Posts
Pre-Victorian Songs
1200
"Adeste Fideles" is a hymn tune. The text itself has unclear beginnings, and may have been written in the 13th century by John of Reading,
o come all ye faithful
joyful & triumphant
o come ye o come ye
to Bethlehem
come & behold him
born the king of angels
o come let us adore him
o come let us adore him
o come let us adore him
Christ the lord.
1260
"Sumer Is Icumen In" is a medieval English rota of the mid-13th century. The title translates approximately to "Summer Has Come In" or "Summer Has Arrived".[1] The song is composed in the Wessex dialect of Middle English. Although the composer's identity is unknown today, it may have been W. de Wycombe. The year of composition is estimated to be 1260.
"Adeste Fideles" is a hymn tune. The text itself has unclear beginnings, and may have been written in the 13th century by John of Reading,
o come all ye faithful
joyful & triumphant
o come ye o come ye
to Bethlehem
come & behold him
born the king of angels
o come let us adore him
o come let us adore him
o come let us adore him
Christ the lord.
1260
"Sumer Is Icumen In" is a medieval English rota of the mid-13th century. The title translates approximately to "Summer Has Come In" or "Summer Has Arrived".[1] The song is composed in the Wessex dialect of Middle English. Although the composer's identity is unknown today, it may have been W. de Wycombe. The year of composition is estimated to be 1260.
sumer is icumen in
lhude sing cuccu
groweþ sed and bloweþ med
and springþ þe wode nu
sing cuccu
awe bleteþ after lomb
lhouþ after calue cu
bulluc sterteþ, bucke uerteþ
murie sing cuccu
cuccu cuccu wel þu singes cuccu
ne swik þu nauer nu
sing cuccu nu sing cuccu
sing cuccu sing cuccu nu
1500
lhude sing cuccu
groweþ sed and bloweþ med
and springþ þe wode nu
sing cuccu
awe bleteþ after lomb
lhouþ after calue cu
bulluc sterteþ, bucke uerteþ
murie sing cuccu
cuccu cuccu wel þu singes cuccu
ne swik þu nauer nu
sing cuccu nu sing cuccu
sing cuccu sing cuccu nu
1500
IL CINQUECENTO
1573
Giovanni de’ Bardi, conte di Vernio, prima assise della Camerata, palazzo Busini-Bardi-Serzelli (Brunelleschi), via de’ Benci 5, quartiere di Santa Croce, Firenze, 14 gennaio.
1579
Strozzi. “Fuor dell’umido nido”, solo song, wedding of Duca Francesco de’ Medici and Bianca Cappello, sung by Giulio Caccini, tenore, debuto.
Giovanni de’ Bardi, conte di Vernio, prima assise della Camerata, palazzo Busini-Bardi-Serzelli (Brunelleschi), via de’ Benci 5, quartiere di Santa Croce, Firenze, 14 gennaio.
1579
Strozzi. “Fuor dell’umido nido”, solo song, wedding of Duca Francesco de’ Medici and Bianca Cappello, sung by Giulio Caccini, tenore, debuto.
1580
Henry VIII. A broadside ballad was registered by Richard Jones at the London Stationer's Company in September 1580 as “A New Northen Ditty of the Lady Greensleeves”, and later in 1584 as “A new Courtly Sonnet, of the Lady Greensleeves. To the new tune of Greensleeves”, in “A handful of pleasant delights”. Used by Gay in “L’opera del mendicante”. It was included by Swann/Flanders’s irreverent sketch in their revue “At a drop of a hat” (transcribed by LS).
GREENSLEEVES was all my joy
Greensleeves was my delight
Greensleeves was my heart of gold
& who but my lady Greensleeves
Henry VIII. A broadside ballad was registered by Richard Jones at the London Stationer's Company in September 1580 as “A New Northen Ditty of the Lady Greensleeves”, and later in 1584 as “A new Courtly Sonnet, of the Lady Greensleeves. To the new tune of Greensleeves”, in “A handful of pleasant delights”. Used by Gay in “L’opera del mendicante”. It was included by Swann/Flanders’s irreverent sketch in their revue “At a drop of a hat” (transcribed by LS).
GREENSLEEVES was all my joy
Greensleeves was my delight
Greensleeves was my heart of gold
& who but my lady Greensleeves
alas my love you do me wrong,
to cast me off discourteously
& I have loved you so long
delighting in your company
to cast me off discourteously
& I have loved you so long
delighting in your company
I have been ready at your hand,
to grant whatever you would crave
I have both waged life & land
your loue and good will for to haue.
I bought three kerchers to thy head,
that were wrought fine and gallantly:
I kept thee both boord and bed,
which cost my purse wel fauouredly,
that were wrought fine and gallantly:
I kept thee both boord and bed,
which cost my purse wel fauouredly,
I bought thee peticotes of the best,
the cloth so fine as might be:
I gaue thee iewels for thy chest,
and all this cost I spent on thee.
the cloth so fine as might be:
I gaue thee iewels for thy chest,
and all this cost I spent on thee.
Thy smock of silk, both faire and white,
with gold embrodered gorgeously:
thy peticote of Sendall right:
and thus I bought thee gladly.
with gold embrodered gorgeously:
thy peticote of Sendall right:
and thus I bought thee gladly.
Thy girdle of gold so red,
with pearles bedecked sumptuously:
The like no other lasses had,
and yet thou wouldst not loue me,
with pearles bedecked sumptuously:
The like no other lasses had,
and yet thou wouldst not loue me,
Thy purse and eke thy gay guilt kniues,
thy pincase gallant to the eie:
No better wore the Burgesse wiues,
and yet thou wouldst not loue me.
thy pincase gallant to the eie:
No better wore the Burgesse wiues,
and yet thou wouldst not loue me.
Thy crimson stockings all of silk,
with golde all wrought aboue the knee,
Thy pumps as white as was the milk,
and yet thou wouldst not loue me.
Thy gown was of the grossie green,
thy sleeues of Satten hanging by:
which made thee be our haruest Queen,
and yet thou wouldst not loue me.
thy sleeues of Satten hanging by:
which made thee be our haruest Queen,
and yet thou wouldst not loue me.
Thy garters fringed with the golde,
And siluer aglets hanging by,
Which made thee blithe for to beholde,
And yet thou wouldst not loue me.
And siluer aglets hanging by,
Which made thee blithe for to beholde,
And yet thou wouldst not loue me.
My gayest gelding I thee gaue,
To ride where euer liked thee,
No Ladie euer was so braue,
And yet thou wouldst not loue me.
To ride where euer liked thee,
No Ladie euer was so braue,
And yet thou wouldst not loue me.
My men were clothed all in green,
And they did euer wait on thee:
Al this was gallant to be seen,
and yet thou wouldst not loue me.
And they did euer wait on thee:
Al this was gallant to be seen,
and yet thou wouldst not loue me.
They set thee vp, they took thee downe,
they serued thee with humilitie,
Thy foote might not once touch the ground,
and yet thou wouldst not loue me.
they serued thee with humilitie,
Thy foote might not once touch the ground,
and yet thou wouldst not loue me.
For euerie morning when thou rose,
I sent thee dainties orderly:
To cheare thy stomack from all woes,
and yet thou wouldst not loue me.
Thou couldst desire no earthly thing.
But stil thou hadst it readily:
Thy musicke still to play and sing,
And yet thou wouldst not loue me.
But stil thou hadst it readily:
Thy musicke still to play and sing,
And yet thou wouldst not loue me.
And who did pay for all this geare,
that thou didst spend when pleased thee?
Euen I that am reiected here,
and thou disdainst to loue me.
that thou didst spend when pleased thee?
Euen I that am reiected here,
and thou disdainst to loue me.
Wel, I wil pray to God on hie,
that thou my constancie maist see:
And that yet once before I die,
thou wilt vouchsafe to loue me.
that thou my constancie maist see:
And that yet once before I die,
thou wilt vouchsafe to loue me.
Greensleeues now farewel adue,
God I pray to prosper thee:
For I am stil thy louer true,
come once againe and loue me.
God I pray to prosper thee:
For I am stil thy louer true,
come once againe and loue me.
1582
Vincenzo Galieli. Ugolino della Gherardesca, conte di Donoratico, trato dal Canto XXXIII, 67-68 dell’Inferno della Divina Commedia di Dante Alighieri. Dante lo collocò nell'Antenora, ovvero il secondo girone dell'ultimo cerchio dell'Inferno, a metà tra i canti XXXII e XXXIII, tra i traditori.
poscia che fummo al quarto dì venuti ---- a
gaddo mi si gettò disteso a’ piedi (b)
e disse: “Padre mio, ché non m’aiuti?”(a)
quivi morì; e come tu mi vedi (b)
vid’io cascar li tre ad uno ad uno (c)
tra il quinto dì e’l sesto; ond’io mi diedi (b)
già cieco, a brancolar sovra ciascuno(c)
e due dì li chiamai, poi che fur morti (d)
poscia, più che il dolor, poté il digiuno."(c)
quand’ebbe detto ciò, con li occhi torti (d)
riprese ‘l teschio misero co’ denti (e)
che furo a l’osso, come d’un can, forti. »(d).
1585
Andrea Gabrieli. “Edipo re”, su libretto: Orsatto Giustiniani, of Venice.
Andrea Gabrieli. “Edipo re”, su libretto: Orsatto Giustiniani, of Venice.
4 cori survive:
"Santo oracol di Giove"
"Qual è colui"
"O voglia’l ciel" and
"Misera humana prole".
Inaugurazione del Teatro Olimpico, Vicenza, 3 marzo.
Most likely, the play was chosen because it was Aristotle's favourite in "Poetics". Apparently, the first choice was a pastoral drama, but the Accademia Olimpica fortunately changed their minds.
"Santo oracol di Giove"
"Qual è colui"
"O voglia’l ciel" and
"Misera humana prole".
Inaugurazione del Teatro Olimpico, Vicenza, 3 marzo.
Most likely, the play was chosen because it was Aristotle's favourite in "Poetics". Apparently, the first choice was a pastoral drama, but the Accademia Olimpica fortunately changed their minds.
1586
Bardi. L’amico fido: opera, tratto da Guarini, rappresentata al Teatro del Palazzo dei Tredici Uffizi, Firenze, in occasione del matrimonio tra Virginia de' Medici e Cesare d'Este, allestita da Bernardo Buontalenti.
1589
Bardi-Caccini-Buontalenti. “Io che dal ciel cader farei la luna: intermedio” per “La Pellegrina” (B. Buontalenti) -- rappresentate nello spozalizio di Fernando I de’ Medici e Cristina di Lorena.
1589
Cavalieri. Intermedio: “O che nuovo miracolo.”
Cavalieri. Intermedio: “O che nuovo miracolo.”
1590
Laura Guidiccioni-Lucchesini-Cavaliere. “Aminta”, tratto da Tasso. A setting of Tasso’s “Aminta” by Cavalieri, for Tasso’s visit to J. Corsi’s palazzo, in Firenze.
Laura Guidiccioni-Lucchesini-Cavaliere. “Aminta”, tratto da Tasso. A setting of Tasso’s “Aminta” by Cavalieri, for Tasso’s visit to J. Corsi’s palazzo, in Firenze.
1590
Laura Guidiccioni-Lucchesini-Cavalieri. IL SATIRO: pastorale.
Laura Guidiccioni-Lucchesini-Cavalieri. IL SATIRO: pastorale.
1590
Laura-Giudiccioni-Lucchesini-Cavalieri. La pazzia di FILENO: favola pastorale
1592
Il conte di Vernio è trasferito a Roma.
1593
Christopher Marlowe.
COME LIVE WITH ME & BE MY LOVE
& we will all the pleasures prove
that hills & valleys, dale & field,
& all the craggy mountains yield
Christopher Marlowe.
COME LIVE WITH ME & BE MY LOVE
& we will all the pleasures prove
that hills & valleys, dale & field,
& all the craggy mountains yield
there will we sit upon the rocks
& see the shepherds feed their flocks
by shallow rivers, to whose falls
melodious birds sing madrigals.
there will I make thee beds of roses
and a thousand fragrant posies,
a cap of flowers, and a kirtle
embroider'd all with leaves of myrtle.
and a thousand fragrant posies,
a cap of flowers, and a kirtle
embroider'd all with leaves of myrtle.
a gown made of the finest wool
which from our pretty lambs we pull,
fair linèd slippers for the cold,
with buckles of the purest gold.
a belt of straw and ivy buds
with coral clasps and amber studs:
& if these pleasures may thee move
come live with me and be my Love.
with coral clasps and amber studs:
& if these pleasures may thee move
come live with me and be my Love.
thy silver dishes for thy meat
as precious as the gods do eat,
shall on an ivory table be
prepared each day for thee and me.
the shepherd swains shall dance & sing
for thy delight each May-morning:
if these delights thy mind may move,
then live with me and be my Love.
for thy delight each May-morning:
if these delights thy mind may move,
then live with me and be my Love.
1594
Corsi-Peri/Rinuccini. “APOLLO E DAFNE” (tratto dale Metamorfosi d’Ovidio). Incontro della “Camerata di Bardi” al Palazzo del marchese Jacopo Corsi, via de’ Tornabuoni, 16, Firenze. Carnavale. Apollo, tenore. FRAGMENTS.
1597
Orazio Vecchi. “L’AMFIPARNASSO” (DVD). Venezia.
Orazio Vecchi. “L’AMFIPARNASSO” (DVD). Venezia.
1598
Guarini. LE NOZZE DI MERCURIO E FILOLOGIA: intermezzo per “Il pastor fido” (22 nov., Mantova) per la maesta della regina D. Margarita d’Austria.
As the curtain rose, the city of Mantua is seen, with Venere , Espero, and the star Giulia in a cloud; they sang a madrigal to Margherita. Nymphs and shepherds then entered, and Mincio and Manto (and her son Ocno), representing the city of Mantova, rose from the waters. Then Mantova disappears, and the scene changes to reveal the Arcadian set of the play. The first intermedio was set in the Elysian Fields: Giunone enters on a chariot drawn by peacocks, and Iride announces the marriage of Mercurio and Filologia. Sixteen poets celebrated in vocal and instrumental music before the scene changed to the Inferno, with the river Lethe and Caronte on his boat ferrying Plutone on his way to celebrate the wedding with Giove . In the second intermedio, an earthquake caused the scene to change to reveal clouds and sea. Four winds appeared, then Discordia, angry for not having been invited to the wedding. A group of Indian fishermen invoked Venere to give them corals and pearls to present as wedding gifts. From the sea emerged Glauco, tritons, and other marine deities, and a large whale, then Nettuno, who rose to Olympus. Similar underground rumblings marked the beginning of the third intermedio, revealing Berecintia followed by Apollo, who sang an epithalamium to the harp to Filologia, who was seated on Parnasso. All then ascended to heaven, where Giove embraced the bride. The fourth intermedio, set in a city, involved the appearance of the twelve months, and then Fama and Tempo discussing the happy event. The heavens opened to reveal the marriage pair, with Pace on high; the scene depicted many regions, with monuments of all kinds. For the final licenza, all the gods appeared in the heavens, while on earth shepherds and corybants invoked Imeneo (Hymen) in song, ending with a moresca.
1600
IL SEICENTO
1600
Songs of Shakespeare
Come away death
Alack a day
Shall I compare thee to a summer’s day
1600
Peri-Rinuccini. “ORFEO ED EURIDICE: rappresentate nello sposalizio della cristianissima Maria Medici regina di Francia e di Navarra”. Palazzo Pitti-Medici, Piazza Pitti 1, Quartiere di Oltrarno, Firenze. 6 ottobre. Orfeo, tenore..
nel puro ardor della più bella stella ( a)
aurea facella (a)
di bel foco accendi (b)
e qui discendi (b)
su l'aurate piume (c)
giocondo nume (c)
e di celeste fiamma (d)
l'anime infiamma (d)
EURIDICE: lassa che di spavento e di pietate/gelami il cor nel seno/miserabil beltate/come in un punto ohimè venisti meno/ahi che lampo o baleno.in notturno seren ben ratto fugge/ma più rapida l’ale/affretta umana vita al dì fatale. BASSO: ohimè che fia già mai/pur or tutta gioiosa/al fonte degl'allor costei lasciai/qual così ria novella/turba il tuo bel sembiante/in questo allegro dì gentil donzella/o del gran Febo e delle sacre dive/pregio sovran di queste selve onore/non chieder la cagion del mio dolore/ninfa deh si contenta/ridir perché t'affanni/che taciuto martir troppo tormenta/com'esser può già mai/ch'io narri, e ch'io riveli/sì miserabil caso, o fato, o cieli/deh lasciami tacer, troppo il saprai/di pur sovente/del timor l'affanno /e dell'istesso mal men grave assai/ah non sospender più l'alma turbata.
1600
de’ Cavalieri. “CORPO E ANIMA”, dal dramma Le Viol de Lucrèce di André Obey, da Tito Livio e da Shakespeare, RAPPRESENTAZIONE per recitar cantando in un prologo e tre atti. . Oratorio del Crocifisso, Roma. Corpo, tenore. Il Tempo, tenore, il consiglio, tenore, compagno del paicere, tenore, il mondo, tenore, (Feb 5).On 10 Nov. 1600, de Cavalieri wrote a letter arguing that he, not Jacopo Peri was the inventor of opera. Indeed Peri deferred to him in the preface to the published version of Euridice (1601).
ahi chi mi dà consiglio (a)
a qual di due m'appiglio (a)
l'anima mi conforta (b)
il senso mi trasporta (b)
la carne mia mi tenta (c)
l’eterno mi spaventa (c)
misero che far deggio (d)
attaccarommi al peggio (d)
no no che non è giusto (e)
per un fallace gusto (e)
per breve piacer mio (f)
perder 'l ciel, la vita eterna e dio (f)
sicché ormai alma mia (g)
con teco in compagnia (g)
cercarò con amore (h)
il ciel, la vita eterna e ’l mio signore (h).
1600
Cabrera-Caccini-Buontalenti. “IL RAPIMENTO DI CEFALO D’AURORA, tratto delle Metamorfosi d’Ovidio, X: pastorale, comedia, “favola, comedia pastorale, pastourelle, rappresentazione. Cori di Stefano Venturi del Nibbio, Luca Bati, e Piero Strozzi. Le nozze di Enrico IV e Maria de’ Medici, sala delle Commedie, Palazzo dei Tredici Uffizi, Firenze, 9 ottobre.. Cefalo, tenore (Pompeo Caccini), Febo, tenore (Jacopo Peri), Mercurio, tenore (Francesco Rasi), Giove, tenore. Coro di cacciatori , “Ineffabile ardore.
1600
Cavalieri. La contessa fra Giunone e Minerva. Firenze. 5 ottobre.
Cavalieri. La contessa fra Giunone e Minerva. Firenze. 5 ottobre.
1608
Monteverdi, “Adrianna abbandonata da Teseo”
Lasciatame morir
1607
Striggio--Monteverdi. “ORFEO ED EURIDICE”. DVD. (feb. 24) Palazzo Ducale, Mantova, commissioned by Duca di Mantova: Vincenzo Gonzaga. Orfeo, tenore (Francesco Rasi).
tu se’ morta, mia vita, ed io respiro?
tu se’ da me partita/per mai più non tornare, ed io rimango?
No, che se i versi alcuna cosa ponno
n’andrò sicuro a’ più profondi abissi
e intenerito il cor del re de l’ombre
meco trarrotti a riveder le stele
o se ciò negherammi empio destino
rimarrò teco in compagnia di morte
a dio, terra; a dio, cielo; e sole, a dio.
Striggio--Monteverdi. “ORFEO ED EURIDICE”. DVD. (feb. 24) Palazzo Ducale, Mantova, commissioned by Duca di Mantova: Vincenzo Gonzaga. Orfeo, tenore (Francesco Rasi).
tu se’ morta, mia vita, ed io respiro?
tu se’ da me partita/per mai più non tornare, ed io rimango?
No, che se i versi alcuna cosa ponno
n’andrò sicuro a’ più profondi abissi
e intenerito il cor del re de l’ombre
meco trarrotti a riveder le stele
o se ciò negherammi empio destino
rimarrò teco in compagnia di morte
a dio, terra; a dio, cielo; e sole, a dio.
1616
Ben Jonson, Volpone, or the Fox.
Ben Jonson, Volpone, or the Fox.
drink to me only with thine eyes
& I will pledge with mine
or leave a kiss within the cup
& I'll not ask for wine
the thirst that from the soul doth rise
doth ask a drink divine
but might I of Jove's nectar sip
I would not change for thine.
I sent thee late a rosy wreath,
not so much honouring thee
as giving it a hope that there
it could not withered be;
but thou thereon didst only breathe,
and sent'st it back to me;
since when it grows, and smells, I swear,
not of itself but thee.
not so much honouring thee
as giving it a hope that there
it could not withered be;
but thou thereon didst only breathe,
and sent'st it back to me;
since when it grows, and smells, I swear,
not of itself but thee.
1624
Monteverdi. “IL COMBATTIMENTO DI TANCREDI E CLORINDA” (tratto da Tasso, Gerusalemme liberata, Canto XII).
DVD. Palazzo (Girolamo) Mocenigo, Venezia. Tancredi, tenore.
Nostra sventura è ben che qui s’impieghi-------a
tanto valor, dove silenzio il copra---------------b
ma poi che sorte rea vien che ci neighi----------a
e lode e testimon degni de l’opra,-------- ----b
pregoti se fra l'armi han loco i preghi---------a
che'l tuo nome e'l tuo stato a me tu scopra----------------------------b
acciò ch’io sappia, o vinto o vincitore,----------------------c
chi la mia morte o vittoria onore. --------------c--------
tanto valor, dove silenzio il copra---------------b
ma poi che sorte rea vien che ci neighi----------a
e lode e testimon degni de l’opra,-------- ----b
pregoti se fra l'armi han loco i preghi---------a
che'l tuo nome e'l tuo stato a me tu scopra----------------------------b
acciò ch’io sappia, o vinto o vincitore,----------------------c
chi la mia morte o vittoria onore. --------------c--------
1626
Mazzochi, LA CATENA D’ADONE, tratto da Marino. Palazzo del marchese Evandro Conti, rione di Sant’Eustachio, Roma. Feb. 25. Apollo, tenore, Oraspe, tenore.
Mazzochi, LA CATENA D’ADONE, tratto da Marino. Palazzo del marchese Evandro Conti, rione di Sant’Eustachio, Roma. Feb. 25. Apollo, tenore, Oraspe, tenore.
Adone – tenore – role created by Lorenzo Sances. Apollo tenore. Adone has
to flee from the god Marte, Venere's former lover, and takes refuge in the land
of the “maga” Falsirena, who falls in love with him. The maga keeps Adone
captive in her realm by means of a chain. Venere arrives, frees Adone and binds
the maga to a rock with her own chain.
1648
Cicognini-Cavalli. “MEDEA IN COLCO: IL TRINFO D’AMOR DELLE VENDETTE ossia il Novell Giasone”. tratto da Apollonio Rodio. (DVD). Teatro San Cassiano, Venezia, 5 gennaio. Egeo, re d'Atene - tenore.
delizie mie care -------------a
fermatevi qui ----------------b
non so più bramare---------a
mi basta così. ----------------b
delizie contenti che l’alma beate------ a -----------un grembo agl’amori fra i dolci catene
fermate ----------a---------------------------------morir mi conviene
su questo mio core -------b --------------------dolcezza omicida
deh più non stillate -----a ----------------------a morte mi guida
le gioie d’amore ---------- b --------------------in braccio al mio bene.
joyful delights making my soul blissful come to an end, on my very heart,
oh, do not any more trickle the joys of love, my dear delights come to an end
now, I cannot desire any longer, it is enough. In the lap of love, in sweet
chains to die suits me, homicide sweetness to death guides me in the arms of my
beloved.
Cm—Fm. Delizie contenti che l’alma beate ----------- a Cm----Cm/fermate fermate -------------- a/su questo mio core ---------- b/deh più deh piu /non stillate -------------------a/le gioie d’amore ----------------Cm/(le gioie d’amore) ------------ b Cm--/delizie mie care ---------------- a/fermatevi qui, ------ b/non so più bramare, -------------- a/mi basta così. ---------------- b/(non so piu bramare mi basta cosi delizie mie care --- fermatevi qui non so piu bramare mi basta cosi)./II. in grembo a gl’amori fra dolci catene ------------ a/morir morir mi conviene -------------------- b/dolcezza omicida ------------- c/a morte a morte mi guida mi guida ----------c/in braccio al mio bene ----------- b/dolcezze mie care fermatevi qui ----/non so più bramare mi basta così non so piu bramare mi basta cosi -- dolcezze mie care --- fermatevi qui non so piu bramare /mi basta cosi).
1648
R. Herrick, “Hesperides”
Cm—Fm. Delizie contenti che l’alma beate ----------- a Cm----Cm/fermate fermate -------------- a/su questo mio core ---------- b/deh più deh piu /non stillate -------------------a/le gioie d’amore ----------------Cm/(le gioie d’amore) ------------ b Cm--/delizie mie care ---------------- a/fermatevi qui, ------ b/non so più bramare, -------------- a/mi basta così. ---------------- b/(non so piu bramare mi basta cosi delizie mie care --- fermatevi qui non so piu bramare mi basta cosi)./II. in grembo a gl’amori fra dolci catene ------------ a/morir morir mi conviene -------------------- b/dolcezza omicida ------------- c/a morte a morte mi guida mi guida ----------c/in braccio al mio bene ----------- b/dolcezze mie care fermatevi qui ----/non so più bramare mi basta così non so piu bramare mi basta cosi -- dolcezze mie care --- fermatevi qui non so piu bramare /mi basta cosi).
1648
R. Herrick, “Hesperides”
bid me to LIVE & I will live
thy protestant to be;
or bid me love & I will give
a loving heart to thee.
a heart as soft, a heart as kind
a heart as sound and free
as in the whole world thou canst find
that heart I'll give to thee.
a heart as sound and free
as in the whole world thou canst find
that heart I'll give to thee.
bid that heart STAY & it will stay
to honour thy decree
or bid it LANGUISH quite away
&'t shall do so for thee.
to honour thy decree
or bid it LANGUISH quite away
&'t shall do so for thee.
bid me to WEEP & I will weep
while I have eyes to see
& having none yet I will keep
a heart to weep for thee.
while I have eyes to see
& having none yet I will keep
a heart to weep for thee.
bid me DESPAIR & I'll despair
under that cypress tree
or bid me DIE & I will dare
e'en Death to die for thee.
under that cypress tree
or bid me DIE & I will dare
e'en Death to die for thee.
thou art my life, my love, my heart,
the very eyes of me
& hast command of every part
to LIVE & DIE for thee.
the very eyes of me
& hast command of every part
to LIVE & DIE for thee.
1653
Cavalli. “ELENA RAPITA DA TESEO”. Venezia.
Cavalli. “ELENA RAPITA DA TESEO”. Venezia.
sospiri di foco --------- - a --- - aurette legere
che l’aure infiammate ----- b -- che udite il mio duolo
leggeri volâte ---- b - -----------portâtevi a volo
intorno al mio bene -------- c ----- al sen di chi adoro
e l’aspre mie pene ---- c --- e dite ch’io moro
narrategli un poco ------ a -----in doglie severe
sospiri sospiri di foco ----- a ----- aurette aurette leggere
sospiri sospiri di foco ----- a- ------aurette aurette leggere.
che l’aure infiammate ----- b -- che udite il mio duolo
leggeri volâte ---- b - -----------portâtevi a volo
intorno al mio bene -------- c ----- al sen di chi adoro
e l’aspre mie pene ---- c --- e dite ch’io moro
narrategli un poco ------ a -----in doglie severe
sospiri sospiri di foco ----- a ----- aurette aurette leggere
sospiri sospiri di foco ----- a- ------aurette aurette leggere.
1656
Antonio Cesti. “ORONTEA, regina d’Egitto: drama musicale”. Teatro di Santi
Apostoli. Alidoro, giovanne pittore – in realta Floridano, principe di Fenicia,
tenore (Antonio Cesti) (Inc. B. Gigli, 1947).
intorno all’idol mio spirate ---a---al mio ben che riposa
pur spirate ---------------------------- a-- ---su l’ali della quiete
aure aure soavi e grate----- ----- a -- grati grati sogni assistete
e nelle guancie elette-------------- b --- e il mio racchiuso ardore
baciatela per me------ c --- svelate gli per me
cortesi cortesi aurette-------------b--- o larve o larve d’amore
e nelle guancie elette ----- e il mio riacchiuso ardore
baciatelo per me ----- --svellate gli per me
baciatela per me------------- svellate gli per me
cortesi cortesi ------- o larve o larve
baciatelo per me ------- d’amor d’amor.
pur spirate ---------------------------- a-- ---su l’ali della quiete
aure aure soavi e grate----- ----- a -- grati grati sogni assistete
e nelle guancie elette-------------- b --- e il mio racchiuso ardore
baciatela per me------ c --- svelate gli per me
cortesi cortesi aurette-------------b--- o larve o larve d’amore
e nelle guancie elette ----- e il mio riacchiuso ardore
baciatelo per me ----- --svellate gli per me
baciatela per me------------- svellate gli per me
cortesi cortesi ------- o larve o larve
baciatelo per me ------- d’amor d’amor.
around my idol breathe merely breathe winds, winds, sweet and gracious and
on the favored cheeks kiss her for me courtly breezes in my love who rests on
the wings of quiet gracious dreams provoke.and my hidden ardor reveal to her for
me o spirits of love).
1660
ARE YOU GOING TO SCARBOROUGH FAIR
--- parsley, sage, rosemary & thyme
remember me to one who lives there
for once she was a true love of mine.
tell her to make me a cambric shirt
---
without any seam or needlework
then she shall be a true lover of mine.
Tell her to wash it in yonder well
--
Where never spring water or rain ever fell
& she shall be a true lover of mine.
--
Where never spring water or rain ever fell
& she shall be a true lover of mine.
Tell her to dry it on yonder thorn,
Which never bore blossom since Adam was born,
Then she shall be a true lover of mine.
Which never bore blossom since Adam was born,
Then she shall be a true lover of mine.
Now he has asked me questions three,
I hope he'll answer as many for me
Before he shall be a true lover of mine.
I hope he'll answer as many for me
Before he shall be a true lover of mine.
Tell him to buy me an acre of land,
Betwixt the salt water and the sea sand
Then he shall be a true lover of mine.
Betwixt the salt water and the sea sand
Then he shall be a true lover of mine.
Tell him to plough it with a ram's horn
& sow it all over with one pepper corn,
And he shall be a true lover of mine.
Tell him to shear it with a sickle of leather,
& bind it up with a peacock feather.
And he shall be a true lover of mine.
& bind it up with a peacock feather.
And he shall be a true lover of mine.
Tell him to thrash it on yonder wall,
& never let one corn of it fall,
Then he shall be a true lover of mine.
& never let one corn of it fall,
Then he shall be a true lover of mine.
When he has done and finished his work.
Oh, tell him to come and he'll have his shirt,
And he shall be a true lover of mine.
1666
The earliest known mention of the song is in Samuel Pepys' diary for January 2. 1666 where he refers to the “little Scotch song of 'Barbary Allen'” – arranged by Roger Quilter in 1921.
farewell she said ye virgins all
& shun the fault I fell in
henceforth take warning by the fall
of cruel Barb’ra Allen.
Oh, tell him to come and he'll have his shirt,
And he shall be a true lover of mine.
1666
The earliest known mention of the song is in Samuel Pepys' diary for January 2. 1666 where he refers to the “little Scotch song of 'Barbary Allen'” – arranged by Roger Quilter in 1921.
farewell she said ye virgins all
& shun the fault I fell in
henceforth take warning by the fall
of cruel Barb’ra Allen.
In Scarlet town where I was born
there was a fair maid dwellin’
made ev’ry youth cry well-a-day
her name was Barb’ra Allen.
all in the merry month of May
when green buds they were swellin',
young Jemmy Grove on his death-bed lay
for love of Barb'ra Allen.
when green buds they were swellin',
young Jemmy Grove on his death-bed lay
for love of Barb'ra Allen.
then slowly, slowly she came up,
& slowly she came nigh him,
& all she said when there she came
‘young man, I think you're dying’.
as she was walking o'er the fields
she heard the dead-bell knellin',
& ev'ry stroke the dead-bell gave
cried "Woe to Barb'ra Allen!"
she heard the dead-bell knellin',
& ev'ry stroke the dead-bell gave
cried "Woe to Barb'ra Allen!"
when he was dead and laid in grave
her heart was struck with sorrow.
‘O mother, mother, make my bed,
for I shall die tomorrow.’
1675
Fattorini-Legrenzi. “ETEOCLE E POLINICE”, tratto della Tebaide di Stazio. G.Legrenzi, "Eteocle e Polinice, ossia, I sette contro Tebe" (tratto da Euripide ed Eschilo). Aria: 'Festeggia, mio core', for a revival in 1680 in Venezia, to the melody of "Che fiero costume", published in 1678
I ---------------------------------------------------------------------------------------------------------------------------------II
che fiero costume --------------------------------------------------------------a-------che crudo destino
d’aligero nume ------------------------------------------------------------------a-------che un cieco bambino
che a forza di pene--------------------------------------------------------------------con bocca di latte
si faccia adorar ------------------------------------------------------------------b--------------si faccia stimar.
si faccia adorar -------------------------------------------------------------------b--------------------si faccia stimar
che a forza di pene------------------------------------------------------------------------------------con bocca di latte
si faccia adorar----------------------------------------------------------------------------------------si faccia stimar.
e pur nell' ardore ------------------c-----------------------------------------------------ma questo tiranno
il dio traditore -----------------------------------------c------------------------------------con barbaro inganno
un vago sembiante -------------------------------------------------------------entrando per gli occhi
mi fe’ idolatrar --------------------------------------------b -------------------------------mi fe’ sospirar.
un vago sembiante --------------------------------------------------------------------------------entrando per gli occhi
mi fe’ idolatrar------------------------------------------------------------------------------------mi fe’ sospirar.
che fiero costume--------------------------------------------------------------------------------che crudo destino
d’aligero nume----------------------------------------------------------------------------------che un cieco bambino
che a forza di pene----------------------------------------------------------------------------con bocca di latte
si faccia adorar-------------------------------------------------------------------------------si faccia stimar
si faccia adorar-------------------------------------------------------------------------------si faccia stimar
che a forza di pene--------------------------------------------------------------------------con bocca di latte
si faccia adorar-------------------------------------------------------------------------------si faccia stimar.
1680
Alessandro Scarlatti. “LI AMORI SFORTUNATI”, ossia, l’HONESTà NEGLI AMORI: dramma per musica in tre atti rappresentato e dedicato alla Sacra real maesta della regina di Svezia. Rifacimento. Libretto: Giovanni Filippo Bernini “F. Parnasso”. Roma: Teatro del Pace, Palazzo Bernini, Roma. Saldino, a pageboy, tenore (Inc. B. Gigli).
già il sôle dal Gange gia il sole dal Gange --------------------------------- a
più chiaro più chiaro sfavilla ---------------- b
più chiaro sfavilla più chiaro più chiaro sfavilla
e terge ogni stella dell’alba che piange ------a
dell’alba che piange dell’alba che piange dell’alba che piange
già il sole dal Gange già il sole dal Gange più chiaro, più chiaro sfavilla più chiaro, sfavilla
più chiaro più chiaro sfavilla
col râggio dorato col raggio dorato ------------------------------------------------c
ingemma ingemma ogni stello ------------------------d
ingemma ogni stello ingemma ingemma ogni stello
e gli astri del cielo --------------------------------d
dipinge nel prato ------------------------------------------------------------------c
dipinge nel prato dipinge nel prato dipinge nel prato
col raggio dorato col raggio dorato ingemma, ingemma ogni stello,/ingemma ogni stello ingemma ingemma ogni stello.
her heart was struck with sorrow.
‘O mother, mother, make my bed,
for I shall die tomorrow.’
1675
Fattorini-Legrenzi. “ETEOCLE E POLINICE”, tratto della Tebaide di Stazio. G.Legrenzi, "Eteocle e Polinice, ossia, I sette contro Tebe" (tratto da Euripide ed Eschilo). Aria: 'Festeggia, mio core', for a revival in 1680 in Venezia, to the melody of "Che fiero costume", published in 1678
I ---------------------------------------------------------------------------------------------------------------------------------II
che fiero costume --------------------------------------------------------------a-------che crudo destino
d’aligero nume ------------------------------------------------------------------a-------che un cieco bambino
che a forza di pene--------------------------------------------------------------------con bocca di latte
si faccia adorar ------------------------------------------------------------------b--------------si faccia stimar.
si faccia adorar -------------------------------------------------------------------b--------------------si faccia stimar
che a forza di pene------------------------------------------------------------------------------------con bocca di latte
si faccia adorar----------------------------------------------------------------------------------------si faccia stimar.
e pur nell' ardore ------------------c-----------------------------------------------------ma questo tiranno
il dio traditore -----------------------------------------c------------------------------------con barbaro inganno
un vago sembiante -------------------------------------------------------------entrando per gli occhi
mi fe’ idolatrar --------------------------------------------b -------------------------------mi fe’ sospirar.
un vago sembiante --------------------------------------------------------------------------------entrando per gli occhi
mi fe’ idolatrar------------------------------------------------------------------------------------mi fe’ sospirar.
che fiero costume--------------------------------------------------------------------------------che crudo destino
d’aligero nume----------------------------------------------------------------------------------che un cieco bambino
che a forza di pene----------------------------------------------------------------------------con bocca di latte
si faccia adorar-------------------------------------------------------------------------------si faccia stimar
si faccia adorar-------------------------------------------------------------------------------si faccia stimar
che a forza di pene--------------------------------------------------------------------------con bocca di latte
si faccia adorar-------------------------------------------------------------------------------si faccia stimar.
1680
Alessandro Scarlatti. “LI AMORI SFORTUNATI”, ossia, l’HONESTà NEGLI AMORI: dramma per musica in tre atti rappresentato e dedicato alla Sacra real maesta della regina di Svezia. Rifacimento. Libretto: Giovanni Filippo Bernini “F. Parnasso”. Roma: Teatro del Pace, Palazzo Bernini, Roma. Saldino, a pageboy, tenore (Inc. B. Gigli).
già il sôle dal Gange gia il sole dal Gange --------------------------------- a
più chiaro più chiaro sfavilla ---------------- b
più chiaro sfavilla più chiaro più chiaro sfavilla
e terge ogni stella dell’alba che piange ------a
dell’alba che piange dell’alba che piange dell’alba che piange
già il sole dal Gange già il sole dal Gange più chiaro, più chiaro sfavilla più chiaro, sfavilla
più chiaro più chiaro sfavilla
col râggio dorato col raggio dorato ------------------------------------------------c
ingemma ingemma ogni stello ------------------------d
ingemma ogni stello ingemma ingemma ogni stello
e gli astri del cielo --------------------------------d
dipinge nel prato ------------------------------------------------------------------c
dipinge nel prato dipinge nel prato dipinge nel prato
col raggio dorato col raggio dorato ingemma, ingemma ogni stello,/ingemma ogni stello ingemma ingemma ogni stello.
1689
Henry Purcell – DIDO AND AENEAS: an opera. Didone abbandonata d’Enea. DVD. Enea, tenore.
when I am laid am laid in earth
may my wrongs create ----- a
no trouble no trouble in thy breast
when I am laid am laid in earth
may my wrongs create
no trouble no trouble in thy breast.
remember me remember me
but ah forget my fate -------------------------a
remember me but ah forget my fate.
1683
Scarlatti. “POMPEO”. Teatro del Palazzo Colonna, Roma. Pompeo, tenore.
------------I ---------------------------------------------------------------------------------------------------------II
o cessate di piagarmi ----------------------------------più d’un angue, più d’un aspe
o lasciatemi morir -------------------------------------------crudi e sordi a’ miei sospir
o lasciatemi morir
luc’ ingrate
dispietate ----------------------------occhi alteri, ciechi e fieri
luc’ ingrate
dispietate
più del gelo e più de' marmi ----------------------------voi potete risanarmi
fredde e sorde a’ miei martir. --------------------e godete al mio languir.
fredde e sorde a’ miei martir
o cessate di pagarmi -- o lasciatemi morir o lasciatemi morir.
o cessate di pagarmi o lasciatemi morir.
o lasciatemi morir.
luce ingrate dispietate luce ingrate dispietate
piu del gelo e piu de’ marmi fredde e sorde a’ miei martir.
fredde e sorde a’ miei martir-------- a
o cessate di piagarmi o lasciatemi morir.
o lasciatemi morir.
cease plaguing me, let me die, lights ungrateful merciless more than ice & more than marble cold & deaf to my martyrdom, more than a snake, more than an asp, cruel & deaf to my sighs, eyes so proud, blind & fierce, you have power to heal mel again & enjoy my fainting.
1700
IL SETTECENTO
1701
Caldara. “L’AMINTA”, ossia il pastore che amava la ninfa. tratto da Tasso. Il pastor fido, ossia, La costanza in amor vince l’inganno: dramma pastorale. Teatro, Macerata. Aminta, tenore.
I------------------
II----------------------Eb/
sebben crudêle -------Eb------ ---------------a --------------------------------------con la lunghezza
mi fai languir ------------Eb-------------------b------------------------------------del mio sêrvir
sempre fedele sempre fedele------------C7Fm-------a---------------------------la tua fierezza la tua fierezza
ti vôglio âmar. --------------------------(int)----- ---c----------------------saprò stancar.
RITORNELLO I:
sebben crudele -----------------------------------------FmajGmaj----------la tua fierezza
mi fai languîr -------------------------------------------GmajCm--------------saprò stancar
semprê fêdele ---------------------------------------------------------Fm----------------la tua fierezza
ti vôglio amar -------------------------------------------------------GmajCm-----------sapro stancar.
RITORNELLO II:
sebben crudele mi fai languir sempre fedele ti voglio amar ----- sebben crudele mi fai languir/ sempre fedele sempre fedele ti voglio amar sebben crudele mi fai languir sempre fudele ti voglio amare sebben crudele mi fai languir sempre fedele ti voglio amar.
1701
Caldara. “L’AMINTA”, ossia il pastore che amava la ninfa. tratto da Tasso. Il pastor fido, ossia, La costanza in amor vince l’inganno: dramma pastorale. Teatro, Macerata.
“Selve amiche”. Aminta, tenore (inc. B. Gigli).
selve amiche selve amiche ombrose piante ----- a
fido albergo del mio core -------- b
chiedea voi que st'alma amante ---------------------- a
qualche pace al suo dolore. ------- b -----------------
sebben crudêle -------Eb------ ---------------a --------------------------------------con la lunghezza
mi fai languir ------------Eb-------------------b------------------------------------del mio sêrvir
sempre fedele sempre fedele------------C7Fm-------a---------------------------la tua fierezza la tua fierezza
ti vôglio âmar. --------------------------(int)----- ---c----------------------saprò stancar.
RITORNELLO I:
sebben crudele -----------------------------------------FmajGmaj----------la tua fierezza
mi fai languîr -------------------------------------------GmajCm--------------saprò stancar
semprê fêdele ---------------------------------------------------------Fm----------------la tua fierezza
ti vôglio amar -------------------------------------------------------GmajCm-----------sapro stancar.
RITORNELLO II:
sebben crudele mi fai languir sempre fedele ti voglio amar ----- sebben crudele mi fai languir/ sempre fedele sempre fedele ti voglio amar sebben crudele mi fai languir sempre fudele ti voglio amare sebben crudele mi fai languir sempre fedele ti voglio amar.
1701
Caldara. “L’AMINTA”, ossia il pastore che amava la ninfa. tratto da Tasso. Il pastor fido, ossia, La costanza in amor vince l’inganno: dramma pastorale. Teatro, Macerata.
“Selve amiche”. Aminta, tenore (inc. B. Gigli).
selve amiche selve amiche ombrose piante ----- a
fido albergo del mio core -------- b
chiedea voi que st'alma amante ---------------------- a
qualche pace al suo dolore. ------- b -----------------
1705
Opening of the “Teatro Regio al Mercato di Fieno” – Haymarket, Her Majesty’s Theatre: the place in London to hear Italian opera.
Giacomo Greber, “GLI AMORI D’ERGASTO. on 14 December 1704, and the theatre opened as The Queen's Theatre on 9 April 1705 with imported Italian singers in Gli amori d'Ergasto, an opera by Giacomo Greber, with an epilogue by Congreve. This was the first Italian opera performed in London.[8] The opera failed, and the season struggled on through May, with revivals of plays and operas.[9In 1705 the first theatre, named The Queen's (after Queen Anne), opened as an opera house with an Italian opera called The Loves of Ergasto. In 1711 Handel was Composer at The Queen's and conducted his first opera, Rinaldo. The venue was thus established as presenting Italian opera for the first time in the UK. In 1714 when King George I came to the throne the theatre was renamed The King's Theatre.
Opening of the “Teatro Regio al Mercato di Fieno” – Haymarket, Her Majesty’s Theatre: the place in London to hear Italian opera.
Giacomo Greber, “GLI AMORI D’ERGASTO. on 14 December 1704, and the theatre opened as The Queen's Theatre on 9 April 1705 with imported Italian singers in Gli amori d'Ergasto, an opera by Giacomo Greber, with an epilogue by Congreve. This was the first Italian opera performed in London.[8] The opera failed, and the season struggled on through May, with revivals of plays and operas.[9In 1705 the first theatre, named The Queen's (after Queen Anne), opened as an opera house with an Italian opera called The Loves of Ergasto. In 1711 Handel was Composer at The Queen's and conducted his first opera, Rinaldo. The venue was thus established as presenting Italian opera for the first time in the UK. In 1714 when King George I came to the throne the theatre was renamed The King's Theatre.
In 1791 a new King's Theatre opened, after the first building had been
destroyed in a fire in 1789. In 1837 – with the accession of Queen Victoria, the
theatre's name was again chaned – this time to Her Majesty's Theatre, Italian
Opera House.
In 1867 the theatre was again destroyed by fire and a new building, this
time designed by Charles Lee was built. However, the theatre stood empty until
1875 when it was occupied by the Evangelist Meetings of Moody & Sankey.
There were then a variety of performances until at Christmas in 1890 a pantomime
closed the theatre and two years later in 1892 Her Majesty's Theatre was
demolished.
In 1896 the actor Herbert Beerbohm Tree laid the foundation stone of his
new theatre which was completed in 1897 and reopened with a production of
Gilbert Parker's Seats of the Mighty. During his 18 years of management Tree
established the building as a playhouse with more than 46 of his own
productions, including Shakespeare, adaptations of novels and melodramas.
With the accession of King Edward VII in 1901 the theatre was again
renamed, this time as His Majesty's. Tree appeared as Malvolio in Twelfth Night
and Beau Brummell in The Last of the Dandies, and Sarah Bernhardt returned to
London in a season of French dramas.
In 1904 Tree instigated a drama school in the Dome Room at the top of the
theatre, which eventually became the Royal Academy of Dramatic Art.
The Phantom of the Opera opened in 1986 – the original cast being led by
Michael Crawford and Sarah Brightman. Subsequently the cast has included Claire
Moore, Dave Willetts, Michael Ball, John Barrowman, Peter Straker and Mike
Sterling. Phantom is still playing to capacity and it is currently the longest
running and most successful production in the theatre's long and colourful
history.
The latest refurbishment of the building took place between 1992-1994 when
new toilets and a new roof were installed – and all without the loss of even one
performance of Phantom!
1709
This tune was originally composed the night after the Battle of Malplaquet in 1709. It became a French folktune, later popularized by Marie Antoinette after she heard one of her maids singing it.The tune became so popular in France that it was used to represent the French defeat in Ludwig van Beethoven's composition “Wellington Victory” Opus 91 (1813). The tune also became popular in England as a harpsichord exercise, and by the 19th century it was being sung to these words.
& so say all of us
This tune was originally composed the night after the Battle of Malplaquet in 1709. It became a French folktune, later popularized by Marie Antoinette after she heard one of her maids singing it.The tune became so popular in France that it was used to represent the French defeat in Ludwig van Beethoven's composition “Wellington Victory” Opus 91 (1813). The tune also became popular in England as a harpsichord exercise, and by the 19th century it was being sung to these words.
& so say all of us
1711
FOR AULD LANG SYNE my jo
FOR AULD LANG SYNE
we’ll tak a cup o’ kindness yet
FOR AULD LANG SYNE
FOR AULD LANG SYNE
we’ll tak a cup o’ kindness yet
FOR AULD LANG SYNE
should auld acquaintance be forgot,
and never brought to mind ?
should auld acquaintance be forgot,
and auld lang syne?
and surely ye’ll be your pint-stowp !
and surely I’ll be mine !
And we’ll tak a cup o’ kindness yet,
for auld lang syne.
we twa hae run about the braes,
and pu’d the gowans fine ;
But we’ve wander’d mony a weary fit,
sin auld lang syne.
We twa hae paidl’d i' the burn,
frae morning sun till dine ;
But seas between us braid hae roar’d
sin auld lang syne.
And there’s a hand, my trusty fiere !
and gie's a hand o’ thine !
And we’ll tak a right gude-willy waught,
for auld lang syne.
1712
Handel. “IL PASTOR FIDO”.
Su libretto tratto da Guarini.
1715
Alessandro Scarlatti. “IL TIGRANE: PRINCIPE D’ARMENIA” (tratto delle Storie d’Erodoto) “o vero l’egual impegno d’amore e di fede”, “overo la virtù trionfante dell'amore, e dell'odio: drama per musica". Teatro San Bartolomeo, Napoli. Doraspe re di Damasco, tenore, Gaetano Borghi. (Inciso da Tito Schipa).
sento nel core certo dolore certo dolore
che la mia pace turbando va
nel core nel core sento nel core certo dolore certo dolore che la mia pace
turbando va che la mia pace turbando va
splende una face che l'alma accende
se non è amore amor sarà
se non è amore amor sarà
amor amor sarà splende una face che l'alma accende se non è amore, amor
sarà se non è amore, amor sarà sento nel core certo dolore, certo dolore che la
mia pace turbando va nel core nel core sento nel core certo dolore certo dolore
che la mia pace turbando va che la mia pace turbando va.
1722
Bononcini. “LA PAZIENTE GRISELDA” Tratto dal “Decameron” di Boccaccio, Canto X. Teatro del Mercato di Fieno, Londra. Ernesto, tenore.
Ritornello: penerò
v'amerò
luci câre
I ------------------------------------------------------------------------------------------------------------II
pêr la glôria d’âdorârvi -----------------------a---------------------- senza speme dî diletto
voglio amarvi (a) o luci câre ----------------------b-------------vano affetto è sospirare.
pêr la glôria d’adorârvi --------------------------------------------a - -------------------------------------------------------------senza speme di diletto
vogli amarvi o luci câre---- -------------------------------------------b--------- ----------------------------------------------------------vano affetto è sospirare.
âmando penerò(c) mâ sêmpre v’amerò c ma i vostri dolci rai chi vagheggiar puo mai
sì sì nel mio penâre------------------------------b--- -----------è non è non v’amare.
amando penerò --------------------------------------------------------------------c----- -------------------------------------------mai i vostri dolci rai
mâ sempre v’amerò --------------------------------------------------------------c ----- ---------------------------------------chi vagheggiar puo mai
sì sì nel mio penare (+ Rit). -----------------------------------------------------b- ------------------------------------------e non e non v’amare
1726
Of all the girls that are so smart
There's none like pretty Sally;
She is the darling of my heart,
And she lives in our alley.
There is no lady in the land
Is half so sweet as Sally;
She is the darling of my heart,
And she lives in our alley.
Bononcini. “LA PAZIENTE GRISELDA” Tratto dal “Decameron” di Boccaccio, Canto X. Teatro del Mercato di Fieno, Londra. Ernesto, tenore.
Ritornello: penerò
v'amerò
luci câre
I ------------------------------------------------------------------------------------------------------------II
pêr la glôria d’âdorârvi -----------------------a---------------------- senza speme dî diletto
voglio amarvi (a) o luci câre ----------------------b-------------vano affetto è sospirare.
pêr la glôria d’adorârvi --------------------------------------------a - -------------------------------------------------------------senza speme di diletto
vogli amarvi o luci câre---- -------------------------------------------b--------- ----------------------------------------------------------vano affetto è sospirare.
âmando penerò(c) mâ sêmpre v’amerò c ma i vostri dolci rai chi vagheggiar puo mai
sì sì nel mio penâre------------------------------b--- -----------è non è non v’amare.
amando penerò --------------------------------------------------------------------c----- -------------------------------------------mai i vostri dolci rai
mâ sempre v’amerò --------------------------------------------------------------c ----- ---------------------------------------chi vagheggiar puo mai
sì sì nel mio penare (+ Rit). -----------------------------------------------------b- ------------------------------------------e non e non v’amare
1726
Of all the girls that are so smart
There's none like pretty Sally;
She is the darling of my heart,
And she lives in our alley.
There is no lady in the land
Is half so sweet as Sally;
She is the darling of my heart,
And she lives in our alley.
Her father he makes cabbage-nets,
And through the streets does cry 'em;
Her mother she sells laces long
To such as please to buy 'em;
But sure such folks could ne'er beget
So sweet a girl as Sally!
She is the darling of my heart,
And she lives in our alley.
And through the streets does cry 'em;
Her mother she sells laces long
To such as please to buy 'em;
But sure such folks could ne'er beget
So sweet a girl as Sally!
She is the darling of my heart,
And she lives in our alley.
When she is by, I leave my work,
I love her so sincerely;
My master comes like any Turk,
And bangs me most severely:
But let him bang his bellyful,
I'll bear it all for Sally;
She is the darling of my heart,
And she lives in our alley.
I love her so sincerely;
My master comes like any Turk,
And bangs me most severely:
But let him bang his bellyful,
I'll bear it all for Sally;
She is the darling of my heart,
And she lives in our alley.
Of all the days that's in the week
I dearly love but one day—
And that's the day that comes betwixt
A Saturday and Monday;
For then I'm drest all in my best
To walk abroad with Sally;
She is the darling of my heart,
And she lives in our alley.
I dearly love but one day—
And that's the day that comes betwixt
A Saturday and Monday;
For then I'm drest all in my best
To walk abroad with Sally;
She is the darling of my heart,
And she lives in our alley.
My master carries me to church,
And often am I blamèd
Because I leave him in the lurch
As soon as text is namèd;
I leave the church in sermon-time
And slink away to Sally;
She is the darling of my heart,
And she lives in our alley.
And often am I blamèd
Because I leave him in the lurch
As soon as text is namèd;
I leave the church in sermon-time
And slink away to Sally;
She is the darling of my heart,
And she lives in our alley.
When Christmas comes about again,
O, then I shall have money;
I'll hoard it up, and box it all,
I'll give it to my honey:
I would it were ten thousand pound,
I'd give it all to Sally;
She is the darling of my heart,
And she lives in our alley.
O, then I shall have money;
I'll hoard it up, and box it all,
I'll give it to my honey:
I would it were ten thousand pound,
I'd give it all to Sally;
She is the darling of my heart,
And she lives in our alley.
My master and the neighbors all
Make gave of me and Sally,
And, but for her, I'd better be
A slave and row a galley;
But when my seven long years are out,
O, then I'll marry Sally;
O, then we'll wed, and then we'll bed—
But not in our alley!
Make gave of me and Sally,
And, but for her, I'd better be
A slave and row a galley;
But when my seven long years are out,
O, then I'll marry Sally;
O, then we'll wed, and then we'll bed—
But not in our alley!
1727
Vivaldi – “Dorilla in Tempe”
e sia di primavera
d’ogni gioir foriera
il nostro canto
dell’aura al sussurrar
dell’onda al mormorar dell’onda al mormorar
cantiamo con piacer
della bella stagion l’onor ed il vanto
1728
Handel, “Rinaldo”. Used by John Gay in “The Beggar’s Opera”
let us take the road
hark I hear the sound of coaches
the hour of attack approaches
to your arms, brave boys & load
see the ball I hold
let the chemists toil their asses
our fire their fire surpasses
& turn our lead to gold
1728
Gay, L’opera del mendicante. “AIR LXVI. Green Sleeves”
(A)-----------------------------------------------------------------(B)
alas my love ye do me wrong----a------------------Since laws were made for ev’ry degree
to cast me off discourteously------------------------------ to curb vice in others as well as me
and I have loved you oh so long--------a----------------I wonder we han’t better companee
delighting in thy companie--------------------------------------a------------------- upon Tyburn tree.
RITORNELLO:
Green sleeves was all my joy------------------------but gold from law can take out the sting
green sleeves was my delight------------------------------& if rich men like us were to swing
green leeves was my heart of gold-----------twou’d thin the land such numbers to string
and who but my lady green sleeves-------------------------- ---upon Tyburn tree
1728
Gay, The Beggar’s Opera – L’opera del mendicante.
hark I hear the sound of coaches
the hour of attack approaches
to your arms, brave boys & load
see the ball I hold
let the chemists toil their asses
our fire their fire surpasses
& turn our lead to gold
1728
Gay, L’opera del mendicante. “AIR LXVI. Green Sleeves”
(A)-----------------------------------------------------------------(B)
alas my love ye do me wrong----a------------------Since laws were made for ev’ry degree
to cast me off discourteously------------------------------ to curb vice in others as well as me
and I have loved you oh so long--------a----------------I wonder we han’t better companee
delighting in thy companie--------------------------------------a------------------- upon Tyburn tree.
RITORNELLO:
Green sleeves was all my joy------------------------but gold from law can take out the sting
green sleeves was my delight------------------------------& if rich men like us were to swing
green leeves was my heart of gold-----------twou’d thin the land such numbers to string
and who but my lady green sleeves-------------------------- ---upon Tyburn tree
1728
Gay, The Beggar’s Opera – L’opera del mendicante.
When the heart of a man is depressed with cares
the mist is dispelt when a woman appears
roses and lilies her cheeks disclose
but her ripe are more sweet than those
kiss her and press her caress her
fill you with pleasure and sweet repose.
the mist is dispelt when a woman appears
roses and lilies her cheeks disclose
but her ripe are more sweet than those
kiss her and press her caress her
fill you with pleasure and sweet repose.
1728
John Gay/Pepusch, The Beggar’s Opera – L’opera del mendicante. DUET
I shall love you all the day
every day we’ll kiss & play
if we never stray
OVER THE HILLS & FAR AWAY
were I laid on Greenland's coast-------------------------------------------were I sold on Indian soil
& in my arms embrac’d my lass-----------------------------soon as the burning day was clos’d
warm amidst eternal frost—-----------------------------------------------I could muck the sultry toil
too soon the half year’s night would pass----------------when on my charmer’s breast repos’d
1738
Handel. Serse.
ombra mai fu
di vigitabile
cara ed amabile
soave piu.
di vigitabile
cara ed amabile
soave piu.
1744
Arne, Il re Aflredo
rule, Britannia
Britannia rule the waves
Britons never shall be slaves.
when Britain first at hea’en’s command
arose from the azure main
this was the charter, the charter of the land
and guardian angels sang this strain
Arne, Il re Aflredo
rule, Britannia
Britannia rule the waves
Britons never shall be slaves.
when Britain first at hea’en’s command
arose from the azure main
this was the charter, the charter of the land
and guardian angels sang this strain
1745
ARNE. First sung with Thomas Arne writing a setting of the tune for the Drury Lane Theatre, London.
ARNE. First sung with Thomas Arne writing a setting of the tune for the Drury Lane Theatre, London.
God save our gracious Queen
long live our noble Queen
God save the Queen
send her victorious
happy and glorious
long to reign over us
God save the Queen
o Lord, our God, arise
scatter her enemies
and make them fall
confound their politics
frustrate their knavish tricks
on Thee our hopes we fix
God save us all
scatter her enemies
and make them fall
confound their politics
frustrate their knavish tricks
on Thee our hopes we fix
God save us all
thy choicest gifts in store
on her be pleased to pour
long may she reign
may she defend our laws
and ever give us cause
to sing with heart and voice
God save the Queen.
on her be pleased to pour
long may she reign
may she defend our laws
and ever give us cause
to sing with heart and voice
God save the Queen.
MY COUNTRY ‘TIS OF THEE
sweet land of liberty
of thee I sing
land where my fathers died
land of the pilgrims' pride
from every mountain side
let freedom ring.
sweet land of liberty
of thee I sing
land where my fathers died
land of the pilgrims' pride
from every mountain side
let freedom ring.
1747
Handel Giosè: oratorio. Composed between 19 July 1747 and 19 August 1747, it premiered on the 9th March, 1748 at the Covent Garden Theatre, London.
Handel Giosè: oratorio. Composed between 19 July 1747 and 19 August 1747, it premiered on the 9th March, 1748 at the Covent Garden Theatre, London.
see the conquering --- hero comes
sound the trumpets -- beat the drums
sports prepare --- the laurel bring
songs of triumph --- to the hero sing.
1759
Music by William Boyce. Words by actor David Garrick.
HEART OF OAK are our ships
HEART OF OAK are our men
we always are ready
steady, boys, steady
we'll fight & we'll conquer
again & again.
sound the trumpets -- beat the drums
sports prepare --- the laurel bring
songs of triumph --- to the hero sing.
1759
Music by William Boyce. Words by actor David Garrick.
HEART OF OAK are our ships
HEART OF OAK are our men
we always are ready
steady, boys, steady
we'll fight & we'll conquer
again & again.
Come cheer up, my lads! 'tis to glory we steer,
to add something more to this wonderful year;
to honour we call you, not press you like slaves,
for who are so free as the sons of the waves?
We ne'er see our foes but we wish them to stay,
They never see us but they wish us away;
If they run, why we follow, and run them ashore,
For if they won't fight us, we cannot do more.
They swear they'll invade us, these terrible foes,
They frighten our women, our children, and beaus;
But should their flat bottoms in darkness get o'er,
Still Britons they'll find to receive them on shore.
They frighten our women, our children, and beaus;
But should their flat bottoms in darkness get o'er,
Still Britons they'll find to receive them on shore.
We'll still make them fear & we'll still make them flee,
And drub 'em on shore, as we've drubb'd 'em at sea;
Then cheer up, my lads! with one heart let us sing:
Our soldiers, our sailors, our statesmen and Queen.
1764
Gluck, ORFEO.
Gluck, ORFEO.
che faro senz’Euridice
dove’andro senz’il mio bene.
che faro dove andro
che faro senza il mio bene
dove andro senza il mio ben.
dove’andro senz’il mio bene.
che faro dove andro
che faro senza il mio bene
dove andro senza il mio ben.
1779
Christian hymn with words written by the English poet and clergyman John Newton (1725–1807).
AMAZING GRACE how sweet the sound
that sav'd a wretch like me
I once was lost but now am found
was blind but now I see.
'Twas grace that taught my heart to fear,
And grace my fears reliev'd;
How precious did that grace appear
The hour I first believ'd!
Thro' many dangers, toils, and snares,
I have already come;
'Tis grace hath brought me safe thus far,
& grace will lead me home.
I have already come;
'Tis grace hath brought me safe thus far,
& grace will lead me home.
The Lord has promis'd good to me,
His word my hope secures;
He will my shield and portion be
As long as life endures.
His word my hope secures;
He will my shield and portion be
As long as life endures.
Yes, when this flesh and heart shall fail,
And mortal life shall cease;
I shall possess, within the veil,
A life of joy and peace.
And mortal life shall cease;
I shall possess, within the veil,
A life of joy and peace.
The earth shall soon dissolve like snow,
The sun forbear to shine;
But God, who call'd me here below,
Will be forever mine.
The sun forbear to shine;
But God, who call'd me here below,
Will be forever mine.
1780
Charles Didbin. Written in 1780 on the death of his eldest brother Captain Thomas Dibdin at whose invitation he had planned his visit to India.
here a sheer hulk
lies poor TOM BOWLING
the darling of our crew
no more he’ll hear the tempest howling
for death has broached him to
his form was of the manliest beauty
his heart was kind & soft
faithful below Tom did his duty
& now he's gone aloft
& now he's gone aloft.
Tom never from his word departed
his virtues were so rare:
his friends were many and true hearted
his Poll was kind and fair;
and then he'd sing so blithe and jolly
ah, many's the time and oft;
but mirth is turn'd to melancholy
for Tom is gone aloft
for Tom is gone aloft.
Yet shall poor Tom find pleasant weather
when He who all commands
shall give to call life's crew together
the word to pipe all hands
thus Death who kings and tars despatches
in vain Tom’s life hath doff'd
for tho' his body's under hatches
his soul is gone aloft
his soul is gone aloft
1786
Mozart/Da Ponte, Don Giovanni
Mozart/Da Ponte, Don Giovanni
dalla sua pace la mia dipende
chel che a lei piace vita mi rende
chel che le encresce morte mi da
s’ella sospira sospiro anch’io
e mia quell ira quell pianto e mio
e non ha bene s’ella non ha.
chel che a lei piace vita mi rende
chel che le encresce morte mi da
s’ella sospira sospiro anch’io
e mia quell ira quell pianto e mio
e non ha bene s’ella non ha.
1787
o don’t deceive me
o never leave me
how could you use
a poor maiden so.
early one morning
Just as the sun was rising,
I heard a young maid sing,
In the valley below.
o don’t deceive me
o never leave me
how could you use
a poor maiden so.
early one morning
Just as the sun was rising,
I heard a young maid sing,
In the valley below.
remember the vows,
That you made to your Mary,
Remember the bow'r,
Where you vowed to be true,
o Gay is the garland,
And fresh are the roses,
I've culled from the garden,
To place upon thy brow.
thus sang the poor maiden,
Her sorrows bewailing,
Thus sang the poor maid,
In the valley below.
1789
Mozart/Da Ponte, “Cosi fan tutte; ossia, la scuola degli amanti”.
Mozart/Da Ponte, “Cosi fan tutte; ossia, la scuola degli amanti”.
un’aura amorosa del nostro tesoro
un dolce ristoro al cor porgera
al cor che nodrito di speme d’amore
d’un esca migliore bisogno non ha.
un dolce ristoro al cor porgera
al cor che nodrito di speme d’amore
d’un esca migliore bisogno non ha.
1799
The shanty was sung to accompany certain work tasks aboard sailing ships, especially those that required a bright walking pace. It is believed to originate in 1799 , when ships' crews were sufficiently large to permit hauling a rope whilst simply marching along the deck
weigh heigh & up she rises --- weigh heigh & up she rises --- weigh heigh & up she rises
early in the morning
what shall we do with a drunken sailor----------------------------------/the Queen o’ Sheba/a limejuice skipper.
what shall we do with a drunken sailor what shall we do with a drunken sailor
early in the morning.
chuck him in the long boat till he's sober ---- put him in the long-boat
and make him bale her ---- lock him in the guard room 'til he gets sober.
put him in the scuppers with a hose-pipe on him. ---- pull out the plug and wet him all over ----- tie him to the taffrail when she's yardarm
under------ Heave him by the leg in a runnin' bowline.----- Scrape the hair off his chest with a hoop-iron razor.------ Give 'im a dose of
salt and water.----- Stick on his back a mustard plaster.---- Keep him there and make 'im bale 'er.---- Give 'im a taste of the bosun's rope
end.--- Soak him in oil till he sprouts a flipper. ----- Shave his chin with a rusty razor. ----- Shave his belly with a rusty razor.-----
Give 'im a hair of the dog that bit him.---- Put him in the bilge and make him drink it.----- Put him in bed with the captain's daughter.
1799
Mozart, Il flauto magico. This was the source of a few parlor songs, such as “Away with melancholy”.
put him in the scuppers with a hose-pipe on him. ---- pull out the plug and wet him all over ----- tie him to the taffrail when she's yardarm
under------ Heave him by the leg in a runnin' bowline.----- Scrape the hair off his chest with a hoop-iron razor.------ Give 'im a dose of
salt and water.----- Stick on his back a mustard plaster.---- Keep him there and make 'im bale 'er.---- Give 'im a taste of the bosun's rope
end.--- Soak him in oil till he sprouts a flipper. ----- Shave his chin with a rusty razor. ----- Shave his belly with a rusty razor.-----
Give 'im a hair of the dog that bit him.---- Put him in the bilge and make him drink it.----- Put him in bed with the captain's daughter.
1799
Mozart, Il flauto magico. This was the source of a few parlor songs, such as “Away with melancholy”.
O cara imago e senza egual
non v’ha simil idea mortal
io sento nel petto
un ignoto celeste moto m’agita il cor.
non v’ha simil idea mortal
io sento nel petto
un ignoto celeste moto m’agita il cor.
un moto ch’agita il cor – c
quest’affeto -----------b
non so che sia-----------d
ma l’alma mia ------------d
s’empia d’ardor---------------c
forse amor m’ha il sen piagato
forse m’ha il sen piagato
ma l’usato amor non è (l’usato amor, l’usato amor non è
se a mi parla un sol istante---------------------a
mi conduce amico sorte ------------------------b
vorrei vorrei stringela al sen -------------------c
vorrei e vorrei vivere amante -------------------a
fra le dolci sue ritorte----------------------------b
per le per lei morir al men—----------------c
per lei, per lei morir almen per lei per lei morir almen per lei, morir almen per lei morir almen.
quest’affeto -----------b
non so che sia-----------d
ma l’alma mia ------------d
s’empia d’ardor---------------c
forse amor m’ha il sen piagato
forse m’ha il sen piagato
ma l’usato amor non è (l’usato amor, l’usato amor non è
se a mi parla un sol istante---------------------a
mi conduce amico sorte ------------------------b
vorrei vorrei stringela al sen -------------------c
vorrei e vorrei vivere amante -------------------a
fra le dolci sue ritorte----------------------------b
per le per lei morir al men—----------------c
per lei, per lei morir almen per lei per lei morir almen per lei, morir almen per lei morir almen.
1800
Humpty Dumpty
Humpty Dumpty
1802
Thomas Oliphant, "The Bardic Museum”.
down yonder green meadow where streamlets meander
when twilight is fading I pensively roam
or in the bright noon tide in solitude wander
amid the dark spaces of that lonely ash grove.
‘twas there while the black bird was cheerfully singing
I first met my dear one the joy of my heart
around us for gladness the blue bells were springing
the ash grove, the ash grove that sheltered my home.
Thomas Oliphant, "The Bardic Museum”.
down yonder green meadow where streamlets meander
when twilight is fading I pensively roam
or in the bright noon tide in solitude wander
amid the dark spaces of that lonely ash grove.
‘twas there while the black bird was cheerfully singing
I first met my dear one the joy of my heart
around us for gladness the blue bells were springing
the ash grove, the ash grove that sheltered my home.
The ash grove how graceful, how plainly 'tis speaking
the harp through its playing has language for me.
whenever the light through its branches is breaking,
a host of kind faces is gazing on me.
the friends from my childhood again are before me
each step wakes a memory as freely I roam.
with soft whispers laden the leaves rustle o’er me
the ash grove, the ash grove alone is my home.
my lips smile no more, my heart loses its lightness;
no dream of the future my spirit can cheer.
I only can brood on the past and its brightness
the dear ones I long for again gather here.
from ev'ry dark nook they press forward to meet me;
I lift up my eyes to the broad leafy dome,
and others are there, looking downward to greet me
the ash grove, the ash grove, again is my home.
no dream of the future my spirit can cheer.
I only can brood on the past and its brightness
the dear ones I long for again gather here.
from ev'ry dark nook they press forward to meet me;
I lift up my eyes to the broad leafy dome,
and others are there, looking downward to greet me
the ash grove, the ash grove, again is my home.
1804
William Blake, Preface to “Milton”. Set by Parry in 1916.
& did those feet in ancient time.
walk upon England's mountains green
& was the holy lamb of god
on England's pleasant pastures seen
& did the countenance divine,
shine forth upon our clouded hills
& was Jerusalem builded here
among these dark Satanic Mills
bring me my bow of burning gold
bring me my arrows of desire
bring me my spear, o clouds unfold!
bring me my CHARIOT OF FIRE
I will not cease from mental fight,
nor shall my sword sleep in my hand:
till we have built Jerusalem,
in England's green & pleasant land
William Blake, Preface to “Milton”. Set by Parry in 1916.
& did those feet in ancient time.
walk upon England's mountains green
& was the holy lamb of god
on England's pleasant pastures seen
& did the countenance divine,
shine forth upon our clouded hills
& was Jerusalem builded here
among these dark Satanic Mills
bring me my bow of burning gold
bring me my arrows of desire
bring me my spear, o clouds unfold!
bring me my CHARIOT OF FIRE
I will not cease from mental fight,
nor shall my sword sleep in my hand:
till we have built Jerusalem,
in England's green & pleasant land
1815
when I was a bachelor
I liv'd all alone
I worked at the weaver's trade
& the only only thing
that I ever did wrong
was to woo a fair young maid
I wooed her in the wintertime
& in the summer too
& the only only thing
that I did that was wrong
was to keep her from
THE FOGGY FOGGY DEW
One night she came to my bedside
when I was fast asleep
she laid her head upon my bed
& she began to weep
she sighed, she cried
she damn near died
she said what shall I do
so I hauled her into bed
& covered up her head
just to keep her from
THE FOGGY FOGGY DEW
when I was fast asleep
she laid her head upon my bed
& she began to weep
she sighed, she cried
she damn near died
she said what shall I do
so I hauled her into bed
& covered up her head
just to keep her from
THE FOGGY FOGGY DEW
so I am a bachelor
I live with my son
& we work at the weaver's trade
& every single time
that I look into his eyes
he reminds me of that fair young maid
he reminds me of the wintertime
& of the summer, too
& of the many, many times
that I held her in my arms
Just to keep her from
THE FOGGY FOGGY DEW
1816
Rossini, Il barbiere di Siviglia.
Rossini, Il barbiere di Siviglia.
ecco ridente in cielo
spunta la bella aurora.
E tu non sorge ancora
E piu dormir cosi
Viene la dolce speme
Vieni bell’idolo mio
Rendi men crudo, o dio
Lo stral che me feri.
spunta la bella aurora.
E tu non sorge ancora
E piu dormir cosi
Viene la dolce speme
Vieni bell’idolo mio
Rendi men crudo, o dio
Lo stral che me feri.
In “Barbiere di Siviglia”, the soprano is asked to sing a song. She usually
interpoles, “Home sweet Home”, or other. There is another “Barbiere di Siviglia”
composed by Antonio Speranza.
1817
Rossini. “LA CENERENTOLA”. Roma: Teatro Valle. Ramiro, tenore.
Rossini. “LA CENERENTOLA”. Roma: Teatro Valle. Ramiro, tenore.
Sì, ritorvarla io guiro ---------------
amor, amor mi muove ----------------
se fosse in grembo a Giove --------- b/
io la ritroverò
se fosse in grembo a Giove
io la ritrovero
se fosse in grembo a Giove
Si ritrovarla io guiro
Amor, amor mi muove
Io la ritrovero
Si fosse in grembo a Giove
Io la ritrovero
Ritrovero
Io la ritrovero.
amor, amor mi muove ----------------
se fosse in grembo a Giove --------- b/
io la ritroverò
se fosse in grembo a Giove
io la ritrovero
se fosse in grembo a Giove
Si ritrovarla io guiro
Amor, amor mi muove
Io la ritrovero
Si fosse in grembo a Giove
Io la ritrovero
Ritrovero
Io la ritrovero.
II) Pegno adorato e caro /che mi lusinghi almeno --------------- a /ah,
come al labbro e al seno --------- a/come ti stringer/ah, come al labbro e al
seno/ti stringero, ti stringero.
III) Noi voleremo, /domanderemo, /Ricercheremo, /ritroveremo/noi
voleremo/ricercheremo/ritroveremo.
IV) Dolce speranza, freddo timore,
dentro al mio core /stanno a pugnar; /Dolce speranza, freddo timore/Dentro al mio core/Stanno a pugnar./Dolce speranza, freddo timore/Dentro al mio core/Stanno a pugnar./Dolce speranza, freddo timore/Dentro al mio core/Stanno a pugnar./Amore, amore
m’ha da guidar.
dentro al mio core /stanno a pugnar; /Dolce speranza, freddo timore/Dentro al mio core/Stanno a pugnar./Dolce speranza, freddo timore/Dentro al mio core/Stanno a pugnar./Dolce speranza, freddo timore/Dentro al mio core/Stanno a pugnar./Amore, amore
m’ha da guidar.
1820
LINLEY.
Gaily the troubadour touched his guitar,
When he was hast'ning home from the war.
Singing from Palestine hither I come;
Lady love, lady love welcome me home.
Singing from Palestine hither I come;
Lady love, lady love welcome me home
She, for the troubadour hopelessly wept,
Sadly she thought of him when others slept.
Singing in search of thee would I might roam;
Troubadour, troubadour come to thy home.
Singing in search of thee would I might roam;
Troubadour, troubadour come to thy home.
Hark! 'twas the troubadour breathing her name;
Under the battlement softly he came.
Singing, from Palestine, hither I come;
Lady love, lady love, welcome me home.
Singing from Palestine hither I come;
Lady love, lady love welcome me home
Under the battlement softly he came.
Singing, from Palestine, hither I come;
Lady love, lady love, welcome me home.
Singing from Palestine hither I come;
Lady love, lady love welcome me home
1823
Bishop, Clari, the maid of Milan. INTERPOLATED many times by Adelina Patti in Rossini, “Il barbiere di Siviglia”.
home, home,
sweet sweet home
there’s no place like home
there’s no place like home.
Mid pleasures and palaces though I may roam
be it ever so humble there's no place like home
a charm from the sky seems to hallow us there
which seek thru the world is ne’er met with elsewhere.
An exile from home spendour dazzles in vain
O give me my lowly thatched cottage again
the birds singing gaily that come at my call
give me them with that peace of mind dearer than all.
To thee I'll return overburdened with care
the heart's dearest solace will smile on me there
no more from that cottage again will I roam
be it ever so humble, there's no place like home.
sweet sweet home
there’s no place like home
there’s no place like home.
Mid pleasures and palaces though I may roam
be it ever so humble there's no place like home
a charm from the sky seems to hallow us there
which seek thru the world is ne’er met with elsewhere.
An exile from home spendour dazzles in vain
O give me my lowly thatched cottage again
the birds singing gaily that come at my call
give me them with that peace of mind dearer than all.
To thee I'll return overburdened with care
the heart's dearest solace will smile on me there
no more from that cottage again will I roam
be it ever so humble, there's no place like home.
1823
Weber, L’arciero
Lieto il prato il colle il bosco.
Io scorreva in altri di
Tuto addesso tuto e fosco
Ogni luci dispari.
1826
HOLY HOLY HOLY
lord God almighty
early in the morning our song shall rise to thee
holy holy holy
merciful & mighty
God in three persons blessed trinity.
HOLY HOLY HOLY
lord God almighty
early in the morning our song shall rise to thee
holy holy holy
merciful & mighty
God in three persons blessed trinity.
Holy, Holy, Holy
all the saints adore Thee
Casting down their golden crowns around the glassy sea
Cherubim and Seraphim falling down before Thee
Which wert, and art, and evermore shalt be.
Holy, Holy, Holy
though the darkness hide Thee
Though the eye of sinful man Thy glory may not see
Only Thou art holy, there is none beside Thee
Perfect in power, in love, and purity.
Holy, Holy, Holy
Lord God Almighty
All Thy works shall praise thy name in earth and sky and sea
Holy, Holy, Holy!
Merciful and Mighty
God in Three Persons, blessed Trinity!
----------------------------R. Heber, died 1826.
1826
"The Farmer In The Dell" trad "The Farmer in the Dell" is a singing game, nursery rhyme and children's song. It probably originated in Germany, and was brought to North America by immigrants. From there it spread to many other nations and is popular in a number of languages. It has a Roud Folk Song Index number of 6306.The rhyme is first recorded in Germany in 1826, as "Es fuhr ein Bau'r ins Holz," and was more clearly a courtship game with a farmer choosing a wife, then in turn the selecting of a child, maid, and serving man, who leaves the maid after kissing.[1] This was probably taken to North America by German immigrants, where it next surfaced in New York in 1883 much in its modern form and using a melody similar to "A Hunting We Will Go".[1] From here it seems to have been adopted throughout the United States, Canada (noted from 1893), the Netherlands (1894) and Great Britain; it is first found in Scotland in 1898 and England from 1909. In the early twentieth century it was evident as wide as France ("Le fermier dans son pré"), Sweden ("En bonde i vår by"), Australia, and South Africa.[1][edit] Variations Like most children's songs, there are geographic variations. In the United Kingdom the rhyme progresses through the farmer, wife, child, nurse, dog, ending with a bone, which is then vigorously patted.[1] The 'Hi-Ho, the derry-o' is variously replaced with "Ee-i, tiddly-i" in London, 'Ee-i, adio' (for instance in Northern England), and 'Ee-i, ee-i' (for instance in the West Country).[1]The Romanian version is "Țăranul e pe câmp" (The farmer is on the field) but the hey-o is replaced with "Ura, drăguţa mea" (Hooray, my sweet heart) and the last verses are – the child has a nurse, the nurse has a cat, the cat catches a mouse, the mouse eats a cheese, the cheese was in a cask, the cask is in the garbage, the farmer to choose.There is also a Thai version to the same tune but with a slightly different story. The three verses roughly translate to "Why does the frog have a stomach ache? Why does the frog have a stomach ache? Because he has been eating wet rice. Why is the rice wet? Why is the rice wet? Because it has been raining. Why has it been raining? Why has it been raining? Because the frog has been croaking."[edit] Game The players form a circle holding hands around one who is designated as the farmer, singing the first verse while moving around. When the verse is over they stop and the farmer makes her or his choice of a wife (sometimes without looking). The wife joins her or him in the center for her verse and so through the verses until either the cheese or dog is selected or only one person is left to become the last character. They usually become the farmer for the next round.[1][edit] References in popular culture In the TV series The Wire, the character Omar Little often whistles The Farmer in the Dell (or A Hunting We Will Go) when stalking the streets.[edit] See also A-Hunting We Will Go - a very similar song in lyrics, content and music [edit] References ^ a b c d e f g I. Opie and P. Opie, The Singing Game (Oxford: Oxford University Press, 1985), pp. 1839.^ William Wells Newell (1883). William Wells Newell. ed. Games and songs of American children, collected and compared by W.W. Newell. Harper and Brothers. pp. 129–30. http://books.google.com/books?id=eWnD-k71W2MC.
the farmer in the dell
the farmer in the dell
heigh ho the derry o
the farmer in the dell
"The Farmer In The Dell" trad "The Farmer in the Dell" is a singing game, nursery rhyme and children's song. It probably originated in Germany, and was brought to North America by immigrants. From there it spread to many other nations and is popular in a number of languages. It has a Roud Folk Song Index number of 6306.The rhyme is first recorded in Germany in 1826, as "Es fuhr ein Bau'r ins Holz," and was more clearly a courtship game with a farmer choosing a wife, then in turn the selecting of a child, maid, and serving man, who leaves the maid after kissing.[1] This was probably taken to North America by German immigrants, where it next surfaced in New York in 1883 much in its modern form and using a melody similar to "A Hunting We Will Go".[1] From here it seems to have been adopted throughout the United States, Canada (noted from 1893), the Netherlands (1894) and Great Britain; it is first found in Scotland in 1898 and England from 1909. In the early twentieth century it was evident as wide as France ("Le fermier dans son pré"), Sweden ("En bonde i vår by"), Australia, and South Africa.[1][edit] Variations Like most children's songs, there are geographic variations. In the United Kingdom the rhyme progresses through the farmer, wife, child, nurse, dog, ending with a bone, which is then vigorously patted.[1] The 'Hi-Ho, the derry-o' is variously replaced with "Ee-i, tiddly-i" in London, 'Ee-i, adio' (for instance in Northern England), and 'Ee-i, ee-i' (for instance in the West Country).[1]The Romanian version is "Țăranul e pe câmp" (The farmer is on the field) but the hey-o is replaced with "Ura, drăguţa mea" (Hooray, my sweet heart) and the last verses are – the child has a nurse, the nurse has a cat, the cat catches a mouse, the mouse eats a cheese, the cheese was in a cask, the cask is in the garbage, the farmer to choose.There is also a Thai version to the same tune but with a slightly different story. The three verses roughly translate to "Why does the frog have a stomach ache? Why does the frog have a stomach ache? Because he has been eating wet rice. Why is the rice wet? Why is the rice wet? Because it has been raining. Why has it been raining? Why has it been raining? Because the frog has been croaking."[edit] Game The players form a circle holding hands around one who is designated as the farmer, singing the first verse while moving around. When the verse is over they stop and the farmer makes her or his choice of a wife (sometimes without looking). The wife joins her or him in the center for her verse and so through the verses until either the cheese or dog is selected or only one person is left to become the last character. They usually become the farmer for the next round.[1][edit] References in popular culture In the TV series The Wire, the character Omar Little often whistles The Farmer in the Dell (or A Hunting We Will Go) when stalking the streets.[edit] See also A-Hunting We Will Go - a very similar song in lyrics, content and music [edit] References ^ a b c d e f g I. Opie and P. Opie, The Singing Game (Oxford: Oxford University Press, 1985), pp. 1839.^ William Wells Newell (1883). William Wells Newell. ed. Games and songs of American children, collected and compared by W.W. Newell. Harper and Brothers. pp. 129–30. http://books.google.com/books?id=eWnD-k71W2MC.
the farmer in the dell
the farmer in the dell
heigh ho the derry o
the farmer in the dell
The farmer takes a wife
Heigh-ho, the derry-o . . .
The wife takes a child
Heigh-ho, the derry-o . . .
The child takes the cow
Heigh-ho, the derry-o . . .
The cow takes the pig
Heigh-ho, the derry-o . . .
The pig takes the dog
Heigh-ho, the derry-o . . .
The dog takes the cat
Heigh-ho, the derry-o . . .
The cat takes the mouse
Heigh-ho, the derry-o . . .
The mouse takes the cheese
Heigh-ho, the derry-o . . .
The cheese stands alone
Heigh-ho, the derry o
1827
Villikins and His Dinah was sung by the Cockney comedian Sam Cowell. The song started life as a broadside based on the murder of Maria Marten in 1827, “William and Maria”, “a serious street ballad” which, Stephen Sedley writes, “was so awful in itself that the text barely had to be changed to achieve a handsome send- up”.
Villikins and His Dinah was sung by the Cockney comedian Sam Cowell. The song started life as a broadside based on the murder of Maria Marten in 1827, “William and Maria”, “a serious street ballad” which, Stephen Sedley writes, “was so awful in itself that the text barely had to be changed to achieve a handsome send- up”.
1831
Bellini. “LA SONNAMBULA”. Milano: Teatro Carcano. Tenore: Elvino (Rubini).
Prendi l’anel ti dono
che un dì che un di recava
all’alma beata e cara
che arride al nostro al nostro amore
al nostro amor
sacro ti sia tal dono
come fu sacro a lei
sia de’ tuoi voti e miei
fido custode ognor.
Bellini. “LA SONNAMBULA”. Milano: Teatro Carcano. Tenore: Elvino (Rubini).
Prendi l’anel ti dono
che un dì che un di recava
all’alma beata e cara
che arride al nostro al nostro amore
al nostro amor
sacro ti sia tal dono
come fu sacro a lei
sia de’ tuoi voti e miei
fido custode ognor.
Ah, perche‚ non posso odiarti infidel com’io vorrei,
ah, del tutto ancor non sei cancellata dal mio cor, possa un altro
ah, possa amarti qual t'am quest'infelice, altro voto, o traditrice,
non temer dal mio dolor.
ah, del tutto ancor non sei cancellata dal mio cor, possa un altro
ah, possa amarti qual t'am quest'infelice, altro voto, o traditrice,
non temer dal mio dolor.
1832
Donizetti, L’elisir d’amore. Cavatina di Nemorino.
quanto e bella quanto e cara
piu la vedo e piu mi piace
ma in quel cor non son capace
lieve affeto a ispirar
ella legge studia impara
non a lei cosa ignota
io son sempre un idiota
Io non so che sospirar.
1832
Donizetti, L’elisir d’amore. Romanza di Nemorino, Atto II.
una furtiva lagrima
de suioi bei occhi spunto
quelle festose giovanne
invidiar sembro
che piu cercando io vo
m’ama lo vedo
Un solo istante I palpiti
nei bel cuor sentir
E miei sospir confondere
per poco con suo sofrir.
Cielo si puo morir.
Di piu non chiedo.
1833
Thomas Haynes Bayly (1797-1839), whose other songs include Gaily the Troubadour.
Tell me the tales that to me were so dear
LONG LONG AGO LONG LONG AGO
Sing me the songs I delighted to hear,
LONG LONG AGO LONG AGO
Now you are come all my grief is removed,
Let me forget that so long you have roved.
Let me believe that you love as you loved,
LONG LONG AGO LONG AGO
Do you remember the paths where we met?
Long, long ago, long, long ago.
Ah, yes, you told me you'd never forget,
Long, long ago, long ago.
Then to all others, my smile you preferred,
Love, when you spoke, gave a charm to each word.
Still my heart. treasures the phrases I heard,
Long, long ago, long ago.
Tho' by your kindness my fond hopes were raised,
Long, long ago, long, long ago.
You by more eloquent lips have been praised,
Long, long ago, long, long ago,
But, by long absence your truth has been tried,
Still to your accents I listen with pride,
Blessed as I was when I sat by your side.
Long, long ago, long ago.
1835
Bellini, I Puritani. Duetto..
Bellini, I Puritani. Duetto..
creadeasi misera
da me tradita
Traea su vita
in tal martir
O sfido il fulmine
disprezzo il fato
Si teco alato
potro morir.
da me tradita
Traea su vita
in tal martir
O sfido il fulmine
disprezzo il fato
Si teco alato
potro morir.
1835
Donizetti, Lucia di Lammermoor. Cabaletta di Edgardo. Atto III.
Tu che a Dio spiegasti l’ali
O bell’alma inamorata
Te rivolge a me placata
Teco ascend ail tuo fedel
A se l’ira dei mortali
Fece a noi si cruda Guerra
Si divisi fuimo in terra
Ne conjunga il nume in ciel.
Donizetti, Lucia di Lammermoor. Cabaletta di Edgardo. Atto III.
Tu che a Dio spiegasti l’ali
O bell’alma inamorata
Te rivolge a me placata
Teco ascend ail tuo fedel
A se l’ira dei mortali
Fece a noi si cruda Guerra
Si divisi fuimo in terra
Ne conjunga il nume in ciel.
1836
Donizetti, La favorita del re.
Spirto gentil
de sogno meie.
Brillaste un di
ma te perdei
Larve de amor.
Donizetti, La favorita del re.
Spirto gentil
de sogno meie.
Brillaste un di
ma te perdei
Larve de amor.
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