hill - ocks ‘There the plough-man, near_ at hand, Whistles. 0 ver the fur - row'd land, There the plough-man near at___ hand, Whis-tles 0 Ver the fur-row'd Fe tr a 1693 ©Copyright 1959 by International Music Company, New York43 And__ the milk-maid sing - eth blithe, And the mow-er whets his scythe, And ev-er-y shep- herd tells his 7 Un- der the haw-thorn in the ‘And ev-er-y shep-herd tells his tale, Un-der thehaw- thom in— the Th44 Or let the merry bells (L’ Allegro) (Original key) Andante allegro Voice ro Or Jet the mer-ry bellsring round, or let the mer-ry bellsring round, 1093 ©Copyright 1959 by International Music Company, New York45 and the Jo-cundre - bedks sound, => ‘and the jo- und re - becks (of) = ‘To ma-nya youth and many a maid, dane-ing in the che -querll =a raid, dane - ingin —theche ~ querdshede, dancing, dane ~ 7) The figure £3 is often substituted ford J) in music of this period. Editor, 169346 qe so Ing,daneing in the che-quer’d shade, (P) to ma-nyayouthand many a maid, dane-ing in the che -quer’d 3 - 3 = Ta = ingdenc-ing in the che -querid shade, 69347 Lusinghe pit care (Alessandro) Lusinghe pitt care Sweetest flattery, B'Amor veri dardi, True sigh of xe, Verzose volate Pov jada prettily, Sil epbro ne i guard, Thord on the lbestnthe glances, E tutta mvotaté And you seal completely Daltrui liberta. aa ‘freedom. Gelost sospett ealous suspicions Dileti eos pene Painfud delights, Eri gioiee formenti, Between jy ond sorrow Moment di spene, There ard moments of hope, Voi Tari sarcte You are the weapon Divage belt Of transient happiness. (Original key) Allegro ma non troppo a, PIANO: r 1698 ©Copyright 1959 by International Music Company, New York48 Voice In sin ~ ghe 169049 = tain-vo- _— Val - tri Ui - ber — al- tri i ber = a 169350 = bro neitru ja - te Val-trui M-ber - ta!53 te di va - ga bel - tg, => Voi Var - mist - re te di va - ga bel - aa ——-54 Recit. Deeper and deeper still Aria: Waft her, Angels (Jephta) (galt Recit. Largo Deep-er and deep-er still thy good-ness,child, —_Pier-ceth a PIANO fa-ter's bleed-ing heart, and checks The cru-el sen-tence on my fal-t'ring Oh! let me whisper it or howl-ing des-erts; for the ears of men # a 1698 ©Copyright 1959 by International Music Company, New York35 think the great Je-ho-vah sleeps, LikeChe-mosh, and such fa- bled de ~i- ties? Heav'n heard my 169356 Concitato b. Largo (Tempo I) in - to mad-ness, A DL Largoe piano ™~ ¥ P57 Gil- - adhath tri-umph'doter his foe, There-fore, to = mor-row's dawn, im.) to - mor-row'sw ARIA Andante larghetto — her, an- gels, through the skies, her, an- gels, through the skies, ‘a-bove yon a- aire xy a 7 lar Far a-bove yon a - rue plain;59 waft her through the Plain. Glo-rious there, like youto > ‘There,like you, for-ev - er reign, Glo- rious there, like you, to 169360 There, like you, for-ev_- er i reign, for-ev-er reign, There, lke you, for-ev - - - her, an- gels, through the skies, —— Wer, an- gels, through the skies, Far a-bove yon ay a Se Lt >61 Waft her through the shies, waft her through the Pa ee ——— 1693Hien eee Ree eRe ee aaa a eee PURCELL - 40 SONGS Realization of the Figured Bass and editing by SERGIUS KAGEN HIGH and LOW. In 4 Volumes Contents High Voice See See eee srs smc mans mosoaosunansmacnsmans mainte a ance in te antec ao cua VOLUME I VOLUME II 1. We sing to Him 1. Thy hand, Belinda ; 8 y 2. Music for a while When Iamlaid in Earth 3, Thrice happy Lovers 2 Mh, Belinda, Yam prest with 4. Sweeter than Roses ‘ since from my —_ 5. Ah, how pleasant "tis to love my ¢ 4. Blessed Virgin’s 6. What can we poor Females Expostulsion R do 5. Knotting Song pS 6. Your awful Voice I hear 8.1 saw that you were grown 7. From rosy Bowers so high f 9. If Music be the Food of Love eT (ard version) 9. More Love and more to. If Music be the Food of Love Disdain I crave hh LOSI BEERS ea ae Sosa eee eae Sune aee (2st version) 10. Man is for the Woman made VOLUME III VOLUME IV x. The Fatal Hour 1. An Evening Hymn 4 2, Pll sail upon the Dog Star 2, Hark, how all Things in a : “ one Sound rejoice fy > Sylvia, now your Scomn give 3. Lead, 0 lead me to some ae over peaceful gloom e+ "Ta Nature's Voie 4. Notall my Torments a ag eae 5. Nymphs and Shepherds e earn 6. There’s not a Swain on the 6. Cease, 0 my sad Soul in 7. Strike the Viol 7. Sweet, be no longer sad x 8. Lord, what is Man 8. Come, all ye Songsters e 9. Sou the Trampet 9. attempt from Love's # Sickness to fly a 10. Hark, the ech’ing Air 10, Queen’s Epicedium : x INTERNATIONAL MUSIC COMPANY iu Complete Vocal catalog sent free on request & a = RRA S RRNA ION RIOR AN AVARIOUS SONG COLLECTIONS ‘BACH, Johann Sebatan (1685-1750) 944 25 Sucre Sogn (0.4 5) (GROSSVAND Contre 1 Abst ave 2 Ande Kigpe Snir Potrt ‘Gates ‘BEETHOVEN, Ludvig ven (1770-1827) HAAS Two Ara for Bas Orcas (0, & B)(GHEDIND "Contents Die Pang ea Kase (Te Test of Kissing), Mica sich ich veengen To get long with gir) (Previously poised ar sepate son) ‘BERLIOZ, Hector (103-1855) 1307 Brande’ Song (A Certain Rt fon “The Damnation of "Faust @E) (8) 1774 Inve to Nature (Natur mee) fom "The Dron ofa" (FE) 23227 Le emepatte breton Op 13, No 4 Sopana (or Tenor) wilh Hora Pana () KUIPER) LeaNuite dad Op. 7 Summer Nigh) ‘ACyse of Six Songs FE) 1335 High @nocTER-GRECO) 1368 Law (PROCTER GREGG) [Cone Vila Le Spee dea row; Sart Tip LAbsoce Aa Cnet le come OTTO, Aigo (1802-1918) BOIL Lalesnte &E) Bom Mefuoee” (PROCTER GRECO) BORODIN, Alesander (1033-1837) 3358 12 Seng for Medi ligh Vice BASTABLE-MILLER) 3339 12 Seng for Medion Low Voce BASTABLE MILLER) (@usson Cri tacts th sning ranlterations long ‘wh teal Els anaaton I the preftory noe) 1 Spree aye ‘he epg Pces 12 Preys Temme oe Saget te Ban Force 3 Mantis Pape These ‘ttn a Paseo 5 ey Ply et Pont My Soe ee Poet SMeye es BOTTESIN, Govan 1921-1889, 3423, Two Song or High Voie, Sing Bast wd Pano (MARTIN) CATALAN, Alreds (18541899) 1703 Eee nds letra (Bon Le Waly) 4) (8) (CHARPENTUER, Gustave 1860-1956) "38D Dep lejou(mn Laue) 4) (PROCTER-GREGG) ssasasusasesesese: [CHAUSSON, Emest (18851899) BIL Pobre de smosr ede lamer: & High Leaps di FE) Hig 02 2401 Law 20 Songs, Selected & el by SERGIUSKAGEN (FE) 1130 igs 1131 Law fronpozed fom the igh volume) Contents 1. Noctrse Laateare New 12 Lecalt 3. Amoue Panta, 13. Chars COphta A Lecheme 14 Stade 5. Pimengs eie 1. La Gran bien doce Les Fepione 16 Lawes Nee ovens 17.Caniqu bepose E LeDemiee ule 1a. tacwrvn 9. Le Temps dais 19 Daron te 10, Sindee 20. Chasen perl ‘CHOPIN, Frédére 1810-1849 VIARDOT.GARCLA, Pauline 12.191 SEBS 12 Menkes (ROSE) Content: 1 Sete ame T1arae 2Aieewot 3: Pie amour ‘Cage Steet Mi tadaee 6 Stpraton, Doo 12. La Bent, Doo CLEA, Francenc (1866-1950) 1378 Lament i Federin (For “Arteta (1). 1684, Power rl om “Aarano Lecairent") 0 6 E) (8) 2028. oso uml ancl (fem arana Lecoureir?) @eere) ‘CORNELIUS, Peer (1824-1676) 1096 Haute (tl Sogn). ‘Aye Si Seng. 4) fr igh Voice DUPARC, Hen 1848-1933) Soop, Ealed by SERGIUS AGEN FE) 112. Eleven Song for High Voice “Twelve Song for Meum Voice “Twelve Song for Low Voice Contents: 1 Testament nation wo voyage 3. Chanson ite reine 9B 10, Soir Le ance de Rovmonde 1, La Vie tere Tr ta Vapectnclacte (he volume for High Voie does not contin Na 12) DVORAK, Antonia 1841-1904) ‘37 Volume High 2238. Volume Low 2229. Volume gh 240 Volume tLe (Gypy Soup. A Cycle 7 Songs Op. 38. German wth "Engh vrton by PROCTER GREGG 1995 High 1996 Law FALLA, Manel de (18761940) 1350. Ties Songs High ‘Content Lex Caer; Cinco, Sepidle www.internationalmusicco.com Sasasasezse sasesesesesasasaseses esesesasasasasas 2sesesas 2S2SESPS ESP SES2SESESESES:HANDEL SEO BHR RE 45 ARIAS from Operas and Oratorios ; OM NDE L x, FOR VOICE AND PIANO (HIGH) VOLUME II BEDE OREO, (SERGIUS KAGEN) er No. 1695 HOHOH ORCC INTERNATIONAL MUSIC COMPANY NEW YORK SEO DECREE OO Printed in US.A. DR OHO OOOO SOHO oUt Nanette, BooneHANDEL ODED OC OS 45 ARIAS from Operas and Oratorios (HIGH) VOLUME II (SERGIUS KAGEN) EEE FOR VOICE AND PIANO % er No. 1695 Le momommnenowonee INTERNATIONAL MUSIC COMPANY NEW YORK SOOO OM Printed in U.S.A.Ease eee eRe ees Preface In selecting the material for this edition of Handel's arias, the editor's primary concern was to compile a practical collection. Handel’s output was so vast, that any attempt o use a collection of such modest size as this one for the purpose of illustrating che various facets of Handel's composi- tional style or the stages of its development, could not possibly succeed. Therefore the editor tried to assemble in one collection a number of the most famous and often performed arias, many of which have only been available in single copies, often of doubtful accuracy. Because practically all of Handel's operas are now forgotten as stage works, the arias extracted from them survive today only as music and are no longer associated in our minds with any characters in a drama. ‘Thus, the type of voice for which the air was originally intended becomes in many cases a consideration of little practical importance. ‘The current practice of considering certain excerpts from the operas of Peri, Caccini, Lully, Purcell, Scarlatti and other old masters, as songs, and singing them in ‘whatever key happens to be most suitable for the individual type of voice is, in the opinion of the editor, fully justified, and can be applied with equally good results to many of Handel's arias. ‘Therefore the editor felt that a collection of Handel's arias divided into volumes for Soprano, Alto, Tenor and Bass would be of less practical value than one for high and low voice, in which some of the arias appear in both the original key and the trans- posed version. ‘Naturally, certain arias are not transposed, some because of the textual considerations, others, because the editor felt that a transposition may affect adversely their color or character. However, the singularly apt and adroit manner of writing for the voice in which Handel excelled, as well as the essentially two-part contrapuntal writing employed by him in most of his vocal soli, makes many of his soprano and alto arias suitable for tenor or bass and vice-versa. None of the “Messiah” arias are included in this collection, The “Messiah” piano score is available in a multitude of editions, and the editor believes chat every singer ought to own one. The inclusion of “Dank sei dir, Herr”, an air of very doubtful origin, seemed jus- tified, since the editor considers it an excellent piece of music (no matter who wrote it) and since it is widely performed as an aria by Handel. All of the tempo and dynamic marks not in parentheses are to be found in the original scores, as printed in the Handel-Gesellschaft Edition. ‘The editor's suggestions are always in parentheses. While some of the piano reductions and realizations have been newly made for this collection, those that were taken from the Handel-Gesellschaft Edition and other reli- able sources have been thoroughly checked and, when necessary, adjusted to conform to k the Orchestral Scores. SERGIUS KAGENearners Contents VOLUME II 1 Careslve, 2. eee (Ataanta) 4 2. Sommi Dei - 1 1s (Radamisto) 6 3. O sleep, why dost thouleaveme? 5 ss (Semele) 8 4, Non lo dird col labbro =. =. = + + Ss =~ (Tolomeo) 10 5. Recit. Rasserena, o Madre ‘Aria Rend’il serenoalciglo . - . ~ ~~. (Sosarme) 13 6. Recit. Frondi tenere Aria Ombramaif¥. . . . . . . (Serse) 16 7. Verdi pratt. +. (Alcina) 18 8. Recit, First, and chief, on golden wing Aria Mirth, admit me” Te (LtAllegro) 21 9. Recit. Oh, worse than death indeed! Aria Angels, ever bright and fair. . . . (Theodora) 28 10. There the brisk, sparkling nectar. ©. —« (Choice of Hercules) 30 11, Recit.Oh, didst thou know Aria As when the dove. . . . . (Adis & Galatea) 34 12. Oh, had I Jubal’s lyre wee ee ee (Joshua) 42 13, Sweet Bird. + ss (It Pensieroso) 46 14, So shalll the lute and harp awake... (Judas Maccabeus) 53 15. Sound an alarm! + + (Judas Maccabeus) 60 [= Volume I Volume IIT . Va godendo (Serse) 1, Alma mia (Bloridante) . Come and trip it (LAllegro) 2. Affanni del pensier (Ottone) . Cara 8} (Rinaldo) 3. Amor commanda —_(Floridante) . Where “er you walk (Semele) 4. Dank sei dir, Herr . Chi sprezzando (Passion) 5. Endless Pleasure (Semele) Ch'io mai vi possa (Siroe) 6 Alleluja (Esher) Tain io piange (Rinaldo) 7. Mio caro bene (Rodelinda) ‘Ah! spietato! (Amadigi) 8. Piangerd la sorte mia . Ombra cara (Radamisto) (Giulio Cesare) ). Bel piacere (Agrippina) 9. Qual farfaletta (Partenope) Let the bright Seraphim 10. Quando spieghi (Orlando) (Samson) 11, Se pensi amor (Deidamia) Let me wander (LAllegro) 12, Tutta raccolea ancor _(Scipione) Ie the merry Bells (L'Allegro) 13. Total Eclipse (Samson) singhe pi care (Alessandro) 14, V'adoro Pupille (Es blaut 5. Recit. Deeper and deeper die Nacbe) (Giulio Cesare) ‘Aria Wafther Angels (Jepbta) 15. V8 far guerra (Rinaldo)Care selve (Atalanta) Cae fv, cee bets, eae rere eee rape ees aee epee (Original key) GEORGE FRIDERIC HANDEL g (1685-1759) PIANO: “AT basso cantabile) Voice (SS, A a a) rr ——= , = st (poco crese.) =, E trac - cla, ™ arian =en cla del___ mio t hmm 5 4 us Copyright © 1959 by International Musie Company, New York Copyright Secured.Ca-rejca-re selva ombrebe-a - trac - cla del mio cor,Sommi Dei (Radamisto) Sommi Dei, Supreme gods, he scorgete i mali mie Take hed of my suferings, Proteggete tun mesto cor! Prolect an unhappy soul! (Original key) Largo e staccato PIANO —sf =~) % C2 ge- tel me- i mie - 1, Pro - teg - go- teun z ‘#)It is advisable to take a breath before "1 mali", Baditor, 1695Q ge-teunme - sto con. PO ge-toun me - sto corO sleep, why dost thou leave me? (Semele) (Original key) Voice PIANO O__sleep, why dost thou — —_——<——~ ‘Why dost thou leave me? Why thy vi-sion-a-ry jays re - move? —~ | ary “SSdeceive me, To my arms re - store. my wan - ding ring love, re - store my wan-d'ring love, nf) my arms, to my arms re - store. 1695,. Non lo dird col labbro (Tolomeo) Non lo dird col labbro I will not say it with my lips Gir ante ade non Ras Which have no that courage: Forse con te favile Prrhaps the sparks Dalfavide pupil, Ofas bernite os, Per dir coe futtardo, Reeating my passion, Lo sguardo parler’. ‘My glance will speah. (Original key E major) Andante PIANO. Voice ( Non lo di-rb col Iub- bro, che => (simile) tan - toar- dir non ha, non lo di-rd col lab - bro, che = tan- toar - dir non hi, che e 21) 169511 for-seconle fa-vil- lo del?” a - vi- do pu- pil- le, per 347 fT) ray 24 (—==) (nf) ‘Non lo di-r0 col lab.bro, che ecerpe lab - bro,12 mn To _di- rd col lab - bra, * tan toar_- dir_non al —————__ pon lo di- rd col lab bro, 1695. 13 Recit. Rasserena, o Madre Aria: Rend’il sereno al ciglio (Sosarme) Gy ga Ht ieamaataieaecen as tel eam Wiikey oie thoi fis To pray to beasens 7 Voice PIANO: -thi- be-ra lo sdegno; Si, pla - ca - ta dal Ciel Wi -ra del ee = ~—___ la guer - ra, YO-ra-co-lo del Cie - 10; Qn '* This recitative is a traditional composite, made out of the Alto and Soprano recitatives preceeding the aria, and may be omitted. Ed. 169514 te-ma, men. tre fe - sor-ta a se-re-na-reil Cle-fo? ARIA Largo assai ¢ piano non planger pit non plan ger pi, nol poo pian-ger pli! il se-re = nodal ef - gio. Ma-dre, non pian - ger pi! — Ss15 Te-mer Galcun fe-ri-glin _ Og-gi co.me puoi tu? Adagio (Tempo) _ = gi co-me puoi tu? Ma - dre! Rendil se-re - nol ci - glo, _—————~ a e Ea ,onpianger pti, nonplanger pit, no! ” (erese.) dil sere = noal of - glio, =16 . . Recit. Frondi tenere Aria: Ombra mai fa (Serse) Tarde xd beet! breehes Of ms sree, Persea are bby tbes. Thendey ighni ad storms Never disturb your majestic eal Repacions winds do not reach ont 10 defile ox! Never was there « shadow Of branches ‘Sweeter, more refresbing, (Or more gentle (Original key) Recit. accomp. Voice Fron-di te - ne-re © Delle delmio pla- ta-no a-ma-to, per PIANO: voi ri-splenda il fa- to. ‘To-ni, lampi ¢ pro-cel-le non vol-trag- gi- no mai Ta ca-ra pa-ce, Ne giun-gaapro-fa-nar-vi au stro ra-pa- cel ARIA Larghetto rrr ess Frdi ve-ge- ta - bi-le ca-raeda- ma- bi- le = raed_a- ma-bi-le, om - bra mai fa di w-ge- ta - bi-le r 1095,Verdi prati (Alcina) Verdi prati, selve amene, Green meadows, lovely woods, Perderete la belts, You will lose your beauty, Vaghl Gor, coment se Pretty flowers, rapid brooks, Ia bellezes Your charm and beauty es canglata il vago Sagetto The beautiful Cet has changed, v aulful object has changed, Alfortor del primo aspetto To the dismay of the first glance, Tutto in voi fitornera. Then everything will return in you. (Original key E major) (Andante e« - moto) gage - td: gd a4g2 Va = ghi fon cor-ren = ti Le va - ghez - 20,del pri-- mo as - pet - to ———~20 pra-ti, selvea - me - no,21 Recit. First, and chief, on golden wing Aria: Mirth, admit me (L’ Allegro) (Original key) Recit. accomp. First, the cho-rub Con-tem-pla - tion bring ‘and chief, on golden wing, ne (P) rd ‘and the mute Si-lencobist a - = ail plight, -smooth-ing the rug-ged brow of night. | The figure £4 is often substituted for J”) in music of this period, Editor. 168522 Mirthad-mit me of Oyerew, —23 live_withthee, in__un-re-proved plea = 1695gin hisfight, ee, CO Ing_star - th, J startle, and sing - ingstar - tle —., —— pe the _dullnight, andsing ~ ing stato the dulnight; righl_andsing tog ight t-f 1695‘and at my win-dow bid goodmor- row,Mirth, admit me,27* Recit. Oh, worse than death indeed! Aria: Angels, ever bright (Original key) (Theodora) Recit. accomp. Voice ©, worse than death in - me, ye PIANO! oe] =. =. PS —— ‘guards, lead me, or to the rack, ér € weflames, I thankyour gracious mercy! P ARIA Larghetto ] ‘An-gels, ev-er bright and fair, = ao a S iF % An. gels, ev-er bright and fair, Take,ob, tdke me, ‘Take, oh, thke me to your 1695,take me, take,oh take me, es Se Tt ev. br bright and fair, Take, ohytake me to yourcare, ‘Take, —_obytake me to your — == ‘Speed to your dwn courts my flight, Clad in robes of vir-gin— white, Clad in— robes of _ vir - gin— Fa vw ‘i Dal Segno30 5 . There the brisk, sparkling nectar (Choice of Hercules) Allegro (ma non troppo) (Original key) ne (nf) Voice (grazioso) Therethe briskepark - ling nec - tardrain, coollt pitcagi)3132soft war-bling voi - ces melting lays shall sweetly pour the34 Recit. Oh, didst thou know Aria: As when the dove (Acis and Galatea) (Original key) Voice PIANO ARIA Andante As when_ the dove la ~ ments_her love, all on the 1695when the dove. la - ments_ her love, alll : ——— but loves—__— the live-long day. o36 on— the na - ked spray; when he re - tums, no3738 loves the —_live-long3940 169541 % Da Capo dat Segno.42 Oh, had I Jubal’s lyre (Joshua) (Original key) Allegro PIANO had I Ja-bal'slyre, Or Mi-riam'stumeful voice: Oh, had I Ju -bal's lyre, Or (2) ‘Mi-riam'stuneful voice! To sounds like hissongs like_ hers re - joice, () Tn songs like hers In songs like hers__ re = Joice,had I Ju bal's lyre, Or Mi-rlam'stuneful voice, Oh had I Ju-bal'slyre, Or Mi-riam'stineful voice! To sounds like his songs like hers re = joice, tn songelike 169545 ‘My hum - ble strains but faint ~ ly show How muchto_ heav'nand thee I owe, My hum - ble strains but (tit.) much to heavin and thee I owe, (a tempo) (it. ) PF Ts46 Sweet Bird (Il Pensieroso) 1695,Voice ad lib. ‘Sweet bird, —48 sweet bird, that shur’st the noise of fol - ly, ‘most me-lan - cho-ly! TE ammtrossott the ‘woods among, I woo, tohear thy - ven-song, 169549 _ Sweet Dindhat shust the nolse of <> mostmusical, ‘most me-lan~eho - ‘most mu - si-cal, most me-lan-cho - eS50 ‘Thee, chmuntress,oft the woods a- mong, WoO s.15 m,51 thee, chaun-tress, oft the woods a -tempo go Larghetto e piano Onmiseing thee, Iwalkun-seen, on the drysmoothsha - ven green, to be- the wandting moon riding near her high-est noon, Tiding near —_herhighest ri-ding near her highest noon, ri-ding nearherhigh est noon, to ywandting moon ri-ding nearher high -So shall the lute and harp awake (Judas Maccabeus) (Original key) Allegro Voice (mf) shall the Inte and harp a-wake, and spright-ly voice sweet des - cant run, 1695,34 so shallthe lute a - wake, so shall the lute and harp a -wake, and spright-ly voice sweet des - cant run, and spright = cant run, and spright - SS —S_ = - lyvoice sweet des - cant run,(crese.) ‘and spright = in the purestrainsof Jes - ses son, = phic me whe - ay to make. ? 535 (PP)56 Jn the pure strains in the pure strains of Jes. - sts son, Se - ra-phic me-lo - dy in the purestrains of Jes - se's son, in the pure strains,57 the pure strains of Jes - so shallthe harp a-wake, so shallthe lute andharp aawake,and a spright-1y— voice sweet des - cant run, and — spright ly woice58 — (PP Ds.al Fine!20 Affanni del pensier (Ottone) Affanni del pensies, My troubled thoughts Un sol momento, For a single moment, Datemi pace almen, Ar leas, give me peace E poi tomate. ‘And then vou ma return Ah! che nel mesto sen, ‘Ah! In ms sad heart tous vi sen Wet sow alread. ‘Che ostnat a pace You thar obstinately (Original key) me bate _ Disturb my peace. Larghetto ‘Af - fan- ni del _pen- sier, Un sol mo-men - to, tf BP Da- te-mi pa-ce al-men. Da-te-mi pa - ce al-men, E poi tor-na — ni del pen-sier,2 ‘Unssol mo-men Da- te-mi pa-cé al-men, — — Da-te-mi pa _— Af fan-ni del pen-sier, Da- te-mi pa - ce al-mer a 16922 Ah! che nel me - sto To gia vi sen to, Ah! che nel me-sto sen, Io gid visen = it (eresc.) —= pa ceame tur-ba - te, Che o- stina-ti la pa - a). (reso) ‘DS. al Fine23 Recit. O King of Kings Aria: Alleluja (Esther) (Original key) Recit. © King of Kings, ‘ce - le stial Lord! whose works our ad- mi ra- tion raise: with rapture shall my lips re-cord thy Ma-je-sty’s. im-mor-tal praise. ARIA24 - lu jaal = le- Ww al - le- lu - ja, al-le-lu-ja, al-le - lu ra al-le-lu- ja, al-le~lu- ja, 19925 — alle - Wu - ja, al - le - lu = jaal - le~26 alle ~ lu-ja,27 alle - lu-ja, °: fp End-less_plea-sure, endless plea-sure, end less love Se-me- le en- joys a - or ——teer end-less love. end-less love, end- less plea fo i) im ~ sure, end- less r33 love Se - me-le en-joys a - bove, Se-me - le en-joys a - bove! On her bo-som dove re - clin-ing, use - less now his_thun - der lies, use — r his thun der lies, - thun - der lies: a we to her_ arms his_bolts re - sig-ning, and his light-ning to her— 1697light-ning to her eyes, ia to her End-less her arms his bolts re - sign-ing, and his to > arms his bolts re - signing, and his light-ning to her— to her eyes, and his ning, and his light-ning to her_ eyes. plea- sure, fend - less plea- sure, end- lessplea- sure, end - less plea-sure, end- less love 35 Se-me - le en - joys a- bove, ? end-less love —_Se-me-le en - joys. —~ Se-me - le en- joys a - rrr Ff36 Se pensi amor (Deidamia) Se pens amor tu solo Ifyou think, love, only Pervezzo per belt, Bycareses and beauty Regnae in questo sen To possess this heart. ‘Amor, ingann You ave deceiving yourself. lov. Non perde mai del volo, Thar bird in fight Agel albert Does not lose her freedom. he Spo a cao be’ Whicker aon ivolge ivan. Tis wings rom the be (Original key) “evan aaa ved Allegro ~ 7) _— Per vez - zoe per bel- ti,37 Se-pen-siA-mor tu so - lo, Per vez- zoe per_bel-ta > ~gna - rein que - sto sen A- mor, tin - gan - mit vin- ga =a A- —~ oy ae) _— P = sia- mor 99738 vez-20e per bel-ta, Re - gna- rein que - sto sen A mor, Cin- gan ~ mor, Uin-gan is Vin - gan - ni39 — re spes-so al ca - ro ben’. Ri - vol- gei van ~ van= ni, = ro ben? Non per-demai del vo-lo, _Au-gel la li- ber- i oie a (cresc.) che spes - soal ca — ni, Ri-vol Pos. aFine40 Mio caro bene! (Rodelinda) Mico ee My beloved! on bop alfann pene, To longer knw sfering and pain, Non ho pid affannt al cor no longer have graf my heart vhs Sing ou hapes i el son io Bd set. Teeleow in heart (Original key) Che sot aberge amor thet only ove enn Allegro 2 be- ne! Non ho pid af-fan- nie Non ho pidaf- fan - nial cor, 19741 cor, Non ho non ho pit) _pe-neal cor. Non ho pitaf - fan - nie Non ho pittaf - fan - nie — —~ .- *? pe-ne, No non ho pid’ pe-neal cor, Non ho pit pe-neal cor. Keer t~42 pit af - fan ni, Non ho pittaf - 169743 sen- to, Nel se-nomio gia sen - to. Che solvial-ber gaa- mor, Che sol vi al - ber sol vial -ber ga a-mor, (ad lib.) (Tempo 1) Che sol vial-ber ~~ -gaa-mor, Mio ca » —_~44 Quando spieghi (Orlando) When you unfold your torments, Amorous nightingale Why do you sing and cry thus, ‘Accompanying my grief? Quan - do. spie - ghii woi tor - men - = gno - lo, per - che can - tie pian - gial - lor. 169745 eaccom- pa - gniil mio do-lor! — > Soo si - gn - lo, quan - do spie - ghii tuoi46 gial- lor, ac - com-pa- gniil mio do- —2 al- lor,47 Qual farfalletta (Partenope) Qual farateta giro a quel ime, ke ate bute cireling around he light Et mio Cupido. e belle plume. ‘Ms cupid with his beau outhers Ardendovit tsyoyhly fing about? Quel brio aleta That vec charms me Porch mre hid Because my beloved is fitful to me, Lama costa Myeonstaney rahe evan Strpasses al others (Original key) Uttar non And will not alter Allegro fp Qual far - fal - let ta gi - roa. quel_ lu - me. Eil mio_Cu - pi - do,48 Ea tf Eilmio Cu- pi f. le bel - le piu - me. tr af Ar - den - do va!49 Qual far - fal ~ let ta gi-roa quel. u- me, Bil mio. Cu - pi - do bel- le piu - me, Ar-den- do va lebel- le piu - me, Ar - den - do ae r Le bel - le piu-me, Ar - den - do50 Le bel- le Quel brio Adagio piu-me, ar - den-do mal - let = ta Per- che. m'e_ (Tempo 1) fi - do, La mia —— co - stan - za51 Ogn’ al-traa- van-za, Can - giar r. -stan-za can - giar— non a Quel brio m’al-let_- ta me [a mia co-stan - za Ogn’ al = traa-van-za, Can- giar aaa > = — Can-giar non si. Can = giar non —_ si DS. al Fine v752 Vo far guerra (Rinaldo) Yo far gums evince oslo, 1 g0 1 wage war and I want win Colt sdegno, che offen Hlminctes me Vendica tort mit Toavenge te wrongs done 1 me Per abate quel ogoslio, Toovertrom tat haughty one Chri gan foo in sen ccende Fires burning tn my Brees. (Original key) ‘Saran meco i stessi Dei. The same gody will be with me. Allegro (Tutti) 9 ray db Cembalo Solo *) C2) | | | | | *) In the original score Hande! simply marks Cembalo here, meaning an improvised solo of unspecified duration by the keyboard player. The same indication is given on page 56. v7col - lo sdegno, che m'of - fen- de, ven-di- car’ i tor-ti (Cembalo)‘The figure L7G is often substied for JD in music ofthis period 697 guerra e vin- cer vo-glio, col-lo de - gno, che miof-fen- de, col 3 3 miof-fen - de, ven-di - car’, 3 (Cembalo Solo)55 ven - di- car’, @) (Cembalo Solo) mof- fen - : - (Cembalo Solo) 3 = di- car’ i tor- ti r (Tutti) (Cembalo Solo) 169756 (Tutti) (Cembalo Solo)57 Per quel or - gog - lio, ch'il gran fo - coin sen (Tutti) @ coi stes si Dei, i stes-si_ De coi stes Teor stes-si De DC. al Fine 697