HOO OH PURCELL SH OE EO 40 SONGS FOR VOICE AND PIANO CE PROG (LOW) (SERGIUS KAGEN) No, 2072 CH ON INTERNATIONAL MUSIC COMPANY NEW YORK DC RI DO SR OO OH OOO SS OS Se) > ROADS EO ERED OOO rHREE EE ESS Seta tee iate ease eae eeea tees Preface the editor attempted to make his role as incon: SER ee = Most of Purcell's music for voice und continuo is a magnificent example of two part counterpoint in which the melodie function of the base patt is fully equal to that of the voice. Ia Parcells time it was a common practice to perform the bass part on a bowed string instrument and to use a keyboard instrument (a cavicembalo, virgials or harpsichord) for the purpose of filling out the harmonic structure. The great disparity of timbre between a sustained bass line and the weaker and more percussive sound of the Keyboard instrument allowed the listener to perceive cleaely the melodic importance of the bass. This held true even when the keyboard pat was celized in a most complex and ornate manner. But when both the bass part, as well at an ornate elaboration of the chordal progressions are played on the modern pianoforte, the historically legitimate complexity of the inner parts may, and often does, totally obscure the melodic function ofthe bass In these realizations the editor did his utmost to refrain from all contrapuntal elaboration of the inner voices that could possibly affect adversely the acoustic claity ofthe bass melody. Such procedure can, and no doubt, will, be criticized by those who will hasten to remind the editor thatthe keyboard players in Purcells time allowed them selves to improvise most elaborately in performance. No one can dispute this. Even on a modern pianoforte 2 pianist could do this more or les successfully, provided a cello were playing the bassline. But since this edition is intended for performance in which the pianoforte is used as the only accompanying instrument, the editor {eared that an elaborate keyboard part would tend to acoustically distort Purcell’s music, sometimes beyond re- cognition, “The pianist should beat in mind that his bassline i fully as important as the voice line. He should attempt to play it as a melody and to phrase it as such, and never to allow the right hand to obscure it in any manaet. ‘This advice is, of course, not to be followed in performing piano reductions of airs with orchestral accompani- iment, where 4 eble line violin, ute, trumpet or oboe) may be of great melodic importance, nor in performing ‘orid reciatives", where the bass is often stationary erro awacranamt SRR Sted BEES In performing these extraordinary songs the singer must be fully aware of the descriptive function of the Arid passages. They almost invariably occur on vetbs and attempt to heighten and to illustrate the meaning of the word. The action of such words as "By", "tear", “arise, “glide”, “swell” etc, is most faithfully illustrated by the shape and direction of the respective coloratura passages, and unless the singer accepts this premise he might perform them as senseless vocalises. Purcell developed a unique form of weal writing which could be best described as “Aorid recitative. Songs like “"Tis Nature'« Voice”, "Not all my Torments” oF the frst section of "Lord what is Man” ate some of the ‘magnificent examples of this syle of writing. They ought to be performed with the rhythmic freedom of a ‘ecitative, <0 that the tempo and character of each coloratura passage could be determined by the meaning of the tet it illustrates, A metronomically accurate performance of such music would amount to a parody. Because of this the editor refeained from endowing the accompaniments of such florid recitatives with thythmically indepen- dent guration which would dot allow the singer the necesaty (teedom. “The foliv edition of the Purcell Society was used as the original text. The voice part in the present edition is « precise reproduction uf the one printed in the Purcell Society Folio volumes. However, the bass nutes may be occasionally doubled, repeated or tcansposed an octave lower. Figures fuund in the original, whenever they occur, are scrupulously followed. A few ales from "Harmonia Sacra” and "Orpheus Britannicus" were cealized from the orgioal editions All the dynamic macks and tempo indications not contained in the original are in parentheses It seemed ad- visable to dispense with the usual sluts inthe pianoforte part. “Legato” and "son legate” are wsed instead, when recssury. However, occasionally, slurs ute used to indicit the phrasing the editor suggests, None of these slurs ae to be found in the original. In case uf hemiolas and uther polymetsic devices square phrasing lines above the music indicate the thythmic division regardless of bat lines. In a few airs writen for the male alto wice or counter tenor ("Tis Nature's Voice, Music for a while, Sownd the Trampet, Your Auelal Voice, Srike the Viol) the voice part was raised an octave in relation to the bass. and the entire song then transposed tw suit our present day wices. since the range of the counter tenor is entirely unique, being much too low for an ordinary female alto and too high for a tenor In the reduction of airs for voice and orchestea the instrumentation is always indicated, so that the pianist may properly adjust his manner of playing meron Stu LEER EEE! ws ae LEE SESE a eee eee SERGIUS KAGEN Fotos cee Se eee eines See xxlContents « We sing to him . Music for a while Ah! how pleasant ‘tis love - .. Thrice happy Lovers . Sweeter than Roses . : . What can we poor Females do . . Fairest Isle . If Music be the Food of Love (3rd version) . If Music be the Food of Love (Ist version) . . T saw that you were grown so high . Man is for the Woman made . . . From Rosy Bowers . . . . Ah, Belinda, Iam prest . |. Thy hand, Belinda! When I am laid in Earth ae |. What shall I do . Your Awful Voice . More Love and more Disdain . . Since from my dear ; . The Blessed Virgin's Expostaaton ; |. The Fatal Hour ; . T'll sail upon the Dog Star . Silvia, now your sco . . ‘Tis Nature’s Voice . . Bess of Bedlam |. Cease, o my sad Soul . Strike the Viol . . Lord, what is man . . . Sound the Trumpet . Hark! The ech'ing Air . . Not all my torments. . 5 * O, lead me to some peaceful gloom . . Sweet, be no longer sad. ; Tattempt from Love's sickness to fly . An Evening Hymn . There’s not a Swain on the Plain . Nymphs and Shepherds... . . ”. Hark! how all things . Come all ye songsters . The Queen's Epicedium . ). The knotting Song . .We sing to Him (Harmonia Sacra) Realization of the Figured Bass and ‘editing by SERGIUS KAGEN HENRY PURCELL (Broadly, forcefully, not too slowly) (ca. 1659-1695) Voice Pre sing to Him, whose wis-dou formit the ean, our songs, let Him who Sf) theSpring of P @). who loves the har-mo- ny of Heavnand Earth; our hum. ble son- nets pt [er (erese.) n shall that praise re- hearse, who Pf) (Original key C minor) Practically unhgured Bass ©Copyright 1958 by International Music Company, New York. Copyright Renewed. [All Rights Reserved, International Copyright Secured. 20.(A little faster and lighter) (mf) a sand whilst we And whilst wor sing, sing we = secrute our art, (nf und of - fer up with ev’ = ryfongue a hearts amdwhilst we sing, rr Fr and whilst. we sing, we con. = secrate our art, be 2 wo (poco rit) (erese.) up with ev = ry tongue heart. lerrse,) fi (poco riti}Music for a while (Oedipus) {cigial key C minoe) (Andante) (p Voice PIANO. (py basso sempre legato ed espressivo) (cresc.) = sie for_a— while Shall your-eares be - guile shall all, all, (N_basso simile sempre) shall all, shall all;— shall all youreares be - guile: — =) 6 ) ring how your pains. were eas’, eas, — Fe POT Originally writen for male alto or counter tenor, In this edivion the voice part is raised an vetave higher in relation to the Bass. Editor. Uniigueed Bass 2072=— (crese.) dis = duincing ty becpleasil, TWA. lee deal, ti A-lee = lo free thedead From their e - ter nal. bans, r ——— Til thesnakes —dimp, drop, drup, divp, drop, drop, drop. drup, sdrup, ¥ Pp *)Alecto: one of the Furies or Eumenides 2072from her head, Andthe whip, audthe whipfivm ut hier hanes, sie for a— while Shall all yuur_eares b= (crese.) guile, shall all, shall al, all, ui shall all yuurcaresbe - - (PR) (crese,) guile, all, all, all, all, all, all, shall all yourearexbe - guileAh! how pleasant ’tis to love (Original key C major) (Tempo di Minuetto) @) Voice plea - sant make a PIANO prove: Joys sur - pris does im While the = bv hour = ded_ treasure charm — meet, No-thing like love so his nymph, for, ev now still ad - dressing: To_ i eae Untigured Bass 20Thrice happy lovers Epithalamium from “The Fairy Queen” (Original key G minor) (Andante) Voice Thrice hap-py, thrice hap- py, PIANO oF (legato) (quasi recit.) thrice hap- py, hap-py, hup-py lo = vers, mayyou be for ever, "ev - er, F (a tempo) (quasi recit.) ev-er, ev-er free, er, ev er ev-er, ever ing de- vil, *Nof in the Original Figured Bass 2072u From all the un- xious cares That at - tends (a_tempo) Thrice hap- py, thrice Bap- py. (a tempo) t thrice hap-py, hep-py,hap-py, hap. - Ve for ev-er, even eve ev PF12 (Allegretto moderato) 4 ther (fue, be to one tn =o = ther true, Kind_ to her, r Kind,— kind tos her as she's tw i Andssince the er rons,"Shuee the of the night are past, May he.Sweeter than roses (Pausanias) Original key Cavinort (Quasi recit. Slowly and freely) (P) — Voice — — all, all, all, all, all is love,18 What can we poor females do (Original key A minor) (Allegretto vivace) (p) (strongly accented) (crese. . What can we, what can we poor fe - malesdo, When pressing. teas-ing Ae) (P) (strongly accented, non tate pressing. er sue? Whit ——) (simile) rmles do? What can we, ach cam we ? A + mulesdo? Fale af-fonds.n0 0 = ther way, But deny = ing re Unvigured Bass 20719 (come prima) or com-ply-ing. But deany - ing lying. Whatean we, what ean we poor CF lSne primal? fe ~ males, When pressing: teasing, pressing; taas-ing lov - ersxue? What can we.— ‘ = what can we "poom- poor = males do? What ean wey what can we ? ? re.sent-ing, or consent-ing, And —_re.sent-ing por F ‘or consenting, Does u-like our hopes betray, What can wey rer *) Note the cross relation. Editor. 2072what can we poor. fe - males do, When press-ing, leas -ing pressing, teas - ing Se a lov = ers sue? What can we what. ean we— poor, poor, f= mules do? e What can we, poor, fr = males do? SSS Fairest Isle (Address to Britain) (King Arthur) (Original key B flat major) (Moderato, grazioso) Voice 1. Fair-est isle, all isles ex - cl ling, Seat of 2, Gente mur- murs, sweet com - plain - ing, Sighs that PIANO (legato) Figured tase 207.- —— choowe—— her dwell, - ing, © And for - sake her, = Cy ~—oprian kind dis = dain - ing, Shall be = all 'the.—pains__—you (fy grove. Cu-pid from his fav rite Prove. Ev-iry —swain shall pay his lng) P will nymph — <= pol = suk pas Ant— des - pai that dies for. love, eel in bem = ty, Those shall” bere - nownd for. love.If music be the food of love Third Version (Original key G minor) (Andante sostenuto) Voice 5 If mu-sic, If mu-sicbethe food —_____ of love, Sing on, sing 3 = = PIANO eo Fr = sing on, sing on,— sing, (egato) rrr F iia on UNI am filfawith joy, s > fila with joys (Legato,espr.) Fortheamy list'aingsoulyou move, re ? Figured Base 2072— Forthen my listaiogsoul you move, you move To plea - PoP Fr P ~ sures that cin ne vér,ne-ver cloy. Youreyes, (legato) yourtongue —de-clare. = That you. = sic ev’ - Fy where, ‘Youreyes, yourtongue ry- where.24 (Allegretto) op) Pleasures in - vade — duth eye and. mf (non legato) (legato) trans - ports are, they wound fieree——_ the trans- ports are, they wound, Andallmy sen - ses * (non legato)And all my sen sex feast - ed are; Tho’ yet. on "ly sound, Tho? yet_ the treat — is, - Ty sound, (legato) sound, is on- 1y— sound. (Tempo 1) Sure I must perish, must, I must. per-ish by— your charms, cms) Untess you save.If music be the food of love First Version (Andantino) eZ Voice I mu- sic be— the. food of —love, Sing on, sing on, sing PIANO { (py | esate) (legato) 1 am— fi am — fifa with joys For =a Ss then my Iist—‘ning soul you—move For then my list—ning soul you move To (crese) pleasures that can ne - ver-cloy. Your eyes, yourmien, your tongue declare That \ (crese) Unfigured Bass 20727 ——=—) » (erese) you are mu vie. ev-"ry ~ where, ‘Your eyes, yourmien, your os 7 (By (tegato) lorvse) a tongue de-clare That you uremu > aiid) Second Stanza Plea-sures in = vade both eye and ear, So fierce, so fierce, 0 fleree, so fierce the <3 = trans = ports. are, they wound, And oll my senses feast-ed_—_ ares And all my sen ses feast ed ures ‘Thu! yet_ the. treat is on - ly sound, Sure T 2. me in your orms.Sure arms. A must per-ish by yourcharmsUn-less you saveI saw that you were grown so high (Original key D minor) (Moderato) @ La Voice 1 saw thot you were grown so high, You forvimefrom your com = jstenys PIANO |” pragauy ? [PP LE cr ———— we fr Though Icon - sent-ed tw your will Yet you of me. thought naught but rate SS My gentle wordsflew to yuurbreast, But they there - in == Figured tse 20mMan is for the Woman made (The Mock Marriage) (Original key C major) (Allegro vivace) Voice E Manan, man fs for_thewo-man made, Andibe womenmadefor man. PIANO: QP) (non legato) (P) LAsthe Spur ta for the jade, ‘As the seabdard for the blade, As for scep-tre to be swayli, ‘As for nightsthe se- re - nade, As for wi-dow, be she maid, Be she wan-ton, be she staid, Be she I qur is the col us is the — fan, slut, or bar. ri ~ dan, is for_the.wo- man made, Andthe woman forthe man.2As the ‘8BosheFrom Rosy Bowers (Don Quixote) Realization of the Figured Bass and ‘editing by SERGIUS KAGEN (Recitative) HENRY PURCELL (ca.1659-1695) Voice From ro-sybow'rs, where sleeps the god— of — Love, PIANO§| (anf) (arpeggiando wt tit.) Pr o\F (poco accel, Hi-thes, hither, ye lit-e waiting Cu-pids, fly, fly, al al (a tempo) (poco pitt mosso) Hi-ther, ye little waiting Cu teach me in soft me - lo-dious songs to move, With ten den, ten i (Original key C minor) Figured. Bass According to Edmondstoune Duncan, Tom Durfey, the author of the text, describes this piece as “a Mad Song : by a lady distracted with love... performing in the tune all the degrees of madness", which are characterised as follows‘ "sullenly mad, mirth- fully mad (a swift movement), Melancholy madness, Fantastically mad, Stark’ mad! Copyright © 1958 by International Music Company, New York. 20. ‘Copyright Renewed.wo (riten) (Tempo I) passiommyheart’ my heerts dar = ling joy, AM!_———det thesoul of music tune my let the soul of mu-sie tune my a voice To win— dear Stre-phon, dear dear,— dear Strephonwhomy soul en - joys. (Vivace) (Pe leggtero) Or if more in-flu - en - cing Is— to be brisk and ai - ry, With @ (Pp eleggtero, non legato) step and a bound, And a frisk from theground, I will trip like a - ny fai - ry r Orr eri’ cfr32 dane - ing,Were three ce - les fir and & face, And a shapeand a gracoLet me charm Ike Beau-ty's god dess,With an air and a face, And a shapeand a grace,Let me charm like Beau- ty's goddess. cf (Recit.) Slow el, all in Vain, Death and des- =. a must end the fa - tal pain, Cold des - pair, cold, cold___ des -33 ‘snow and rain, Falls, falls, (Pit_mosso) Bleak winds in tempests blow, (ofS (Tempo 1) veins all shiv-er andmy fin - gersglow, My pulse ould dead march for lost re- 3 sz. e m pose, Andto a so-lid lump of ice, my poor, poor, fond heart is_froze.34 (Andante) (11 basso legato ed espressivo sempre) (P) ye Powersmy peace to crown, Shall I, thaw my ~ self, or drown, shall 1, shall, shall__ I P) thaw my - self, or drown? A . mongstthe foam-ing billows,In - creasing all with roy tears I shed,On beds of ooze and crystal pillows,Lay down, down, down, lay35 =) down, downjdown my love ~ sick head. Sey, aay FF | eae ‘say, ye Powersymy peace to crown, Shall I, shall, shall I thaw my - self or_ drown? (Recit.) (Allegro) No, 20, no, no, no, ‘ii straight run mad, madmad, mad.mad, That soon, that a al (Gr) (sostenuto) soon my heart willwarm;Whenoncethe sense is fled, is fled, LoveLove has no pow',20; no, no,— 202 ww)no, nopowrto.charmLovehas no. pow'yno, no, no, no,Love has no Pow'r,n0,-nd,.1n0,.n0, 10, 00,. 80, —s (pocg rit) (Allegro) 3, no powto-charm. ‘Wild thro’thewoodsT fy, eS @ (pode rit.) woods il fly, shall thus, thos, thus, thusbe— (legato) A thousand, thousand deaths ['die; @ thou - sand, thousanddesths Ill die thus, thus in vain, ere thus, thus invain, thus in (legato)37 Ah, Belinda, I am prest (Dido and Aeneas) (Original key C minor) Slow, Voice abt Be - lin - da, PIANO (p, cantabile e legato) (simile sempre) (oof) =——_ » I am_prest not to be con-fest, (mf) @® ‘ab, Be - lin - da, i ad ‘Untigured Base, Postlude:string orchestra. 207(nf), —) ah, Be - lin - da, 1. am_ rest with not to be con-fest. stran - gers grown, stran- gers, stran = gers grown I lan guish “till my grief is known, = 1 rr guish, Ilan - guish°U my grief is F39 (dim) D — known, Yet would not, yet would not, would not ave it___guess'd.__ ¥ stran- gers, stran - gers grown, VL te \(crese.)Thy hand, Belinda! When I am laid in earth (Dido and Aeneas) ee Recitative Voice ‘Thy handBolin-de! dark —-—=—sness shadesme, Onthy bo - som let me PIANO} ie - # os rest. More I would, but Death in - vadesme; Death is now a wel-come guest. ip F P = = al Song Larghetto ‘When I am laid) am laid (P) (It basso simile sempre) phisig og go 2 i = (erese) (dim) earthmay my wrongs cre-ate No trou-ble, no trouble in thy breast. os Pe |e o.0, ~ s Figured Baws in the recitative.String orchestra in the aria. 207241 ” = Conese) When 1 am toid,— am Iai — tn arth, may my wrongs ere - s eS BF Fe = (dim) trou- ble, no trou-ble in thy breast, ims —* fe (orese.) oh ah! for - get. my fate. Re- mem-ber me, o = (crese) i= g 7 F (P) for - get my— fate. B PO cerese) re al = s 207° What shall I do _. . (Dioclesian) (Original key D minor) (Tempo di Minuetto) Voice PIANO(|* @(iegato) mil-lions of sighs can suf fice? That whichwins oth -ervheerts,n6 - ver_can— move her ir rir (Ff repeat p) ‘Those common me-thods of love_shell des -pise. I will love more than man erie FE ? er_lovd be-fore me;Gaze on her all theday, ‘melt all the night; "Till for her tr | PF t own sake at last shellim— plore me, To_love—_ her less,to pre - serve our de-light. - Unfigured Bass ‘The counterpoint in the right hand of this realization isthe second oboe part of Purcell’s instrumental version of this piece (for 2 Oboes and Continuo). The first oboe plays the voice part. 202Your Awful Voice ° (Original key C major) (The Tempest) Recitative) R Voice ‘Your aw-ful voice I hear and I o-bey,— Brother to Jove and PIANO. (Allegro) Corer |ter Come down,—come down,—come down, my-blus-ter-ers. cont.) Cee (nf) (my erese)—_____ Come down,—come down, come down, my_bluster-ers, Swell Cyrr (mf) (P) (crese.) ‘cont Originally written for 2 violins, base and male alto, or counter-tenor, In this edition the voice part is raisedan octave in relation to thebass. Editor. 207fe (py (crese, = yy rage give der, your storm Vir (P) (erese.) D——— y—rage give oer, your storm a (cont) H (pleresc.) (pycresc.)Orr (Faster) Fige To your pri-soas be - low, Downyoumust 0, down youmust BO. 5 1, Tree lt P) ‘To your prisons be - low, Downyoumust go, » down, down you must. go.— wen(Tes D Tempo hol your re vals make, Nor'ti’ I — Oo t— bling dens for-sake. P = (cont) D = vels make, Nori! cal, your trem (D47 D.C sino at fine > More Love or more Disdain (Original key G major) (Andante) Voice 1. More love or more dis - dain I crave, Sweet,be not still in - dif - for-ent, 2. Give me a tem-pest, if “twilldrive Me to theplacewhere I would be, be r PIANO 5 (legato) Ohsend me quick-ly to my grave, Or else af - ford me Or if you'l have me still a - live, Con-fess you will be —=_— >=) Or love or hate me more or less, Give hopes of | Dliss, or dig my grave,Since from my dear (Original key D minor) (Andante) Voice F since frommy dear, my Since frommy dear, my dear, my dea ae $ PIANO | tegato,espr.) PF lie : simile) —_— 2 * dear, my dear, my dear, my dear AB tre - a's sight +r rit ir Pert vr ep rade" ay tore, My soul has never, neve * newer, bas newer, newer, ne-verknown de - light, Un - less it were to ‘+The word “beloved” may be substituted forvAetree? Editor,49 1. 2. (crese.) mourn, un - less, un - less it were to mourn, moura. But 2) * (crese.)| (P) eyes, And bleed - ing, * Fle bleed - ing heart 1 lies ‘Think-ing on her, on her. whose ab sence Pre iP re That makes me — wish * die,50 The Blessed Virgin’s Expostulation (Original key C minor) (Recitative) (Harmonia Sacra) Voice PIANO s quidly,quick-ly say, Where, t-te, Wt-tle Foot - steps press un - re - gar ded through Figured Bass. Note: Seo Luke 242 2072(freely) @ (crese.) the deserts safer than a Ty (cresc.) ” (resc,) rants Court, ‘Why, why; farest Object of myLove, why, why dost thou frommy s. —— long-ing Eyes re- move7—— ‘Wasit, wasit a Wok-ingDream, that did foretell thyWondrous, —>_ wa rousWond-rous Birth? No Vision, n0, no, 20, n0, no Vi-sion D f ; —> |where’s Gabriel now, that vi- sit-ed my (crese.) Celt? call, I call, ——‘Tcall, I call, Grese.) )_tm be comes not; Wherds Gabrieloow tat visited my Col? 1 eal, I eal, I (nf) Gabriel! Gabriel! Ga-briel!_ Gabriel! =) tring hopes fare. well, _fare-well, _fare - well,flatCring hopes, fare - well.(Grazioso, quasi minuetto) Me Ju- dubs Daugh - ters (@P) (1 basso marcato ma leggiero) cal me (Recit) gp Now fa - tal Change, of Mo - thers, (legato) ‘the most, 53‘most distressd, of Mo.thers most, (Allegro) fh) ae how shallmy Soul its Mo55 (=) (p, erese,) = rious, va - rious tide, whilst Faith and Doubt my La =~ f ) (BP, erese.) (Recit. Adagio) For whilst of thy dearThe Fatal Hour Realization of the Figured Bass and editing by SERGIUS KAGEN HENRY PURCELL (Adagio, Quasi Recit.) (c2.1659-1695) Voice oe Tre fa> > - tal hou — the fa- Forwhenfate calls —= (mf) o = tain mis-e-ry, yougo to cer - tain, cor - ———T_) 1D =S— yp ts — = tain mis-e-ry, _Thethoughtdoesstab me to the heart, And gives me ——_ (nf) = = > ‘Original key E minor) oo Figured Bass Copyright © 1958 by International Music Company, New York 2072 International Copyright Secured. Copyright Renewed,me in each vi - tal part, (—————_ licrese) —— iy aS 0, surewhen you go, my heart will break, sure, sure myheart will break. = > ¢ (Andantino) —=S) 20n(it basso legato ed express.)T'll sail upon the Dog Star 7 (A Fool’s Preferment) legro) f (Original key C major) Voice TD sail up-on the Dog Star, PIANO (Gf marcato) Eze (M1 basso marcato) sail up-on the Dog Star, And thea pursue the morn - ing, and thea pursue,andthenpur-sue the Tl chase the moon "till it be noon, Fa ‘um it Be no0n,But make, TUmake her_ leave her mp (erese) Til climb the fros - ty moun - tain, I’llelimb the fros - ty rE? Figured Bass# ‘moun-tain,Andtherel'l coin the weather TX tear the rain-bow from the starepludcfromtheir orbs, too the starspludctromtheirorbs, too,Anderowd them in my budget!61 = ing boy, Let all,_________ let all the na-tions judge it. Silvia, now your scorn (Origial key C major) (Allegretto grazioso) Voice Sil-via, now your scomgive o- ver, Lest you lose a Longhave I been un - re-gar-ded, Sighs and tears still PIANO trp legate (marcato) Fare - well love, and If the bu- mour — you- pur - sue, ‘roth, good Ma-dam, If this does with you ag - ree, thareato) ron.62 *Tis Nature’s Voice (Ode on St. Cecilia’s Day) (Original key F major) (Recitative, very freely throughout) Voice tis thro’ all the Na-ture's voice, OTs Na-ture’s voice, PIANO CP arpeggiando ad lib.) (mf) Sf, ‘The u- ni-ver- sal tongue, the u- ni-ver - sal tongue, to none of all her CZ QD — _= = gored Bas Tr tng won evgaly writin format cuttin thi aon vie pr rena or i ston te Hoe Be 202(crese.) from her it learnt, the = s all = = = = F F heart, Atance the passions to ex-press, and move, RP (crese. at once thepassions to ex- press, to express___and move. 5 ‘Mote the clash between the et in the voice and eb in the Basa. Fa 20 l= and straightwe grieve ®) hate; andstraightwe grieve —_ te oll Ccrese.)65 (P), At once it charms (crese.ed accel.) the sense, and cap - ®). (PP) at once it charms, D sense, and cap - 2072Bess of Bedlam (Original key C major) dante, quasi Recit.) Voice From si-lent shades, and the E- lys - ian groves, Where sad de-part-ed PIANO imp) r spirits moura————— their loves; From crys-tal streams,and from that — coun-try_ P P t where Jove crowns the fields with flow-ers all the year, Poor sense-less a TF —) Bess, clotb’d in herrags and fol-ly, Is come— tocure her love - Figured Base '# Noto the clash between the df im the voice and the dl in the bass. Ed. 20n67 (Pia mosso, a tempo) im chol-y. Bright Cyn-thiakepther ro vels late, While Mab,the Fal-ry Queendid dance, mp [PF rr : © - be-ron did sit_ in— state, WhenMars at_ Ve-nus ran_ his And - rt (Andantino grazioso) lance, In yon - der cows - tip lies. my dear, En - tombd in 207Quast Recit.) (==) Andante con moto) new. For since my love is deed, and al my Joys are gone, Poor Bess for his f (poco rit.) ror a @ tempo) aggan. Ti lay me down and die, With - in some hol-low tree, ravinand cat,The owl und bat,Shall war - = ble forth my el-0- riF ar l* F (Recit.) Did you but see my love as he passd by you? His two flam- ing D69 (Allegro) eyes if he comenigh you,Theywillburn up your hearts! La-dies, be - ware ye, @ & CD (Recit.) Lest heshoulddart a flame that may en - snare ye, Hark! Hark! @ f awl, Hisboat he will no ton-ger stay, And Fu-ries lash their whips and callSCome, come a - HD meee a-way”Poor Bess will re - turn to the a f)70 Gf love's grown a bub-ble, a sha-dow, a name, Which fools do ad - mire and a P f (Adagio) wise men en - fold and ‘hungry am I grown, Am- bro-sia will, I - (Allegro) Drink nec-tar still and_ sing. Who is con- tent,Does all vn Sor - row pre - vent, And Bess in her straw, Whilst free from the fp (poco rit.) law, In her thoughts is as great, great as a Ftvoco rityCease, o my sad Soul (Original key C minor) ( Moderato) Voice Cease, 0 my sad _— soul, cease to me, O Na - ture, tel me PIANO love and faith are paid And I to my grief am —be - tray", 0, To drive men dal - ly to de = spair? Un - hap- py (———=—=_= no- thing but dis-dain and weorn, ate wo - men so falr? Or —_whydid’st give them eru- el - ty, n I s00 my ‘Thoudid’st ere - (nf) pf) = sho re-main Still Is his fate ‘That Vofigured Bass 2072nR Strike the Viol (Original key Diner) (Moderato) (mf, Voice PIANO (1 basso sempre legato ed espress.) 9 _— .__ @, imp touch, touch, * (elmite sempre) es touch, tcuch— the Lutes Harp, a Votigured Bass Originally written for male alto or counter-tenor. In this edition the volce part is raised an octave in relation to the Baw. Ed. 2072sing, sing, sing, 20.. Lord, what is Man (Harmonia Sacra) (Original key G minor) (Grave, Quasi Recit.) ¢ Voice Lord,what {s man, lost man, ThatToousbouldst be vo mindful of him? PIANO Pp erpeagiando ad Ub.) * (a°*basso sempre) Lord, what is man, lost man, That Thou shouldst be so mind-ful of him? GF. — ——— ==) ‘That the Son of God for-sook his glo-ry, His a - bode» To become a * P o —-4q tor-ment-ed mon! Lord, what fs man, los —— A —S———————) |» mz — 1oi{_man, ThatThoushouldst be somind-ful of him? That the Son of God for-sook his, Fman, The Do-i-ty was shrunk in-to. (pyerese.)76 Gf) ‘Son of God took to renew lost. man,Your va-cant places to sup- ply; lest CZ (B) is mosso) Ne (poco Pik masse) spiritstell, tell which,whichdid ex-cel, which was more pre-va-lent, your joy (nf) [poco pti mosso) ~~ _—s (a tempo) or your as-ton- ish-ment, (a tempo) lerese.) ‘That man shouldbe as-sumdd in-to the De-i-ty, That for » worm lcresc.) ——_——) Se) al lI 2072n (Allegretto) G (Brea sr tase) (Mt basso sempre legato e capressivo) oh! for a quill, drawn fromyour wing To write the pral- ses, the Prai-ses, to write the prai-ses, the prai- (crese.) ‘oh! for 8 voles, Ont here, which once,___ which once8 ‘ing That an them hero which once___you (crese.) (Allegro moderato) Hal-le-In-jeb,bal-le = Iu-joht QD (p maregto non teg.)| Gregato (nf) come prima) (my (D) Hal-letujebjhalle - lu-feb! Hal - P t ®9 =) gf) Hal le-lu.jeh,Hal-le - tu-jah, Hal Hal @ (crese.) —_———— = le-lu- jah, Hal-le - lu Jeb, Hable-lu-jah, fp (crese.) .————) Halle - 1u-job, Hal-loe-Iu-jah, Hal-le = lu-jeh, Hal-le-Iujah, Hal - ® (ereae,) x ) (of)(PP) = Ie -lu- jah Hal - le - (PP) (crese. Iu = jah, Hal-le- la - Jah, Hal- le - lu- jah, Hal- le - lu - jah, (————_—) imp) (erese,) Hat - fo - Iu- Jab, Hal - (erese.) (8° basso al fine) 0 rit.) o - jant (poco rit.) 281 Sound the Trumpet (Original key C major) (Allegro moderato) Voice ra s ‘warlikedrum, tp. ct fr rt op et Vatigured Bass and Trom pot. Tha nong wae orginally writen for mate alto or counter-tenor. In thi edition the voce part ia rained an octave in ala- 20.pleas he_is and gay, ‘, > —etch, andeatch, and catch, endeutch at ev? c Tene _B 20Hark! The ech’ing Air (The Fairy Queen) (Original key C major) (Allegro moderato) trp PIANO wg E(——> edingalr a ti - + umphsiogs, hark! theeding alt a (mf) ¢ (eee) = f (Mt basso marcato sempre) (mf) kc Figured Base, Trumpet in the Ritornell and Coda 207285 hark! theed¥ing air tri - —=)Ou - pds clap their wings, clap, clap, clap, ia 20787 @). Cu-pldsclap their wings; and all a- round, and all___ a - (P) (nf) clap, clap their wings, 1, Cu-pids clap their wings. And alll (2) 20788 Not all my torments Realization of the Figured Bass and editing by SERGIUS KAGEN (Original key C minor) HENRY PURCELL (Andante, quasi recit, (ver: ) 16991699) (nf) | Voice Not all, al, rot all my tor = PIANO on = = meats can— your pi Y —=")__ ———___, mt i rn Notall, all, not all my tor : ‘ments ean—-your pl = nf) all6) (mf) [ ty move, Yourscorn, your scorn in-creas nal Music Company, New York t Renewed, ‘All Rights Reserved. International Copyright Secured.89 = —S) (tempo) — - es with mylove. Yet tothegravel will my lc tempo) PID, | ws ———__ oO ruws bear; Yet to the grave Twill my sor leresc.) rows bear; I lowe love, I love, I love luve, I love, 207O, lead me (Bonduca) (Crain key C minor (Andante) gp Voice O.__leatime,leadme to some peace - ful PIANO: (P, legato) gloomWheronme—but sigh ing, nonebut sigh - ing, sigh - ing lov - ers_come, Crip Wr S, a ®) ‘Where theshrill, theshriltrumpets never sound == ‘Original time signature is €. Ed. Figured Bass zon(Pa legato ed eepress.) (mf) ‘There let me soothe my pleas - ing pain, FF nne-ver, ne-ver think of war, never, never think of war, (cresc.) (cresc.) # ‘e-ver, ne-ver think of war, ne. ver, me.ver, ne-ver, never, ne ver, ne- ver D @oco pit mosso) fn) _| (ix0tuto, non egato)(cresc.) glo To con- quer, to con (legato) To —con= quer, to slave, yet, yet be still, yet, yet be Gf) =—— = quer, yet be still a ? con-quer, to con. quer, yet be still, still a still, yet yet be still, stil a slave. rf93 Sweet, be no longer sad (Original key A minor) (Sostenuto) (mf) Voice Sweet, be no lon - ger sad, ‘Tell’ me, oh tell me now, ‘Where have you PIANO. (mf) (1 basso legato ed espressivo sempre) ie to Re-call that quickness once you had In those fair. ‘The ro- ses in your cheeks did grow? Wheres the con - Me-thinkstheyre hea As they were ‘You once en = —joytt?@__ Those pleas-ing Unfigured Base “— aI attempt from Love’s sickness (The Indian Queen) (Original key A major) (Tempo di Minuetto) (Pe grazioso) Voice 1 at temptirom Love's sick-ness to fly PIANO Id, sempre teggiero ¢ non troppo tegato) (Xt basso legato) Tam my - self my own fe ver, since self my own fe-ver_ and_ pain. No. morenow, no morenow, fond heart, with if) (mf) Pride nomore swell, © Thou canst not raise for- ces thou canst not__raise_ Uafigured Bass95 (P), Tat - temptfrom Love's sick- ness to am my - self my own fe - ver, since af my own fe- ver. and pain. For Love has more power and less mer - cy than fate, To make us seek— P Pr (P) = in and on those that. hate, I at -tempt from Love's— (Come prima) vain, Since sick- ness to fy. self my own fe - ver and pain. I at - fe - Yer, since am omy - self my own fe - ver, since temptfrom Loves sick- ness to fe - ver and97 An Evening Hymn (Harmonia Sacra) Original key G major) Slow (non troppo lento, maestoso) PIANO (mp) (legato sempre) (2° basso sempre) Voice a bid the world good - night, To the To the soft, the soft__ ded, my_—bo-dy I dis ~ ‘#Note the consecutive sevenths between voice and bass. Ed. Figured Bass. 2072(poco crese.) wD — =) «& pose, But where, rt? God, e-ven in Thy arms, = = n- ty! Canthere be a = ay 80 sweet, so sweet vo [PPP PP =—— (my — pro-longs thy days, and sing - = Ingpraise the mer-cy, that s + jahy Hal-Io~(eresc.) —_————) (mf) = le-lu - ~ jah, Hal-le - lu - jab, Hal- le - Gree) - Jah, Halle - lu -101 qu = job, Halle - tu - Jah, Hal-le - tu - (sempre crese:102 There’s not a Swain (Original key G aio) (Grazioso, molto leggiero) Voice ‘There’s not a Swain,on the Plain,would be Dblessd ike me, oh! _— PIANO’ @ pt (M1 basso sempre legato) could you but,could you but,could you but ‘me smile; but you appear so se-vere, that_ trom-bling with fear, my heart goes pit-a-pat,pit-a-pet,pit-a-pat, all "lm & F sz ‘Whoo eryymust I die, you make noreply,butlookshyjand with a scors-ful eyekillmeby your In the Original Edition this song has the following heading: “April. A Song, the Notes by Mr, Henry Purcell, The Words fitted to the tune by N, Henley, Esq." Editor. 20.103 (PP) (cresc.) cru + el ty, Ob! | eanyou be,canyou be, can yoube, can you be, can you be, can you be, ¢————————— 4 ean you be, can you, can you, can you be so hard Nymphs and Shepherds (The Libertine) (Original key G major) (Vivace e leggiero) Voice Nymphs and shepherds, come a-way, come a- way, PIANO (P, non l molto leggiero come &- way, come away, come, come, come, come a - way. In the104 “ groves, in the groveslet’s sportand play, let's sport and play, let's sport and play, e (basso leg.) this, this is Flo-ra’s bo-li- day, this is Flo-ra’s ho- i - day, this is e (>) (m @) Sa-cred to ease = (egato) (non legato) *#) The Purcell Society Folio Edition has C instead of Bh on the word "play". Editor 2072‘Your flocks may now, now, now, now, now,now, now, (aon tegato) Whilst you ex - press, (aim, (= seenza riten.) ) come s-way, Nymphsand Shepherds, come a-way, come s-way,come, comepame,come a - way. - ie nl te [= Gim.) (ocazariter:) \gmyy =>106 Hark! how all things (The Fairy Queen) (Original key G major) (Allegro moderato) PIANO P. Voice Gr og fonergico) hark! how allthings in one sound (mp (Tt basso sempre marcato) —— Te - Jolce,_ re - joice__Fe - Jotea, - (ergac.) tr? String Orchestra in the Introduction. Figured Base in the Aria, 2072hark! how joico— voice, the world seems to_ have one voles, er ? (come prima) hark! how allthings in 2072re - joice,— re - joie, re Fe - jolee,Come all ye songsters (The Fairy Queen) (Original key C major) (Prelude) (Allegro moderato) PIANO: Gh Voice PRELUDE: String Orchestra. RECITATIVE and AIR: Figured Base ‘This wong was originally written for male alto or counter-tenor. In this edition the voice part is raised an octave in relation to the Baas. Bd, 20m110 (ir) ()___ (tempo) (Allegro moderato) sky Wake and as - sem Bs,wake and as = sem = n (mf) eo (1 basso sempre marcato) i) (crese.) Come all, all, all, ye song - sters of. ? ‘In accordance with the figures-in the Purcell Society fol%e Edition Fa. 207ding bird be tigh, t (crese.) ‘and the good, 190, none, rno,none but the harm - less, fore but the12 The Queen’s Epicedium Incassum, Lesbia, incassum rogas, Lyra mea, mens est immodulata; ‘Terrarum orbe lachrymarum pleno, Dolorum pleno, Rogitas tu cantilenam? En nymphas! En pastores! Caput omne reclinat Junctorum instar! ‘Admodum fletur! Nec Galatea canit, Nec ludit Tityrus agris; ‘Non curant oves, ‘Moerore perditi Regina, heu! Arcadiae regina periit! O! damnum non exprimendum! ‘Non suspiriis, non gemitibus imis, Pectoris aut queruli Singulere curbido. Miseros Arcades! O quam lugentes! Suorum gaudium oculorum mirum Abit, nunquam, O nunquam reversurum! Stella sua fixa Coelum ultra lucet.113, The Queen’s Epicedium (Elegy on the death of Queen Mary, 1695) Longe mio a isi recit.) (very freely) Quast revit.) Mery freely ) ‘— a» Voice cas - sum, in-eas sum. Les - bia, Ss = Le (B) larpeggiando ad lib) = = = = a 3 —) =) (crese) a eas-sum,in-cas- sum ro- gas, Ly-ra_sme- a, Heeceacy [fy é (free, ————__ — = tas Tersra-rum ————)__erese) or- be lachry.ma-rum ple- no, ‘Terra-rum or- be lnchrymarum ple-no Dolo - rum (crese.) Practically unfigurd Bass 20n14 fp, Pn ple - no, Du-lo - rumjdo- lo - rum, s F 3 ——__—4 (Andante) (Not too stowly) (nf) En____ (®) (arpeggiando ad tit.) cli - aat me = + (cresc.) (a =p Loh=— ell - nat, June - to - ad = mo-dum fle ~ tur,nit, mee lu = it, = ty-rus a= grisy Non cu- rant, | non cw rant, Hn en = =——— 7) gf17 (Quasi recit,) (Pi: mosso) — — Re-gi- na, Ar-ca- dig, re- gi - ma pe- rit!118 Non, nom,non, non, nn sus - pi-ri-is, 00, non,non, non, non ge - mi - ti- bus, 1+ mis, Pee-toris aut que-ru-li sin. gul > = (mf) Mi. Servs, o (nf) D ( )(egese.) o. — su-or-um gaudium 0 - eu - 1o~ rum, su-of-um gaudiumo - culo- rum rum a bill; Nunquam (erese,) Nunquam, 0, °, O_ sunquam re-ver- su rum! Stolle, stel-la su-a @)_(nf) (crese) lu. cot. Stella, stel-la su-a fix- a — co-lumul - tra, ul @,PIANO; The Knotting Song (Allegretto grazioso) 1.“Hearsnot my Phillis how the birds, Their feath-er'l mates sa-lute, They 2. “The God of love in thy bright eyes, Does like a_ ty - rant reigns But 3. “So ma-nymonths in si lence past, And yet in_ rag - ing love, Might 4.*Must thenyourfuith ful swain ex pire, And not one look ob- tain, x (tegato) =) = >) o Knotted, and knolt-ed, and knotted, and Knott - he while, Unfigured Base a 2072