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SCHIRMER'S LIBRARY

OF MUSICAL CLASSICS
Anthology of Italian Song
Of the Seventeenth and Eighteenth Centuries
Selected and Edited with Biographical Notices by
ALESSANDRO PARISOTTI
English Translations by
DR. THEODORE BAKER
BASSANI GASPARINI
BONONCINI GIORDANI
CACCINI MARCELLO
CAVALLI MONTEVERDE
CESTI PARADIES
DEL LEUTO PICCINNI
DELUCA RONTANI
DURANTE SARRI
FALCONIERI SCARLATTI
FASOLO STRADELLA
TENAGLIA
Boolc I library Vol. !90
Boolc II Library Vol. 291
G. SCHIRMER, Inc., NEW YORK
Copyright, 1894, by G. Schirmer, Inc.
Copyright renewed, 1922, by Theodore Baker
,...._d 111 the U. S. A.
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BIOGRAPHIES OF AUTHORS REPRESENTED IN THIS VOLUME.
0. B. BASSANI.
I657-I7I6.
HE was born at Padua in 1657 ; became
maestro di cappella in the church of San
Petronio in Bologna, and in I685 accepted
a similar position at Ferrara, where he died
in 1716. He was entered as a member
of the Philharmonic Academy of Bologna
in 1677, becoming its president in 1682.
He was also a member and the director
of the celebrated A ccademia della Marte
at Ferrara. He was an eminent violinist,
one of his pupils being Corelli ; and like-
wise a very skilful organist and a distin-
guished and gifted composer, having writ-
ten six theatrical works, besides thirty other
vocal and instrumental compositions. His
teacher in music was Father Daniele Cas-
trovillari.-From an extremely rare work
entitled Languidezze amorose-cantate a
voce sola, etc., the songs '' Dormi, bella"
and '' Posate, dormite" (fragments of the
Cantata called La Serenata), and "Se-
guita a piangere, povero cor" (fragment
of the Cantata L'Amante_placata), were
taken-three pieces in which natural grace
and simplicity are united with deep emo-
tion and exquisite artistic taste.
0. B. BONONCINI.
1672-1748.
A soN of Giovanni Maria Bononcini (or
Buononcini), the celebrated theoretician
and composer already mentioned in Vol.
I of our Collection, the date of his birth
is in doubt, being given variously at 1672
and 166o. He attended the school founded
in Bologna by Gian Paolo Colonna, and
. II
speedily gave evidence of his talent by pub-
lishing instrumental compositions, Masses
in 8 parts, and other noteworthy composi-
tions. Proceeding thence to Vienna, he
was admitted to the court orchestra in the
capacity of violoncellist. Here he wrote
the opera Camilla, which had extraordina-
ry success both in Vienna and at the Italian
theatres, and later at the Haymarket in Lon-
don. At Rome he composed, in I 694, the
operas 'Tullo Ostilio and Serse. In I6oo he
brought out at Vienna La fede pubblica,
and in 170 I, at Berlin, Poltfemo. Being
invited to London in 1716, Bononcini, un ..
der the protection of the Duke of Marl-
borough and others, and Handel, whose
cause was espoused by the reigning family.
became bitter rivals; their rivalry was the
occasion of the proposition, that these two
eminent composers, in conjunction with a
third (Attilio Ariosto), should write an
opera together, each composing one act.
The libretto chosen was Muzio Scevola,-
Ariosto took the first act, Bononcini the
second, and Handel the third. Handel's
victory was decisive; but Bononcini's pa-
tron, far from being discouraged, heaped
new favors on him, received him into his
own house,, gave him a pension of 500
and afforded him every opportunity for the
prosecution of his musical work.-His
downfall, however, was approaching, and
was hastened by the story, which he was
too proud to contradict, that he had ap,
propriated a madrigal by Lotti and given
it out as his own composition. The re-
sulting loss of prestige was never made
good. The date of his death is uncertain,
but is assumed to be I 748 .
The aria "Per Ia gloria d'adorarvi,"
which we print herewith, is from his opera
Griselda, written in London in 1722 ; it
has many fine effects and an agreeable and
flowing melody.
OIULIO CACCINI.
1546-1614.
HE was born about 1546 in Rome, and
was known under the name of Giulio
Romano. From Scipione Della Palla he
received instructton in singing and lute-
playing, and had already distinguished him-
self in his art when he sang, in 1 579) the
part ot Nt"gbt at the celebration of the
nuptials of Francesco De' Medici and Bianca
Capello, in an intermezzo composed by
Pietro Strozzi. The renown of this gifted
Roman composer, who, in coOperation with
Jacopo Peri, Monteverde, and Emilio del
Cavaliere. had so large a share in the crea-
tion of the musical drama, renders it easy
to dispense with a long biographical sketch.
Only a few of his principal works will be
mentioned : It Combattimento d, Apolli.ne ..
on a poem by Bardi ; La Dajne and L, Eu-
ritlke.. on verses by Rinuccini ; It Rapi-
ftlento di Cefalo .. on a poem by Chiabrera,
written for the wedding of Maria de' Medici,
the niece of Grand Duke Ferdinand, with
Henry IV of France, which took place
Nov. g, r6oo.-We may also add a collec-
tion of Monodie.. Canzoni e Madrigale for
solo voice, from among which latter the
song "Amarilli" was selected by reason of
the rare artistic treasures which it reveals.
-The precise date of Caccini's death is un-
known; but one of his dedications estab-
lishes the fact that in 1614 he was still
Uving in Florence, advanced in years. His
daughter Francesca was a distinguished
writer of music and the authoress of the
celebrated ballet La Libera1_t"one di Rug-
,.,.o 41111 Isola d" Alcina. Francesca Cac-
clni enJoys the honorable distinction of
being the first lady who devoted herself,
III
with brilliant results, to the study of musi-
cal composition.
FRANCESCO CAVALLI.
I 599-1676.
PIER FRANCEsco, known under the family
name of his protector Federico Cavalli, a
Venetian nobleman, was born in I 599 (or,
according to other authorities, in I 6oo), as
the son of Giovanni Battista Caletti-Bruni,
maestro di cappella at the church of Santa
Maria in Crema. His patron, who was the
sheriff of Crema, being transferred in 1616
to Venice, took the youthful Caletti with
.him, entertaining him with splendid hos-
pitality at his own palace, and furnishing
him with amplest means for the cultivation
of his musical gifts. In I 6 1 7 he was re-
ceived into the choir of San Marco, then
conducted by Monteverde ; in I 640 he was
appointed organist of the second organ of
that cathedral, obtaining the post of first
organist in 1665. In 1668 he became
conductor of the ducal musical organiza-
tion, holding this position until his death,
which occurred on jan. 14, 1676. He was
an extremely fertile writer of opera, com-
posing within the space of 32 years (I 6 37-
1669) thirty-nine dramas, all of which were
successfully produced in the principal the-
atres. Cavalli continued Monteverde's re-
forms, imbuing his operatic works with
greater breadth and power by means of
increased variety of harmonization, the de-
finitive establishment of the string-band,
development of dramatic effect and rhyth
mic intensity. In 1 66o he was summoned
to France by Cardinal Mazarin, to assist
at the nuptials of Louis XIV and Maria
Theresa of Spain, on which occasion he
brought out his "festival opera" Serse
(Nov. 22), though with poor success,
owing either to the then prevailing ignor-
ance of the Italian language in France, or
to a lack of musical culture at the French
court The introduction of the Aria into
opera has been ascribed to Cavalli, but
wrongly, for Monteverde has a prior claim
to the merit of this innovation. Neverthe-
less, Cavalli gave the aria greater freedom
and elegance of form, developing it artis-
tically on the lines laid down by Monte-
verde. The arias in Giasone (Teatro San
Cassiano, Venice, I 649), Did one (I 64 I),
Serse (I654), and Romilda (I65I), note-
worthy examples of their class. Giasone
(Jason), the most successful of his operas,
from which the aria '' Delizie contente" is
taken, was produced with extraordinary
applause first in Venice, then in Florence
( I65 I), Bologna ( I652), Naples ( I65J),
Rome (I654), Vicenza {I658), Ferrara
{I659), Genoa {I66I), Milan (1662), and
finally returned, with equal success, to
Venice in I666. At his death, Cavalli was
the possessor of a considerable fortune, a
portion of which he left to the descendants
of his patron, and the remainder to certain
religious foundations in Venice ; he had
no direct heirs, his wife and his two sisters
having died before him.
MARCO ANTONIO CESTI.

THE aria '' Tu mancavi a tormentarmi"
is worthy of special notice, among Cesti's
compositions, on account of the interesting
variety which it exhibits. The author of
Orontea, of whom mention is made on
p. VI of Vol. I of this series, was born at
Arezzo (or Florence ?) about I 620 ; he was
a pupil of Carissimi and, in I 646, maestro
di cappetta at Florence ; in I 66o he was
admitted to the papal choir. He subse-
quently became maestro di cappetta at the
court of Emperor Leopold I. He died
at Venice in I
ARCANOELO DEL LEUTO.
I5--16-.
THE charmingly suave song '' Dimmi,
Am or," accompanying this sketch, is at-
IV
tributed to Arcangelo Del Leuto, con-
cerning whom no positive facts could be
found. The appended biographical notice
consequently rests upon induction alone.
Pietro Della Vaile, the author of the poem
Carro di fedelta d' amore, which was set
to musk by Paolo <2!Jagliati, inserted, in
the 'Trattato di Musica scenica by G. B.
Doni, a lecture of his own entitled
Musica dell' eta nostra. In this essay he
mentions a certain Cavalier Del Leuto as
an esteemed composer and player in Rome,
together with Gio. Francesco Del Leuto,
both highly skilled musicians ; these two
names cannot have been used to designate
one and the same person. He also speaks
of G. F. Del Leuto as one of the inter-
preters of the Carro. Now, this Carro di
fedelta was printed at Rome by Robletti in
I6I I ; consequently, it must have been
given in some subsequent year-that is,
early in the I 7th century. In respect to
both poetry and music, the style of our
song would indicate that it belongs to pre-
cisely that period. It is therefore very
probable that it was composed by Gio.
Francesco Del Leuto, who, by reason of
his virtuosity in playing the lute, first as-
sumed the cognomen of Arcangelo, by
which he may have been best known later
on from its appropriateness in expressing
his masterly command of the instrument.
In the absence of any certain data, these
more or less plausible conjectures are of-
fered ; authoritative statements regarding
this amiable lutenist would be gratefully
received. In any event, " Dimmi, Amor"
is unquestionably a piece of most delicate
workmanship, wherein refinement of taste
is wedded to moving effect.
S. DELUCA.
15--16--.
THE atietta "Non posso disperar," which
was discovered among old manuscripts of
the I 7th century, exhibits very noteworthy
features in its leading and harmonization;
its construction is remarkable for elegance,
fluency, and pleasing effects. Despite most
patient research, it was impossible to obtain
data concerning this composer, who is ig-
nored by the biographers of musicians.
Probabilities, however, favor the assump-
tion that he was a Neapolitan by birth, and
lived in the first half of the 17th century.
FRANCESCO DURANTE.
!684-1755
A PUPIL of Alessandro Scarlatti, he be-
came one ofthe most eminent composers of
the 18th century, and the head of the Nea-
politan school of music. He was born at
Frattamaggiore, a village not far from Na-
ples, on March 15, 1684. He was admitted
to the Conservatodo dei Poveri di Gesit
Cdsto, and in January, 7 4 2 ~ was appointed
professor at the Conservatory at Loreto, at
a monthly salary of ten ducats (equivalent
to 42Yz francs), to replace Porpora, who
had departed to Germany. He succeeded
Scarlatti as professor at the Conservatory of
San Onofrio, and numbered among his
pupils the finest musicians of the period,
such as Fiorillo, Guglielmi, Speranza, Sac-
chini, and G. B. Pergolesi. Though en-
dowed with a less powerful imagination
than his master, he was nevertheless highly
skilled in the development of themes and
the art of harmonization. His compositions
are models of scholarly construction in the
above particulars, and for the smooth and
cantabile leading of the vocal parts. His
manners were rustic and awkward, his
mind cool and reflective, his soul simple
and ingenuous. Although his compositions
never brought him in a large income, he
practised such strict economy that he was
enabled to erect a chapel at his own expense
in the church of S. Antonio at Frattamag-
giore, which he dedicated to St. Michael,
and in which he was laid to rest after his
death, which occurred at Naples on the
v
IJth of August, 1755 The tomb bears the
inscription Franciscus Durante-Cappel/ce ...
magister-Musicce fecit.-Piain to negli-
gence in regard to his attire, he took par-
ticular pains with his curled and scented
wig, to prevent deranging which he always
wore his cocked hat. He was thrice mar-
ried. With his first wife he lived in inces-
sant warfare, as she spent his meagre earn-
ings in the lottery. The second, whom he
dearly loved, and who had been one of his
servants, he himself laid in her coffin. A
few months later he celebrated his third
wedding, with another domestic.
The Prayer and secular Aria accompany-
ing this sketch are pieces well calculated to
show, in their different genres, the skill and
taste of their author.
ANDREA PALCONIERI.
15--16--.
THE musical library of the Royal Acad-
emy of St. Cecilia at Rome possesses a val-
uable work entitled Libra Prim(}--di Villa-
neUe-a 1, 2 et J voci-con l' aifabet(}--per la
chitatra spagnuola-d' Andrea Falconieri--.
napoUtan(}--dedicate-all 'ill. mo et rever. ma
sig.r Card. De' Medici in Roma-Ap-
presso Go. Battista Robletti !616-con li-
cenza de, superiori.-This volume, also
valuable as a fine specimen of typograph-
ical art, contains 17 villanelles for one voice,
1 1 for two voices, and 4 for three voices;
in all, 32 compositions remarkable for their
simplicity and elegance. The second villa-
nella was selected for publication because it
appeared best calculated for effective inter-
pretation, and the most graceful of all; a
facsimile is annexed.
Andrea Falconieri receives no more than
a scant mention in Fetis' Dictionary, which
does not even give his proper name; the
other biographers ignore him. It may be
conjectured that he was born near the close
of the 16th century; for the dedication of
the book in question commences: " Hav-
h I
mg resolved to give to the press these, my
Musical works, Part the First of my feeble
conceptions. . . ", and bears the date of
March 21, 1616. In the National Library at
Florence may be found the Qut'nto Libro
delle Must'che di A. Falconieri, published
by Pignoni in 1619-a rare and interesting
work.
O. B. FA.SOLO.
16--16-.
A VER.Y rare book in the possession of Dr.
Oscar Chilesotti bears the title: u Mstican-
za di Vigna alta Bergamasca; t1 Canto del-
la Barchetta et altre cantate et art'ette per
Voce et Chitarra. "-From this work is
taken the aria "Cangia, cangia tue voglie,''
which appears peculiarly adapted for publi-
cation in this collection by reason of its
charming naturalness and spontaneity.
In Vol. XLI, No. 48, of the Gazzetta
Musicale of Milan, dated Nov. 28, 1886,
Dr. Chilesotti gives a few vague notes con-
cerning Fasolo, and remarks on the rarity
of the above-mentioned work, of which
even Vogel, in his researches in the Italian
and German libraries, could discover no
second exemplar. It was published in
Rome by Robletti, in 1627. Biographers in
general make no mention of Fasolo; but on
p. 48o of A. W. Ambros' History of Music
(Leipzig.. Leuckart, 188 I) he is noticed as
"a Franciscan monk in a monastery at
Padua, whose Annuale Organistt'co was
published in 1645 at Venice," the excellence
of whose musical workmanship shows him
to have been closely related (intellectually)
to Frescobaldi.
FRANCESCO OASPARINI.
1665-17.37
AccoRDING to Fetis, Grove, and Reiss-
mann, he was born at Lucca in 1665; ac-
cording to Florimo, at Camaiore near Lucca,
in 1665; according to Riemann's Diction-
ary, and the Annuart'o of Paloschi, in the
VII
latter place on March 5, 1668. He excelled
as a writer of both sacred and secular mu-
sic, and produced no less than 3.2 dramatic
works, besides numerous cantatas, inter-
mezzi, etc. The work upon which his
fame chiefly rests is entitled Practical
Harmonist at the Harpsichord" (L'Armonlco
pratico at cembalo, ovvero regale, osserva-
1_ione ed averHmenti (sic) per ben sonare tl
basso e accompagnare sopra il
spt'nefkt ed organo), Venice, 1683; an in-
struction-book in thorough-bass followed
by Fenaroli in the compilation of his Parti-
menti.
Gasparini's teachers were Corelli and Pas-
quini; among his pupils may be mentioned
Benedetto Marcello, who dedicated some of
his compositions to him, and wrote of him
with the utmost veneration. He was a
philharmonic academician, and professor in
the Conservatorlo della Pletd at Venice;
later he was appointed maestro di cappella
at the Lateran in Rome. The two arias
here selected are fragments of his Second
Cantata.
The weight of authority sets April, 1737,
as the date of his death.
OIUSEPPE OIORDANI.
1743-1798.
THE family of Giordani, who was also
known as Giordanello or Giordaniello, com-
prising his father, three sisters, and two
brothers, formed a company which gave
representations of comic opera in the smaller
theatres of Naples. In I 762 this company
traveled to London, and was received with
great favor at the Haymarket Theatre.
Giuseppe, however, returned to Naples for
the purpose of prosecuting his studies at the
Conservatorio della Madonna di Loretto.
He afterwards rejoined his family in London,
where he composed a centone entitled Ar-
taserse, followed by a serious opera, Anti-
gono. From 1744 to 1782, devoting him.
self to teaching, he wrote only the opera.
t>uffa ll Bacdo {by some erroneously at-
tributed to his brother Tommaso ), which
was given in London wtth marked suc-
cess from I 744 to I 749 Again return-
ing to Italy in 1782, he composed a great
number of operas for all the Italian theatres,
as well as many pieces of chamber-music,
among which latter was the aria here re-
printed, wherein fine effects are happily
wedded to flowing melody. In I79I he
was called to conduct the Metropolitan
Orchestra of Fermo, and while there
wrote a large number of sacred composi-
tions. Fetis and the Marchese Di Villarosa
make a sad mistake in confounding Gior-
danello with Carmine Giordano, who was
born about 1690, and was likewise a master
of the Neapolitan school. Other errors
with regard to his birth and death have
been masterfully confuted by Florimo, in
his great work on the Scuola musicale di
NapoH. There is an inscription in the
thedral at Fermo, according to which vixit
dnnos LIV dies XXVI and decessit pientissi-
mus-Pridie Nonas januaris An. MDCCL-
XXXXV/11. This inscription, worthy of cre-
dence from having been written for the sol-
emn obsequies of Giordanello, celebrated in
January, 1800, show with the most scrupu-
lous exactitude that he was born on Decem-
ber the 9th, I 743
BENEDETI'O MARCELLO.
I686-I739
THE autograph manuscript of Benedetto
reproduced below in facsimile is dated jan.
2 I st, I 713. The volume containing it, which
is entitled Cantate per camera-Poesia e
Musica-di-Benedetto Marcello-composte
per la Sigra Ricci dilett., is apparently the
very exemplar intended for said dilettante,
for whom both verses and music were
written, it being elegantly illuminated in
gold and colors. None of the biographical
notices on Marcello mention, as far as I am
aware, this work so valuable both from a
VIII
musical and literary point of view. The
fragment "Non m'e grave morir per amore"
forms a part of the second cantata ; it is re-
plete with peculiar novelty and charm, and
is noteworthy on account of the harmonic
leading in the recitative.
Marcello was born at Venice on Aug. I,
I686, and died july 24, I739, at Brescia,
where he held the position of Camerlengo
(Chamberlain). Further notices concerning
him may be found on p. IX of Vol. I of this
Collection.
CLAUDIO MONTEVERDE.
I568-I643
BoRN of indigent parents at Cremona, in
I 568, he early attained to musicianly re-
nown, and was admitted while still very
young to the court of the Duke of Mantua
in the capacity of a viola-player. Here the
maestro di' cappella, Marco Antonio Ingeg-
neri, gave him lessons in counterpoint, and
when but sixteen years old he published a
collection of Canzoni for three voices. In a
brief time his mastery of his art became
such that his fertile and daring genius in-
augurated a series of the boldest innova-
tions. He aided powerfully in bringing
about the transformation of the medieval
modes into the modern chromatic system,
by adopting the dissonance of the dominant
seventh in such wise as to exhibit the har-
monic relation of the fourth degree to the
seventh, and by endowing this latter with
its true character as the leading-note, with
a regular resolution to the tonic. This im-
portant fact-which his genius intuitively
felt, perhaps all unconscious of the grand re-
sults which were to follow-finds gradual
development in his books of madrigals;
arriving at the fifth book, he no longer hesi-
tates to take without preparation the tri-
tone, the chord of the fifth and sixth, the
dominant seventh and ninth, and the dimin-
ished seventh. Herewith the transforma-
tion of the tonal system was completed, and
Monteverde, profiting by his new system of
harmony to continue his course as an inno-
vator, created the forms of the eAria and
Vuetto, skilfully employing the resources of
instrumentation according to the scenic
situation, and developing the musical
drama, properly so called, in an expressive
and dramatic form. But the fame of this
eminent musician is so great, that many
words are unnecessary. We deemed it
proper to emphasize one remarkable feature
in the work of this great genius. The La-
mento di eArianna which we print is a
shining exemplar of his gifts as a compos-
er; it is taken from the opera eArianna,
brought out in I 6o8 at the court of Mantua,
and in 1641 in Venice, it being the first
melodrama produced at the T eatro San
Moise. The National Library at Florence
possesses the manuscript of the entire
scena, the principal part of which is given
here ; this manuscript appears to be the
' author's original.
Monteverde died at Venice in 164.3; near
the end of 1613 he was appointed maestro
di cappella at St. Mark's; he was buried in
the church dei Frari, in a chapel to the
right of the choir.
PIER DOMENICO PARADIES.
171D-1792.
THIS distinguished composer and excel-
lent player on the harpsichord was born at
Naples, where he studied under Porpora.
He wrote eA lessandro t'n 'Perst'a, performed
in Lucca in 17 38; It CJJecreto del jato, given
at Venice in 1740; La lMuse in gara, a
cantata represented at the Conservatorio de'
Mendicanti in Venice in the same year. In
1747, he took up his permanent residence
in London, and on December 17 of that
year he brought out the opera Fetonte at
the King's Theatre, which was given nine
times with indifferent success. After this
he abandoned composition, devoting him-
self to teaching the harpsichord ; in his ca-
IX
pacity as a teacher he regained his laurels
by publishing the Studies and Sonatas.
Clementi and Cramer used his works with
great benefit to themselves. Cassandra
Frederick, his pupil, played at the age of
five and a half years, in a concert given at
the Haymarket, compositions by Scarlatti
and Handel, being the same who perform-
ed in 176o, in the double capacity of an or-
ganist and singer, the celebrated oratorios
of the Saxon master.
Paradies returned late in life to Italy, and
settled in Venice, where he died in 1792.
NICCOLO PICCINNI.
1728-1800.
Alessandro nelle lndie, a melodrama in
3 acts, set to poetry from the pen of Pietro
Metastasio, was represented for the first
time at Rome in I 758, and thereafter at
Naples in 1774 and 1792. In the archives
of the Royal College of Music of Naples
are to be found 2 copies of this opera. One
was donated to the College by Maria Caro-
lina, and is in 3 acts ; the other was among
the autographs collected and acquired by
Florimo, and has but 2 acts. The former
is the score executed in 1758 and 1774: the
latter is the same, revised and corrected,
which served for the representations of
I 792. The aria of Cleofide which we print
herewith is one of the most salient numbers
of the opera. The verses of the recitative
were substituted, by Piccinni himself, for
those written by Metastasio, but the aria.
following is that which is found in Act II,
Scene IJ, of the drama of the imperial poet.
The form of this recitative, rich in dramatic
features, the admirable construction, and the
effectiveness of the whole composition, ren-
der this aria a veritable artistic gem.
Piccinni, of whom a further account ap
pears in the first volume of this Collection,
was born at Bari, on Jan. 16, 1728, and died
of bilious fever at Passy, near Paris, on
March ~ 18oo.
RAFFAELLO RONTANI.
15--16-.
Le
tani-a una, due e tre voci-per cantare net
cimbalo o in-altri stromenti simili con
L#eAlfabeto per Ia Cht'tarra-spagnola in
queUe piu a proposito per-tale strumento-
in Gio. Battista Robletti,
I623-e/Jd instantia di Antonio Poggioli.
Air insegna del Martello i11. Parione-Con
Licenz a de, Superiori.-The work bearing
this title belongs to the valuable collection
of the well-known cultivator of ancient mu-
sic, Dr. Oscar Chilesotti, whose courtesy
permitted it to be copied. The song so
transcribed and harmonized is charming in
its graceful simplicity, and forms a most
sweet and admirable setting to Chiabrera's
celebrated verses. Its composer was born
in Florence towards the end of the 16th
century, and was in the service of the Mar-
quis of Capistrano, Antonio De' Medici, a
natural son of the Duke Francesco Maria
and Bianca Capello. He is mentioned by
Q!Iirinus van Blankenborg in his Elements
of tJvfusic, who notices a book of canzoni
published in Rome in 1632. The work by
Rontani cited by Fetis in his biographical
dictionary, and published at Florence by
Zanobi Pignoni in 1614, may be found in
the National Library in that city. The title
differs very little from that heading this
sketch, but it contains wholly different com-
positions.
DOMENICO SARRI.
1678-174-?
DoMENICO SARRI (or Sarro), was born of
indigent parents at Trani, in 1678; his mu-
sical studies at the Conservatorio della Pietd
in Naples were finished in 16cj7. In 1712
he was appointed vice-conductor of the
Royal musical organization, and wrote an
oratorio for the festival of San Gaetano. As
early as 1702 he had composed a sacred
X
melodrama, L, Opera a ,Amore. He subse-
quently wrote many serious operas, and
numerous oratorios, serenatas, comic
mezzi, cantatas, concertos for various in-
struments, and church-music. His Didone
abbandonata deserves special mention; the
music was set to verses by Metastasio, then
a young man hardly 26 years of age, for the
theatre of San Bartolomeo in 1724. This
opera, which was enthusiastically received,
was sung by the poet's friend Marianna
Benti-Bulgarelli and Niccola Grimaldi (call-
ed Nicolt'no).-ln 1741 Sarri was still at his
post as first conductor; the precise date of
his death is unknown.
ALESSANDRO SCARLATTI.
1659-1725.
IN the first volume of this Collection we
published a few arias, full of grace and ex-
pression, by this distinguished and fertile
composer. For this present volume we
have again had recourse to him, and print
herewith four more pieces in different
styles. " Sento nel core" is a tender and
expressive melody, extremely effective and
not difficult of execution. The aria of 7; ..
grane in the opera of the same name is a
marvelous exemplar of its class in the truth-
ful expn!ssion of feeling. In Tigrane Scar-
latti tried, for the first time, the blending of
the wind-instruments with the strings; and
the harmonies of the horn, in the aria given
here, are a most original device of the great
Trapanesian. The little dialogue "Su, ve-
nite a consiglio," wherein the author feigns
to conve:rse with his own and to lis-
ten to their reply, is replete with novel feat-
ures. The canzonetta '' Gia il sole dal
Gange" is spontaneous and genial. The
annexed fac-simile is taken from a small
manuscript volume of the period, in which
the above-mentioned dialogue is also found.
For further notes concerning Scarlatti, the
reader is referred to VoL 1.
I
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II
ALESSANDRO .STRADELLA.
1645-1681.
EvERYTHING ts obscure," writes Cate-
Iani, " in the life of Stradella." Although
some give Venice as his birthplace, pre-
ponderant evidence shows that he was
born in Naples about 1645. It is not
known where and under whom he prose-
cuted his studies ; it is certain, that he
speedily became a distinguished composer,
and passed the greater part of his life as a
musician at Venice. While there, he fell
desperately in love with the flame of a
Venetian noble, having been engaged by
the latter to instruct the lady in his art ; in
the course of this instruction he found time
to lay siege to her heart, and this so suc-
cessfully, that one night the pair fled to-
gether to Rome. The betrayed Venetian
swore vengeance .. and despatched two as-
sassins to waylay Stradella ; but his pur-
pose (so runs the legend) was this time
frustrated in a most remarkable manner ;
the assassins, going to church with the
intention of murdering the musician after
the performance of an oratorio composed
by h i m ~ were so moved by the pathetic
beauty of the music, that instead of carry-
tog out their plan they disclosed it to their
intended victim, who immediately repaired
to Turin (1676), where he hoped to find
efficient protection from further designs
upon his life. But here, on a public prom-
enade in full view of the populace, he was
set upon by three hirelings of his implaca-
ble foe, and desperately wounded ; during
his recovery he was wedded to the fair
Ortensia, for love of whom he encountered
such deadly peril. The wily Venetian,
though twice foiled, persisted in his at-
tempts, which were finally successful, Stra-
della being found murdered in his bed one
morning in Genoa (1681?).
A fertile and distinguished composer,
Stradella is also fabled to have been an
eminent player on the harp, violin, and
XIII
organ, and a facile writer of Italian and
Latin poetry. At that period, but little
music was printed in Italy, and besides,
the unsettled life he led hardly permit-
ted his attention to details of publica-
tion ; hence the major part of his works
is still in manuscript. In Modena 148 of
his com positions are preserved, among
them being 6 oratorios and 1 1 dramas. In
the library of San Marco in Venice there is
a collection of 2 1 songs entitled a Cante a
voce sola e l l ~ insigne A. Stradella legati
alta biblt'oteca S. Marco di Venezia dalla
nobile famigUa Contarini. , , Of these,
from which the song '' Se Amor m'annoda
il piede" is taken, a complete edition is in
process of preparation. The aria '' Ragion
sempre addita" is from the Serena/a a tre
voci; this composition is noteworthy from
the circumstance, that in it the orchestra
is divided into two independent groups,
called the Concertina and Concerto grosso,
an arrangement also adopted in the oratorio
reputed to have saved Stradella's life (S.
Giovanni Battista). In this score a con-
trabbasso of small size appears for the first
time.
ANTON FRANCESCO TENAGLIA.
J6--t6-.
BuT few data are obtainable concern-
ing this distinguished writer of music for
church, theatre, and chamber, who was
born in Florence early in the 17th century.
He appears to have been the conductor
of some choir in Rome, probably that at
the Basilica of S. M. Maggiore. Certain
it is, that he spent a large part of his artist-
life in Rome, where, in 1661, he com-
posed the opera Cleano, which was per-
formed at the house of a personage whose
name has not been preserved. In this
opera is found indubitable proof that he
was the inventor of the form termed the
aria with da capo ; a form copied in 1686
by Carlo Pallavicini in his Gerusalemme
Uberata, and further developed by Ales-
sandro Scarlatti, who has been erroneously
credited with its invention down to this
very day. It would seem that none of
Tenaglia's compositions have been pub-
lished, as in all my researches I have never
met with a printed work by him, or dis-
covered any notices of editions of his com-
positions at any time or place. Yet his
music is extremely charming, picturesque,
and effective, and is shown in the two
arias given here, which are excellent speci-
mens of chamber-style, and exhibit, con-
sidering the period at which they were
penned, a notable advance as regards form.
They were found in the Chigiana Library
at Rome, which possesses not a few manu-
scripts of his in a crabbed and incorrect
caligraphy. It is likely that others might
be discovered in other Roman libraries,
Rome having been, as observed above, the
residence of this Florentine musician for
many years; and it is hoped that these
may also be published at some future ttme.
-Under an old portrait of Tenaglia stands
the legend : 'Jenalia Florentinus musicus
in rebus excellens.
XIV
CONTENTS
PAGE;
BASSANI. G. 8., Dormi, bella, dormi tu?

Art thou sleeping, fair one (

79
"
"
Posate, dormite,

85
Sleep on, then.
" "
Seguita a piangere,

89
Mourn with temerity.
BONONCINI, G. B., Per Ia gloria d'adorarvi,
For the love my heart doth prize.
IOJ
CACCINL G., Amarilli, mta bella.
19
Amarilli, my fair one.
CAVALLI, F., Delizie contente,

2J
Ye blisses, that ravish.
CESTI, M. A., Tu mancavi a tormentarmi,
40
Wilt no longer thou torment me.
DEL LEUTO, A., Dimmi, Amor,
J
Tell me, Love !
DELUCA, S., Non posso disperar,
6
I do not dare despond.
DURANTE, F., . Vergin, tutto amor,
114
Virgin, fount of love.
.. ,
"
Danza, danza, fanciulla gentile,
Dance, 0 dance, maiden gay.
lf7
FALCONIERI, A., . V ezzosette e care,
12
Charming eyes so wary.
FASOLO, G. B., Cangia, cangia tue voglie,
55
Change, o change thy fond wishes.
GASPARINI, F., Caro laccio, dolce nodo,

96
Dainty meshes, net enticeful.
" "
Lasciar d' amarti,
99
Love's bond to sever
GIORDANI, G., Caro mio ben,

lJI
Thou, all my bliss.
MARCELLO, B., Non m'e grave morir per amore,

121
For my Jove thus to die.
MONTEVERDE, C., Lasciatemi morire !

2.2
No longer let me languish.
PARADIES, P. D., . M'ha preso alia sua ragna,

127
'Tis Love, that rogue so wilv
PICCINNI, N., Se il del me divide,

IJ4
Since Heaven has tom me.
RONTANI, R., Se bel rio, .

16
When the murm'ring.
SARRI, D., Sen corre l'agnelletta,

loS
As when a lamb confiding.
SCARLATTI. A., Sento nel core,

6o
My heart doth languish.
" "
Su, venite a

64
Hey ! come hither, ye andes.
.,
u
Gia il sole dal Gange,

70
O'er Ganges now launches.
"
u
All' acquisto di gloria,
74
To win glory.
STRADELLA, A., Ragion sempre addita,
How dearly are prized.
.

46
" "
Se amor m'annoda il piede.

50

If love my feet enchaineth.
TENAGLIA. A. F E quando ve n'andate,

28
0 when will ye e'er leave me.
..
"
Qpando sara quel di,
34
When will the day e'er be.
English Version by
Df Th. Baker.
3
Dimmi, Amor.
(Tell me, Love.)
Cantata..
0.
Andante cantabile. cJ = 69.)
ARCANGELO DEL LEUT
(1!; _16 .. )
Voice.
Piano.
11567
P. :::>
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dim. mi c e fa
I pray, tell__ me,
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Since he left
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Where my
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for - sak - en Nev-er
Copyright, 1894, hy G. Schirmer, Inc.
Copyr-ight renewed, 1.922, h.1J Theodore Baker
Printed in the U.S. A.
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Non posso disperar.
(I do not dare despond.)
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11568
12
Vezzosette e care.
(Charming eyes so wary.)
Villanella.
English Version by
Df Th.Baker.
Alfegretto quasi Gavotta. cJ:to4.)
ANDREA FALCONIERI.
(HS ... -16 )
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Df Th. Baker.
16
Se bel rio.
(,.Vhen the murm'ring.)
Canzonetta.
Andante (JJ- H6)
RAFFAELLO RONTANI.

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si che l'ac - qua su_
l'a - re - na pe
ben e ver: rna
When the wave -let
Tho' all Na - ture
na, noi di - ciam che
i, fa - re un ri so
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ing, Then we say,- how
er Match the sweet -ness
non_ san
light - ly
may_ en
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smiles_ the o - cean.
of __ thy smile.
II
English Version by
Df Th. Baker.
19
Amarilli, mia bella.
(Amarilli, my fair one.)
Madrigal.
GIULIO CACCINI.
affettuoso. = 66)
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Lasciatemi morire!
(No longer let me languish.)
Canto from the Opera
Lento. (J = 68)
"Ariana."
CLAUDIO MONTEVERDE.
dolettfe
(1568_ 1643)
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La- scia
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No long - er let me lan.:.guish!

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te - mi mo-ri - re, la - scia -te - mi mo - ri
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23
Delizie contente, che !'alma beate .
(Ye blisses,that ravish.)
English Version by
Df Th. Baker.
Aria from the Opera
"Giasone!'
Andantino mosso.cJ, = 132)
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Piano.

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not to discov-er, Your trouble were wast- ed,your
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FRANCESCO CAVALLI.
(1599-1676)
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CopyrigA.t, 1894, h!J C. Scll:i'rmer, Inc. Copyright r.enswed, 1922, h!l TA.eodore Baker
11573
Printed in the U. s. A.
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Ye dear-est of I!leasures
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E quando ve n'and.ate.
(0 when will ye e'er leave me.)
Scherzo.
Quasi recitativo.
ANTONIO FRANCESCO TENAGLIA.
(16 ... - i6 .. .)
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31
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leave me?
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34
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Voice.
U176
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40
Tu mancavi a tormentarmi.
(Wilt no longer thou torment me.)
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MARCO ANTONIO CESTI.
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CopyrigM, 189#, IJg (}. ScAit-fll,6r, Inc.
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45
dol ce l'i-mem- bran
mem - 'ries art dis - till
bran vuoi di nuo
za,
ing,
ri
of
nar- mi,
za
'ries,
mem- 'ries to pre-
p
vuoi
Of
di
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nuo - vo av- ve - le - nar- m1, av- ve - le - nar -
cresc.
nuo- vo,
mem1ries,
eresc.
r '
- mi.
art dis-till-ing new poi-son to pre- sent ___ _ me?
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Ragion sempre addita.
(How dearly are prized.)
Aria..
English Version by
Dr Th. Baker.
Allegro. ss.)
ALESSANDRO
(164&-f68L)
Piano
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ni- ta lo suo sti - le non ean -gi., no, no. Io pur se- gu1-
spis - ed, In faith-ful en - deav- or, Ne'er changing, no, no. It fol-lows, I
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Hl'17
Copyr8M renewd, 1!122, hg TIIB4Jdortl JJuer
P.rillted in the U. S. A.
47
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ro,_ io pur se- gui
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trow, it fol-lows, I trow,
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That faith- less a- stray, A - far from Love's way, I_
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Poco 1/tetzo.
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It fol-lows, I trow, from Love'sway a
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10 pur se - gu1 - ro.
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English Version by
D! Th. Baler.
ISO
Se amor m'annoda il piede.
(If Love my fe.et enchaineth.)
Cantata.
Allegretto. cJ = fOO.)
ALESSANDRO STRADELLA.
(1611:6- 1681.)
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Voice.
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S'a-mor m'an- no-dailpie-de, co-me dun-que, co-me
If Love my feet ell'-chain-eth,Can I ev- er, can I
l
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dun- que fug- gi -
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ev- er_ flee a -
way,can I ev-er flee a -way? From a heart that
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non ha fe - de li - her - ta, li - ber-ta_ non spe-ro.,..--- no,
faith dis-dain- eth There's no hope, there's no ho.pe of_ free-dom,_. nay!
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da quel cor che non ha fe -de, li - her
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From a heart that faith dis-dain-eth'rhere's no hope,there's no hope of_

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CopyrtgAt, 1891, by (}. ScAzrmer, Inc.
Oopyrigll.t f"BNJtPBd, 1922, by .TA.eodore Baker
Printed in the U. S. A.
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51
Un poco me no. cJ = sll.)

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55
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80
Sento nel core.
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64
Su, venite a consiglio.
(Hey! come hither, ye fancies.)
Dialogue between the Author a11d his Fancies.
Df Th. Baker. ALESSANDRO SCARLATTI.
Allegro. cJ.=
(t6.!l9- 1725 .)
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Copyrrgld rtJJUJwed, 1922, 66 1'Juodort1 .1/oAsr
Priated.bl the U.S. A.

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Ul8t
English Version by
Df Th. Baker.
70
Gia il sole dal Gange.
(O'er Ganges now launches.)
Canzonetta.
ALESSANDRO SCARLATTI.
(1649.., 1725.)
All t cJ

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Copyr'igltf, 1894, by G. 8f:ltirmer, Ine.
Copyrigltt renewed, 1922, bJl Theodore Baker
Printed in the U. S. A.
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Alracquisto di gloria.
(To \Vin glory.)
Aria from the Opera
"Tigrane'!
English Version by
Df Th. Baker.
ALESSANDRO SCARLATTI.
(16119 -1725.)
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Copyright renewed,.1922,.by 2"'/teodore Baker
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D ormi, bella, dormi tu?
(Art thou sleeping, fair one?)
Fragment from the Cantata
"La Serenata."
English Version by
Dr Th.Baker.
GIOo BATTISTA BASSANI.
(J6li7 -1716.)
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fair one, steepest thou?
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Copyright, 1894, by G. Inr.
Copyright renewed, 1922, by Theodore Baker
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Dr. Th. Baker.
85
Posate, dormite.
(Sleep on, then.)
Fragment from the Cantata
"La
Recitativo.
GIO. BATTISTA BASSANL
(161)7- f7t6.)
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English Version by
D!' Th .. Baker.
l
Ll'.h.
Voice.
h LV
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v Ll'
t.
Piano.
<
89
Seguita a piangere.
(Mourn with temfrity.)
Fragment from the Cantata
"L' Amante placata."
Recitativo.
GIO. BATTISTA BASSANI.
(1657 1716.)
l
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No, non te- me-
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96
Caro laccio, dolee nodo.
(Dainty meshes, net enticeful.)
Fragment from the
Second Cantata.
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FRANCESCO GASPARINI.
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99
Lasciar d' amarti.
(Lovts bond to sever.)
English Version by
Dr Th. Baker.
Fragment from the
Second Cantata.
FRANCESCO GASPARINI.
Allegro moderato <J- 84)
(1666 - 1737.)

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Per la gloria d'adorarvi.
(For the love my heart doth prize.)
from the Opera
"Griselda!'
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Andante. (J =so.)
G. B. BONONCINI.
(1672-1748.)
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108
Sen corre l'agilelletta.
(As when a. lamb confiding.)
Ca.nzonetta..
Andantino. (J = ao.)
DOMENICO SARRI.
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114
Vergin., tutto amor.
(Virgin, fount of love.)
Preghiera.
FRANCESCO DURANTE.
(!684- t'71SIS.)
Largo religioso. (J.: 110.)
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Vir- gin, fount of
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mor, 0 ma-dre di bon - ta - .de, 0 ma-dre pi
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love, Dear Moth-er, thou of mer- cy,whoseheart was riv-en,whoseheartwas
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Printf'd in the U.S. A.
11691
115
a, a- scol- ta, ia- ri - a, la __ vo
en, 0 heat.rk-en, Queen of Heav-en, Hearken to
a sin
tor,:....del pee - ca
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cry,_ o a sm - ner s
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cry.
te_ i suoi
hear hersad
Il pian-to suo ti
Let kind compas-sion
la - men - ti, suo duol, suoi tri-sti ac-
la - ment - ing,Hermourn-ful moan as-
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cor,_pie -to- -so, pie -to -
on high,thy throne_ of_ grace __ _
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116
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gin, tut - to _,a-
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0 Vir - gin, fount of
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mo- re,
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rna- dre di_ bon-
0 mother thou of
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rna - dre di_ bon-
moth - er thou of
gin, tut - to._.,a-mor, __
Vir -gin, fount of love,_
117
Danza, danza, fanciulla gentile.
(Dance, 0 dance, maiden gay.)
Arietta.
English Version by
Dr Th. Baker. J<"RANCESCO DURANTE.
(1684 -1755.)
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Dance,O_ dance, maid-en gay, to_ the song that I sing; dance,O_
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CopyrigAt renewed, 1922, by TA.eodore Baker
Printed in the U. S. A.

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.zar. Dan - za,__ dan - za, fan -
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v
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121
Non m'e grave morir per a more.
(For my love thus to die.)
English Version by
Dr Th. Baker.
Fragment from a Cantata.
BENEDETTO MARCELLO.
(1686 - 1739.)
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I thesewoes am bearing,Seethistrophy of her sweet glanc - es
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For my lovethusto die noth-ing daunts me, Yet
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1:27
'
M ha pre so all a sua ragna.
English Version by
Dr Th. Baker.
('Tis Love, that rogue so wily.)
Arietta.
Allegretto mosso. cJ = 76.)
PIER DOMENICO PARADIES.
(1710 - 1792.)
Piano.
1. M'ha
1. 'Tis
11594
:::::>:
sua
dormQ_,a-mor mi
guido,_il greggtt.-al
mor tra mil - le
Love, that rogue so
sleep doth Love me
fol- lows on the
cru - el ar-rows
ra - gna, m'ha
de - sta, s'io
mon - te, se
ne, a -
preso'--'al - la sua
dormo'--'a-mor mi
guido--)1 greggt_,al
mor tra mil - le
wil - y, 'Tis Love, that rogue so
wak - en, From sleep doth Love me
moun-tain, Love fol- lows on the
hurl - ing, His cru - el ar- rows

. . .
Oopyrzght, 1894, hy {f. Schirmer, Inc.
OopyrzgA.t renewed, 1922, by TA.eodore Baker
Printed in the U.S. A.
11694
ra
-
gna quel
de sta, op
man- te ho
pe ne mi
wil y, Has
wak en, Or
moun- tain While
hurl - iug, Love
mor,_ che
gnar; ch'e
'
p1e;_ se
dl:_ per
hold,_ Who
stray, In
fare,_ And
day, __ For
128
p
r 10
iJI
fur
-
bet - tel_ d'a - mor,quel fur
-
bet-tel d'a-
pur_ mi fa_
so - gnar, op
-
pur_
mi fa so-
sem- pre:._/a-mor_ tra' pie, ho sern- tra'
tie
-
ne not
-
tee dJ., mi tie
-
ne not - tee
'--"' "--"'

L
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r
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b
r
Ci
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caught me 111 his __ hold, has
me in llis
thro' my dreams doth stray, or my dreams doth
with my herd
l __
fare, while my herd I
plies me night and day, Love me night and
gi
-
ra la_ earn pa gna, co -
gli
. '
in te sta di
s1 e mes
-
so
"--"'
vo l\__,ba
-
gnar - Dli al fon te, si
Tir -
si,_ :mio_ be ne, mi

p
roves the world as- sly ly As
to his head- he's_ tak en To
bathe him
in __
the_ foun tain When
thee, Thyr-sis,_
my_
dar ling, He
129
me f;(l cac
-
cia tor,_ co me_
cac cia-
far- ml ..... )nna
-
mo rar,_ di far
-
mi in
-
na mo-
'-.../
ba- gna;__,amor_ con me,_ si ba
-
gna'--'a
-
mor con
fa Ian- guir_ co
si, __
mi fa_
Ian guir (' :; -
>
an
- y hunts - man bold,_ as an -
Y-
hunts - mau
steal my heart a way,_ to steal my_ heart a
-
I do bathe me_ there,_ when I_
do- bathe me
makes n1e sigh al way,_ he makes me_
sigh al -
I I
p
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way.
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ware of him! Who wins poor sltep - herds 0
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131
C aro mio ben.
(Thou, all my bliss.)
Arietta.
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Dr. Th. Baker.
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GIUSEPPE GIORDANI. (GIORDAt\ELLO.)
(1743 1798.)
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Thou; all my bliss, Be-lieve but this: When thou art far My heart is

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:::::... Thou, all my bliss, When thou art far_ My_ heart_ is
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Be-lieve but this: When thou art far My heart
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(Since Heaven has torn me.)
Srena and Aria fron1 the Opera
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NICCOLO PICCINNI.
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1


. u 96
SCHIRMER'S LIBRARY
of Musical Classics
VOCAL STUDIES AND EXERCISES
SERIES ONE
The Library Volume Number is !liven In [45l)
ABT, F.
Op. 474. Practical Slnting Tutor. For all
Voices (Spieker).
For Soprano or Tenor. Complete [453} 2.00
Part I: Production of Tone. Intervals
[454} .75
Part II: Exercises for the Cultivation of
Fluencyj455J . . ............... 75
Part II I: 20 Solfeggi [ 456} . . . . . . . . . . . . 7 5
Part IV: 12 Exercises on Vocalization
[457}. .75
For Mezzo-Soprano or Alto. Complete [458}. 2.00
Part 1: Production of Tone. Intervals
(459] .75
Part II: Exercises for the Cultivation of
Fluency [460] . . . . . . . . . . . . . . . . . . . . . . .75
Part Ill: 20 Sotfeggi [461].............. .75
Part IV: 12 Exercises on Vocalization
(462) .75
For Baritone or Complete (463] .... 2.00
Part I: Production of Tone. I ntcrvals
[464] .75
Part II: Exercises tor the Cultivation of
Fluency (465]. . . .. . . .. .. . . .75
Part Ill: Solfeggi and Exercises on Vocali-
zation [466). . . . . . . . . . . . . . . . . . . . . . . . . . .75
BEHNKE, E, & PEARCE, C. W.
30 Voice-Training Exercises.
For Soprano (1090] ........................ 1.25
For Mezzo-Soprano [1091).. . . . . . . . . . . . . . . . . 1.25
For Alto {1092).. .. .. . . . . . . .. . . . . . .. . . . . . .. 1.25
For Tenor [1093] . . . . . . . . . . . . . . . . . . . . . . . . 1.25
For Baritone [1094]. . ................. 1.25
For Bass [1095]. . .. . .. . .................. 1.25
BONA, P.
Rhythmical Articulation. A Complete
Method [1170]. . . . . . .. .. . . . . . . . . . . . . . . . . . 1.00
BONOLDI, F.
Exercises in Vocalization.
Sop. [117); M.-Sop. [118]; Alto [119]......... .75
BORDOGNI, M.
25 Easy Vocalises in Progressive Order (82). . 1.00
36 Vocalises in Modern Style (Spieker)
For Soprano {432] ........................ 2.50
For Mezzo-Soprano or Baritone [433} ....... ,. 2.50
CONCONE, J.
Op. 9. 50Lessons. H(l468];M[242];L[243) 1.25
Op. 10. 25 Lessons. M [244]; L [246].. . . . . . . 1.00
CON CONE, J .-Continued
Op. 11. 30 Daily Exercises. H [29-lj; L [55 5]
Op. 12. i5 Vocalises. Finishing Studil's.
H [275]; l\1 or L [276] ........... .
Op. 17. 40 Lessons. Alto [2-17]; Bass or
Bar. [248] ............................... .
The School of Practiol
Method for Young Beginners (Lutgen) [2-!5]
DANNHA USER, A. L.
Solfege des Solfeges.
Bk. I [1289]; Bk. II [1290): Bk. Ill [129I].ea.
The same. sp. Bk. I 11085] .............. .
ESLAVA, D. H.
1.00
1.00
1.50
1.25
1.00
1.00
Metodo de Solfeo (Carrillo). sp. Complete
(1366] 1.50
The same. Bk. I [1376]: Bk. II [1377];
Bk. JII [1378]; Bk. IV [1379] .......... ea. .60
LAMPERTI, F.
The Art of Sin!?,ing [1587}.. . . . . . . . . . . . . . . . 1.00
Daily Exercises in Sin!?,in!?, [570}.. . . ... . . . . . . . .75
Vocal Studies in Bravura (Liebling) [1633]. . . 1.00
LAMPERTI, G. B.
30 Preparatory Vocalises. Sop. [568]
19 Preparatory Vocalises. Alto [569]
LOTGEN, B.
Vocalises {Spieker).
Bk. I: 20 Daily Exerdses. H [654]; M [655];
L [656]................... . .
Bk .. II: 20 Opera1ic Vocalises. M [93of:
MARCHESI, M. C.
Op. 1. Elementary Progressive Exercises
[384}
Op. 2. :Z4 Vocalises for Soprano or Mezzo
Soprano [391] .......................... .
Op. 3. 24 Vocal'ises for Soprano [597] ..... .
Op. 21. The Art of Singing. Bk. I: Ele
mentary and Graduaed Exercises [793); Bk. II:
30 Vocalises for 1\lezzo-Soprano [794) ...... ea.
Op. 32. 30 Vocalises (Liebling) H or l\1 [126} ..
1.25
1.25
.75
.75
1.00
1.00
1.50
1.00
1.25




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Prices Subject to Change Without Notice.

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