Ombra mai fù

Silvio Stampiglia Serse (HWV 40) Act 1, Scene 1 G.F. Handel

(1664–1725) (1685-1759)

   

   
  
                       
Recitativo accompagnato

   


女声


     
Fron di te ne re, e bel le del mio pla ta no a ma to per

   
      
 
  
钢琴

  

小提琴    
   

    
 
小提琴

       
中提琴

  
大提琴     

             
 
 

         
                  
4

 


W.

   
  
voi ri splen da il fa to. Tuo ni, lam pi, e pro cel le non v'ol trag gi no

   

     
  
Pno.


   
Vln.     

 
Vln.    

 

 
Vla.       

      
Vc.  
2

                      
        
                 
7


W.

      
mai la ca ra pa ce nè giun gaa pro fa nar vi au stro ra pa ce.

            

   
         
Pno.


   
       


Vln. 

   
Vln.          

 
Vla.           

          
Vc.
 

         
   


Adagio
女声


         
  
      
   
    
   
       
  
       
钢琴

                         
  
    
 

  
     
        
小提琴

     
              
         
小提琴

 
 
                
中提琴
      
  
   
大提琴                            
 3

      
     

10


W.

 
  
Om bra mai

                    
        

       
   
  
 
      
         
                
Pno.

 
                
 
  
     

 
Vln.


             
   
  
 
Vln.

 
           
          
 
Vla.

     
Vc.             
     

             
      
      
18

 


W.

 
             
fù di ve ge ta bi le, ca raed a ma bi le so a ve

   
                            
 
        
                     
Pno.

             
    
              
Vln.

    
             
      
Vln.

                  
Vla.
    
                
Vc.          
4

         
            
26


W.


         
più, om bra mai fù di ve ge ta bi le ca raed a ma bi le

                
      
          
   

  
 
       
    
  
Pno.

  
        
Vln.        
       

Vln.                     

             
Vla.       
  
 
       
    
Vc.
     

             
             
33

 


W.

    
                               
so a ve più, ca raed a ma bi le, om bra mai fù di ve ge

           
     
    
          
           
Pno.


         
        
   
Vln.

 
                     
   
Vln.

         
       
Vla.
    
          
           

Vc.
 5

     
                             
40

 


W.

  
               
ta bi le, ca raed a ma bi le, so a ve più, so a ve più.

                       
              
   
    
 
           
Pno.

   
                
             
  
Vln.

   
                 

Vln.


                    
Vla.

    
 
Vc.                

      



47

W.

  
                   
             
    
  
         
      
Pno.

 
     
             
Vln.
   
 
Vln.                  

                
Vla.

          
Vc.        
女声 Ombra mai fù
Silvio Stampiglia Serse (HWV 40) Act 1, Scene 1 G.F. Handel
(1664–1725) (1685-1759)

   

  
                      
           
Recitativo accompagnato


Fron di te ne re, e bel le del mio pla ta no a ma to per

              
         
 
 
                 
4

voi ri splen da il fa to. Tuo ni, lam pi, e pro cel le non v'ol trag gi no

                       
        
            
7

mai la ca ra pa ce nè giun gaa pro fa nar vi au stro ra pa ce.

 
 
         
  
      
Adagio

Om bra mai fù di ve ge ta bi le,

             
       
        
23


ca raed a ma bi le so a ve più, om bra mai fù di ve ge ta bi le

              
             
    
31

ca raed a ma bi le so a ve più, ca raed a ma bi le, om bra mai

                      
       
    

38

 
fù di ve ge ta bi le, ca raed a ma bi le, so a ve più, so a ve


 

46

più.
 钢琴 Ombra mai fù
Silvio Stampiglia Serse (HWV 40) Act 1, Scene 1 G.F. Handel


(1664–1725) (1685-1759)

                   
               
Recitativo accompagnato

   

             
          





           
 
               
Adagio

       
  
       
                         


                     
 

               
9

 

     
     
          
   


 

 
          
   
                 
16

 
 
        
           
                     



        
    
                     
24

             

      
                

2


          
                         
  
31

      
       
       
 
            
          


  
                      
                     
38

 
         
           


 
   
        
                     
45

  
       
  
        



  
         
51

  
 
   

小提琴 Ombra mai fù
Silvio Stampiglia Serse (HWV 40) Act 1, Scene 1 G.F. Handel
(1664–1725) (1685-1759)

                     
  
Recitativo accompagnato

    


  

  
 
Adagio

   
        

   

                          
11

           
             
  
20

 

 
                        
28

  

                
                  

36

 

                    
            

44


   
52
小提琴 (1) Ombra mai fù
Silvio Stampiglia Serse (HWV 40) Act 1, Scene 1 G.F. Handel
(1664–1725) (1685-1759)

                
    
Recitativo accompagnato

  


     
      
Adagio

     
      



                      
11

 

 
                  
      
21


                             
29


                  

  
37

 
  
                
46
中提琴 Ombra mai fù
Silvio Stampiglia Serse (HWV 40) Act 1, Scene 1 G.F. Handel
(1664–1725) (1685-1759)

                  

Recitativo accompagnato

  
                
   
Adagio

 

  

                        

11

          

 
  
20


                          
 
30


                   
 
  
40

       

50
大提琴 Ombra mai fù
Silvio Stampiglia Serse (HWV 40) Act 1, Scene 1 G.F. Handel
(1664–1725) (1685-1759)

             
         
Recitativo accompagnato

   
   
           
Adagio


             
      
11

  
          
21

        

       
31


           
       
41

 
     
51