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SOPRANO

COMPILED AND EDIltD

BY

EDUARDO MARZO

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Oliver Ditson Company

THEODORE PRESSER CO., DISTRIBUTORS
1712 CHESTNUT STREET, PHILADELPHIA
M ADE IN U . S. A.

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PREFACE
I n The Art of Vocalization we presented the best available material, the study of
which should form the accomplished vocalist. As a supplement to that series of
volumes we now place before the teacher and pupil carefully chosen examples of the
finest Coloratura Arias for soprano.
Whether as a study, or as a diversion from the Vocalization proper, these Arias
will prove most useful in acquiring, not only the technical but the esthetic and
dramatic features of the art.
What in the “ old school” was called canto figurato (figured singing) or color­
atura is defined as vocal music ornamented with runs, trills, and rapid passages, where
each syllable of the text has two or more notes allotted to it. Brought into use by the
composers of the seventeenth century, Coloratura attained its highest form with
Handel and Mozart, and later with Rossini, Bellini, Donizetti, and other Italian
and French composers.
Though now relegated somewhat to a secondary position through the advent of
the Dramatic School of Singing, it holds its place with the public when expounded by
some great singer, and there is no doubt of its potency of charm to the listener as
well as its benefit to the performer.
While the study of Vocalization develops and equalizes the voice, gives breath-
control, and broadens the style, the Coloratura Arias, being a resume of all that may
have been learned in that study, will aid the student with diction and dramatic accent
which could not be acquired without the use of words.
As we are limited as to the number of Arias, we have endeavored to select only
the very best examples of this style of singing, representing also the different epochs
in which it flourished, and we have arranged these examples chronologically.
No thought has been given to grading them, however, as in a more or less de­
gree the difficulties are similar. But the pupil who has studied thoroughly the three
soprano volumes of The Art of Vocalization, or even the first two volumes, should be
able to execute any one of these examples readily.
Our aim in presenting this new volume has been to still further help the teacher
and pupil in their arduous task of seeking for and selecting material for study, and
we trust that our efforts will meet with the same appreciative recognition which has
graced The Art of Vocalization
G>. M j? i <9
New York, April, 1909.
P

■
 CO N TENTS

H andel, G eorge F rideric (1685-1759).

1 Quai farfalletta (Light as the night-moth). From Partenope............... 1
G rétry, A ndré E. M. (1741-1813).
2 Plus de dépit, plus de tristesse (Anguish of mind, sadness, too, leaves
me). From Les Deux Avares.............................................................. 6
M eyerbeer , G iacomo (1791-1864).
3 Ombre légère (Light-flitting shadow). Shadow song from Le Pardon
de Ploërmel............................................................................................. 10
4 Nobles Seigneurs, salut! (To you, my lords, a greeting!) From Les
Huguenots.................................. ............................................................ 21
R ossini, G ioachino (1792-1868).
5 Bel raggio lusinghier (At last hope’s cheering ray). From Semiramide 26
D onizetti, G aetano (1797-1848).
6 Regnava nel silenzio (Calmly on sombre wings). From Lucia di
Lammermoor.............................. ............................................................ 35
B ellini, V incenzo (1801-1835).
7 Ah! non credea mirarti (Ah! must ye fade). From La Sonnambula.. 42
8 Ah! non giunge (Oh! recall not). From La Sonnambula. . . 46
D avid , F élicien (1810-1876).
9 Charmant oiseau (Delightful bird). From La Perle du Brésil 52
T homas, A mbroise (1811-1896).
10 Je suis Titania (I am Titania). From Mignon...................... 59
V erdi, G iuseppe (1813-1901).
11 Caro nome (Dearest name). From Rigoletto.......................... 68
12 Ah! fors’ è lui (Ah! was it he). From La Traviata............... . 74
G ounod, C harles (1818-1893).
13 Ah! je veux viVre (Like a vision). From Roméo et Juliette. . 88
D elibes , L éo (1836-1891).
14 Où va la jeune Indoue (As falls the moonlight gently). Indian bell
song from Lakmc................................................................................... 96
M assenet , J ules (1842-1912).
15 Je marche sur tous les chemins (Wherever I go I command). From
Manon . 105
 4

INDEX BY TITLE

Ah ! f o r s ’ è lui (Ah! was it h e)...................................... V erdi 74

Ah! je veux vivre (Like a vision)................................. G ouno d 88
Ah ! n o n credea mirarti (Ah! must ye fade)............. B ellini 42
A h ! no n g iu n g e (Oh! recall n ot)........... .................. B ellini 46
B el raggio L u s i n g h ie r (At last hope’s cheering ray) R ossini 26
C aro nome (Dearest name)............................................. V erdi 68
C h arm ant o is e a u (Delightful bird)............................... D avid 52
Je ma rc he s u r tou s les ch emin s (Wherever I go I
command)................................................................ M assenet 105
Je s u is T itan ia (I am Titania)...................................... T homas 59
N obles S e i g n e u r s , salut! ( T o you, my lords, a greeting!).. M e y e r b e e r 21
O mbre lég ère (Light-flitting shadow).............................. M eyerbeer 10
Où VA LA j e u n e I n d o u e (As falls the moonlight gently) D elib es 96
P lus (Anguish of mind,
de d é p i t , plus de t r i s t e s s e
sadness, too, leaves m e). : ........................................ G rétry 6
Q ual fa r fa lletta (Light as the night-moth)................. H a n d el 1
R e gn ava n e l silen zio (Calmly on sombre wings)......... D onizetti 35

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QUAL F A R F A L L E T T A
(L IG H T A S T H E NIGHT-M OTH)
From ‘ Partenope” ( 1730 )
Translated by Nathan Haskell Dole GEORGE FRIDERIC HANDEL
Edited by Eduardo Marzo (1 6 8 5 - 1 7 5 9 )

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PLUS DE DÉPIT, PLUS DE TRISTESSE
(ANGUISH OF MIND, SADNESS, TOO, LEAVES ME)
From “Les DeuxyVvares” 1770 ( )

Translated by Nathan Haskell Dole A N D R É E .M .G R É T R Y

( 1741- 1813)
Edited by Eduardo Marzo
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10
OM BRE LEGERE
(LIGHT-FLITTING SHADOW)
SHADOW SONG
From Le Pardon de Ploermel” ( 1859)

Translated by A rth u r Westbrook GIACOMO MEYERBEER

Edited by H E. Krehbiel (1791-1864)

Allegretto ben marcato (J. = 52)

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Do not leave me so.
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mè - re, Qui m’est si chè re, Ne t ’en va pas, Non, non, non!i Cou-rons en -
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5 - 51 - 67320-155
 21
NOBLES SEIGNEURS, SALUT!
(TO YOU, M Y LORDS, A G R E E T IN G !)
From “L es H u gu enots” (1836)
Translated by Arthur Westbrook GIACOMO MEYERBEER
Edited by H. E. Krehbiel ( 1791 - 1 8 6 4 )

Andantino . 3 . '
3 •
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w
PIA N O leggiero P
3 3
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Maestoso

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lu t!___ ' n o -b les sei - gneurs, sa - lut!___ s e i-
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BEL RAGGIO LUSINGHIER
(AT L A S T H O P E ’S C H E E R I N G RAY)
From “Semiramide” (1823)

Translated by A rthur Westbrook GIOACHINO R O S SIN I

( 1792 - 1868 )
E d ited by H .E .K rehbiel

Andante grazioso x x ft

PIANO /= //,

a piacere

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At last. Hope's cheering - ray Bids
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REGNAVA NEL SILENZIO

(CALMLY ON SOMBRE WINGS)
From “Lucia di Lammermoor” (1835)
Translated by Nathan Haskell Dole G A ETA N O D O N IZ E T T I
E dited by E duardo M arzo ( 1797 - 1848 )

Larghetto

PIANO
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R e -g n a - va n e l__ si - len zio al - ta la not te e
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5 - 51-67320-155
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iÉÉT giô!
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co - cen - tea r - do
m
re,
m ec sta - cy, Borne on a tor - ren t seeth ing,

* a
V *

I i
5 - 51 - 67320-155
40
tr P

col fa - v e l- la r d el CO re, m i gin - r a e ter- na fè

Heart - s tir - rin g ac - cents breath - ing, His love hepledged tu me; *m T
*
g Ï *f{Jr Irf
U frJTj li r Fffr 1'

# fan - ni m iei di - men ti - co, g io - j a d i- vie - n e _ il pian to,

him my sor - rows 1 fir -g e t, S e - r e n - e s t jo y ban-ish-es weep

km.

5= ^
* 5# &
par - mi che a lu i d a c - can to, si schiu - da il c ie l per
H is__ love safe in my keep ing, Un - clos - es the gates q f

Ÿ T

m e, _ SI
^Ü T
schiu - da il ciel per
heav’n,
* «f heav - g%, gr/tes <jf.L

f f

r ... . m e , __
heav’n,
VP

s i -----
o f-----
v" tsa
schiu - da_il _ c ie l
heav en, the gates_
p er__
of.
*
Ï # 1 f

g «
1 .» J 7 ¥
S 51-67320-15*
 41
po co p iu
l it i J1
m me, a lui dac can - to, si
heav'n. Hi s love my- keep - ing, un -

m > .< 5O T i t as.

r a ll.>
i
ifrrlrtWit-f-È
' J 0 -B-
-V t \r ~ a & T ^ S £ g
me, ah!
schiu-da il ciel _ per.
<^os - e s . the gates of heav’n,ahJ

i1 P n ' M H n J H j l - l j 5m rail.

m
a tempo T ext:

Z -G- 22HL

m si schiu - da_il_ ciel il ciel per

of- heav’n, th e------ gates,— the gates of
CL CL CL

J ext: K

r r * p ir ÊËÊËE
m e,_ si, _ s i ,_ a lui dac can to, par che si
heavn, yes, hi s love in • keep wzg, his love un -
JL JL
H"
f ^ i?rf i
c c r t-M > # # # J -# :
G
32
■G
22

f7\
*
I r *f ^ 4£ B ê î
schiu - da il ciel- per me.
clos - es the gates of— heav’n.

rwlirfrf m.. imffif■r û

j ; j t-H
5 - 51 - 6 7320-155
42 i l ?

AH! NON CREDEA MIR ART I

AH! NON GIUNGE
|(A H ! MUST YE F A D E ) )

! (OH! R E C A L L NOT) (
From' La Sonnambula” (1831)

Translated by Natalia M ac/a rren

VINCENZO BELLINI
Edited by H.E.Krehbiel
( 1 8 0 1 - 1 8 3 5 ).
Andante cantabile
3 3
-Ô ------- & S n\ 3

PIAN< legato
*

Ah non cre-dea mi rar ti, Si pre - sto e-stin - to, o

Ah, must ye fade, street flo w - ers, For- sak - en by sun - light and

-J J & ♦ ♦

fio Pas - sa sti al par, d’a-m o

r e ,
re,Cheungior-no
show - ers, As tran sient as love’s e mo it on, That lives and

- 0-

i i
t

3- 3 3 3

so lo che un gior no sol du___ ro cheun gior-no

with ers in 0716- short sum - mer _____ dny, That lives and

C opyright MCMVII by O liver D itson Company 5 -5 1 -6 7 3 3 0 -lli

 43

tT\
Var.
I
ah, sol du- rb.
/ in one short day.
-P tir
a
il Pas -
so 1<>, ah, sol du - ro.
with - tr s in one short day. So

T7
36*5
co//a yoce 3
3 0 -T -0

sa - stia l par d'a^-mo re

tran - sient love's de-vo lion, 3
4e r gÊté
f
z

zl C\
Var.
cheun gior-no sol du fo.
VI one short sum m er day.

Che un gior - no, cheungior-no sol du ro.

TXat lives and dies in one short sum -m et day. /

tr
Ï
pp

P i
.x ,<?

Var.

Po - tria no-vel. vi - go re
B ut tho* no sun shine o’er. y e,

$ a -ftJ *-..-|
Po tria no-vel___ vi g° re
p B uk though . no su n ___ shine o’er ■ye,

m f w

*> Variants and Cadenza sung by Mme Sembrich and written out by her for The M usicians L ib ra ry
5 -5 1 -6 7 3 2 0 -1 5 5
44

W
II pian - to il pian - to mio re - car ti, Ma rav-vi-var l’a -
These tears, these tears might yet re - store But an estra n g ’d de -

4 J f H l'U n
11
These
pian - to j l pian - to mio re -
tears, these tears might yet re -
car - - ti,
store_________ ye,
Ma
But
ar !
rav-vi-var
an es trang’d
l’a -
dq -

4’ T ^ mj-Lq1jrêÿ
y: * £ SE E E É m
tr rit. 6 n\

mo re il pian - to m i ----- o, ah, no, ah no,no,no, non puo

vo tion No mourn-ers tears---- havepovcirah.no,no,no, to stay
rs
5
ff » <lpf g
P-IM? F F
< *

mo re Il p ian - to m io ,---- ah no, no,

' P
non puo, Ah, non cra-de -
vo Won No moum - er’s / ears__ have pow - er to stay, Ah,must ye fa d e
n\

/ ’fl % ' f i V}'m

r\
À
y- v~]T=? $ É i = 3:
abbandonandosi

j p~ - p r r
a ah,non cre-de
thus, ah,must ye fa d e
P -lf #
a,
' 7M m ir

Pas - sa-st^al p ar,al p ar d’a - m or,Cheungior-no sol du

thus, Sweet flo w ’rs as tran - sient as love, That lives and dies in
m m a
3-
=g
-

s
P E 3
# y =4 » If
5
Var.

C hejm g io r-n o sol du - ro, Pas - sa - sti al par _ d’a -

7>are - as love, That lives and dies, th a t.

4r rb.
day,
Chç_un gio r-n o sol du - rb,
Tran - sie n t__ a s --------- love,
lentûf ^
É

Pas - sa
That lives
stijil
anid
p a r.
dies,
d’a
that

m
n\
?
$' 5 ^3 T* r \
-o-

r\
3 j j r..t
5 - 51 - 67320-155
 45
sf $f 3 3f7\

m or ,a h , si, ah, al par .d’a -

dies, ah,. yes, ah, in one . short
r\
Ï : 5
al par
i
d’a -
m or,
in 6/MC. short .

I (7\

m ur.

<r\
$
$ m on
Allegro
day.

i -
r\ lz
f
S F ^3 3F r J - ^ £3 kS E H
/Cs

“ -d -d -d -d

t
i2.
i t

a zazaza: . — .r.J T l’t *1 # -J J ^ J #=#:

r r t r
cresc.

#
ir

É
pSl
5 - 51 - 6 7320-155
46

JSs.

/
T7

m Moderato
B

/
m
m l m
i

3 3

# P,r ri sf
i ^

Ah! non giun-ge u -m a n pen-sie - ro al con - ten - to ond’ in son

Oh, re - call not one earth - ly sor - raw,____ With the bliss - es o f heav’n a -

p p leggierissimo

♦ 9 é ~ L -é -
ir

3
3
t -m-

pie - na: a’ m iei se n - si io cre-d o ap - pe - na; tu m ia f - f i - dao mio tê­

round us, An il - lu - s ion it t cas that bound us, T hou,E l-vi - no,— art true to

5 - 51- 6 7 3 2 0 - 15*
 47

k JL
m
sor. A.h! m’ab-brac-cia, e sem-pre-dn sie - m e,sem -prçu-ni - ti in u - na
love. Ah, em - brace me, my heart de - light - ed, In one hope note with thine u-

ï
¥

$ f r f » --- f 7

i
$ spe m e, d el - la ter - ra
m
in cui v i - v ia -m o ci
S E P
fo r -m ia mo u n __ ciel d’a-
nit ed,Hand in hand while on earth we wan-der, We will form a heav’n of

(# # W ! l l' ï ï ï t IW #
H ü J 7
-0 -----------w

c/3
i

mor.- del - la ter ra in cui vi - v ia m<>, c i for-m ia mo un ciel d’a-

love, Hand, in hand, . while here ice wan der, We w ill form _______ aheadnof
k
f f Î

# L0 -

lz- ft
iTiriT'f frrrP mlt
mor, d a _ mor, d’a mor, d’a
love, o f — of love, of
k

colla parte

6 - 61 - 61880-156
48

P iù vivo

$
mur.
love.
I
k

f
'H' l i f t i i l 111 i
r r,.u L r.,r—
l j i r ,r r W W W w

m tltu lit fj i
#
.### J J]J J__Kf f__ __ f f.
{
é ééé é
êJLlT * »

Ah m io ben!
my love!

# ? F' lËf ;L' U *JÉ ’Muant

« m
T T T
/7 \

ah!
ah!

«iff -
«|
9— 9- 00 0 0 0- 0- 9-

ff
MÉL0 Æ. h7\

5 - 51- 67820- 1*
 t \ I

49
N
Tempo I
i

Ah! non g iu n - g e u-m an p en -sie - al con - ten - to ond’ io_ son

Oh! re - call not oneearth-ly sor - row With the bliss - es o f heav’n a -

¥ ¥ ¥ ¥ ¥ ¥
p p leggierissimo

m 5 J tJ tJ.x-J—
a; ¥

Var.

pie na: a’ m iei sen - si io cre - d oap - pe - na tu mi jif-

round us! An il - lu - sion z> was bound us, Thou, E l ­

mm pie na:
ï g
a m iei
F sen - si
a p
io cre,- do_ap - pe - na:
»
tu
-7
mijaf-
round us! An il lu - s ion it was that bound us^ Thou, E l ­

^ 7i ' i 1
¥ ¥=3= 5 y ; t 7 ^ ¥

.?

e sem-jprein-sie me
my heart de - light - ed,

ïé h WM JL
& ¥± y - q f
fi - d^_p mio te sor. Ah! m’ab-brac-cia, e s e m - p r e m - s ie me sem-preu-
vi no, art true to love. Ah, em - brace me, my heart de - light - ed, In one

3 §e 7J 7 J ¥ * vJ v J; ?

d el - la ter - ra in cu i v i­
Hand in hand while ew earth we

gk p
ni
y F -

ti
mm
m u na sp e
Jjy 4
m e, del - la ter ra m cm v i­
hope now to thine u nit ed! Hand in hand while ew earth tee

If $ m
¥ ¥
m
5 - 51 - 67820-155
50

.y

via m o,----- c i for - mia - moun ciel del la__

wan der, We w ill fo r m heav’n love, Hand in__
.y .y
t -SL-

via mo ci for - mia mojin ciel d’a - mor: del

wan - der, We w ill fo r m a Aeav’n of love, Hand in__

# ¥ ¥ ¥

j ? J ? «5 J » J -jzf

ter ra, in cui vi via mo, ci for - mia mo un ciel d’a-

hand _ while here we tcan de v, We will fo rm __ a Aeav’n o f

ter ra, in cui v i - ^ a mo ci for - mia fno un ciel d’a-

hand _while here we wan der, We w ill fo rm __ a Aeav’n o f

t
? ?r y
-W

mor,
love,

-m-

mor d'a mor, d’a mor,

love, of. love, of love,

\J \J ' .
5-51 67820- 1*
 51

â
d’a
te

5
d’a -
- of.

n\
%
colla parte
/Ts
■Vt) m .J

P zm vivo

J -g- 0 - ■» # —g-
& EÊI F
mor, Oh! g io - ja ! o h ,g io - ja ! un c ie l___ d ’a -m o re!
/otr, % rajp - ture,oh,rap - tare, Ah, heav’n ah, o f love!

g
6
0-
-

fr*lir ïïtuix iciff WJlUi lJ fg jfj T] 1

m mm

ÇL r\
4= j

TT

Z7S
g- - 6- -fi- 15 - -6 - -6 : -fi -
77 V 77 77 77 77 77 77 TT

5 - 51 - 67820-156
 53
CHARM ANT OISEAU
&
t
(D E L IG É T FU L BIRD)
From “La Perle du Brésil” (l 85 l)

Translated by Nathan Haskell Dole FELICIEN DAVID

Edited by H E. Krehbiel (1 8 1 0 -J 8 7 6 )

Jr Jr #
Jr
Andante (A-iie)
m
, ^ 5^ |
\ PP P
PIANO

lM #lf :--#F 'll# M W

Jr
Jr 8 A

5» a 't r i . i .

at if f|S Q»f, y |,'f, t = ^ t

A A 3

/» FrrffflTff-ïrfffi Ü
g
■ r r ‘f t àt
Jr *
fr *r_. tr *y # Jr, # *•
ÉÉi # - r

*
$ î
w î ï Ê î ï

Jr
$Â
;■, -ffffîffaP rf i»<. SH
S
s
t— N
C o p y r i g h t MCMVII by Oliver Ditson Com pany 5-51-6 7 3 2 0 -1 5 5

:
 53

Più lento
*
l.C h a r - m ant oi - seau qui, sous l’om - b ra - ge, E ta
1. De - /z'gA? - y « / bird of plum age glow - ing With sap

i î e e Pê

2 .Quand vient le jour, sa v o ix ___ so no - re De l’au

2 .When day— ap - pears his joy fu l sing - in g A - wakes.

S
I # * f
/
l'F ¥J rîtt WW à mm é ÜÉÉ

l e a nos
PLJ r & p
yeux_ e blou - is L e s __ cou - leu rs de
p Lr son beau plu -
£
pAire and with _ ru by dyes :'Mid_ the shade his rare beau - ty

J J1J j ] p
been - chan - te l e ____ ré - veil, Quand v ien t— le soir il chan - te en -
the__ dawns en - chant - ed rest; When eve - ning fa lls his notes____ are

*
I § U i i mi i

I ÈÊÉ fff fi à

4 1 f - f r-'r-m atT f r à riPr y

m a -g e , Mè - lé d’a - z u r __ et de ru - b is ______
j'J*% t m
Mè - lé d’a - zur et de ru -
show-ing Be -fore our . % Be -fore our won-der-strick-en

I* f) . tr h é B s
core, A ux feux mou - ran s d'un jo u r
fi!ripr
ver - m eil A ux feux m ou-ransd’un jo u r v e r-
ring - ingJWhile fie r - y day fades from the west, W hîlefier - y day fades from the

n uni a .Ï5 i ^ j'li W^

mi m à J^J à m s

5 - 51- 67320-155
54

* ï
I J »■ i -■ -*
bis, Quand su r— la ti - g e à fleu r do -
When on ___ the branch with bios - m

i f cm eilü; m ï
% p O p c m ^ si;
Dans le grand bois tout fait
west! A - Hown the grove the si -

I r.ir 5 5 3 É
F^F
*\î n j pf j; a

pp

J m m
re - e Il s e __ ba lan - ce tout jo y - eux tout jo y - eu x, tout j o y -e u x
trem-bling, Ffe pois - es sw in g -in g gay and bright, .gay and bright, gay and bright,

é* O lence
t
Quand d u _beau m a - gno - lie r en
j
fleurs
' I M r’ r en fleu rs
eiejJ,j
en fleurs,
dou - blés As noie_ his plain - five dul - cet lay, Ais plain tire la y ____

* yy J
I f m
pp
*
f

poco rit. a tempo

m jFHf pm U4.-1 Q g
Son ai le b r il- le, di a - pré - e, A in - si qu’unpris-m e ra d i-
____ Hi s check - ered pin -io n s' gleams _ re - sem-bling A ma ny col-ored prism of

m st É !ü
$ É ^ Ê m m #
m
Sa dou ce etp la in -ti - ve ro - m an-ce S’e - x a le e n sou-pi rs en -ch an-
That breathes t f love’s ec - stut - ic trou-bles From out thÿ tu - lip - tree dies a -

. a ___________________ a tempo __________

* À i f è\ii coZ cfln/o

f j Hi 1 p
M f m £ $

5 - 5 1 -6 7 3 3 0 -1 5 5
 55
rs , ^ /T\ A A A
* »»

eux. Qu’il est jo - l i , ---- qu’il est jo li qu’il est jo - li le M y -so -

light. Hmc sweet is h e H o w sweet is he, How sweet is he,_
_ T h e M y -so -
/7s • _ /7s ___ A A *
ï K _ m m ft f ■ m
à f
teurs. Qu’il est jo - l i , ---- qu’il est jo li qu’il est jo - li, le M y- so -
way. How sweet is he, — How sweet is he,^— How sweet is he,___ The M y - so -

U i ±

$
VP-
a-
m:
■
5
ï
a:
Ï
/7\

/7N
! a:
Ï

*=S*
I I
li! Qu’il est jo -li, le M y-so - li, le My-so -
li! $ \Howsweet is he, the My-so - li, the M y-so -

mm
SLE
m m i
C\
Ï

5=»
1
/7N
5

coZZa y o ce
5 = 1

I li!
/*/
Ï

„ a tempo "* #

i* j & r - % #

^-■■tw m# r*fff t l f r frr r Echo

Z7\
*•

I
J*
m JL

?
rs
i Jié

m /T\
/7\
f-T* â
* 7 :ii
ah!
ah!
a tempo
Oii /7\

/7N

m ;ü
$ $ * ü 6
5 - 51 - 67320-155
56

m
a tempo

3.Quand
& -r\r
su r__ sa cou
F
che de ra
m
me - e, Que ber -
1
3. When on her nest "f vel vet ro - ses, That sicays
8'

■? 1 T 1 ir m t If
PP

con Ped

<f up > ej e j F ;
5 5a
ce la bri - se_en pas - sant, Re - po se sa com - pa - g n e a i-
un-fier each tean - d ’ring air, His draw sy mate in peace re

&

t P P If ff t If ST i
4*O f >r me - e, Au bai
1
ser d o u x __ et
F ca res - sant,
pos-__es,_....Be...-, neat h his watch - f u i .... ten der ...... car/?}..
8

i VP
mà ifa W f ST F
14... Z î
Au b a i - ser doux et c a -r e s -sa n t Le p la i-sir,
1Neath his watch - f u i ten-der care. His days are

I*I N It
5 I Æü£ ^
41 Q - n fle u r __ e pa nou î - e, Dore et par - fu
.K
me tous ses
per - fam ed all _ mu'M pleas-ure, That gar land sweet__ of bril - liant
8

m m
j j «« « i &
5 - 51 - 6 7 3 2 0 -1 5 5
 poco r i t a tempo 57

m jo u r s ! p a r - fu me
ï

tou s ses jo u r s, _
k
m Et dou
p
ce -
flo w ’rs, of bril liant, bril - liant flo w rs, crowned with
a tem]
S eI
mm g $
ço lca n to

g r LD r S :-
TFT î
* 3

m ent
love’s
g
*^r

cou
un
le
mor
§=1 sa
tal
m g
vi
treas - ure His
au se in ___ des p lu s te n -d r e s a -
flow s on in gold - en
g

#
I ée2 g É
#

v» f ) ? g# i t
i
f
ÊEEÉ J 5 •

m o u rs. Qu’il est j o - li, qu'il est

l ' f r V j y Prii
jo - l i , qu’il est j o - l i , _ le M y - s o - l i !
hours. How sweet is he, How sweet is How sweet is he,-the M y-so - li! <S
r\ r\
± ± 5
m f f

a ±
VP r\ r\
± ±
a. p f r r

7
I * g poco rii.

m s
Qu’il est j o - l i , __ -li, le M y -so - l i .
A *
sweet is he,_____ the M y -s o - li, the M y-so - li.
/T \ a tempo

i 3: ?
i t

A* # • A* * •

0 f rp ï r f r *

* k 4 kA

5 - 51- 67320-155
58
Voice ns ns
ns ns *
*
ah! ah! ah!
Flute ns
a A! ns ah! ah!
ns n\
*
m
n\ 8
* *• ft
r *
t it
î
This m easure may be played in place PPP
: ( of the Cadence w ith the Flute. )

r it ns r it ns
f l» i» ^ f
* M £
S
ah! ah! ah!
ah! ah! ah!
r it ns r it
ns ns p -p -P-

*
l

#
rail. . ? *- tr
#* *- Æ
* JL + 4^ 1* . *• 44
ah! ah! ah!
oA/ aA/ aA/
rail. .
ns
à ieLjâ p-

ns r*
L
■
m
AhT
Ah!

*■= ns
± Ï Ï EÏE5
m
T his m easure m ay be sung in place
■a- ( of the Cadence w ith Flute. )
I s
m aw m
pp
5 - 5 1 - 6 7 320-155
 \V i
59
JE SUIS TITANIA
(I AM T I T A N I A )

Translated by Nathan Haskell Dole From aMignon”(1866) A M B R O IS E T H O M A S

E dited b y H. E. K rehbiel ( 1811- 1896 )

Andante .y
R écit. L

V O IC E
M
¥
>? 7j £
Oui, pour ce s o ir j e su is r ei ne d es fe es! V o i-
Yea, f o r to -n ig h t am / Queen of the Fai ries! Htre

# W
* attgdlfP a i
s a

P IA N O

¥ î î

dim.
tit= F t e
ci m on sc e p - tjre d’or,—1
fgg her go/ - den wand, _
Ta
m mm
m ï

9S9 r\

i .....- * S
m
Et voi ci m es tr o -
A n d tk’in - sig nia she

/T \

g 5 = ?

r\
m
W= 5

I
phé
i
es!
car ries!

S
iâ

/
f m if m
m

5
/C\

s #
s wrm
Copyright MCMVII by Oliver Ditson Company 5 - 51- 6 7 3 2 0 -1 5 5
60
Moderato tem po di Polacca (J = 96)
a
pi g
Je___ suis T i - ta - ni - a la bien de, J.
L am T i-ta-ni-a ’the queen (% Z-
JKZL
3 =L

"■/ 4SI Si?! 1

^ 2 .b ’P=t * -i ï

4 M " S
S U IS T i - ta - ni - a, fil le. de l ’air, En ri ant. je par-cou rs le
am T i- ta - n i - a, the win - some f a y , With a laugh. thro’ the w orld se -

ir~~g~r
$ î

I # t t

, cresc. f n " 7m. t * — , ^ ^ L

mon de, P lu s vi ,-e que l ’oi-seau,plus prompte que___________ l ’é-clair!

rene iy / move more s w ift-ly than a b ird or lig h t fling’s ray.

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[>ü^ am Ti-ta-ni-a the queen - ly, AhJL.

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ant je par-cours le mon de, P lus vi ve que_ l’o i- seau, plus prom pte_
laugh thro’ the world se rene iy I move more sw ift- ly than bird o r_

0 f I-M fi '“ S ' ' 1 ' i

y:è^ - ï - t i-p — Jï-f f-î- p

i t
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f p r f r f I
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blon - de! Ah!

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queen - l y l A h!

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The go b -lin choir a - le r t and gay, They. A -ro u n d m y car* a i end o f day P la y !

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*) Should it be desired to shorten this piece, sk ip from here *) to sign-P on page 91
5 - 51 - 67320-158
 63

A u-tour de m oi tou - te ma cour Court. Chan-tant le p la i- s ir et l’a-m ou r!

Be-hind, my court-iers a li en-twined Wind. Tu songs o f luve and jo y in-clined!

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5 - 51 - 67320-155
64

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Sur les flots cou-verts de eu me, Dans la
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brume On me voit- vol-ti-ger, On me voit vol-ti-ger! Ah!
day, see me dance, see me play! See me dance, see me play! AhL

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5 - 51- 67320-155
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m Voi lài
F' F
Ti - ta - ni -
Ah!. Be hold Ti - t a - ni -

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rene ly / move more sw ift - ly than the b ird or light - ning’s

(Mr J
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66

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l’air ! Ah! ah! ah!
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5 - 51 - 6 7 3 2 0 -1 5 5
63 CA RO NOME
(D E A R E ST NAM E)
i
From “R ig-oletto” (1851)
Translated by Nathan Haskell Dole GIUSEPPE VERDI
- ( 1813- 1901 ) I
Edited by Eduardo Marzo
Allegro assai moderato I
VOICE
Gual-
0

d j t g
i i
dolce
PIA N O

\(
zz

tier Mal - de! no

Name
me
that
il
Zf afear
;
si a
as
name be - lo v’d,

fe te !

<>

morendo /T\
& ttfrucfrfr P B
i B
ÉÉ
ma to, ti scol-pi - sci nel co rejn-na-mo ra - to!
hear en, Thou that art— on mine in most heart en - grav-en!

■S C

i i S P P /T\

m à ES
Allegro moderato
J7T

dolcissimo

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t f 1 - * mi i
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> It
cor fe -s ti p ri - mo pal - p i -
)! B e a r-est name th a t ta u g h t m y he a rt. W ild - 1 y w ith y o u n g lo v e to

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beat, A ll it s jo y s tu new /(/% O ft as
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sem p re ra m - m en ta r! col p e n - s ie r il m io de -
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l ’u l ti - m o _ so s p ir , c a - ro no - m e, tuo sa ■
me f o r - ev e r_ _ d e a r, N am e I ’l l breathe on l i f e ’s la s t

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70

b *

rà col pen - sier il m io de - sir

sig/i! When its mel - o '- dy I hear

3
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r - i r vN ï

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a te, se m -p r e vu - le - rà e fin
S w ift to thee my long-ings f l y Name that
n\
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t e

dolcissim o

l'ul- ti - mo mi - o. so spir, ca ro no me, tuo sa -

art to me f o r ev er. dear, Name. ['ll breathe _ on life’s last

M-
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ra col__ pen-sier il mio de-sir
When I hear its. me/- o - d y
sigh!

A z

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0m a te sem -p re v o - l e - r à , ------
Sw ift to thee my long-ings f l y , — j -
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 71
dolce
A r 1» jr-0 1 -* 0 -

__ vo - le -
theyf l y , to thee they
* ïiL i i
t e
îkr w-

t i

ra, iin Pul - ti - mo so spir, fin l ’ul - ti mo so spir,

f l y , Name that is ev er dear! Name that is ev er dear!

ï t
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à *»--------- p
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I p
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3E

ro, no
P
me tuo sa
ca
Name I ’l l breathe on life ’s last

EÊÈ %

rà, ca - - ro n o -m e , tuo sza -

sigh! Name - /Y / breathe la st when I

M ; gf jrf Je
i -3 -u — _ fl km-

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ra. il m io de sir a te o gno ra
die. Oh, when its o dy____ / hear, That

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72 I

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vu le ra , fin l’u l - ti mo so - s p i - ro
name. sa. dear To thee, to thee m y tony; - in g s

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 73

dè! ca-ro no - me, che il mio cor fe -s ti pri - mo pal - pi -

d ea r! B e a r-e st name th a t ta u g h t m y h ea rt W ild - 1y w ith yo u n g love to
-g- ■» t-
£

Py à ±=i ^Ü *■- a i

A p erd en d o si

tar, e fin l’ul ti - mo so spir, ca - ro

beat, N am e to me f o r - ev er sw eet, N am e I ’l l
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4^ (Tf no me, tuo sa ra,

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Gual-tier M al-dè!
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breathe on life ’s la s t s ig h ! 0 name so dear, O name so dear!.

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74

AH! FORS’ E LUI

(A H ! W A S IT H E )
From “L a Traviata” (1853)

Translation revised from Natalia Macfarren GIUSEPPE VERDI

Edited by H. E. Krehbiel / ( 1813 - 1901 )

A lle g r e tto
Récit.

VOICE pu i pip T P'-P V P F’ g

E stra-no! e stra- no! in co - re sco l-p i - tijio que-glijic-
Now icon-drous! Now wovrdrous! His tcords on my heart are deep - ly

P IA N O

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4
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$ $ Y m èè *^
cen ti! Sa - ria per me sven -
grav en! A n d would it bring me

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f

t
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tu - ra un se-rio^a - mo - re? Che ri -
sor - row to love sin - cere - ly? 0 my

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sol - vi, tu r-b a - ta a -n i - ma m i - a?
* vT l ‘ - ?.v
Null’ uo- mojan-co - ra
' "
t’a c -c e n -
heart, why so sore - ly art thou trou-bled? No love fo r man e’e r yet hath

ï
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v : J _ fc I

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de - va oh, gio ja dV_io non co -

J1
nob - bi
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es-ser a - ma - ta_a -
;
moved thee. 0 rap ture I nev - er dreamed of, to love a heart de -

m
i

man - do!
■!' I r ç-pr E sd e- gnar
y- pbJz *•
la poss’ i o
a=rr' *» f i
per l’a - ri - de fol -
vot - ed! Shall I dare to dis - dain And choose the wick - ed

4 -? -— m j f $ 1

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Allegro
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H e del vi ver mi o?
fo l - lies that now sur round me?
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5 - 51 - 67320-155
76
A R IA
d o lc is s .
A ndantino

pi If* it I
Ah! fors’ è lui che

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± ï % ±
3

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t ë p»p$0$+d—Hf—Hü ê

go - dea so ven - te pin - ge re de’ suoi co - lo - rij)C cul ti,

O ft / have da red to vi - sio n fo r th One whom a - lone I ’d treas - ure,

te
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de’ suoi co - lo -rij)c-cu l - ti! Lui çhe, mo- de-sto_e v i - g i - le, ail’ e - g r e so-glie^a-
(hve whom a - lone I'd tr e a s -u r e ! B i s a ll the w atch -fu i ten - der-ness W hen f e - v e r ’s ra g e w as

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nuo-va feb-breac- ce se de-stan-do - m ^ jtira - mor!

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love!
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b u m - in g , Brought to m e health re - tu rn - m g, W a k -in g m y heart to
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5 - 51 - 67320-156
 77
con espress.

m üp m p
3 -U ) Jl |-i
Ah! quell’ a - mor quell’ a - mor che^è pal pi - to
Ah! now I knuiv that ’tis love and love a - lone,

' 5 ‘
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6
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d ell’ u n i- ver so. d ell’ u ni - ver - s o j n - t e ro,
Sole breath o f all in the life, the life u - ni ver sal,

m
w

mi
Z
ste ri
i
t l 9 1
o so, mi ste - ri - o - sq_al - te ro,
My s te nous pow er, gu id - ing the fa te o f mor tais,

r
m

3 3
.h 3

at

cro ce, c r o - c e e de - li zia, c r o -c e e de li zia de - l i - z ia a l cor.

Rap - tare, rap-ture and tor. - ment, rûp-ture and tor - ment, pain and de - sire!

F P i
A me fan -
3
To me in
....... -M *
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—A . -— 3- -— 3- p :
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5 - 51- 67320-155
78
dolciss. a
3
A

ciul - la jin can - di do è t r e - p i - d o de - si re è tr e - pi - do de -

youth with sim - pie fitith, Mov’d, by a vague e mo - tion, Mov’d by a vague e -

I I

SI re, quest ’ e f fi gie dol CIS si mo

mo - tion, Sud - den pear'd this no ble heart,

We
i i
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cresc
3
A
è i % % ii g

si-g n o r dell’ av - ve - ni - re, si-g n o r dell’ av - ve ni - re quan-do ne’ c i e - l H l

Ra-diant with fond de - vo - tion, Ra-diant with fond de - vo - tiun, Now o'er my heav’n o f

«r *
#- i
g

rag - gio di sua bel - ta ve de a e tut - ta me pa see a

prom - ise Beck-ons my fa te to glad - ness, 6W, i f the dream be mad - ness

con espress.
PP 3
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di quel di - v i- no_er ror. Sen tia c h e a -m o re, ch q a-

Life hath no long - er worth! Ah now I know that ’tis
r\

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5 - 51 - 67320-155
 79

mo
g
retail pal Pi
àm
to dell’
m
U n i- ver
m
so, dell’
love, and love a - lone, Sole breath o f all m the

.*

u ni ver - 9o_in*te
m
ro, mi ste ri
3E

o
m
M
so,
I'A life u - m - ver sal, Mgs - te nous povo er,

m
2 fwm
mi - ste - ri j. o - so al - te
guid - ing the fate o f mor
I
ro,
tais,
cro ce,
Rap - tare,
p Ip p» à M
cro-ce_e de - li zia cro-cee de-
rap-ture and tor - ment, rap-ture and

m uz l i = £
3

§ § i ^

i n
li zia, de - l i - z i a a l cor! cro - ce_e de
m t~i M:
li - zia, de - li - zia_al cor!
tor ment' pain and dé - sire! rap - ture and tor- ment, pain and de - sire!
3 3

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ah! de - li- zia al cor!

ah! pain and de - sire!
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5 - 51 - 67320-155
80
Allegretto

4 h <- * * p p ^ * P 1 W - i
F ol- li - e! fol - li- e ! de - li - rio va - nqjè
lt%«< - ly! what fo l-ly l
■ 3 f o r me there's no re
r\ --------------- m - £

r\
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m hüi W a $

&: : jque- sto!

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Po - ye - ra
p I p . . . p . ..... »
don - na,
turn - ing! Most h ap-less tea - man.
3
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$ F

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m pM » so - la ab-b an -d o - na ta
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in que-sto
m
p o -p o -lo
$" y ?
so de -
lone-ly, by all de - sert ed, a - m id this sol - i - tude fu ll of

ST:

ser to cheap-pel - la - no Pa « - gi, che sperojor più? che far deg-

pro pie, by all the world ca ll’d P a r - is, tchat can l do? u'here can I

W
3
JO.

o? gio l re di vo lut - tà ne’

turn me? To p lea s - ure; m ev 'ry fie r c e ___ and

Æn

5 - 51 - 67320 - 1* »
 81
con forza r\
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vor ti ci, di vo - lut - tà pe -

wild de - light I’ll steep my sense and

m t
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dolcea jnacere
allarg.
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f m M lU fte
rir? gio ir! gio ir!
die! joy! joy!

m
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Allegro brillante

mü g
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Sem-pre li - b e-ra deg ~ & - o fol - leg - gia - re di gio - ja m
I’ll Jitl - fill the round of pleas - uref Joy - ing, toy - ingfromflow’r to
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5 - 51 - 67320-155

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88
AH! JE V E U X V I V R E
(L IK E A V ISIO N )
From ^ Roméo et Juliette” (1867)
Translated by Arthur Westbrook CHARLES GOUNOD
Edited by Eduardo Marzo ( 1818 - 1893)
Tempo di Valse

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 89

SH I ï r ’ i 1T ' = ^ ■l&U i Lw i
Long - temps en cor! Don ce
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tray. Like a vie ion.

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5 - 51 - 6 7 3 2 0 -1 5 5
 91

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Com - me un tre - sor. Cet tejv-res - se
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I£ De
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Youth is dy - - ing,- Soon w ill be spent life's morn.

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Puis vient l’heu re Ou l’on pieu - re Le coeur cè déjà l’a -
Then w ill glad ness Yield to sad - nés s, When by love __ hearts are

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92

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5 - 5 1 - 6 7 3 2 0 - 1M
 93
Meno presto, ma insensibilmente
5= r i

sor! Loin de l'hi - ver mo ro - se L ais - se

way. E re_ balm - y sum mer dus - es L et me

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 96 OU VA L A J E U N E I N D O U E
(AS F A L L S THE M O O N L IG H T GENTLY)
INDIAN BELL SONG
From' Lakmé” ( 1883 )
I
Translated by Nathan H askell Dole LEO D E L I B E S
Edited by H.E.Krehbiel ( 1 8 3 6 - 1891)

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 97

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as; E l - le court sur la mous se, L’en - fant des Pa - ri - as^___
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 99
A llegro m oderato
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JE MARCHE SUR TOUS LES CHEMINS
(W H E R E V E R I GO I C O M M A N D )
From“ManorT (1884)
Translated, by Nathan Haskell Dole JULES MASSENET
E dited by Eduardo Marzo ( 1842 )

A lleg r o m aestoso <J.= 72)

(archly and gaily)

VOICE
Je m ar-che sur tous les che - m ins _
Wher - ev - er I go / com - mand,

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See them bow - ing and kiss - ing my hand.’ — . •^ . é i t For

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A u-tour de moi
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Je vais à tout ce__qui m’atti re! Et, si Ma- non de-vait ja-m ais_ '
A ll pleasures I must fol-loto a f ter} And i f Ma-nnn by ear-ly death-

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 107

Moderato e leggiero
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O b é - is - sons *quand leur voix ap - pel le
When the sweet voice of pas s ion hails you

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may! Make use o f youth that hastens dai - ly ! S p rin g f/o w ’rs too

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me - ne le prin-tem ps; Ai mons, ri ons, chan - tons san s ces - se, Nous
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Le coeur, hé-las! le plus f i - dè. - le, O ub-lie en un jour l’a - mour,
The heart, a - las! once fa ith -fu l min - ion, In an hour for-gets your sway,

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A lleg retto

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5 - 51 - 6 7 3 2 0 -1 5 5
1

C o lle c tio n s o f C h o ru ses
SACRED a n d SECULAR
for Trebie-V oice Singing O rganizations
WOMEN'S CLUB CHORUSES and GIRLS' GLEE CLUBS
IN HIGH SCHOOLS, COLLEGES and ACADEMIES
DITSON TWO-PART SONGS
FOR TREBLE VOICES
Compiled by John Carroll Randolph
Naturally, the numbers in this collection are not difficult
to sing, and the vocal compass has been kept within a
range comfortable even for young singers of junior high
school age. With the exception of two canzonets all 22
choruses have substantial piano accompaniments that
give excellent support to the voices. There are original
choruses by modern composers and arrangements from
favorite classic and modern songs and instrumental com­
positions. Each number is obtainable separately in the
Ditson octavo edition.
Price, 75 cents
DITSON SECULAR TRIOS
♦ FOR WOMEN'S VOICES
Compiled by John Carroll Randolph
This excellent collection of part songs already is a
favorite with singers of the gentler sex. Most of the
selections can be rendered by trios and small vocal en­
sembles, but all are suitable for use as chorus numbers
by organizations with a large membership, or by high
school choruses. The compiler has included in the con­
tents pleasing choruses of modern composers, and ar­
rangements of piano solos, vocal solos and choruses of
writers such as Elgar, Delibes, Bohm, Czibulka, Jensen
and Dr. Arne. The piano accompaniments give ample
support to the voices. Each number is published separately.
Price, 75 cents
TWENTY SACRED
TWO-PART SONGS
FOR WOMEN'S VOICES
Compiled by Clifford C. Chapman
Junior choirs and choirs composed entirely of women’s
or girls’ voices will find this volume a real convenience
and an economy in the fine collection it offers of stand­
ard and modern part songs with sacred texts. A glance
at the list of composers represented should be a guar­
antee of the excellence of the contents: Denza, Dulcken,
Farmer, Faure. Foster, Gounod, Handel, Harrington,
Hyatt, Ippolitoff-Ivanoff, Mendelssohn, Novello, Prae­
torius and Spohr. The accompaniments are for piano or
organ.
Price, 75 cents
O l i v e r D i t s o n Co
Theodore Presser Co., Distributors, 1712 Chestnut St, Philadelphia, Pa.
OD. PSC— 1
BNQ
000 551 467
THE DITSON
A CAPPELLA CHORUS BOOK
Edited by John Carroll Randolph
Repertoire and study material in abundance for treble-
voice glee clubs and classes. Ideal for use with school
groups and a really worthwhile addition to the library
of the women’s club organization that programs music
of the better type only. The book includes numbers in
two, three, and four parts—canons, canzonets and
choruses in modern style. Most of them are printed
with a piano accompaniment part for rehearsals. All are
obtainable separately in octavo music form. Classic,
standard and modern contemporary composers are repre­
sented by some of the finest examples of their chorus
music.
Price, 75 cents
THE
GLENN FESTIVAL BOOK
For Treble Voices
Unison, Two-Part and Three-Part
Edited by Mabelle Glenn
In an endeavor to provide school choruses with worthy
chorus material for assembly and concert programs, com­
mencement exercises and other festival occasions, the
noted educator in compiling this book selected these 17
numbers from classic and folk song sources. Schubert,
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folk songs were chosen from the Scotch, Spanish, Swed­
ish, Russian and French.
Price, 50 cents
* DITSON SACRED TRIOS
, FOR WOMEN'S VOICES
Compiled by John Carroll Randolph
For more advanced choirs of women’s voices, or for the
club chorus occasionally called upon to supply the music
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The numbers also may be used as trios, small ensembles
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Price, 75 cents