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N AeA ny aOR ye ANTHOLOGY OF WESTERN SECOND EDITION fm NORTON ANTHOLOGY OF WESTERN MUSIC, second Edition Edited by CLAUDE V. PALISCA VOL, I: MEDIEVAL, RENAISSANCE, BAROQUE VOL. Il: CLASSIC. ROMANTIC, MODERN: This comprehensive historical anthology was designed to encompass: the broad sweep of musical composition in the Western wo: .difrom: Antiquity to the present time by the inclusion of works representing every signiticant trend, genre, and national school. Since Composers Have never created in 2 musical void, the historically oriented stu dent, analyst, and performer should have access to primary material, that pecmils the establishment of historical connections. This anthel- Ogy invites such connections, Originally concetyed as a companion to the third edition of Donald Jay Grout’s A History af Western Masie, this version of the Norion Anthology of Western Music ts tailored to ucvompany the fourth edition of that well-loved, venerable survey: Somewhat enlarged and substantially changed from its pioneering predgcessor. the anthology now contains 163 complete works ot integral excerpts ranging froma, fragment irom the chonis of Euripides’ Orestes tora minimalist piece by Steve Reich. Wherever possible, Palisca has chosen superlative Works that are not only representative of their composer's Geuyre but also demonstrate socio-musical principles of miecraction, innovation, and variation. TPRe clearest and soundest engraved editions of tlie music have been ised throughout and’ all texts have been tansiated into’ English, In addition, two useful appendices and four indispensable indices round out this invaluable; compendium. Two albums of recordings or cus- Settes; Which parallel the contents of the two volumes. ure also. ayailableitroni the publisher: (CLAUDE PALISCA js Professor of the: History of Music at-Yale University. Past president of the American Musicological Society he is dscholar, author, editor, and translator of great distinction. DESIGN BY ANDREW NEWMAN PAINTING BY HENRCCLEMENTSERVEAU Norton WW" NORTON & COMPANY.- INC + 500'FIFTH AVENUE « NEW YORK +1010. Alsa available from Norton An Anthology of Early Renaissance Music Edited by Noah Greenberg and Pan! Maynard Anthology of Medieval Music Edited by Ricbard H. Hoppin The Norton Scores: An Anthology for Listening Fourth Edition: Standard and Expanded Edited by Roger Kamien The Concerto, 1800-1900 Edited by Paul Henry Lang The Symphony, 1800-1900 Edited by Paul Henry Lang Anthology of Romantic Music Edited by Leon Plantinga Choral Music: A Norton Historical Anthology Edited by Ray Robinson Copyright © 1988, 1980 by W. W. Norton & Company, Ine, All rights reserved Published simultaneously in Canada by Penguin Books Canada Ltd , 2801 John Street, Markham, Ontario LAR 1B4. Printed iu the United States of America The text of this hook (s composed in Times Roman, with display type set in Bembo. Compasition by Vail-Ballou Press of the Maple-Vail Book Group Second Rdition Library of Congress Cataloging in Publication Data ISBN 0-393-95b42-4 voit ISBN 0-393-9S5644-X vol. WW. Norton & Company, Inc, 500 Filth Avenue, New York, N.Y. 10110 WW. Norton & Company Lil... 37 Great Russell Street, London WCIB 3NU 1234567890 CONTENTS PREFACE CLASSIC SONATA 107 + Domenico Scarlatti Sonata in D Major, K.119 108 + Carl Philipp Emanuel Bach Sonata IV in A Major, Wq. 55/4: Poco adagio (second movement) 109 + Muzio Clementi Sonata in G Minor, Op. 34, No. 2: Largo e” sostenuto—Allegro con fuoce (first movement) 110+ Jan Dussek Sonata in E flat, Op. 44, ‘*Les Adieux’”: Grave—Allegro moderato (first movement) Quarter 111 > Franz Xaver Richter String Quartet in B-flat Major, Op. 5, No. 2: Fugato presto (third movement) 112+ Ludwig van Beethoven String Quartet in C-sharp Minor, No. 14, Op. 131 a) Adagio ma non troppo e molto espressivo (first movement) 'b) Allegro molto vivace (second movement) SymPHoNy 113 + Giovanni Battista Sammartini Symphony in F Major, No. 32 Presto (first movement) 114+ Johann Anton Wenzel Stamitz Sinfonia in E-Aat Major (La Melodia Germanica No. 3): Allegro assai (fitst movement) 115 + Franz Joseph Haydn Sympbony No, 7 in C Major, “Midi” a) Adagio-Allegro (lirst movement) vii 16 27 ere 4 3Y 42 aa 7 Contents b) Adagio-Recitativo (second movement excerpt) 65 116 + Franz Joseph Haydn Symphony No. 77 in B-flat Major: Finate, Allegro spiritoso (fourth movement) 68 117 + Frangois Joseph Gossec Marche lugubre &y 118 - Ludwig van Beethoven Symphony No, 3 in E-flat Major, ‘“Eroica’”: Marcia funebre (second movement) 88 CONCERTO. 119 Johann Christian Bach Concerto for Harpsichord or Piano and Strings in E-flat Major, Op. 7, No. 5: Allegro di molto (first movement) 706 120 + Wolfgang Amadeus Mozart Piano Concerto io A Major, K. 488: Alfegro (first movement) 124 OPERA AND CANTATA 121 + Giovanni Battista Pergolesi_ La serva padrona: Ah quanto mi sa male—Son imbrogliato io 156 122 + Jean-Jacques Rousseau Le Devin di village: Scene 1, Air, J'ai perdu tout mon bonheur 170 123 + Christoph Willibald Gluck Orfeo ed Euridice: Act Il, Scene | (excerpt) 178 124 + Wolfgang Amadeus Mozart Don Giovanni, K. 527: Act I, Scene 5 a) No. 3, Aria: A chi mi dice mai 200 Recitative: Chi é la 209 ») No. 4, Aria: Madamina? il caralogo & questo 212 ROMANTIC PrANo Music 125 + John Field Nocturne in A Major, No. & 237 126 + Frédéric Chopin Nocturne in B-fat Major, Op. 9, No. 2 236 127+ Franz Liszt Etudes a exécution wanscendante: No. 4, Mazeppa 240 128 + Franz Liszt’ Nwages gris 254 ORCHESTRAL Music 129 + Hector Berlioz Symphonie fantastique: Il. Scene aux champs: 1V. Marche aux supplice 256 130 + Felix Mendelssohn Incidental Music to A Midsummer's Night's Dream, Opus 61: Scherzo. 295 131+ Edward MacDowell Suite for Orchestra, Opus 48: Dirgetike, mournfully (fourth movement) Contents CyamBer Music (32+ Johannes Brakms Piano Quintet in F Minor, Opus 34: Scherzo Liep 133 + Franz Schubert Kennst du das Land 134+ Robert Schumann Kenis7 dee das Land, Op. 79, No, 29 [Op. 98a, No. 1] 135 + Hugo Wolf Kennst du das Land 136 + Gustav Mahler Kindertotenlieder: Nun will die Sonn’ so hell aufgehen OPERA 137 + Gioacchino Rossini] barbiere di Siviglia: Act Il, Scene 5, Cavatina, Una voce poco fa 138 + Vincenzo Bellini Norma: Act 1, Scene 4, Scena e Cavatina, Casta diva 139 + Giacomo Meyerbeer Les Huguenots: Act UI, Scenes 7 and 8 140 + Carl Maria von Weber Der Freischtiez a) Overture b) Act Il, Finale, Wolf”s Glen Scene 141+ Richard Wagner Tristan und Isolde: Act 1, Scene 5 (excerpt) 142 + Giuseppe Verdi I rrovatore: Part 4, Scene 1, No, 12: Scene, Aria, and Miserere Cuorat Music 143 + Anton Bruckner Moret: Virga Jesse MODERN ORCHESTRAL 144 + Claude Debussy Trois Nocturnes: Nuages 145 + Maurice Ravel Le Tombeau de Couperin: Menuet 146 + Richard Strauss Don Quixote: Opus 35: Themes, and Variations Land 2 147 + Igor Suavinsky Le Sacre du printemps: Danses des adolescentes 148 - Amold Schoenberg Variationen fiir Orchester, Opus 31: a) Theme b) Variation VI 149 * Anton Weber Symphonie. Opus 21: Ruhig schreitend (lirst movement) 150+ Aaron Copland Appalachian Spring: “The Gift to be Simple” 319 333 338 343 352 364 373 397 442 458 494 58 535 540 557 568 bog 611 614 622 Contents vi SOLO AND CHAMBER MUSIC 151 + Alexander Scryabin Vers la flamme. Potme pour piano, Opus 72 636 152+ Amold Schoenberg Pierror lunaire, Opus 21 a) No. 8, Nacht 646 b) No. 13, Enthauptung 649 153 + Béla Bartok Music for Strings, Percussion, and Celesta: Adagio (third movement) O54 154 + George Crumb Black Angels, (Images 4 (0 9) a) Devil-music 683 b) Danse macabre 684 c) Pavana lachrymae 686 d) Threnody 687 &) Sarabanda de la muerte oseura 689 f) Lost Bells 690 155 + Olivier Messaien Médizations sur le mysiere de la Sainte Trinité. Vif (fourth movement) G1 156 + Steve Reich Violin Phase 699 Sons 157 + Gabriel Fauré La bonne chanson, Opus 61: No. 6, Avant que tu ne (en ailles 708 158 + Modest Musorgsky Bez solntsa (Sunless): No. 3, O konchen praedny (The holidays are over) 714 159+ Charles Ives /n Flanders Fields 719 OPERA 160» Alban Berg Wozzeck: Act III, Scene 3 722 (61 + Paul Hindemith Mathis der Maler: Sechstes Bild 740 162° Benjamin Britten Peter Grimes: To hell with all your mercy 759 163 + Igor Stravinsky The Rake’ s Progress: Act Wil, Scene 2 78 Appendix A Instrument Names and Abbreviations 809 Appendix B_ Glossary i Index of Composers 7 Index of Titles Index of Forms and Genres 820 Index of NAWM references in Grout-Palisea, A Hisrory af Western a Music, Ath, 2d. PREFACE The title of this anthology lacks one important qualifier: it is an Aéstorical anthology of western music. There is a wide difference between an historical anthology and one intended simply t supply a selection of music for study and analysis. Historians cannot confine themselves to studying the great works that are the usual stuff of anthologies in splendid isolation. They are interested in products of the imag- ination great and small as they exist in a continuum of such works. Just as composers did not create in a musical void, standing aloof from the models of their predecessors and contemporaries, so the historically-oriented student and analyst must have the primary material that permits establishing historical connections. This anthology in yiles students and teachers to make such connectious. Ir confronts, for example, im- portant works and their models, pieces written on a common subject or built according to similar procedures or that give evidence of subtle influences of one composer's work on another's. Most music hefore [500 was composed on some pre-existent music, and there are numerous examples of this practice even after that date. Whenever possible in this anthology, the music that served to ignite a composer's imagination is provided. In one notable case a single chant gave zise to a chain of polyphonic elaborations. This is the Alleluia with verse, Alleluia Pascha nostrian (NAWM 16), elaborated by Léonin in organum purum with clausulae, refreshed with substitute clansulae by his succes sors: and both his and the new clausulae were tumed into motets by adapting Latin or French texts to them or made fuller with new parts both with and without texts. (This Alicluis set, although different in content, format and realization, is itself modeled on Simla! set on this chant devised by Richard Crocker and Karl Kroeger as local teach- tig ails, ind | am indebted to them for the general idea and certain details.) _ A sitilar chain of works are the masses built upon the melisma on the word caput in the Sarum version of the Antiphon, Venit ad Petrum: two are here given, the first by Obrecht, and the second by Ockeghem, each influencing the other (NAWM 40 and +1). I is instructive similarly to observe in Josquin’s early motet, Tu solus, qui facis hirrabilia (NAWM 32), the way he absorbed fragments of Ockeghem’s arrangement Ol the song, D’ung aulire amer (NAWM 48), or (o be able to refer 10 the Benedictus 0) Taverner’s Mass, Gloria tibi irinitas (NAWM 42), the source of the famous subject, 4” aemine, when studying one of the many variations upon it, such as that by Chris- (ez's arrangement for Vihvicla (NAWM 49h) may be inferred trom comparing 1 to the original polyphonic chanson Mille regret: by Josquin (NAWM 49a). A later vi vit Preface example of this process, starting with monodic model, may be found in the Lachri- mae pavans of Dowland and Byrd (NAWM 402a and b) based on the well-known air, Flow my tears, by Dowland (NAWM 69). In the twentieth century the variation pro- cedure is the structural principle for several excerpts, namely those by Strauss (NAWM 146), Schoenberg (NAWM 148), and Copland (NAWM 150). Arcadelt’s parody in his Mass (NAWM 43) of Mouton’s motet, Noe. noe (NAWM 34) may be assumed to be a tribute. Subtler connections may be detected between Lully’s overture to Armide (No. 75a) and the opening chorus of Bach’s cantata, Nun komm, der Heiden Heiland (NAWM 90), between Gossec’s Marche lugubre (NAWM 117) and the Funeral March trom Beethoven's ‘‘Eroica’’ Symphony (NAWM 118), between the nocturnes of Field and Chopin (NAWM 125 and 126), or between Musorgsky’s song Bez solnisa (NAWM 158) and Debussy’s Nuages (NAWM 144). Comparison of the musical realization of the same dramatic moments in the legend of Orpheus by Peri and Monteverdi (NAWM 71 and 72) reveal the latter’s dehts to the former. It is revealing to compare the settings of Mignon’s song from Goethe’s Wil- helm Meister by Schubert, Schumann, and Wolf (NAWM 133, 134, and 135). Some of the selections betray foreign influences, as the penetration of Italian styles in England in Purcell’s songs for The Fairy Queen (NAWM 76) or Humfrey's verse and anthem (NAWM 88). The crisis in Handel’s career, brought on partly by the popularity of the ballad opera and the English audience's rejection of his own Italian opera seria, is docemented in a scene from The Beggar's Opera (NAWM 81) and by the changes within his own dramatic oeuvre (NAWM 80, 82 and 89). The new Italian style to which he also reacted is exemplified by Pergolesi’s La serva padrona (NAWM. 122). Some composers are represented by more than one work to permit comparison of early and late styles—Josquin, Monteverdi, Bach, Handel, Vivaldi, Haydn, Beetho- ven, Liszt, Schoenberg, Stravinsky—or to show diverse approaches by a single com- poser to distinct genres—Machaui, Dufay, Ockeghem, Arcadelt, Willaert, Montev- etdi, Bach, Mozart. ‘A number of the pieces marked new departures in their day, for example Adrian Willaett’s Aspro core from his Musica nova (NAWM 57), Viadana’s solo concerto, 0 Domine Jesu Christe (NAWM 84), Rousseau’s scene from Le Devin du village (NAWM. 122), or C. P. E. Bach’s sonata (NAWM 108). Other pieces were chosen particularly because they were singled out by contemporary critics. such as Arcadelt’s Ahime, dov'é ‘I bel viso (NAWM 56), hailed in 1549 by Bishop Cirillo Franco as a ray of hope for the future of text-cxpressive music; or Monteverdi's Cruda Amarilli (NAWM 67), dismembered by Artusi in his dialogue of 1600 that is at once a critique and a defense of Monteverdi's innovations; Caccini’s Perfidissimo volio (NAWM 66), mei (ioned in the preface to his own Euridice as one of his pioneering attempts, or Ce Intorno all’ idol mio (NAWM 74), one of the most cited arias of the mid-seventeenth century. Others are Lully's monologue in Armide, Enfin il est en ma puissance (NAWM 75b), which was roundly criticized by Rousseau and carefully analyzed by Rameau and d'Alembert; the scene of Carissimi’s Jephte (NAWM 86), singled oul by Athana s Kircher as a triumph of the powers of musical expression; and the Danse des adolescentes in Stravinsky's Le Sacke (NAWM 147), the object of a critical uproar after its premiere, Preface if Certain of the items serve to correct commonplace misconceptions about the history of music. Cavalieri's Dalle pit alte sfere (NAWM 70) of 1589 shows that florid mon- ody existed well before 1600. The movements from Clementi’s and Dussek’s sonatas {NAWM 109 and 110) reveal an intense romanticism and an exploitation of the piano that surpass Beethoven's writing of the same period and probably influenced it. The movement from Richter’s String Quartet (NAWM 111) tends to refute Haydn's patern: ity of the genre, Sammartini's and Stamitz’s symphonic movements (NAWM 113 and 114) show that there was more than one path to the Viennese symphony. The Allegro trom Johann Christian Bach’s E-flat Harpsichord Concerto (NAWM 119) testifies to Mozart’s dependence (NAWM 120) on this earlier model. The scene from Meyer- beer's Les Huguenots (NAWM 139) is another seminal work that left a trail of imita- ti Most of the selections, however, are free of any insinuations on the part of this editor. They ate simply typical, superlative creations that represent their makers, gen- res, ot times outstandingly. Most of the Ars nova and many of the Renaissance works are in this category, as are 2 majority of those of the Baroque, Romantic, and Modern periods. My choices mark important turning points and shifts of style, historical phe- nomena that are interesting if not always productive of great music, new models of constructive procedures, typical moments in the work of individual composers, and always challenging cxemplats for historical and structural analysis. The proportion of space assigned to a composer or work is got a reflection of my estimation of his greatness, and, regretfully, numerous major figures could not be represented at all. In an anthology of limited size every work chosen excludes another of corresponding size that is equally worthy. Didactic functionality, historical illumi- nation, intrinsic musical quality rather than “greatness” or “‘genius"” were the major criteria for selection The inclusion of & complete Office (NAWM 4) and a nearly complete Mass (NAWM 3) deserves special comment. I realize that the rituals as represented here have little validity as historical documents of the Middle Ages. It would have been more authen- ic, perhaps, to present a mass and office as practiced in a particular place at @ partic- ular moment, say in the twelfth century. Since the Vatican Council, the liturgies printed here are themselves archaic formulas, but that fact strengthens the case for their incli- sion, for opportunities to experience a Vespers service or Mass sung in Latin in their classic formulations are rare indeed. I decided to reproduce the editions of the modern chant books, with their stylized neumatic notation, despite the fact that they are not urtexts, because these books are the only resources many students will have available Jor this repertory, and it should be part of their training to become familiar with the editorial conventions of the Solesmes editions. These volumes of music do not contain any commentaries, because only an extended tssay would have done jj to cach of the selections, By leaving interpretation to Students and teachers. { hope 1 enrich their opportunities for research and analysis for discovery and appreciation, Another reason for not accompanying the music with Critical and analytical notes is that this anthology was conceived as a companion to Donald J. Grout"s A History of Western Music, the Fourth Edition of which 1 revised, Brief discussions of every number in this collection wit! be found in that hook: some barely scratch the surface, others are extended anulytical aad historical reflections, An index to these discussions by iumber in this anthology js at the hack of each volume. x Preface The anthology, it must be emphasized, was intended to stand by itself as a selection of music representing every important trend, genre, national school and historical de- velopment or innovation. Tt is accompanied by both records and cassettes. The trai slations of the poetic and prose texts are my own except where acknowl- edged. The, are literal to a fault, corresponding to the origina! line by line, if not word for word, with consequent inevitable damage ¢s the English style. | felt that the musical analyst preters precise detai! concerning the text that the composer had before him rather than imaginative and evocative writing. | am indebted to Ann Walters for help- ing with some stubborn medieval Latin poems and to Ingeborg Glier for casting light ‘on what seeined to me some impenetrable lines of middle-high German A number of research assistants, all at one time students at Yale, shared in the background research, in many of the routine tasks, as well as in some of the joys of discovery and critical selection. Robert Ford and Carolyn Abbate explored uptions in pre-Baroque and post-Classical music respectively during the selection phase. Gail Hilson Wolder and Kenneth Suzuki surveyed the literature on a sizeable number of the items, while Susan Cox Carlson contributed her expertise in early polyphony. Clara Marvin assisted in manifold ways in the last stages of this compilation My colleagues at Yale were generous with their advice on selections, particularly Elizabeth Keitel on Machaut, Craig Wright on Dufay, Leon Plantinga on Clementi, John Kirkpatrick on Ives, and Allen Forte on Schoenberg. Leeman Perkins’ and Ed- ward Roesner’s suggestions after seeing preliminary drafts of the Medieval and Re- naissance sections contributed to rounding out those repertories. [ am also indebted to Paul Henry Lang for his reactions to the classic period choices and to Christoph Wolff for those of the Baroque period. The Yale Music Library was the indispensable base of operations, and its staff a prime resource for the development of this anthology. 1 wish to thank particularly Harold Samuel, Music Librarian, and his associates Alfred B. Kuhn, Kathleen J. Mor- etto, Karl W. Schrom, Kathryn R. Mansi, and Deborah Miller for their many favors to me and my assistants. Most of all I have to thank Claire Brook, whose idea it was to compile an anthology to accompany the Third and Fourth Editions of A History of Western Music. Her fore- sight, intuition, and creative editorial style gave me confidence that somehow within a short space of time this complex enterprise would unfold. Thanks to the efforts of ber assistant, Ray Morse, we were able to achieve the goal of bringing out the anthology with the accompanying text. From my first association with this project, Professor Grout’s text set a standard of quality and scope that was my constant challenge and inspiration, He accepted the idea of the anthology with enthusiasm and subordinated proprictary and justly pridetul feel- ings to a pedagogical ideal. For this, the users of these tools and | owe him a great debt, particularly since this coupling of text and anthology has already achieved a measure of the success that his book has enjayed W-. W. Norton and | are grateful to the individuals and publishers cited in the foot- notes who granted permission to reprint, re-edit or adapt material under copyright. Where no modem publication is cited, the music was edited from original sources. Claude V. Palisca Hamden, Connecticut (<=5107 Domenico SCARLATTI (1685~1757) Sonata in D Major, K.119 (1749) Allegro Reprioied by permission from Siy Sonatas. edited by Ralph Kirkpatrick (New York. @ 1953), Vol. 1, pp. 62-65. Searlee's sonatas are identified by he sambers given in Kirkpatrick, Domenica Scarlani (Princeton. 1953), “Catalogue of Sonatas," pp. 442 1 : Scarlatti, Sonata in D Major - ro #0 il primo tempo 2 e o ous ceed e Tromulo nell” A ta mi ve Scarlatti, Sonata in D Major 4 Scarlatti, Sonata in D Major cE 108 Cari Puripe EmanueL Bacu (1714-88) Sonata [V in A Major, Wq. $5/4: Poco adagio (second movement) Lat C. P. E, Bach, Seche Clavier-Sonaren fiir Kenner und Liebhaber (Leipzig, 1779). Bach's sonstas gre identified by tbe fimbers in Alfred Worquenne, Theimulivohes Verceichnis der Werke Ph, Backs (Leiprig, 1905). Repeinted from Sects Clatenonaien: Erste Sommlion, edited by Lothar Hortmsnn-Erbrecht (Leipeig. d,). pp. 24-36 5 6 C. P. E, Bach, Sonata LV in A Major C. P. E. Bach, Sonata LV in A Major 7 4 Ate ee ee aces arias PE f pe tat 2, Le tS le => 109 Muzio CLEMENTI (1752~1832) Sonata in G Minor, Op. 34, No. 2 (1795): Largo e’ sostenuto—Allegro con fuoco (first movement) Largo ¢ Sastennto fe Sempre tegate || 6 ee FE Ft Ey A}l’con Fuoco AG. F 12 A), sd ——— ia Pie Reprinted from Dear grandes Sonates pour Clavecin ow Forté Piano, Oeuvres irente-quatre ow trenie-uit, (Paris, Sieber case Clementi, Sonata in G Minor 9 Sle pee ar f f. b Sg SIF obey le To ——! ee i0 Clementi, Sonata in G Minor Clementi, Sonata in G Minor il = Faas dimin, BP AEE Legato Large 12 Clementi, Sonata in G Minor Clementi, Sonata in G Minor 13 Sit staleteteiat ee = : =, — SS ees : wit =F mara Grr ae ig DT waa ape Sas aa ees DES os j 14 Clementi, Sonata in G Minor ‘Clementi, Sonata in G Minor 15 2634. Oy Soe é finn, Pe con espeess. 233 con epee. PL Dussek, Sonata in E flat c= D IO Jan Dussek (1760-1812) Sonata in E flat, Op. 44, “Les Adieux” (pub. 1800): Grave—Allegro moderato (first movement) Allegro moderate aaa iy ie, ERTS oa Es INTRODUZIONE . rave a = i ape iy 2 Reprinted ftom Sonatas for Piano, edived by Jan Racek and Vaclan San Sykora, Vol. 111 (Prague, 1962), pp. 20-$0. Repoted bs permission. % 18 Dussek, Sonata in E flat Dussek, Sonata in E flat 19 5 a pain 20 Dussek, Sonata in E flat Dussek, Sonata in E flat 2r ct of CET 2 Dussek, Sonata in B flat Dussek, Sonata in E flat 23 2 sey stig sees Dussek, Sonata in E flat Dussek, Sonata in E flat 25 26 Dussek, Sonata in E flat c= > III FRANZ XAVER RICHTER (1709-89) String Quartet in B-flat Major, Op. 5, No. 2 (£768): Fugato presto (third movement) “tig eie2 i mp e peerinea trom, Denkater deutscher Tonkunst. Series 2: Denkmaler der Tonkunst in Bayern, Jabos., 13, Wok. 1 edited bw ‘Yeo Rienasn (Leipzig, 114), pp. 18-21. Reprimed by permission of Breitkopt & Harel, Wiesbaden. cone eee a 33 Richter, String Quartet in B-flat Major Richter, String Quartet in B-flat Major 29 Richter, String Quartet in B-flat Major Gor > [12 LUDWIG VAN BEETHOVEN (1770-1827) String Quartet in C-sharp Minor, No. 14, Op. 131 (1826) a) Adagio ma non troppo e molto espressivo (first movement) Violino 1 Viotine I. Viola. Vivloneello. Complete String Quarters {New York: Dover, 1975), pp. 119-26, reprinted from the Breitkups & Harel Complete Works Edition (Leipeig. 6.) ar 32 Beethoven, String Quartet in C-sharp Minor fleethoven, String Quartet in C-sharp Minor 33 EL é oem 227s Pil orers. ae paren. Beethoven, String Quartet in C-sharp Minor ye crew dis p Play Teed py BOP PP Tred pe PO PP atin" p pli pe b) Allegro molto vivace (second movement) — i tempo ipo Pitard ome | im oeo Fiend. ‘un poco rita iin poco rilard. peethoven, String Quartet in C-sharp Minor por pero. pororit 36 Beethoven, String Quartet in C-sharp Miner ee ee ee ee ae Tye ste T rb ee i> pew as # ote) 38 in temp 2 Beethoven, String Quartet in C-sharp Minor CD IB GIOVANNI Battista SAMMARTINI (cA. 1700-75) Symphony in F Major, No. 32 (before 1744): Presto (first movement) Presto aun | (EEE é SS SEE vw =< = = wi —_ | view EEEBSES? a Ut wn EES SE Ww) Sheet Violino I a b hones sh ideilied through dhe muberint i Newell eas sind Bathe Chip, Thema Calo gue of the ! Grosamnd Bani Sammartini (Camibrieue. Harvatd University Press forthe Ametican Miasicologiced Soiey, . Reprimed by peruissen of the pubiiets from Zhe SvimphoniesofG. B. Sammarin, Vel. :The Burl Smphonie. ‘died by Bahia Churgin llaevana Publications in Mise, 2, Cambid, Mio. Marva Unive Pras, © 1988 hy the Fveviden’ ond Fesons of Hfaaed Coles 9. 40 Sammartini, Symphony in F Major Sammartini, Symphony in F Major 4! "7.38; In, 36-46, the octave shiv in the suanescrip ate reversed, stating With the opperocleve and dexcening. Stamitz, Sinfonia in E-flat Major CAD 4 JOHANN ANTON WENZEL STAMITZ (1717-57) Sinfonia in E-flat Major Ppl piaae (La Melodia Germanica No. 3) (1754~55): pa prs : Allegro assai (first movement) (aearen) dof tat 2 Corsi in Es = Fr 2 Oboi ravsieCiaraneuid Violino I Violino I Viola, Basso. | says 28S see a: iS == ; te a Denkmaler deutscher Tomkins, Series 2: Denloiiler der Tontiuns! in Bayern. Jali. 2, Vol, (Leipaig, 1906), pp. 1-12. [Reprieted by permission of Broude Brothers Liited a ia in E i 45 Stainitz, Sinfonia in B-flat Major SERIE earner OT Stamitz, Sinfonia in E-flat Major Stamitz, Sinfonia in B-flat Major 47 ats 48 Stamitz, Sinfonia in E-flat Major Stamitz, Sinfonia in E-flat Major 49 50 Stamitz, Sinfonia in E-flat Major (Ces U5 Franz JosepH HAYDN (1732-1809) Symphony No. 7 in C Major, “Midi” (Hoboken [:7; 1761) a) Adagio-Allegro (first movement) Fhe numbering of Hayde's symphonies follows A. von Hoboken's Themaiisches-bibliogruphisches Werkverseichnls (Mainz, 1957, 1971), Reprinted {com Joseph Mayda, Critical Edition of the Complete Symplonies. edited by 8, C. Robbins Om. Vol. 1, pp. 157-80. Reprinted by permission of Ludwig Doblinger (B. Heramansky}, Vienna en 7 Hayda, Symphony No. 7 Haydn, Symphony No. 7 a) a 35? Allegro Haydn, Symphony No. 7 Haydn, Symphony No. 7 55 aoa Tw) a <— a F PSS syesternizy- Aroniv CEEL ES 56 Haydn, Symphony No. 7 Haydn, Symphony No. 7 57 Tutti 58 Haydn, Symphony No. 7 Haydn, Symphony No. 7 59 * Peder caus (rat ra SUhbhertidiy « AvaRIN mm 60 Haydn, Symphony No. 7 Hayda, Symphony No. 7 61 62 Haydn, Symphony No, 7 Haydn, Symphony No. 7 63 Haydn, Symaphony 0. 7 Haydn, Symphony No.7 b) Adagio-Recitativo (second movement excerpt) 2 Obei Violino 1 principale Violino 1 ripieno Violine It Viole Violoncello, Bane Continuo) ‘¢ Fagano P 6S Haydn, Symphony No. 7 Haydn, Symphony No. 7 67 3) Allegro VAectitnung Jecerition BR Haydn, Symphony No. 77 59 c= 16 Pranz Joseph HayDN Symphony No. 77 in B-flat Major (Hoboken 1:77; 1782): Finale, Allegro spiriteso (fourth movement) Fiasto 2 Ove 2 Fagor nis Voting 3 Foes & iota Violoncello a Base = S—=— = SS =| @ eras ee F = Se FFor an explanation of the anmbering soe page 51, Repriated from Ibid., Vol. 8 (Vienna, 1986), pp. 188-203. © copyright 1965 by dhe Haydn-Mozare Presse, Salzburg. Used by permission of European American Music Distributors Comp. Sole U.S, Agent for Hayda-Mozact PresseUniverral Bation, Views ow Lb 70 Haydn, Symphony No. 77 Haydn, Symphony No. 77 n fuel 7p Haydn, Symphony No. 77 Haydn, Symphony No. 77 2 a [ictoncettel] » Haydn, Symphony No. 77 Haydn, Symphony No. 77 5 76 Haydn, Symphony No. 77 Haydn, Symphony No. 77 7 tVioioncetad dn, Symphony No. 77 Hays ympnony No. 79 Haydn, Symphony No. 77 80 Haydn, Symphony No. 77 Haydn, Symphony No. 77 Hoyaln, Symphony No, 77 83 Haydn, Symphony No. 77 Gossec, Marche lugubre CFD 7 FRANGOIS JOSEPH Gossec (1734-1829) Marche lugubre (1790) pesne ee ue | Carinene So 1e Basson 1 Serpent cor IE enFa Trompette 16 a rombonne 1 ‘Trambonne 1 ‘Trombonne 3) ‘Tubs core Caisse roullante Grosse cai? ae Pe a ‘Scored from printed parts ba Panis, B.1N., Dépt. d& ta Musique a7 86 Gossec, Marche iugubre Gossec, Marche lugubre Beethoven, Symphony No. 3 C5 118 Lupwic VAN BEETHOVEN Symphony No. 3 in E-flat Major, | “Eroica’”’ (1803-04): Marcia funebre (second movement) Flutes Ota Clarinets in Bp Banwons "Tac mein Bb Trumpets in © | Tiapen’in C0 Viein Viatin Vila 90 Beethoven, Symphony No, 3 Beethoven, Symphony No. 3 92 Beethoven, Symphony No. 3 Beethoven, Symphony No. 3 93 Beethoven, Symphony No. 3 Beethoven, Symphony No. 3 7 app eee wnpepay 96. Beethoven, Symphony No. 3 Beethoven, Symphony No. 3 97 120 98 Beethoven, Symphony No. 3 Beethoven, Symphony No. 3 99 192 Beethoven, Symphony No. 3 Beethoven, Symphony No. 3 102 Beethoven, Symphony No. 3 Beethoven, Symphony No, 3 103 104 Beethoven, Symphony No. 3 Beethoven, Symphony No, 3 105 CFD IIQ J.C. Bach, Concerto for Harpsichord 107 Jouannw CyristiAn Bacn (4735-82) Concerto for Harpsichord or Piano and Strings in E-flat Major, Op. 7, No. 5: (first movement) Violine I Violine If Violoncello AR Sarugmaretie Recta 3 Klavier _ Cuenca fs omited. Repsinied from Konzen itr Cembute (oder Klavier), edited by Chrisiian Débeveiner (Frankfurt, 1927), op. £19, 22, Reprimied hy permission. 106 J.C. Bach, Concerto for Harpsichord J.C. Bach, Concerto for Harpsichord 109 ===] 110 J.C. Bach, Concerto for Harpsichord J.C. Bach, Concerto for Harpsichord iW J. €. Bach, Concerto for Harpsichord J. C. Bach, Concerto for Harpsichord sichor d3 H2 J.C. Bach, Concerto for Harpsichord J.C. Bach, Concerto for Harpsichord Le Se Se Se ee =e == J.C, Bach, Concerts for Harpsichord J.C. Bach, Concerto for Harpsichord NH? aS SS Sp =—— —<—<—==— i Sa SS a a a ee ee ee ee eee J.C. Bach, Concesto for Harpsichord J. C. Bach, Concerto for Harpsichord 419 J. C. Bach, Concerto for Harpsichord J.C. Bach, Concerto for Harpsichord 21 eS pst ae ee ee .a ey Se SS 120 a m2 J. C. Bach, Concerto for Harpsichord altargande a hore a r = = Cade ua Libis PP Sr a a rae aap tpt ph pt sthletee pooppbi tite = SS = SS ee w Sa Pa are ~ == eee > J.C. Bach, Concerto for Harpsichord C= D 120 WoLrcanG AMAbgEus Mozart (1756-91) Piano Concerto in A Major, K. 488 (1786): Allegro (first movement) Mozart, Piano Concerto in A Major 125 ‘Reprinted by permission ot Birenreiwr-Verlag, Kael, Basel, Tours, Lonion lrom: Neue Mozart Ausgabe. Serle V, ‘Werkgruppe 1S, Band 7, edted by Hermann Heck (Kassel, 1989) pp. 3454, ir] hl 16 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 127 128 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 129 yet Fer eat = aE 130 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 131 132 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 133 434 Mozart, Piano Concerto in A Major Mozart, Piano Concerto ia A Major 4135 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major apa, wwe 138 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 139 Mozart, Piano Concerto in A Major 141 140 Mozart, Piano Concerto in A Major ara 142 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 143 isc ee 144 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 145 te re 146 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 17 148 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 149 248 —_— 4 150 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 151 152 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major 153 i354 Mozart, Piano Concerto in A Major Mozart, Piano Concerto in A Major ISS ‘c= > 121 GIOVANNI BATTISTA PERGOLESI (1710-36) La serva padrona (1733): Ah quanto mi sa male—Son imbrogliato io RECITATIVO Uberto ‘Ah, quan-to mi sia ma-le di tal M-éo-lu- a - Cembalo F- — Violoncello e Contrabasso Serpina@ parte) (beiseite) 0 - me; ma uhocolp i - 0? Di pur Cem)" OF Vie. eh. 5 Uberto vuo-i,chéha da mi-f-stir la co-saa mo-do won da-br - ta- re che Pergolesi, La serva padrona 157 Serpina Uberto Serpina 2 = = f& v PSS ie ee ja re? ‘Vuol ve-de-re it mio spo-se? Si, Yavreica fo. %lo made. if Ceimb. Vic. [Seta COA so YE Senpina sR ro per lu- i: gidinatradaei si trat - tien. Va! CBn Wi-cen- za. Uberto Or in-do-wi- no, chi sa-ré co - stu- i! For-se la pe-ui - 4 = Ceanb Vie. ecb. Yen-ge fata co-si di quant eLlahalat.toal pa-dro-ne- Cem! Vie. ec. 45: = LS = SSS SS se = ver, co-me mi di - ce, up tl ina - rm - to Comb. Vie, ech. 158 Pergolesi, La serva padrone po ve-ret - ta ra fra is terrae ha - slo. ne. Ah, Combs ~ Vic. ecb. vil vin Via. ae Per ab-trotw — pemsi Comp, Vic. oh. Prte, Pergolesi. Za serva padrona Vid vu Viw. Comb, Vic. Cb. VLE vi Via. ne Supen-sie- ri Comb; Vic. 6 0b. vu View! Via, wu. PB. ri- bal- ai, Pia-no! 7 Ba-sta’ 159 b Eh! no,no,n0n an-da- te Vic. eC. Vil vi Via. Comb. Vie ech. Vuit Pergolesi, La serva padrona _ SSS i pag ===2s oy § poieomfel - ae ta-ta,,..Eh/Ghesei mat-tot Pia -no di grazia, £ j 1 a = == SS eS] 7 Me cae & @ = ‘ oo @. Te ee == 5] w y tor ~ na. Ob Dio! e-siam de Pergolesi, La servar padrona 11 vin Vit vin. st P. = ; che con-fu - sine! Gem. Vie. eb. ARIA Allegro Violino I Violino ID Viola Uberto Pandolphe Cembalo Violoncello e Contrabasso Vu Cemb: Vic. ech. 162 Pergolesi, La serva padrona vil Vit ” ‘Son tmbro-glia - to 0 gii,son imbro- glia - to i - 0 ‘Vic. ec. vi VLU Via. gia, son im-bro- glia - wi-o gia! Houn cer-to che nel if | dir per mie non 80,— non 50,— sea - Com View ech. Pergolesi, La serva padrona vat vin Comb; Vic. Ch. Vid vit Via. ta? Seni” un che Comb} Vic, © Cb. VI vist! Cem. Vic. eth. di - ce, 164 Pergolesl, La serva padrona Pergolesi, La serva padrona 165 vl van vutt Vv via. u = v. a Houn cer-to che nel nonso che dir, chedirnon Comb. 7 Com, Vic. ecb vin via val vu Via. Via. v. uv. fir per me non 0, non so che | perme nov $0,8on im-bro- glia - Comb ae Vie. % 35 vil via inorug Se pe - ta? Per me... non houn ~ to. im - bro - gliatoi-o giv Sent-un che port Ie Prod: = = cemb.| © 4 167 166 Pergolesi, La serva padrona Pergolesi, La serva padrona wm dinee . = 2 = To sto frail si eil m0, frail vo-glive frail non Vil vr vill VLE eal Via. U v. a Yo-ylio, ¢ sem-pre pil mim -bro-glicy ‘pia mim _ bro-glio, pit mim- 5 Comb. Comb: aries Vic. ecb. eb. VAI VLE é vill vat Via. Mia. bia ae. wroyio. AN! mi Cem, Vic. Cb.” Comb. Vic ech. 168 Pergolesi, La serva padrona vil vu Cemb. Vic. © Cb. vu Via, Son im-bro-glia - to1-0 Comb, Vic, ech, UBERTO (aside) Ah, it doesn’t feel right— this resolution; ‘but is it my fault? Ab. quanto mi sa male Di tal risoluzione; Ma n’ho colpa io? SERPINA (aside) Tell yourself what you want, because this affair will end my way. UBERTO Come now, do not doubt that T could ever disagree with you. Di pur fra te che vuoi: Che ha da riuscir la cosa a modo mio. Orsi, non dubbitare Che di te mai non mi saprd scordare Pergolesi, La serva padrona Vuol vedere i) mio sposo? Si, Pavrei caro Jo mandard per lui: Gila in strada ei si trattien Con lieenza.. . . . (parte) Or indovino, chi sara costui! Forse la penitenza fara cos). Di quant’ella ha fatto al padrone; $'8 ver, come mi dice, un tal marito La terva fra ta terra ed il bastone. Ab, poveretta lei! Per altro io penserei . Macllaéserva.. - Ma il primo non saresti . Dungue, Ja sposeresti? Basta... . oh! no, no, non sia Su, pensieri ribaldi, andate via! Piano, io me I’ho allevata: S@ poi com'ella é mata Eh! Che sei matio! Piano 1 grezia, Eh non pensare affatto. Ma io ci ho passione, ¢ pur . Quella meschina Eh torna Oh Dio! . ¢ siam da capo Oh... . che confusione! Son imbrogliato io git, Ho un certo ché nel core, Che dir per me non so, S'2 amore o sé pietd Sent'un che poi mi dice: Uberto, pensa a te. To sto frail sie ‘Ino, Fra il vogtioe fra il non voglio, E sempre pid m'imbroglio, Anh misero infelice, Che mai sara di me! G. A. FEDERICO 169 SERPINA. Do you want to see my groom’ UBERTO ‘Yes, 1 would love to, SERPINA 1 shall send for him He is waiting down in the street UBERTO Go ahead SERPINA With your permission (leaves) UBERTO Now I can guess who it will be. This will be her penance perhaps He will do to her what she did to me. Te whas she told me is true, a husband like that would keep her between the earth and a stick Poor thing, she is. Otherwise I would think of hut she is a servant hut | would not be the first « ‘Would you marry her, then? Enough . . . oh no, na, it cannot be Rascally thoughts, go away! Easy, [raised her for myself. I kvow how she was bom. . . How crazy you are! Easy now, please, think no more about it. Still, 1 feel a passion for her . that wretched creature And yet Oh God! . . . are we beginning all over? Oh! . . . what confusion! Lam all mixed up. Shave a certain something in my heart. Truly, I cannot tell whether it’s love or pity. [hear a voice that tells ine: Uberto, think of yourself. [am between yes and no, between wanting and not wanting, and I get more confused all the time, unhappy feltow, What will ever become of me? GD 122 JeEAN-JACQuES Rousseau (1712—78) Le Devin du village (1752): Scene 1, Air, Jai perdu tout mon bonheur Lent et marque. deur, J4 Coletie. Jai per - dutovtmon bon-heur, : f Reprinted trom Le Devin de Vitige, edited by Charles Chaix (Geneva: Bdinon Henn, 1924), pp. 11-17 170 Rousseau, Le Devin du village Jai per -dumonser-vi-teur jai per~ du tout cion bonheur. Co lin me dé - lais-se, Co-lin me dé ~ 472 Rousseau, Le Devin du village tr je voudrais nly plus songer. he - last hélas! la puchan-prs, je vow-drais ny phusson-ger. JY son-gesans cesuse jy son - ge sans ces = teppei rg: ——— BAmsotalll, LE Levit Gu Vilkdge jai per- dutout mon bon - heur, me df= tals, se 7 + Rousseau, Le Devin du village rie = sre? (Drone et dep) eile est done Dien char - a =o Impriden-te ber - p+ re Rousseau, Le Devin du village (rutrur tengre) = — =! Rien hepeutgué-rir mon a - pee Jai per — dv mon servi - leony ai per - du lout mon bon - Iais - se, Co. & [? "sees Rousseau, Le Devin du village Rousseau, Le Devin du village WT 176 123 (aebive) i = 4 f —+—+ mour. Je le vois et je veux midcelair- cir en ee jour. o eae J 4 | Beit. (veflexion dunce? ‘ceflexion triste! je We dois... peutttre Couerre J'ai perda tout mon bonheur, 1 have lost all my happiness, J'ai perdu mon serviteur, Thave lost my servant, Colin me délaisse, Colin forsakes me. ‘Hélas! it 4 pu changer! Alas, he could have changed. i Je voudrais n'y phis songer. 1 would rather stop dreaming about it i J'y songe sans cesse. Yet | dream about it incessantly. iRécit), ng faveo dgueeur) =e, f oo " . f — Tl maimait auttefois, et ce fut mon anal- He loved me once, and this was my bad SS heur. . . tuck SS Mais quelle est done celle qu'il me préfére? But who, then, is she whom he prefers? fhe cher chai tant an—ere - Elle est done bien charmante! She must be very charming! F i Imprudente bergére, Imprudent shepherdess, SS Ne orains eu point tes maux do you not fear at all the misfortunes = SSS Que j"éprouve en ce jour? thar 1 am experiencing today? r F = Colin a pu changer; tu peux avoir ton tour Colin could have changed; you may have your - LD turn == =f == 1e me sert d’y réver saus cesye? What good does it do to dream about it inces- = a ¥ = santly Rien ne peut guérir mon amour Nothing can cure ny love Et (out augmente ma tristesse. and everything increases my sorrow. : Vai perdu mou serviteur . . . ete. Thave fost all my happiness etc. ft ay Je veux le hair; je le dois I want to hate him: [must doit. . - ‘+ 25 Se + sere. = Pent-étre il m'aime encor Perhaps he loves me still : tee 2 EE a = Pourquoi, me fuir sans cesse? Why do I flee incessautly? © ton fait i. ci sa de=meu-re, ii salt tout; if sara Je sort a It me cherchait tant antref He used to look for me ouce Ce devin du canton fait ici sa demeure: The soothsayer of the canton makes his home = — here. —> U saat tout; il saura le sort demon amour. He Knows alt; he will know the fate of my I love. 4 Je Te vois et je veux m'eclaircir en ce jour. 1 see him, and | want this clarified today: — ire Libretto by the composer ae) 123 S| tot (fas ==: 8) votteon | : : ) at be o (Combate) = = ' Vetatae be RES CurisToPH WILLIBALD GLUCK (1714-87) Orfeo ed Eurid Oboe Obee \Corro iin Mig ice (1762): Act Il, Scene 1 (excerpt) Ballo Repo hy pemision of Parenter Vera edited by A.A. Abert und Liedwig Pinscher { 78 Kassel, Basel, Tavts, London from Sdimvtiche Werke, Abtetung I, Bd 1, asset, 1963), pp. 55-75 Gluck, Orfeo ed Euridice 179 wl wm DT wm oD 2» DO % Gm Harpe Violino! 8) Vioton 3 SP viata ( tm |] WWitanoctor Basal Gluck, Orfeo ed Euridice #80 bce Viatieo Violino Vio Soprano Alto Tenore {Cenbate) Wotonenoe Bass iS: Ahn fae it Gluck, Orfeo ed Euridice 181 34 Presto Violino Viotina I Viola (Combed Vicloycetts¢ Bassa w 182 Gluck, Orfeo ed Euridice Gluck, Orfeo ed Euridice 183 St Andante Oe (ae — 204 Wola vl Te Ceadats) Viotoncellae Basso 84 Gluck, Orfeo ed Euridice Ghick, Orfeo ed Euridice EF ger ius eat oh no gitar = [55 apo cop Be ie al sepepeees, pppoe: 186 Gluck, Orfeo ed Euridice Gluck, Orfeo ed Euridice Ee aur = E == piers de + guur- Gluck, Orfeo ed Euridice Gluck. Orfeo ed Euridice 189 Maestoso, ial ee oil é Violino 1 ( Viola embstoh Viotoreetion Basso (DR 190 Hoepa, Violino | Viotine I Ordestea Viola ioionceto ¢ Basel Comets Tesabone i Orskestrs | Vioiina | Vootine oxFEO Soprano Alto Tenore (Cenbated Viola cot Bess0, Violoncelio Gluck, Orfeo ed Euridice Gluck, Orfeo ed Euridice 191 us # eS | Vie ——= = (igi 7 = ere = — = es Baer By Fae aa tar = 7 7 Gluck, Orfeo ed Euridice 188 Gluck, Orfeo ed Euridice at 5 SS boro do tor! os i mio SSS SSS SSS vi» decane 9 Gluck, Orfeo ed Buridice Gluck, Orfeo ed Euridice 195 199 a = a ——_ @ ib es) | d ; — a pi =e —___ s an wy . w : — erst, Bi bres we 2 > ee ene - a Fa : tre i. 196 Gluck, Orfeo ed Euridice Gluck, Orfeo ed Euridice 3 197 var. ve, + Bre se go - se! aa Pa imo ter. taro do Gluck, Orfeo ed Euridice 99 Gluck, Orfeo ed Euridice Chi mai dell ‘Erebo Fralle caligini Sullorine d’Ercole E di Piritoo Conduce il pit? Diorror Vingombrinio Le fiere Eumenidi, E lo spaveutino Gi urli di Cerbero, Se un dio non & Deh, placatevi con me, Furie. Larve, Ombre sdegnose! No!... No! Vi senda almen pietose Tl mio barbaro dolor! Libretto by RANTERO DE’ CALZABIGI CHorus Who from Erebos through the dark mists, in the footsteps of Hercules and of Peirithous would ever set forth? He would be blocked with horror by the fierce Eumenides and frightened by the shrieks of Cerberus, unless he were a god. Orpnews Please, be gentle with me. Furies, specters, scornful phantoms! Cuorus No! . . . No! Orpneus Let it at least make you merciful, my eruel pain! CD 124 WOLFGANG AMADEUS MoZzaRT Don Giovanni, K. 527 (1787); Act I, Scene 5 a) No. 3, Aria: A chi mi dice mai Allegro farsactto 11 eas y, Pogotto hit T Coro ht te bie Pieline Z Fiotene dt Fivis | DOsWA sLv IRA om s10vaxe1 LEPORELIO Viotoncetlo # Basra nS © P t Reprimed by permission of Barenreiler-Veriug. Kassel, Basel. Tours, London from: Newe Mozart Ausgabe, Serie Tl. Wedkgruppe 5, Hd. 17, edited by Wellgang Plath und Wolfgang Rehm (Kassel, 1968), pp. 65-90. Mozart, Don Giovanni ton cnt ree eo vonnatviika == Abehimi dice mai quel roe = 6 ans] wean 202 Be Fue. ons fe Mozart, Don Giovanni Mozart, Don Giovanni Pee. me = vo furs neorren - dp scempi, i © p Tr 203 inci] ml fp - Sp se al : jd dd = i ® tp 7 Sg a = $e i we ae bon crownsir ep U- ai-sut quelehebel-l dal vas gedliinn -dornasty ~— SSS ? 204 Mozart, Dor Giovanni Po + veeri-may po - veo rivma! va Cerchin diconso-le-reil sua tor - mento, LEPORELLO 1b anillee ot = 10 = Mozart, Don Giovanni 205 2 ES oe ce cnt EE ah Ahchiat di. comet quel = an) Fog. ¥ ? ‘etcento eal var minawed i BY ine ir Mozart, Don Giovanni ve! far - neorten ~ do scem-pio, ‘ & Mozart, Don Giovanni 7 oar a nai ae = Feil eon, Dow GiOvANNT = ae, Po-ve- rena, po-ee - ei nal veer bo P 7 P ? = a, ‘ino usa vr (es val bo. ‘BEPORELLO. Cosi neconson18 mille eat-te + conto. eae 208 man ws ka 2 Pee ona teen Wilson k= we Feil congli ve! & veil 1) Vovcing au eveneeion Asiaing de Female Mozart, Don Giovanni DON GIOVANNI Sh gno-1i-ma, =~ Chie Mozart, Don Giovanni 209 Recitative: Chi é la tpg. teronsio DOWNA ELVIRA, by ee = TR? Stel-letche we-dol © Bel-lat Don-ns Eb 52 sIov wowing BLYIAA ‘DON SIOVAKE LAPORBLLD ™ SESE weno movtro,fel-lon, ai- do dim- gin-nii (Che H-to-H crwecan-bi -man-co male che lo co- no ace Es fF DON GIOVANNI bene) Vin ex-r» Donat El- vi ra, cal-ma-te quest: col-lo-en.. sem. 6 DONNA ELVIRA == do-powtion dl nevts? In caste mica enstri fur-ti+ vaemen-te, 8 3 == ee = 3 forza dar-te, di gineramentie di fucsin-ghe ar-ri-vi 3 30+ dur-reil cor mi- 0; afine me mi as chia del-ls terre del eit-loal pot man. can-do 74 tas spot, 210 Mozart, Don Giovanni Ss ££ dnete, con &-nor-me de-lie Ho-pa tre di da Buregos Cal-lon = (a=, afab-ban-do -mi, 2 gee = m= SE issonsiro Fuge, lnseiinpredsal emorso ed al punto, per fe-na Tor-se che Cima co-tenstol- (Peeve un a DON GIOVANNT 22 ours LEPORELLO (iroaicements] lisbro stam-pa-to) Ohin qvanctoa questo eb- bi le mie ra- gio- mi Be SS a SEAS vonwa sLvIAa 7 Mail giu-sto E che cacgionni for-t Equrli sovso, se non Ia tua per ~ Fic din Ia legegerrtz as SE von ctovannt Go-To vol-le eWlo Hi tro - vas-Hiperfar le sus, Ie mioven - dette, Eh vi-« sia-eo pid m-give ne-vorlen. (mi pormea cimenio co-stel) Senencre-deteallab-bro mi-e, cre-de~ Mozart, Don Giovanni au LEFORELLO = pciey, so phi e BON cIOVANNE 880 pen un mo, Gilewoil ver) Vie dil-leon po- con st oe ngs few 5 benwieten enge be Si. dil le pur Wrote fe preito.. Ma > das aus., ve- ramen DONNA ELVIRA, fea == E> See mondo conchos-aia co an quando fos se A qus-deo non 2 ton-do..” Sola gu stages Gyrepon ciovannt the non erede parteo) co-al del mu do = lor gioco t pren-di? AL Wok eelole! = t= quo Fag 47 S55 Leporei0 in qual par=« We alate che va= dase = gl) oon morte — ows = = : = ete fit +9 pee =SaEE eee ttt Ppt che di lai ci pemsiaste' “IL aeel-le- ex to afimgsmnd, mi tea di! Bh conso-la- tev; nonsiente a os — p= 212 Mozart, Don Giovanni Se Tas time ghar quessto nea pie cich lt bre slo pies mo de: novmi di sue bel - ley s sche im pre 46 vill, O-gaibor-ga, o- gm) pa = ve oti-mon attaces b) No, 4, Aria: Madamina! Il catalogo & questo Allegro Flovto har Obie bt agosto Corso 41 io held Viobno f Viola Lat LEPORBLLG ~ Togo! que: sto costa sme, Piotonceato ye 9 Yet Vonvon Mozart, Dox Grovanni 213 ‘bel-lechowm3il pedron mine, unet-te - logae-ghie Gheho WT. onerv sty Tepe ? t = oa a ——— i 214 Mozart, Don Giovanni Mozart, Don Giovanni 2 8 arg Pm n * a fw n on var a = A in La + mao qneduecenstoe trent ah cen-toia == otra quests conta + ding, roe] 2 ” n a re re cen a ho Ae var u z o vu * Fr a ca eo = rn a sor git mille ¢ we, 2 sore vhancorteran brrovaeree hea ’ ¥ “ 6 chara eee 17) Vovuiug rar event aun far Ferma 216 Mozart, Don Giovanni Mozart, Don Giovanni 27 5s Fg ok fee re Mae var ve rs = -eon-20€ rent! © cen ~~ tin Frm - cil Tur peas, evhandoonedbgni grndodo-guiformadognie-t, do - gai formds vere on be vind Re we ma ve ba Hp utp L “ feicen-10e Qui-ran - 14, tens ata ie Fespagena, main [ - spag-ne som git miblee 6, ve. Yoew air = 218 aiblee tes, Violonegie’ py \ Fe. ate) louewhansomense bese meses meee, Mozart, Don Giovanni wile etre, Whan fea que-ste comets 4p Tary Basel t + din neyeavmenriene € itt - Mozart, Don Giovanni 219 Andante con moto =| alt ba Yu sana es 220 Mozart, Don Giovanni Mozart, Don Giovanni 12 227 ‘reweeto ta,veol desi. te I magrotity, 222 Mozart, Don Giovanni tne ke) va ‘ =m, le picvei- aay nem, a P \ nz, 7 fe pic ~ Si-me, Ik pie-civm, la plesci-an, la pic~ Mozart, Don Giovanni 223 FS eS By Pee: cn ke) ween Mozart, Don Giovanni 225 Mozart, Don Giovanni ine) x ve pur- chi porte la, gon-oel = [ay % la giowinprin-c-pian te. rep. Re mn eons ne uw che fs, pur-cht porti la gom-ael-layvol sa pe-tequel che 7) Bu einem i Aste nad T. 185 gunmen Tak al Kes, Re Mozart, Don Giovanni ep it r ve ” sa-pete quel che X n re. con coke) ws voi sae pe st quel SSS Mozart, Don Giovanni 227 Donna Evira Ah, chi mi dice mai, Quel barbara dov'e, Che per mio scorne amai, Cae mi mined di fe, Ah, se ritrovo l'empio, Ea me non torna ancor, Vo" fare orrendo scempio, Gli-vo" cavare iI cor. Ab, who will ever tell me where that barbarian is, whom, to my shame, I loved, who failed to keep faith? Ah, if | ever find the scoundrel, and to me he does not return, Y shall brutally slaughter him. 1 shall take out bis heart Don Giovanni (fo Leporetto) Did you hear? Some beauty by her lover abandoned. Poor girl! Poor girl! Udisti? Quatcbe bella Dal vago abbandonata Povesina! poverins! Cerchiam di consolare i! suo torment. Let us try to console her torment, Leporriio taside) Cosi ne consold mille © ottocento. ‘Thus he consoled a thousznd and eight bun- dred. Don Giovanni Signorina! Signocina! Signorina, Signorina! Donna Evins Chi € ta? ‘Who goes there? Don Grovannt Stelle! ehe vedo! Heavens! Whom do I see? LePoreLLo (aside) © bella! Donna Elvira! this is nice! Denna Etvira! Doxna ELVIRA, Don Giovanni! You're here, monsier! Felon, nest of deceits! Don Giovanni! Sei qui, mostro, fellon, nido d’ingannit LrvoreLLo 1 (aside) Che titoli cruscanti! uch Tuscan insults! Manco male che lo conosce bene. At Teast you know bim well Dox Giovannt Now, dear Donna Elvira, calm your anger. . lasciatemi parlar Listen . . . let me speak Via. cura Donna Elvira, Calmate questa collera . Sentite . Bona Et.vira What can you say, after such a black deed? You entered my house furtively through trickery. Cosa puoi dire, dopo uzion si nera? Tn case mia entei fuitivameme, A forza d'ante, 228 Mozart, Don Giovanni Di givramenti e di lusinghe arvivi With oaths and flattery you succeded ‘A sedurre il cor mio: in seducing my heart Miinnamori, o crudele, 1 fell in love. ‘Mi dichiari wa sposa, You proclaimed me your bride, E poi mancando della terra del cielo and without earthly or heavenly writ Al santo dritio, or legality, Con enorme delitto with high crime, rather, Dopo tre di da Burgos t‘allontani after three days you left Burgos. M’abbandoni. mi fuggi ‘You abandoned me; you fed E lasci in preda al rimorso ed al pianto, and left me a prey to remorse and to tears, Per pena forse che t’amai coranto. as penance, perhaps, for loving you so. LeporELLO (aside) Pare uu libro stampato! She sounds like a printed book. Dow Grovannt Oh in quanto a questo, cbbi le mie ragioni! As far as that’s concerned, | had my reasons. (to Leporelio) E vero. 1's true, LEPORELLO E vero, e che ragioni forti! It’s true, and what good reasons? Donna Et. vIRA- E quali sono, se non per a tua perfidia, And what were they, if not your perfidy, La leggerezza tua? your trifling? Ma il giusto cielo volle ch'io ti trovassi, ‘But the-just heavens willed that 1 should find you Per far Je sue, le mie vendette to have both its and my revenge Don Giovan» Now, now, be more reasonable, (She pins me to the wall, this one.) If you do not believe it from my lips, believe this gentleman. Eh via, siate pid ragionevole! (Mi pone a cimento costei!) Se non credete a! labbro mio, credcte a questo galantuomo. Lerorer..0 (Salvo il vero) (Except for the truth.) Don GIOVANNI (loudly) Via, dille un poco . Go on, tell her something LerorELLo (sefily) E cosa devo dirle? ‘And what should I tell her? Don Giovanni (loudly) St, si, dille pur auto Yes, yes, tell her everything. Mozart, Don Giovanni 229 Donna ELvika Ebben, fa presto Well, hurry up Don GIOVANNI (flees) LEPORELLO ‘Madama... veramente . . . in questo mondo Madam . . . wuthfully Conciossia cosa quando fosse Che il quadro non & tondo. in this world notwithstanding that a square is uot a circle Donna ELVIRA Sciagurato! cosi del mio dolor gioco ti prendi? Scoundrel! thus of my anguish you jest? (to Don Giovanni, who, she thinks, has not left) Ab voi . . . stelle! l'iniquo fuggi* Misera me! dove? in qual parte . . Ah, you ... heavens! You, the guilty one, flees Poor me! Where? In what direction? LEPORELLO Eh lasciate che vada; egli non merta Che di lui ci pensiate. Let him go; he does not deserve that you should think of him. Donna BLviRa Il scellerato m’inganno, mi tradi! The rascal deceived me, he betrayed me. LEPORELLO Eh, consolatevi: non siete voi, Non foste, e non sarete né Ja prima Né ultima: guardate questo non picciol libro; E tutto pieno dei nomi di sue belle; Ogni villa, ogni borgo, ogni paese E testimon i sue donnesche imprese. Madamina! Il catalogo & questo Delle belle ehe amd il padron mio; Un catalogo egli & che ho fatt’io; Osservate, leggete con me! In italia seicento ¢ quaranta, In Almagna due cento ¢ trent’una, Cento in Francia, in Turchia novant’una, Ma in Ispagna son gia mille e tre Vhan fra queste contadine, Cameriere, cittadine, Wan contesse, baronesse, Marchesane, principesse, E whan donne d'ogni grado, Diogni forma, d’ogni eta Tn Ital; Nella bionda egli ha Vusanza Di lodar ta gemtilezza, ‘Nella bruna la costanza, Nella bianca la doteezza: Oh, console yourself’: you are not, were not the first, and will not he the last Look at this tittle book: It is full of the names of his conquests; every village, every suburb, every country is a testimony to his womanizing. Madamina, ‘This is the catalog of the beauties that my lord loved: it is a catalog that | made myself. Observe! Read with me In Italy, six hundred forty, in Germany two hundred thirty-one, a hundred in France, in Turkey ninety-one, ur in Spain there are a thousand and three. Among these there are farm girls, maids, city girls, there are countesses, baronesses marchionesses, princesses, and there are women of every rank, ‘every shape, and every age. In Ttaly , In a blonde he usually praises her gentility, 9 a brunette her constancy, in the white-haired, sweetness: 230 Vuol d'inverno La grassotta, Vuol d’estate la magrotta; E’ la grande maestosa: La piccina & ognor vezzosa. Delle vecchie fa conguista Pel piacer di porle in lista; Ma passion predominante E la giovin principiante; Non si pica se sia ricea, Se sia brutta, se sia bella, Purché porti la gonnella: Voi sapete quel che fa. Libretto by LORENZO DA PONTE Mozart, Don Giovanni he wants, in winter, a plump one, he wants in summer a rather thin one; and the large one is majestic; the petite one is always charming Of the old he makes a conquest for the pleasure of adding them co the list; but his dominant passion is the young beginner. He is not bothered if she is rich, if she’s ugly, if she’s pretty, as long as she wears a skirt You know what itis he does. CD15 Joun FreLp (1782-1837) Nocturne in A Major, No. 8 (1811-15) ‘This composition was fist publisher a Jonger version (96 messures) as 4 Pustorale in the Second Diveriimento for Pluno ith Accompaniment of String Quartet (Moscow. ca. ISL}, Lindon,2. 1811-12), 1n 1415 itappeared an the present ver~ ‘actually No. 9 (400 Cecil Hopkinson, a the first of three Romances for Piano (Leipzig, 815), eveutuslly beeoming ane of the Nocteraee, usually called No. ibiographicu! Thematic Caralogue of the Werks of Joha Field, Landon, 1901, p. 33). Reprinted from Nonurnes, rev, by Louis Koehler (Praoktut, etc., Peters n.d., pl. uo. 655), pp. 28-31 ee 232 Field, Nocturne in A Major Field, Noctume in A Major 233 234 Field, Nocturne in A Major Field, Nocturne in A Major 235 a ~ ae cee, = seito woo = dag Bt = w * a sotto voor — : ae C= 126 FrEDERIC CHOPIN (1810-49) Nocturne in E-flat Major, Op. 9, No. 2 (1830-31) Op, 9 NO2. Ta # Ta #Ta eta, # Darga om, aS ae > Ea 5 b, aoa Map ego eR RTARTA IDET gay 2 temps ite oa Sp Chopin, Nocturne in E-flat Major 5 A so 5 aco Fal b 7% 4 tempo PP 238 Chopin, Nocturne in E-flat Major Chopin, Noctume in E-flat Major 239 asa = ten 8 SR se ae ighipid » ; P rallent. e smore, at ae ‘S wae ‘poco rubato sempre pp i Ta. &, Liszt, Mazeppa 241 Ces 127 . Allegre [J-n2-116) FRANz Liszt (1811-86) Etudes d’exécution transcendante: No. 4, me ey sempre fortissimo con strepito «gd ——— Mazeppa ~ Cadenza ac ibitum ‘The Eueres dexteution eranscendinie were lest published as Etudes powr Je piano on dowze exercises (Paris, 1827); they were revived ag Grandes Burcdes in 1847. The tile “Muzepm snes trom the LAS2 edition. Reprinted by: Pestojsion oF Birenseiter: Verlag, Kassel, Baset, Tours, Loudon front: Neue Ausxali- slanlither Werke, Setie fe 1, Vor. 1 Kuve, 49570, ——— r Liszt, Mazeppa Liszt, Mazeppa 243 242 a Saas esemepsceess a7 (Bh, 44 ah de dp Piano 47 octaves pad Liszt, Mazeppa Liszt, Mazeppa 245 = gg qi at ri = Pn ans ew fheracté =P be ye he ai 7 maple + Liszt, Mazeppa Liszt, Mazeppa 247 248 Liszt, Mazeppa Liszt, Mazeppa 249 Piano a7 co eee £ te el oat KH en il pit forte possibile “ ie tien eft ek Sf * ‘ eee : ee ect = poco rallentando stringendo. = 2 2 2 -- 104 by i == pote rit , 1 L Animato eibsene Liszt, Mazeppa Liszt, Mazeppa Liszt, Mazeppa Liszt, Mazeppa 252 3 = sa gn ea : wo i ht sau CS Ey ei si fig tot ae pega Hh " L oie Hee ul PI peabs Liszt, Nuages gris 255 C= 128 Franz Liszt Nuages gris (1881) Andante, go P 7S & hea, Reprinted from Late Piano Works, Vol. 1. pp. 18-16. © copyright 1952 hy Sohow & Co. Lid. London, Used by permiye son of European Amecican Mosic Distributors Corp. Sole U.S. Agent for Senout & Co., Ltd. 254 C9 129 Hector Beruioz (1803-69) Symphonie fantastique (1830) Ill. Scene aux champs; IV. Marche aux supplice II Adagio as) (2) Flutes: 1 Oboe 1 English Horm (= Oboe IL) 2 (Clarinets in Bp Hos Land Tin F Hom TT in Ep Hom IV in (A) Bassoons ‘Tienpani I: Timpanists 1 and 2 ‘Titwpani TI: ‘Timpanists 3 and 4 Violin I Violin TE Viola Cello and Bass \ | Berlioz, Symphonie fantastique 257 19 n 1, Sao lr ras sourdifes By = 7 Seem oS A) Se | eo lr orcas. pote | pace. a2. [esate Cora (ie) ‘ViaLerme. pace a] poco — Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 259 ar Tila Fag ees =~ =F o—— Teienu Berlioz, Symphonie fantastique sans presser L Cor Lia Bb) Fagin ‘sans presser Berlioz, Symphonie fantastique 261 ie 263 262 Berlioz, Symphonie fantastique Berlioz, Symphonie fanastique 93 erere mallo— v rete. motto = ao Sob ty Tin B eppresatng animez un peu 2 sepriitina animex un pou 264 Berlioz, Symphonie fantastique — aie ul Settle 80 ted = rallent. . Berlioz, Symphonie fantastique 265 isk: wampre yes, REP sempre ny ee (43) 266 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 267 SOT TR 268 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 269 Sel ==] Phere vt] v 270 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 27 175, ‘Cingl. Solo = peu retenn 272 (2) Flutes (2), Oboes (2) Clarinets in C Gori {Homa end sean Lin Bh basso vay Herel (4) Bassoons 2 Comets in Bb 2 Trumpets in By ‘Trombones I and IT ‘Trombone LT 2 Ophicleides Violin IL Viola Cello Bass Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 273 °F Ut foun fapper in peste roche tree in baraete de fe mala dee Sots ‘The Gent gotser of 400 hal-bay toe played wih ? dramtioky; the oiber $ quarert with che right dypa grooms 2 oe ? im lasrse.7) Allegretto non troppo (d=7) el re ae Green ptoo a peo 274 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 275 fan == = = a = =| i SS = = = 2 ph = Zz 7 — a ae = gy | a : = ae SG = > PS FS SSS = SS = 4} SSS - - : | sas 276 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 7 7 Soll unit Jp ire ie Ss rts, ? ‘ith te wa al tas no ‘Trond. 278 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 279 280 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 28) = oy (54) t 7 F 4 282 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 283 100 ee deine pes P Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 285 aempre 7s forte veers Fe forte sempre pik forte Caempre pit forte wempre pit 286 Berlioz, Symphonie fantastique [2 Berlioz, Symphonie fantastique 287 Baguetin go bate Wosdea Gramytoke 2 288 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 289 Ete ete tetas atte ltesie pn ‘ef 290 Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 291 Le (P0 holee ais Sleppacvovao ote Tembatiace | Phee crse 292 197 rall.poco atempo « Timpantete ‘2. Timpanleia. ‘3. Timpaniste rall.poco a tempo Berlioz, Symphonie fantastique Berlioz, Symphonie fantastique 293 Program note distributed at first performance and published with the score in 1845: Avertissement Le Compositeur a eu pour but de développer, dans ce gu’elles ont de musical, différentes situations de ta vie d’un artiste. Le plan du drame instrumental, privé du secours de la parole, a besoin d’étre exposé d'avance. Le programme suivant doit done Gre considéré comme le texte parlé d’un Opéra, servant a amener des morceaux de musique, dont il motive le caractére et l’expression Note ‘The composer's intention has been to develop, insofar as they contain musical possibilities, various situations in the life of an artist The outline of the instrumental drama, which lacks the help of words, . needs to be explained in advance. The following program should thus be considered as the spoken text of an opera, serving to introduce the musical movements, whose character and expression it motivates. [Préeis of First and Second Parts: The author imagines that a young musician has fallen desper- ately in love with a woman who embodies all that he has imagined in his dreams, She is, linked in his mind with a melody, so that the melody and the model become a double idée fixe, which reappears every movement of the symphony. The passage from melancholic reverie to frenzied passion, jealousy. and tenderness is the subject of the first movement. In the second the artist finds himself at a ball, where the beloved image appears and dis- turbs his peace of mind.) Troisigrue partie Scéne aux champs Se trouvant un soir 4 la campagne, i entend au loin deux patres qui dialoguent un ranz des vaches; ce duo pastoral, le lieu de la scene, Te Jeger bruissement des arbres doucement agités par le vent, quelques motifs d’espéranee qu'il a congus depuis peu, tout concourt & rendre a son coeur un calme inaccoutumé, et & donner & ses idées une couleur plus riante + Il réiéchit sur son isolement, il espére n’étre bient6t plus seul... . Mais si elle le trompait! .. . Ce mélange d’espoir et de crainte, ces idées de bonheur troublées par quelques noirs pressentiments, forment le sujet de! ADAGIO. A la fin, Pun des patres reprend le ranz de vaches; l'autre ne répond plus. . . Bruir éloigné de tonnerre . . . solitude silence Third Part Scene in the Counuy Finding himself one evening in the country, he hears in the distance two shepherds piping a ranz de vaches in dialogue. This pastoral duet, the scenery, the quict rustling of the trees gently brushed by the wind, the hopes he has reeently found some reason to entertain—all concur jn affording his heart an unaccustomed calm, and in giving a more cheerful color to his ideas. He reflects upon bis isolation; he hopes that his loneliness will soon be over.—But what if she were deceiving him!—The mingling of hope and fear, these ideas of happiness disturbed by black presentiments, form the subject of the Adagio. At the end one of the shepherds again takes up the ranz de vaches; the other no longer replies —Distant sound of ‘thunder—loneliness~ silence. 294 Quatridme partie Marche au supplice Ayant acquis la certitude que son amour est méconnu, Uartiste s'empoisonne avec de lopium. La dose du narcotique, trop faible pour lui donner la mort, le plonge dans un sommeil accompagné de plus horribles visions. It réve qu’ ul 4 tué celle qu’il aimait, qu'il est condamné, conduit au supplice, € qu'il assiste sa PROPRE EXECUTION. Le cortége s’avance aux sons d'une marche lantét sombre et farouche, tantot brillante et solennelle, dans laquelle un bruit sourd de pas graves succéde sans transition aux Eclats les plus bruyants. A la fin de la marehe, les quatre premiéres mesures de l'IDEE FIXE reparaissent come un demniére pensée d’amour interrompue par le coup fatal. Berlioz, Symphonie fantastique Fourth Part March to the Scaffold Convinced thal his love is unappreciated, the artist poisons himself with opium. “The dose of the narcotic, 100 weak to kill him, plunges him into a steep accompanied by the most horrible visions. He dreams that he has killed his beloved, that he is condemned and led to the scaffold, and that he is witnes- sing hus own execution. The proces- sion moves forward to the sounds of a march that is now sombre and fierce, now brilliant and solemn, in which the muffled noise of heavy steps gives way without transition to the noisiest clamor. At the end of the march the first four measures of the idée fixe reappear, like a last thought of love interrupted by the Fatal blow ‘Translated by EDWARD T. CONE (=D BO Ferix MENDELSSOHN (1809-47) Incidental Music to A Midsummer’s Night’s Dream, Opus 61 (1843): Scherzo. Allegco vivuce. £ Flaoti. Oboi ClasinettiinB, ne Fagot ‘Corns iu D. ‘Trombe in D. “Timpani Violino 1 Violiae 0. Viole. Viloncedle fe nso. New York: Dover, 1978, pp. 55-71, reprinted from ihe Breltkapt & Hirt) Atusik 2x Sommernacheseraum von Shakespeare (Leipzig, 1824-77), 20 296 Mendelssohn, A Midsummer's Night’s Dream Mendelssohn, A Midsummer's Night's Dream a ay lesbo 298 Mendelssohn, A Midsummer's Night’ s Dream Mendelssohn, A Midsummer's Night's Dream 209 300 Mendelssohn, A Midsummer’ Night's Dream Mendelssohn, A Midsummer's Night's Dream 301 302 Mendelssohn. A Midsummer's Night's Dream Mendelssohn, A Midsummer's Night's Dream 303 £ sae ei TP oe eee 304 Mendelssohn, A Midsummer's Night's Dreara Mendelssohn, A Midsummer's Night’ s Dream 305 / pepe pe pe Mendelssohn, A Midsummer's Night's Dream 307 Mendelssohn, A Midsummer's Night's Dream Mendelssohn, A Midsummer's Night's Dream Mendelssohn, A Midsummer's Night's Dream 309 s ). La eee 310 Mendelssohn, A Midsummer's Night's Dream Mendelssohn, A Midsummer's Night's Dream 31 memyre atrate — — range eee ee (5 BI Epwarp MacDowELt (1861-1908) Suite for Orchestra, Opus 48 (1897): Dirgelike, mournfully (fourth movement) Langsam, tranernd Dirge rrafully id: vo) Lentemeat, tristement Flaute pleeolo. == Plauti bot Clarinettt ia Bb Fagot Ln Coral iF. may, Trombe in 7 ‘Tromboni 1.U* ‘Trombone iI tuba. Violine | Yon vite Vista cas = Basso. First performance, 1896. New York: Associated. n.d. pp. 73-79, reprinted from Sreitkopt & Hiitel (Leipzig. ».4.) a2 MacDowelt, Suite for Orchestra “8, Gran cansa con bacehee d thapeni seem HF 314 MacDoweil, Suite for Orchestra MacDowell, Suite for Orchestra 315 a == Gran Gaane con soteins senza Sord, eoleive. eleian, arto grande P seo grande MacDowell, Suite for Orchestra MacDowell, Suite for Orchestra 3I7 XD Seok a Tinie, der Berne eres 20rd MacDowell, Suite for Orchestra saree Retnde faa ord, ep | = Gran cange con bacch. 4 timp. Peele arco frande (=> B2 JOHANNES BrauMs (1833-97) Piano Quintet in F Minor, Opus 34 (1864): Scherzo senpre 122. sempre PP) p Allegro Isempre pp | Sd Repnmed from Editions Bulenbere, 1954, pp. 38-47. 327 320 Brahms, Piano Quintet in F Minor Brahms, Piano Quintet in F Minor plzz, 20 arco if we Sf o_aito Peres. arco, Pres. 322 Brahms, Piano Quintet in F Minor Brabms, Piano Quintet in F Minor 323 = pp sempre sempre motto pp a a Brahins, Piano Quintet in F Minor Brahms, Piano Quintet in F Minor bes a be = wip 325, e 326 Brahms, Piano Quintet in F Minor Brahms, Piano Quintet in P Minor 527 ca COC 328 Brahms, Piano Quintet in F Minor Brahms, Piano Quintet in F Minor 329 330 Brahms, Piano Quintet in F Minor Brahms, Piano Quintet in F Minor 331 ~ oo lyf non legato Brahms, Piano Quintet in F Minor Scherso da Capo sin al Fine CD BB FRANZ SCHUBERT (1797-1828) Kennst du das Land (1815) Missig. Singstimme. 5 = Kennst du das Laedy vo dio Ci.tro. nen bln, im dunk.ten Laub die Kennstda das Hous? Auf Siu.ten ruht sein Dach, es glanat der Seal, es Pianoforte. O . ten — gen gighn, ein seat . tex Wind vom } sei meet das Ge mad, und Mar) mor. bil der 2 * lau. en Hin. mel webt, Myr - the still und hoch der Lor . beer sMebn und sea aaich an: hat mandir, du ar. mes Kind, ge. [e = heentll du ex wohl? fennst di es wpbl? a if is bas wee = = = =e. ‘of Mignon’ song foun Cincthe's Widhcim Afeiswer to Schurnsin’s. p. 338 and Wolf's, p, 343, Franz Works Vol. 13 (New York. Dover, 1965). pp. {55-S8, repaid Wrorn the Breithupf & Hartel ciel 457), Compare this sit Setnaver: Compe edtion (Leipa a8 Schubert, Kennst du das Land hin da 334 Btows geschwinder. ‘ein Geclieb.trr, tichn,, mein Beschit-zer, ichn; iy mich ich omit it hin ment (eh mit iP, + Bin, das hint da. tin wibeht ich mit da. hin mdeht ich mit 2 hin, da - hint ain, > lie . wr, aieha, mein Be schit - 2er, Schubert, Kennst du das Land Wie oben. seinen Wol. ken stag? tduden Berg und ‘Weg, sel nen es stlirct der Fels ha a. er ihn die Maulthier aucht im Ne! 335 bel de. hin Schubert, Kennst du das Land =e ——— = geht wn Weg! Schubert, Kennst du das Land Kennst du das Laud, wo die Zitronen biuhn, Im dunkeln Laub die Gold-Orangen glihn, Bin sanfter Wind vom blauen Himmel weht, Die Myrve stili wad hoch der Lorber steht? Kennst du es wohl? Dahin, dahin Mécht' ich mit dir, o mein Geliebter, ziehn. Kennst dy das Haus? Auf Siulen rubt sein Dach, Bs gliinzt der Saal, es schisamert das Gemach, Und Marmorbilder Stebn und sehn mich an: ‘Was hat man dir, du armes Kind, getan? Kennst du es wohl? Dohin, Dahin Mécht’ ieh mit dir, 0 mein Beschiitzer, ziehn Kennst du den Berg und seinen Wolkeasteg? Das Maultier sucht im Nebel seinen Weg, In Hohlen wohnt der Drachen alte Brut; &s stiiret der Fels und iiber thn die Flut, Kennst du ihn wohl? Dahie! Dahio Geht unser Weg! o Vater, lass uns ziehat 337 Do you know the country where the temon trees blossom? Among dark leaves the golden oranges glow. A gentle breeze from blue skies drifts ‘The myrtle is still, and the laurel stands high Do you know it well? There, there would J go with you, my beloved, Do you know the house? On pillars rests its roof. ‘The great hall glistens, the room shines, and the marble statues stand and look at me, asking: “What have they done to you, poor child?”* Do you know it weil? There, there would I go with you, oh my protector, Do you know the mountain and its path? The muletier searches in the clouds for his way; In the caves dwells the dragon of the old breed The cliff falls, and over it the flood Do you know it wall? There, there leads our way, oh father, let us go! cD BA Rosert SCHUMANN (1810-56) Kennst du das Land, Op. 79, No. 29 [Op. 98a, No. 1] (1849) Langsam, die beiden letzten Verse mit gesteigertem Ausdruck(d\ees ‘Kounst du das ‘to-nenblihn, im dun - keln Laub die Gold- Levd, wo die Zi - -rangen glithn, | _———- d ‘cin sont - ter Wind —- vom blau - en Kimmel weht, die aan manag ame | = Schumann, Kennst du das Land 339 crese. eS steht?kenmst du es Kennst du 3 ; wohl, 2h mécht ich mit dir, -Ieb- ter, ziebn, dimin, p da - binmitdir,omeinGe-lieb- ter, ziehn. See Z Ketmstdudes Neus? AutSivien raht seinDoeh, es UEEEPTESREEPREST CERES ESE Compace this setting to Sehuibert’s, p33) and Woll's. p. 343, Reprinted from Sdimitiche Lieder Vol, Il, dived by Max Friedlaender (Franklun. 19), pp. 212-15. 338 a = SS Schumann, Kennst du das Land — crese. <5 ee en Ee 7 und Marmonbil-der stehn und Schumann, Kennst du das Land 34) 51 g hin ibd, mein Be-sebii-tter, woh, P —= Kennstduden Borg und sel-non Wol-kensteg? Das Maul-tiersuchtim Ne-dblwsinen Weg, ee ae, te — orese. in Heh — 3 len wohnt— der Dra - chen al-te Brat, stiirstder Fela Schumann, Kennst du das Land SS geht un-ser Weg! 5 = hingeht anser Wego For a translation of the text, see p. 337. Va - Ya = teria uns zie “2 15 Huco Wotr (1860-1903) Kennst du das Land (1888) Langsam und sehr ausdrucksvol! (Slowly and with great cxpression) aa By Kennst du das rhked Cerna tela PP Land, wo die - tro - nen im dunk-len Laub. die Gold- EE nan _ — molto espr | {poco a poco erese, . + o+ran-gen glihn, ein sant-ter Compare this setting 10 Schubert's, p. 333 and Schumann's, p. 338, Repriated from Auspewiihlte Lieder, edited by Blens Gerhat (Frankfurt: Peters, 1932), pp, 134-41. By permission, 3 344 Wolf, Kennst du das Land Wolf, Kennst du das Land 345 a 8 He : See (sae Wind__vom blau-en Him - mel weht, die Myr - te still! und hoch. / wohl? Belebt (animated) Berereare! | Tempo I '¢.<4! Leidenschaftlich hingebend_ ‘surrendering to passionale emotion) = _—_— —p deidenschaftlich (uit passion) ee v Da = hin! (= r Beer steht, — da - hint 22 Ruhiger (more calmly} Belebt (animated) = 4 —_ a. (dedi Kennet dues wohl? dix, © mein Ge- lieb Poco rit 2 { SS _molto crese. Kuhiger (more calaly) | Pp pocoa poco crese, a esglinrtder Saal, os merLtias Ge-mach, errr 7 und Marinorbilder stehn und schninieh bet du ar = mes Kind, ge-tan® Poco rit Rukiger (more cainly) om Belebt (animated) Kennst _ dues wohl? 3 Ruiger (more catmly) Kennst du ee wand? Tempo I (d.-¢) leiden schafitich hingebend (surrendering fo passionate emotion) 3 _ = SSS sj ree : Wolf, Kennst du das Land 348 bef oo da - (e3 4 SS = mold : ze ' Wolf, Kennst du das Land 349 87 SSE Sea —— 3 SS ee ee wohnt der Dra- = chyn ab te Brut; es sturz_ der Fels Vv fo cresen— f ——— P . a hdd ne Sa St * or ae oF id.) air, @ mein Be- chit = > tzer ziebn. at = ee le i i Se = a a == eae — tS re eet ce = === “2 toile crese. . 4 3 A a= =e a ah ¥ - ber ihn = die Flut.___ > Paki Belebt (onimated) Be: . a leidenschafilich (unth passionate emotion) et fas it DasMaul-tier sucht im Ne= + bel sei-nen _ SS Rubiger mae calmly) Belebt (animated) f RSet ls] = = o tee Kennst du — ihn won? sf * FP ip abaiy | 4B 9 é molto crese, Th eee aia | & {BS x W 350 Wolf, Kennst du das Land Wolf, Kennstidudas ‘ Lond 351 105 Rukiger (more calmly) = SS Kennst_— du ihn wohl? | Tempo I (de) leidenschaftlich hingedbend (surrendeving to pesstonate omation) For a translation of the text, see p. 337 Da = hin! <=> BO Gustav MAHLER (1860-1911) Kindertotenlieder (1902): Nun will die Sonn’ so hell aufgehen Langsam und schwermiitig, nicht. schleppend 2 Flauti 1 Aligend 2 Uboi P 2 Clarinetti in B Clarinetto basse in B 2 Fagotti 2 Corni in F vl Campanelle Voce Nun will Langsam und schwermiitig; nicht schleppend Violino £ Violino af Viola Violoncello Contrabasso Reprinted from Edition Euleaburg, ».¢., pp. 1-11 352 Mahler, Kindertorenlieder 353 vb, UL b. (B) Fe. Cor, (F) Rlenguntl mit verhaltener Stimme hell auf-quhin. als sei kuin Unglick, kein rd - Via, = con psorel. Vel. | 1 Hy _ Ssempe ip = a. (B) Clb. (B) j iS» malty rspress ele = — Arp. . r + Voce Un-gliiek_ tie Nacht ge-schehint Vel. = Semptr Dp 354 Mahler, Kindertotentieder Mahler, Kindertotentieder 35S yp vibe] 8) cL iB) Dowbito P= [PP canard ie: ®) sempre marcato Son - ne, die Sonne, sie schei - net VL | Via.) [pp aber wundrucksvol? sempre_con sord. Cor, He : Vel. Dp ohm Aundrnck 35 Vove Toys Unylarkgesschah pur mir al. lew BO 25 356 Ub. a. (yrs Clb. (B) lp Fe. i sehr ausdruck soll PD Porvpress Voce Vi. Via, Vel. Mahler, Kindertotenlieder heftiger sehr hervee~ Mahler, Kinderiotenlieder FL. 4 teeter, ‘Ob. | cL] ——— (| Cl. bf (B) Fg. Cor. (F) Camp. Voce mustnichtdie Nacht in ir f- ver. schrinken, moBt sie senza sord. Tp wit rife senza sord. 12 B ins ew hide 357 358 Mahler, Kindertorentieder Mahler, Kindertotenlieder Etwas bewegter (Rubato) Bell peeppeal Mit Ividenschoftlichem Auvdruck a! Sy Fi. = (B) Ob. ke, ch (B) ub, (B) lor. (F) ¥g. Cor. ) Arp. Arp. Voce im ew. ge Licht ver -s 7 | wf Voce nicht schleppend Kent Etwas bewegter (Rubato) Se Pe tt Septic as | Mil tnavanehoptichom Agruck aoe V1. 1) i 5 —== vi. 1, [Ee : | oe fee | ogy ae (eee So | I { eON SON ones wares Val. vin ii Via. tb. Val. | Ch. = oS 60 7 360 Mahler, Kindertotenlieder Mahler, Kindertotentieder 361 zuritkkehrend zum_- =. i ete be Ob. ab] ‘B) Fg. ; SS oe a Cor. (F) pe. —— Voce Lamp-lein ver-losch_ in mei - nom Zelt! mit Erschitterung Pp guriickkehrend zum - . _.Tempor Het Heil. sei dem Frewden-licht der Wal molto espr. pr — = con sord. Pp za_sord, 362 Mahler, Kindertotenlieder Mahler, Kindertotenlieder 363 } Nun will die Sonn’ so hell aufgehn, Now will the sun so brightly rise again, Als sei kein Ungliick die Nacht geschehn! as if no misfortune occurred during the night, Das Ungliick geschah nur mir allein! ‘The misfortune happened to me alone. Die Sonne, sie scheinet allegemeint The sun shines for everyone ‘Do musst nicht die Nacht indir verschranken, You must not become tangled up-with the night in yourself, Mosst sie ins ew’ge Licht versenken! You snust be immersed in perenhial light. Ein Limplein verlosch in meinem Zelt! A little Jamp went out in my tent. Heil sci dem Frevdenlicht der Welt Blessed be the joyous light of the world. FRIEDRICH RUCKERT oe. het der Wane Vin. Rossini, /! barbiere di Siviglia 365 ROSINA 5 . — f pees Se Groaccuino Rossini (1792-1868) \(§ SSS SS S| iP . |, # ’ Il barbiere di Siviglia (1816): Act I, Scene 5, (sats ea = = Cavatina, Una voce poco fa : 18 a tf Andante = = soltcroce cor fe.ri.toé gia, o.- Lin dor fu eheil pia. wd. 366 Rossini. Ui barbiere di Siviglia ! Rossini, 1! barbiere di Siviglia SS 1) Tutor ri. cw. se - wsouce ft > 2% Re $i) eee Sa Ba Na ay | ql veal ves oes 43, Moderato» _ — SSS SSS SSS PPdotce ory jo Pin-ge.gno agur-10 - 76> a} la finvaschete ban A ge-re, ud la.scio dol - cee. wo. roe «Say mt la-seio reg - ree. ge-re, mi fo gui- poste prima ai -——== SS ; —_ SSE 368 Rossini, I barbiere di Siviglia } Rossini, harbiere di Siviglia 369 73 i cae fee ear, cente ~~ vel, ae aacreqmestesacrean.tiche pian - te oROvES0 Soprant = Ca . staDi . vaghei-nargen . tique . ctesa . avanti _ che ee same re — staDi . vachei-nar.gen . tique - stesa _ creanti — che _bian . te, ‘a__noivol.gi,a noivolgiilbel sem! a Steir ~ ” de> bein bebo Fy dolce expressive e BP sempre ~~ armpre erese. 0 al-- Bellini, Norma nai, plan . te,a_—noi'vol . giflbel__ sembian - lesen _ zann - beesen . 3a pian - te,a_——noi vol . giilbel__sembian . tesen - za nu - beesen _ 2a noi, deh, Ca . staDi - vachei_nargen . tique. stesa _ creamti - che Ca . staDi - vachoi-nargen . tiqus - stesa . creanti . che ~~ all Bellini, Norma 377 noi ol giilbel (a — 378 Bellini, Norma Bellini, Norma 47 -co - ra,tem.praancor Io 26- loaa.da ~~ ce, 379 Ho Bellini, Norma Bellini, Norma BSEMPPE CFEC! Bl rnnnnsnsnnnnnimminnrnn ers > >, ' @ piacere edi imp ES ST 2 oe SS a2 38) == =a ~—"—¥ ter . Ta,spargiin ter . ra quella. pe. chal, 382 Bellini, Norma Bellini, Norma 383 SEs = =—— SS— fo . 800 shieggail san- gue dei Ro-ma — ni, dal dru hogs 61 Allegro > panda) S SS ai - di -00 de - oe Norra. All’assal maestoso Fi_ neal ri - to; eilsacro a AlLassat maestoso a2) JF | ORCHESTRA) |P ¢ maroute sol__del_po . Soo Tuo . ni; eum sol_—del__po - pol_— + == —- Quan-doilNa - me, quandoil Nu - mei . ra. toe— em sol del po. pol 384 Bellini, Norma om . pio non i_sfag. ga algiu.stoscom_pioy ¢ pri. al givsto scem. plo; @ pri. ye Lefog.ga al glustoscem.pio; ¢ pri alginstoscempio; e pri Bellini, Norma 385 94 A Poco piit tento dra, panirlote pos_go... (Ma oN Poco pi lento =~, Allegro m__ Allegro 386 Bellini, Norma (Ab! bel . Io ame e con. tro ilmon - doin - triaecio - loa. di. fe . saa___te 388 Bellini, Norma Mosso vro) OROVESO len ~ to, len. to, 133 toil Dio taf — ra. toil Dio taf ~ mai. ra. toil Dio taf - ra. teil Dio taf - = Beilini, Norma 130 SEE 3 ee fy -Ta. toil Dio taf fret - ta cheil Te~ bro con.dan- = eS eee T+ - ta. toil Dio t’af- fret . ta cheil Tebro con. dan_nd. = SSS] =a. toil Dio tlaf. fret . te cheil Te. bro con.dan_nd. # et te . toil Dio taf fret. ta cheil "Te -bro oom. dan. m0. Se : 390 Bellini, Norma Bellini, Norma 391 1.Tempo = “o> con forse “eaten cor dello ame ri - tor. na fi. do amor pri. 5 e vi. ta_—_nel L Tempo e - trinecie - loa. 392 Bellini, Norma Bellini, Norma 393 SSS ae ae Tiedian.oo.ra qual e.riallo.re,quan . do, ah, 304 Bellini, Norma Bellini, Norma 395 vg) Pte mosso, a yo, = = ¥ riedian.co-raqual__ e-rial. -lo. ra, quale.riablo.rehquandoshquando 1 cor ti die di, ah, 176 — —_~ a -lora,quan _ do,ah, quan _do floor ti die . 1 396 Casta Diva, che inargenti Queste sacce antiche piante, A noi volai il bel sembiante: Senza nube € senza vel! Tempra, 0 Diva. tu de’ cori arcenti, Tempra ancora lo zelo audace, Spargi in terra, ah, quella pace, Che regnar tu fai nel ciel Fine al rito: ¢ il sacro bosco Sia disgombro dai profani. Quando il Nume irato ¢ fosco, Chiegga il sangue dei Romani, Dal Druidico delubro La mia voce tuoneri Tuoni: ¢ un sol del pope! empio Non isfugea algiusto scempia; E primier da noi percasso Il Proconsole cadri, Cadra . . . punirlo io posso . . (Ma punirlo it cor non sa.) (Ah! bello a me ritorna Del fido amor primiero: E contro il mondo jntiero Difesa a te saro Ab! bello a me ritorna Del raggio tuo sereno; E vita nel tuo seno E patria e cielo avrd), Sei lemto, si, sei lento, © giorno di vendetta; Ma irato il Dio t’atretta Che il Tebro condannd (Ah! bello) Sei lento (A! riedi ancora Qual eri allora Quando, ah, quando it cor Ti diedi alloray, Libretto by FeLice ROMAN! Belli Norma NoRMa Chaste Goddess, who plates with silver these sacred ancient plants, tum your lovely face towards us, unclouded and unveiled Temper, 0, Goddess, these ardent hearts, © temper their bold zeal Spread over the earth that peace that you make reign in heaven The rites are finished, and the sacred wood, be it cleared of intruders, When the angry and gloomy god demands the blood of the Romans, trom the Druidie shrine my voice will resound. Torn Let it be heard, and let not a single one of the impious race escape our just inassacre, and the first to feel our blows, the Preconsul will fall Norma He will fall... punish him I can (But to punish bim mny heart does not know how.) (Ah, return to me, love, my faithful first love, and, against the entire world 1 shall be your defense Ah, return to me, love, the serene radiance of your gaze; and living in your bosom both homeland and heaven I'll possess) Cuorvs How it drags on, sluggishly, this day of revenge; but the angry God hurries you whom tbe Tiber condemned. Norma (Ah, return) Cuorus How it drags Norma (Ab, return again to What you were then when, oh, when my beart T gave to you). | 32 GIACOMO MEYERBEER (1791-1864) Les Huguenots (1835-36): Act Il, Scenes 7 and 8 Lint pecfornumoe 29 Febraars 186. The cision into seenes, not (ound in dhe score, ig taken From Scribe’s Wibreto Rupriated thom Les Hrgeenots (Paris, Ph, Magust & Ge, md prs 172-210. as nous dive — vonyrir, batons -nowsdhe— cou rip; nous dae - cuu.)rir, — hituus ~ soos dhe _ eon irs MARGUEAUTE _ ZS ; fe r Mtons ~nous dhe cou. rir Cet wo Oui, dan beware hymen pré—par_____ par nies suits hi deal. F 2+ 28 j 0m nous daw. cou.rir, qos vous fussiez te — moins phi_|sir, vest au phi. sir, cst Pare z CLareine présente B Sop. Of ie tui tendent bo an al aux eornles de Saial-Bris ct de Nevers, y Hon_neur, houfrcar ak plusbel 5 onneurt a i usin, est vo cler ww pli Bonducar, joafmenr ala plusbel— [le, honoeur! HR . “~~ it . . s sir, Pest vo — ler au phil Hon_neur, ploshel le, honueur! HAL Altescro con moto ¢ Rte toi fit TU porte ow Rau, 2 b= —— eee gS Nowy a -vex rock MANUEL, serivant tout agit qui! prend a parts PO oy ee sexes ws AM wx [éiNoasnous sousmettoas. Oui, mais d’bord a la oH : Akt 2 Allegro con anoto Sh = Récit v, Li pred i fe —%. 20 | = = And! con moto (88) ; , _ (MARCEL P by te Rh & Sl walenne: Grice deel bymen — abjarant toute bai _ ne, Pro — non .cez Raoul, And"? con moto 52 — ne Madi_a oni — te! Tais tor! Sa maison est celle du Pp ry done tous trois , comme aux pieds de Vautel, Dine éternel_le we: ——oo i ul-Bris el & Nevers,aprés avoir lu des. papiers ‘ G RAOUL MARG, — “Gwun courrier lui a remin) achéTaistoi! Mou fre veCharles IX, — qui comnatt vo tre he. is ib ————~_ os 3 a =F ~~ e bette» “G Ff aa ee = ¥ proton.cez Je ser ~ ment, ——_____ le serment_®&_solen — paix, —— hcg fp BS Molto moderato pe i Récit (aux gentilshommes protestants et eatholiques? rele, Tous les deux Pavis,ds ce soir, vous rap_ _ nel! Et vous aus-sigines_sieursgutun seul wen vous en chalne!Toos enourent hi reine @ o U a o oA ee 4 He a te tf 402 Meyerbeer, Les Huguenots 7 qihvestosa (e.=54) fee__ & mou bras con fi_} ¢,___ Nous_____j aA 4 o froi, par— ec coi, parce | fer & awn bras con! * ——>=———_ roerent Nous___ ju xoixpar_-co | for mon bras confi] 2, Ah! Marquez chicane de eos 6 notes, : bs suns forcery (etleadant: be wainy » wens forces RAOUL Pp Par_Phonnwun, — parte hom queportaient mes an 4 e@ tres, Noos = nous, , to a is! BRIS Par_Thonneu,— parle e@tres, Nous MARCEL Ci pare {étendnt_ te raain oes Pur_Lal ther, — maftres, Abt —_____ ju] Dieu quicconfosit, qui punit tous les Htrattres, Noos. by AAAS LS [Tenors ty, S Nous pp = erete. PP touedes tousdes [fie res, tousdes [fr res, = — dus — te ciel! jus. te ciel! 408 123 Pp Son fire 91g, tous J mis, + Pais deseen dre Ge du. ani F Que loviel daigne en teulew et bbe a temps, Meyerbeer, Les Huguenots P ti, tons des Pp, + ons taw ou tous des =r, Powe be a A jamaiseossee_| rallentando frb_ res, tonsa Dp ven. dread Pr ‘o Meyerbeer, Les Huguenots Nous juron were — a amurt 409 devant yous a. one tow jams E et jacmnis Auitis ni pi | tia f sallentinde = ———— | ype Gave egucard vallentaude 410 Meyerbeer, Les Huguenots enddeman —y . a piacere 64 multy even DO Ao 134 wer. finents | ser —|nvents | ai _] tie! (SEBHIS yacty eiaiy mi [tie a ort cweur bos ju — rust ! eee Post Meyerbeer, Les Huguenots an Récitatif MARGUERITE, Récitutit _ Bliaivte nant jedoisotrirdve.tre vice Votrecharaante pr ten, St Sp cst ess cop Nidentine vers BR. Qui ren_dra vos serments f ci les a te — nie! P t es aout All? moderato (dzas) Gane wore étoufféey MARGUERITE ze —— i = =a =e Shigrand Dieulqu’ainje vu? Qu'avez— AI? mederate = RAOUL (youvant i peine parler) Quoi! cestet_le ! que mil fraieut en on a 412 Meyerbeer, Les Huguenots MARGUEKITE Raoul, 163 Joon Bt Uhyemien et Pacwnurl Tabi soul tf VALENTINE, MAHUUEWITE et URBAIN tt R - ‘ - 1 adi. ! BEVERS st unis Soprani Tenis oHouR MMeyerbeer, Les Huguenots Alcon spivito (dv) 176 pp Unisson AARGUERITE {RRATN O transport! pp Unisson VALENTINI (xP DAME DHONNECR| 1 1 0 transport! pp RAOUL Trahi_sou! Uninson PP» REVERS st BATS Ah! je wom MARCEL Pp Soprani © transport Ténors 0 transport! pp Bives 413 ‘ /< 3 déuenceletd’ot vient cet outra . ge? 8 démeacelet d’oi [vieut cet outra — ge? & per-fidie! A ce point Von moutea — ge! £ ble et frémis et de fhonte et de va . ge! ad . a Sdémencef et d’od lvient cet outra — ge? = 3 démome! et d’ou |vient cet ou_tra ~ ge? O transport! __ 3 déinenee! viunt cet owta — ge? AMY’ con spirito = 414 Meyerbeer, Les Huguenots Meyerbeer, Les Huguenots 415 Abriser de telsaundsquel ded fi Se Ue pouvvis sé duc teu re powrs : sa bon Vig a 2 Cet} mor pousoie so. ductor drait-| il Be, “ Oui onc » fiddle 3 Phonuear, Etpunequoi Etponrquoi_L— rompeeainsi le ee ee * x ane Fepinryioi —— vopre dined le FatRelwee © coulant seu Phoueur, de sora = PXnpen faut ete a te Dope Tseoninn dans ce jou, st flu.senr Cai lit PR APivmen, (Cestsonsange se jour, sa fine rene Chesactier = JES at tit ws ee jour, se fucveur m Pot fen sear [CM atfroat Cot atti 416 Meyerbeer, Les Huguenots Meyerbeer, Les Huguenots 47 197 de son cueur ? = seupa}rer de son Jour, Sem pa_|rer, de soncwur? dv son fewur, —viendrsit|-il de fwreur! = de leurs lenis, ae sor_Jmwis —deleumsferis ce fiu_}reur, quill rie | font be ‘ laon boaneur | pourven_|ger, — pourven. x = ste. pour calmer jaa fireur, —— |Pourpunie cot affnmt, [eet affront de leurs de fucreurt > seas eris | de sw eit dé_sormais dolews eis. de fazeur, W 7 doit pua|nir et ven von bonneur! erue| ol iit pu} nir ce cru el etven | ger sou hon] doit pu) air = doit pu nir et yeo_ ger — soa honneur! = = doit pu_fnir ee cru] el etven_| ger sonbon. £ t - 7 et vemger_ sm boomer! Cot affront veut da eang, veut du 6 > fi : yt “ ‘i ¥ vt 48 Meyerbeer, Les Huguenots Meyerbeer, Les Huguenots 419 ORE ORBATE Tas. Coe, “vite vam PM ae Peat Don pealckant a Pls dhymen & ae wih ooac se fat uly moncnur 4 plindit mura gle - Sep. i 7 of ee — =a 7 a a Ten, Get af {fem tin [sana ane 2 tt dba ften 2 ge? Dans mod caer cnr aves, BOTs conrrnts _ervec, te. 0 dow Cet affront dln sans ee juve, ¢ . duc.) tour we = due | tear Vi [diet ow ris pu ir -du stat gla bee mon — cou. | ri ket = - tee pe tW- te -powase = —————— sorter [point Vow mow firs get 7 ae ee vt temblant,Plein de hun. teat de: mo: pe, 5 eee te Sas aas tee eB ea, aay] ee hie hee ees) 3 me a ———<— 420 Meyerbeer, Les Huguenots tramport! de san Jeour? teanspurt! Ode uta fear fix = |reurt icdint a ev affront, © at — [front Jv [trom_ ble, jetremble et fr. et hy —lavent enfger sm yw} npr! von eur applaudit appl 2 contr) Tox) 0 2 conve. ia reel fe rt 2 conven. fin, — rene! fue crue, 2 Emenee! ete : j : ¥. cot au. [te = + - — ge? Dun K I — ten 4 =, a Ae pein Ta pe] x eat es «| a SS Meyerbeer, Les Huguenots 4. v. peochant in | y. vy penchant in | a = Fbyorn, je YN tn = a moi dim] — valine ot wf feunt wea onece aftrout veut affront vent — 238 be om feonnn le conn te Tai dit, et, b wmo-ler Ten b ~ chretin, € powwir we | pawoir sf [_ fio dale 3 couant seul hv sang: tans i sng dans by dy eng; ds — coup Semper sme, ‘coup sempa.rer de son] catnr, ris dkrmais nie son affront vai ne fare = oir Toffenseur O Thin Thffenseur atic Lafensen ee jour st ce jour sa eo jour sa ven dueteur View “neteur Thonnew, de son saug quil Mhonnewe, U1 Fear Do fu rene Doi fu—reur Doit 421 J drait-il tout a |-drait=il tut & me ris, sme fat, Poor pa ve rit deleur pulair, doit po. doit pic pti, doit pm ee cane? rear! 36.6 5 422 Meyerbeer, Les Huguenots Meyerbeer, Les Huguenots 4223 MARGUERITE, Unsemblablere. fos... KAOUL Nbst quetrop légi | time! f= _guour,rem —parl_ et seul_sou _ tiem . SS SS STS Toes _ Fs. . —— amurques bien : = : A bri/_sey ——_ de tels} nands: quel dé oe doulear! wis tesorth A ce si brs. > ntissant tremblant et le fen _ O trans S eee, RAOUL bower forte) | “SS point Ton fon gel ot SLBRIS. (4 Raoul) = mC lex . = 2 = = See = = et ow, Je ne te puis sany ne; mais cothymen jamais! Ft = 5 = pty . hon teet de “ Sor _ tons! iL tombe sous nos te ,* 3 son, Meyerbeer, Les Huguenots MARGUERITE 124 wAgUL Din tel honLocur —moneaneest plu af | feoot veut du} sang Cet af front vent du sang! e b. mesa ace | Deveut moi quelle in-sul te nouvel — del Yous,Ba- ~ 4 xe i SEBrisy votre é _ péel Et vous, oulitiez-vous Qe Fan at Meyerbeer, Les Huguenots 425 276 RAUEL MARG. taut pres delui voire roi vous rappel le? Seles suivrail Non pasypris de > re ae > = anoickins ves lieux Vous re_tez! stars. be Leliche eettrophenrex Que cetternain roy-ale aitum tel privi. cs > aes > = RAUL (Mund vain suffoquce (a SE Brix) Crest | vos fwelle pro} te | - geen desat_mant Pp, Gest eo vain qirom pretend Min. ttolew 426 Meyerbeer, Les Huguenots Temeélrat . refBursles deax —_ redoutez SALENTINE, P Mais comment aise done P Ethientdt jeserai prisdevous, Ens et st! jp NEVERS et SEBRIS Je saul retrouver Vennemi, mon courage: MARCEL errse, ‘Oui! mon MAG, ot macdle = ret Otram VAL Af Uvioas cet affienO trans a presdevow!Cest en} Cést ea] #p.d! Yotfenseurt Cresten| Meyerbeer, Les Huguenots 294 wd) eh e(poutgnoi eet ou Jira _ get > va et pourquoi eet ou Jira 2 ge? > tend — — enchatner —_ mon cou vain —— quonpritend —enchafuer —— mou cou oh dé -}/meu _ cet cour a dit’ Ra- oul ce encliainer —— son cond ra ges ot win apts sa ra cia Zp tiie 427 A brilser det bis A brifser —_ detely Je surat retro de saubrai —_ retron dads Unisee HE saubea ae Meyerbeer, Les Huguenots vpne DEE wwwuds — quel df li re Ven) get quilnge = Ce Foi at eR = Zp PB acre =— a ae ponds — quelde Ti ee ve Ven etga = getqui len = ao E eS te s Meyerbeer, Les Huguenots 38 trinte [nort! 0 triste sara! 0 429 triste [rost!Diunpenchaut incon teiste [eort U Gant perdre & ly ‘Allons, partons, E.loignonsh nals vn satu qui pr] clei = gaan = |nons! Alloos partons, eloignons} nune!Cost caaie qui pre . 0 + ims £ » (Gea glee See eee obs “AGES — : Doi = ymoas, = (nous! Atloas, partons, ealoignogsfnauslCest ea sain gu ser —— Jenne | mi —— qui wou. wire - yy ne 1 —— jar _|tons! Rien ne pow} ra sanyer Ha) gual! L ver Panne | oni gui vow i = _ par _|tons i ep Lm) Loisso0 i 1 fi ta” 7h ALG, a2] — wi tons! lien ae powel ra sauver Ra.|oull . ae = st, 1 == vn cel wom [tra 2 ge? Abt par 2 toms, e - zloi - gnons - nous! Rien ne pourra ‘snuver Aa. oul! ent . 8 ey Pp oul ba pe | Sie = =: | « EE f= —fee £ aa son no = ble can -}os . get Mit opar toms, 6 CORY PRFE \ ~ 7 = 3 $5 apf tt ewe it oN Te eR a gpa tt Sis Pe = Tan Te pone see 5] tee ye we == + TT a = ape 8 tg ver Wonne femni ——— qui Vow .ftre © ef Abdpartoms, — i SSS SS 2 |. Tage sem altar et Poon fore = =e > es _z A , —= Ape ei ee tend enchat eee mom co | va ae Sooo fe ——S— hee eet wer Verne | mi qui Von tra. get All par — E z SSS “ — tacha? ner ani nit] > —bas fe ~ === =—— SS =a = = thea soem | vient eet ow. tea _ ge?Ablpartuns, par toms, 8 ea | MI ee . 2e,,2 £4 = it iehe & hm ge £ EER EERE ig ¥ feyerbeer, Les Hi Lot 430 Meyerbeer, Les Huguenots Maysiteer, hes Huguenots 318 ae, Bg og coup sturfa-Ker de aq Coup Sera.paater do son leur? cet fi rw wou boa fun! Owi,phus tard je aau,] rai, per mia en > le an 2 Oui par tins f au.reirestroy [eer Vensnesani qu nou [tra venger anon hunJucuel Vieos,partons! est « [woi, danema jus. te fi. save [eer Tin sncami qui Bow fw ven. g@r win ho [nerf recto. [re Vencmecft qui Von bre son hou -|neue! Cot af—irumt ociet du fog, ct en jus. te fy recton [ver Feunvsui it Poa son hon [newr! Gt af front veut du [wan ef sg jus. te fa 3 reatrou ver i he = Petr ertit te SS ae Quiplos tard jo sau ras, parina sew. le vabloueltepooser sn of. Abt partons! Crt fan ® “ hb . 3 apes pails cele ile SE ap Pat tt =aae ie + et ven ger wan) Viensspactors{ Gest Jari dansma jus te fife A punir an 2+ mn Sortnipair toner] pee ir un per. soe bam = rear Dei Meyerbeer, Les Huguenots Meyerbeer, Les Huguenots 433 330, ea pt AL, = Al leaspartig ve - é : auspeit! eae ae ‘Alo jartons lois | i eS SSS fae Alona ons aiguon-| fae * ‘Allnspartows ome a muy Pi, iT Suse reed een} eH ae ——— 434 Meyerbeer, Les Huguenots Meyerbeer, Les Huguenots 435 sao? Diu penchant — incon 5. ‘ a pe rage! Nl fat perdve Is. [fois x 3 sou | eur? ase! Cet af-fiunt seat du [sang dans ee jour, 2 2 ewe? 3 Ven - vem tens gel Cot affiom — veutdu fuang: dans ve jovr, dowd news! Ter — Henao — gir Tunltra. ged Cet af.tnmt — veutdn sang; — dans ev jour, = 4 ° ° CAEP feo. nem — qt teasgel Cel at ieont “weld [sang dart of jour, Teo - nein? a tea sgel Cor abtront veut la range date 2 jour, soem Fen neni qui Tow (rage Cet wbfront veut dw sang; dans ce jour, te oT, Bn OE +. 1 OS! Bris et Novers entextnent et sorteat en dctiant Bi colientcl be sobs « $= =p = Vigndesitil, tayl 2 coups sem. pa on fuser =$=5—4 ty . qs — Et pour moi déscomnis 4 3 3 = ee 2 oer son how 1 cy Doit punuie, dit pu Jar offen x 3 t ~ so BS pat “rar Dit pn_oir, doit pu |vie Fut fonsene 2 a ae >See a Trent Dvif po-nie, — dojtpn [rir Mnf-fensenr Pe SS *Treur Dole p whic pe | sie Voh-fenseue none ven wee 436 Meyerbeer, Les Huguenots (The gentlemen of the court, ted by St.-Bris and Nevers, enter during the ritornello The Catholics are arranged on one side, the Protestants on the other). MARGUERITE, Oui, d'un heureux hymen préparé par mes Yes, of @ happy marriage arranged with my soins blessing J'ai désiré, Messieurs, que vous fussiez | wished, Sirs, that you be the witnesses. témoins. (The queen presents Raoul to the Counts of St.-Bris und Nevers, who etiend their hands to him) Chorus Honor, honor to her who is most beautiful! Let us hasten to approach. Let us hurty to pleasure Honneur, honneur a la plus belle! Hatons - nous d’accourir; Crest voler av plaisir! Marcet (arriving, all excited, taking Raoul aside) Ah’ qu'est —ce que j’apprends! Ah, what do I hear? (Raoul mokes « sign to him to keep quiet) (Marcel speaks softly 10 Raoul, but with indignation) Vous avez recherché la main d'une Madianite! You sought the hand of a Madianite? Raovt Tais-toi! Be quiet! MARCEL, Sa maison est celle du péché. Her house is a den of sin Raowr, Tais-toi! Be quiet! MaRrGueRITE {to St.-Bris. and 10 Nevers, after having read some papers that a courier has deliv- ered) Mon frére Charles IX, qui connuit vorre 2éle. My brother, Charles IX, who knows. your ardor, ‘Tous les deux, a Paris, des ce soir vous rap- summons you both to Paris for this evening, pelle. Pour un vaste projet que j’ignore. for a great plan that 1 know nothing about. Nevers, St.-Bris A sa loi To his communds Nous nous soumettons. we submit. MarGUERITE, Yes, but first of all to mine. Oui, mais dabord & la mienne: ‘Thanks to this marriage that renounces. ail Grice & cet hymen, abjurane route haine, hate, Prononcez donc tous trois, comme aux pieds pronounce, alt three, as if at the foot of the de Vautel, altar, Diune éternelle paix, prononcez le serment of eternal peace, pronounce @ solemn oath solennel! Meyerbeer, Les Huguenots 437 [to the Protestant gentlemen and 10 the Catholics) FI vous aussi, messieurs, qu’un seul voeu And you, too, gentiemen, may a single v vous enchaine! bind you together. i {All surround the Queen 10 swear the oath) , RAOUL, St.-Bris, Nevers Par J Ronneur, par le nom que portaient mes By ovr honor, by the name that our ancestors ancétres, bore, Nous jurans, we swear Par le roi, par ce fer 8 mon bras confié, by the King, by this sword on my arm, ht jurons. ah, let us swear 1 ALL Nous jrons! We swear. | Raou, St.-Bars, NEveRS Devant vous nous jurons éternelle amnitié In your presence we swear etemal friendship. Marcet (aside) Par Luther, par la foi que je tiens de mes By Luther, by the faith that 7 have trom ay maitres, masters, : ‘An! jurons, Ah, we swear, Par la croix, par ee fer & mon bras config, by the cross, by this sword on my arm, ALL Ah! jurons, ‘Ah, we swear. Guerre & mort, Rome, & toi tes soldats et tes War to death, Rome, to you, your soldiers and prétres, your priests, yes, let us swear, And let there never be between us friendship nor mercy! Et jamais entre nous amitié, ni pitié! — ACL, EXCEPT Marcel at Vhonneur. par fe nom que portaient mes By our honor, by the name my ancestors anceétres, bore, Pat le Diew gui punit tous les trates, by the god who punishes all the traitors, ‘vs Jurons devant vous. éternelle amitié! we swear in your presence eternal friendship. RAOUL, NEvERS, St.-BRis Providence, tender mother make descend to the earth harmony, to make us all brothers, all friends. Providence, mére tendre, Sursta terre fais descendre La concorde, pour nous rendre, Tous des fréres, tous amis, Marcet. Providence, tender mother, ‘on my Lord, make descend your light, 10 return him to bis brothers, 10 your sons! Providence, méte tendre Sur mon maitre, fais descendre Ta lumiére, pour le rendre A Ses fréres, tes fils! Juste ! te ciel! Just heavens! es _ , Maraveaire Ciel daigne entendre et bénir, A jamais May heaven deign to heat and bless. these es Serments, oaths. ee 438 Meyerbeer, Les Huguenots REcITATIF £1 maintenant je dois oftrir & voure vue Votre charmante prétendue, Qui rendea vos serments faciles a tenir! ‘And now [ must offer to your sight your charming. fiancée, who will make your oath easy to keep. (St--Bris reappears, leading Valentine toward Raoul) Raout (with muffled voice) Ah! grand Dieu! qu’ai—je vu? Aht Great God! What do | see? MaRGuERITE Qu’avez-vous? What's wrong with you? Raout, (barely able t0 speak) Quoi! . .. cest ellet Que m'offraient en ce jour What! . Iris she! She whom they alfer to me today. Marcuerite Et hymen et l'amour! ‘Marriage and love, together! Raout ‘Trahison! Perfidie! Moi, son époux? jamais! jamais! Treason! Treachery! 1, her spouse? Never! Never! ALL Ciel! Heavens! MarQuerITE, URBAIN, VALENTINE, A Lapy or Honor O wansport! 6 démence! et d’oi vient cet out- rage? A briser de tels noeuds quel déiire | engage? @ rapture! O madness! Whence comes this outrage? To break these knots, what delirium inspires him? Raout Ace point on m’outrage! Je repousse & jamais un honteux mariage! At this point [ am outraged? I reject forever this shameful marriage! Nevers, $t.-Bris An! je tremble et frémis et de honte et de rage! Cest a moi d'immoler Vennemi qui m’ou- trage! Ah I shake and shiver from shame and anger. This up 10 me to sacrifice the enemy who ia sults me! Marcei, Qui, mon coeur applaudit, cher Raoul, ton courage! Yes, my heart applauds, dear Raoul, your courage! CHoaus Et pourgaui rompre ainsi le seement qui Vengage? ‘And why break thus the oath that he swore? Marcuerire, Urpain, VALentine, A Lapy or Howor D'un peachant inconny le pouvoir seduc-teur Viendrait-i) tout & coup s"emparer de son coeur? Has an unkaown impulse, its seductive power, all of a sudden (aken possession of his heart? Meyerbeer, Les Huguenots a Raout pins d’hymen, je Iai dit: et, fidéle @ 'hon- No marriage, as | said. Loyal to my honor. ner, ne ris désormais de leurs cris de fureur! 5 I taugh now at their cries of fury NevERS, ST.-BRIS est son sang qu'il me faut pour calmer ma I is his blood that | need to calm my fury. fureur, Pour punir cet affront, pour venger mon hon- To punish this affront, to avenge my honor! neur! Maacet, Chevalier et chrétien, écoutant seul U'honneur, Knight and Christian, listening only to his conscience, Ti ge rit désormars de leurs ens de fureur! he laughs now at their cries of fur Corus Cet affront veut du sang; dans ce jour, sa This affront calls for blood. On this day his fureur fury Doit punir l'offenseur et venger son honneur! must punish the offender and avenge his honor. VALENTINE - vith pained expression) rcomment ai-je done mérité tant d’outrage? How did I deserve such an insult? Dans mon coeur éperdu s‘est giacé mon In my desolate heart has frozen my courage. courage! Raour O misery! Sad destiny! To such a point they insulr me! douleur! triste sort! Ace point |'on m’outrage! Nevers an $1.-Bais Shuddering and wembling, full of shame and anger, Frémissant et tremblant, Plein de honte et de rage, Maacet (aside, in an outpouring of joy) Seigneur, rempart et seul soutien du faible qui Lord, rampart and only support of the feeble Uadore! who adore you! : Marauerite. Un semblable refus Such a refusal Raour Nest que trop légitime! Is only right! MarGuerite Dites-m'en la raison Give me a reason RAOLL [cannot without incriminating myself but this marriage, never! Je ne le puis sans crime, mais cet hymen, jamais! 440 Meyerbeer, Les Huguenots Meyetbeer, Les Huguenots 44] MARGUERITE Corus O transport! démence! et pourquoi cet ou- —O rapture, 0 madness! And why this outrage? (est en vain qu'on prétend enchainer son It’s in vain that they claim they can enchain his rage? courage; courage. A briser de tels noeuds quel délire engage? To undo these knots what delisium inspires |) saura relrouver l'ennemi qui l’outrage! He will know how to find the enemy that of- im fends. NEvERS AND St.-Bris Ap! partons, éloignons—nous! Ah. let's go, let's get away. (to Raoul) ‘Ailuins, partons, éloignons—nous! Let's go, let's leave, let's get away Sortons! Qu il rombe sous nos coups! Let’s go. Let him fall beneath our blows. Rien ne pourra sauver Raoul? Nothing can save Raoul Raout Marcer D’un tel honneur mon coeur est plus jaloux! Of such an honor my heart is too eager. faside, joyfully) Ju nous défends encor, mon Dieu! ‘You defend us still, my God! MarGueRiTe (Si_-Bris and Nevers drag Valemine, half faiming, and exit, defying Raoul, who wants Arrétez! Devant moi quelle insulte nouvelle! Halt! In my presence, what new insult? ) 10 follow but it restrained by the Queen's soldiers) Gignaling an officer to disarm Raoul) Vous, Raoul, votre épée! You, Raoul, your sword. Libretto by EUGENE SCRIBE co St--Bris) Et vous, oubliez-vous And you, do you forget Qu’a instant prés de lui votre roi vous rap- that at this moment your king summens you to- petle? his side? Raou Je les suivrai! 1 shall follow them MARGUERITE Non pas; prés de mei dans ces lieu No. Near me in this place Vous restez! You will remain, Sr-Bris Le lache est crop heureux The coward is too happy Que cette main royale ait un tel privilége! that this royal hand have such a privilege. Crest en vain qu'on pretend enchainer mon It’s in vain that they claim they can enchain courage; my courage Raout | (in a muffled voice, 10 St.Bris) Crest vous qu’elle protége en désarmant mon It is you she protects in disarming my hand, bras, Et hient6t je serai prés de vous! and soon | shall be close to you. MarcuERITE ‘Téméraires! Tous les deux redoutez ma colére! Fools! Both of you better dread my anger. NEVERS AND ST. BRIS Je sauraj retrouver 1’ennemi, l'offenseur! I shal! know how to find the enemy, the of fender Maxcar, Oui! mon coeur applaudit Raoul de son noble Yes, my heart applauds Raoul for his noble courage! courage. sever, Der Freischiite ‘<5 140 Cari Maria VON WEBER (1786-1826) Der Freischiitz (1817-21) a) Overture Adnio. Flauti. Om Tas Clarinet ta By Fngoic. Commi inf Cornt in €. H Trombo in C- Molto vivace. Balt ‘Timpani in CA Atio. ‘renore Basen, Tromhoni 2S |drert. | Vitae | ioline 1. | verre Viola. a i First performance 18 June 1821. Reprinted by permission trom Der Freéschare (Leipzig: C. Peters, mid-h pp 3-18: 14 a aw 444 Weber, Der Freischiite | Der Freischiitz ads cee 5, Weber, Der Freischiitz Wober, Der Freischiitz pe Soe. Le aR alla aT 443 Weber, Der Freischiitz Weber, Der Freischiitz 449 on i? Ahi. poo? Aen Can ye Soe, “vio # 450 Weber, Der Freischiitz Weber, Der Freischiitz 45) Tromboni, 452 a Weber, Der Freischiit2 Weber, Der Freischiitz 453 cali 2 oak I ss . peg eee re tite StF pp wring, 454 Weber, Der Freischiitz Weber, Der Freischiitz 455 venta, mieren Teembon 456 Weber, Der Preischiitz weber, Der Preischitt: Pe, 458 Weber, Der Freischitz b) Act II, Finale, Wolf's Glen Scene Sostenuto. 10 Fluuti piecoli. Prewi. {| Oboi Clarinetti in A. a Pagotti Corus imo. | Cori inc. 1 Trombe in D Timpani ins ‘Tromboni. we PP Sostenuto. Violino IL j \ Violino |. { | Viola, Sopran, AW § Tenor. Bass. 5 ee} Mileh dea Moats 3 Violoncello > Basso, Pi Sostennto. Weber, Der Freischétz Weber, Der Freischiitz Weber, Der Freischiitz 462 Weber, Der Freischiitz Weber, Der Freischite a a3 of > Sere SSS [fe | om foo 8 WC. sehineabaageliatiw i ing Fesie ase vinmal mins ) Sammie). Marge leg ures Hiengeteint | S weber seh ned sd kewell, + ase ed ne Samiel Nea! =e} Se ee PA ee = Weber, Der Freischiitz Weber, Der Freischiit2 xe fer wach wie ra thinduaite ah ae eae Si, bees ih ‘Siva kvier Beat! in irdibearreifln ache, Weber, Der Freischiitz weber, Der Freischiitz 467 105 Fea s 2 = Allegro. Gealiterdir A -Iein? Syamic tae Piatt mir ee o ve Te¥ > Caspar rine sesnpm ed rey ats Bel Allegro, pte— fees ee ee Site, ingich — HhellanrBewle duet ——— ea liven Sells mtr cle eer it en 468 Weber, Der Freischiitz 124 Weber. Der Freischitz at fiiw ae nityezagassder JibePa0cbe Grsygaten Sail ME a x I F Wiad: . Aber so bl Mas? utter wet lbriehig worden? Cet ne an Bement e SumichQiIt! Caspar gratient ray, 151 sort i Plier, ats wot “iv back em Weer al wie [poco @ | pace Iwate Reeit. 469 Hu Farehtbar gitmeder diate Abgrund! Welch ein Andante, aS Bes ee | poe icaecadca Weber, Der Freischiitz Ay ziXovheeiiar Weber, Der Freischilt2 186 __ Heit Cees in ashing, Rect, hh fo Alin Shrek! Vivier. 471 Weber, Der Freischutz weber, Der Freischiitz 473 198 218 : tempa poco aa ae iPS at A Mic tnehdem aduetigl sae) ———— = + ——— Reslivinsulyonen?Siehstlaciehiowiernivs caer NRK dow AR Ter ashe = her Lats wert Pacriet anita kot co Dal MEASh os rt ef = Sy - Corni ia C. Recit, Mivace. Sieh dort hia, sich weint, t Recit. & | erin alent igh wits, mvinSehielal eure! a » 209 SF Revit i Xivece: ¥, hey Eee he 8, F 1 = peal t—L aA 2 meiaer Muller Grist qele, Instr Sate; seruhtsietm Genb, SieTlentmit warnendem at. Vivace Reeit. =f (Der Gels vriner Multer ersebelot per a i i Caspar.Sokome duch!MieZeitellt, jaanewhera! Klimanat joe a —— 2 - me = Ae Wanseunera! brio ‘ frie § eee eet, — al 474 Weber, Der Freischaitz \ Weber, Der Freischiitz ans 236 248 Agitato assai. apr “pre 476 258 Ich denke wohl suck, jek an tia? ey du mst 261 ™ rh Caspar. Furemtdas Blei! Hivos Glan eon. 267 aun, Tension revehte Ange of Kircheufenstern;das | Wiedebupts es i Findet sich. twas Qnecksiller Drei] eines Luchars! BiyerluAi soho einmal gvtrefe tomest! Weber, Der Freischiitz Unspar. Nef ae Ralf acehe 2 2 tein eiuitat! Dir Nawhtluft int Bibl wud fenck! — WAU de seibet iene? Ye Nein | das ist wie die abweate’ Caspar. (Aichi? So bleibt aenser lem Rreine, tein Leben Max. Ws hab jolt eu thu, Hexewmeistyr? Caspar. Passe Math! Was da auch horew gud ahem mayely halle dich ving. (iv vigeaeye Avimlichen Grane.) felleieh@ eri, Cubekauatrcis an helfeny inert dich? hurmmit wuss Muderes, ae elite sieht win Geaeheidlvr wieht Max 0) wie wind has ends Cuspay AP Nick ohne Wideestanl sehe Sterhlietwea ihre Soh bat stlecu sieht, dun komin’ mis cn Hillfe anal pute, wax toh vnfen werde, suust sind wir Bride veelorew Mas. tot haw Bowesuna dos Bisa to Caspar, SMILE die Ausentblieke sina hast ae! Wer Soli Bisel rm sekialey Stevifen sertinatertt Casree (otint dle Giesoketiey Merk auf, eas toh haa er fom werde ilamit du die Kune! Lormat (Gs iam sv Iagredieasien se der apatavche we mirth sv aut wed nash hineie) 2 Andante, Melodram B wun den | iKelsesgen Gin dred Paucen sch open dle Erdr aebgendal pi. are Andante. try Sor im eat, Samiel! Suto! Had’ | acht, steht aie Ded un dimer [Nawht Bis dee Zouhive iat voll | beaeht Sale mie a Kraut ols Weber a7 » Der Freischiitz Allegre bnO EEA 477 SemioT Sata on Te 478 Weber, Der Freischiitz Weber, Der Freischiitz 479 Paco pia moto. Zo! foto BW gat a = e tre co? 7 480 Weber, Der Fretschiitz Weber, Der Freischiitz 481 336 lingrttiche Mor! Reho.Minrt Man birt Hwsorlny Pellweheowvinall vad Preedoeviratyets ? 327 Hundegebell sl Wiekere In dor La, Sebrkovsalien sun Jeon ou Pace und ae Rots, irsehe vod Hunde alehon in der Chur. (Tewuet » Bassi) wtehioar, = Dash 347 Vier tirler Poakvoneefoods Aiviee eltemibes die Tina. TPT PT PY SS AWWilkreStarm und Nach uri T head Wallr, Sturn out Narht! Etat tet ae CaS Ar ipmer tnwstticaey stat Tr a 482 Weber, Der Freischiitz Weber, Der Freischiitz 483 376 mata tt Die Gewtter troften fureniber zusammen, | Flunies ovhlaren aus dor Beds, eelieher hzen vie fge Geetha = nel bol he Caspar. Wohin site oer See 484 Weber, Der Freischiitz weber, Der Freischiitz 485 He mata i 486 Weber, Der Freischtitz Weber, Der Freischiiéz 487 404 aie Max ebieblats cots Stn lena hie ge Maceinttsih [per vorhin UC Samiel® [Sandet. Wirebintek? [Mix cueet ou Bute PP Bade den eeitew Autos 488 Weber, Der Freischiitz (A frightful glen with a waterfall. A pailid full moon. A storm is brewing. n the foreground a withered tree shattered by lightning seems to glow. In other irees, owls, ravens, and other wild birds, Caspar, without a hat or coat, but with hunting pouch and knife, is laying out a circle of black fieldstones, in the center of which lies 0 skull. A few steps away a hacked-off eagle wing, a ladle, and bullet moulds.) CHORUS OF INVISIBLE SPIRITS Milch des Mondes fiel auf’s Kraut The milk of the moon fell on the herbs. Ubui! Uhuit Uhui! Uhui! Spinoweb’ ist mit Blut bethaut! Spider webs dabbed with blood. Eh’ noch wieder Abend graut, Before another evening darkens, Uhui! Uhui! Uhui! Uhui! Ist sie todt, die zarte Braut! will she die, the lovely bride. Bh’ noch wieder sinkt die Nacht, Before another night falls, Ist das Opfer dargebracht! will the sacrifice be offered (A clock in the distance strikes twelve. The circle of stones is completed.) CASPAR Samiel! Samiel! erschein! Bei des Zaub’rers Hiengebein! Samiel! Samiel! erschein! Samiel, Samiel, appear! By the wizard’s skull-bone, Samiel, Samiel, appear! SAMIEL (steps out of a rock) Was rufst du mich? Why do you call me? CASPAR (throws himself at Samiel’s feet) Du weisst, dass meine Frist Schier abgelaufen ist You know that my days of grace are coming to an end SAMIEL, Morgen! Tomorrow! CASPAR Verling’re sie noch einmal mir! Will you extend them once more? SAMIEL No! No! CASPAR Ich bringe neue Opier dir. [ bring you new sacrifices SAMIEL Welche? Which ones? Weber, Der Freischiitz 489 CASPAR My hunting companion—he approaches who has never before set foot in your dark kingdom Mein Jagdgesel, er naht, er, Der noch nie dein dunkles Reich betrat SAMIBL Was sein Begehr? What does he wane? CASPAR Freikugeln sind’s, auf die er Hoffnung baut. Magic bullets, in which he puts his hope SAMIEL Sechse treffen, sieben affen! Six strike, seven deceive! CASPAR Dic siebente sei dein! The seventh is yours! ‘Aus seinem Rohr Ienk’ sie nach seiner Braut! From his own gun it will aim at his bride. Dies wird ihn der Verzweiflung weih'n, That witl drive him to despair, Thn, und den Vater. both he and his father SAMIEL Noch hab’ ich keinen Teil an ihr, 1 side with neither party. CASPAR (afraid) Geniigt er dir allein? Will he be sufficient for you? SAMIEL, Das findet sich! Perhaps. CASPAR Doch schenkst du Frist, Und wieder auf drei Jahr, Bring ich ihn dir zu Beute dar! If you will grant me grace for another three years, I will bring him to you as prey. SAMIEL Es sei! Bei den Pforten der Holle! Morgen, Er oder Du! So be it. By the gates of hell, Tomorrow: he or you! (He disappears amidst thunder. Also the skull avd énife disappear. In their place a small stove with glowing coals is seen.) CASPAR Splendidly served. (He takes a drink from his canteen.) Trefflich, bedient! 490 Gesegn’ es Samiel! Er hat mir warm gemacht! Aber wo bleibt denn Max? Sollte er wortbrichig werden? Samiel hilt! Weber, Der Freischiitz ‘Thank you. Samiel. It warms my heart. But what is keeping Max? Would he break his word? Help, Samiel! (He puts more wood on the coals and blows at it. Owls and other birds flap their wings, as if they wanted to fan the fire. The fire smokes and crackles.) MAX (appears on top of a rock, opposite the waterfall; he looks down into the glen) Ha! Furchtbar gant der diist’re ‘Abgrund! Welch’ ein Grau’n! Das Auge want In einen Hollenpfuhl zu schau'n! Wie dort sie Wetterwolken ballen, Der Mond verliest von seinem Schein, Gespenst’ ge Nebelbilder wallen, Belebt ist das Gestein, und hier Husch! husch! fliegt Nachtvogel Auf in Busch! Rotgrave, narb’ge Zweige Strecken nach mir die Riesenfaust! Nein! Ob da Herz auch graust . Teh muss. . . ich trotze allen Schrecken ‘Ab, how frightful is this gloomy abyss! How dreadful! The eyes fancy seeing a pool of hell Behold the storm clouds forming. ‘The moonlight is dimming Ghostly, misty apparitions float in, The stones appear alive. Hush, hush, the nightbird flies into the bush. Scarred red-grey boughs shake their giant claws at me. No, Whether the heart feels horror or not... must . . . despite all the tertors, CASPAR (aside) Dank, Samiel! die Frist is gewonnen. Kommst du endlich, Kamerad? Ist das euch recht, mich so allein 2u lassen Siehst du nicht, wie mir’s sauer wird? Thanks, Samiel, the grace period is granted {to Max} You have finally arrived, friend? Was it right to make me wait so long? Can't you see how painful it has been? (He fans the fire with the eagle's wing.) MAX (staring at the wing) Teh schoss den Adler aus hoher Luft, Teh kann nicht riickwaris, mein Schicksal raft! T shot the eagle at @ higher altitude I cannot ask my fate to march in reverse (He climbs a few steps, then stands still, gazing fixedly ar the opposite rock.) Weh mir! So komm doch, die Zeit eilt! Teh kann nicht hinab! Alasenherz! Klimmst ja sonst wie cine Gemse! Sie dorthin, sich! Help me! CASPAR Come on, time flies. MAX Tcan’t go ahead CASPAR Coward! You always climbed like 2 mountain goat MAX See there, see! (He points to the moonlit rock. A white and worn-out female form becomes evident, raising her hands.) weber, Der Freischiitz Was dort sich weist, is meiner Mutter Geist So lag sie im Sarg, so runt sie im Grab. ‘ie fleht mil warnendem Blick, Sie winks mir zuriick! 49) What you see there is my mother’s ghost. She lies in the coffin, resting in the grave She implores with a cautioning glimpse. She nods to me to return. CASPAR (10 himself) Hf, Samicl! Albecne Fratzen! Ha ha ha ha! Sieh noch cinmal hin, damit du die Folgen deiner feigen Thorheit erkennst! Help, Samiel! (aloud) Silly fools! Ha ha ha ha! Look once more, and recognize your faint-hearted folly. (The vision disappears. Agathe's form now is apparent, her hair disheveled and adorned with leaves and straw. She acts like a madwoman about to throw herself into the abyss.) Agathe! Sie springt in den Fluss! Hinab! Hinab! Ich muss! Agathe! Hinab ich muss! Hinab! Ich muss! MAX ‘Agathe. She is jumping into the river. Go 10 her. Go to her. I must! Agathe, I must go down T must! (The moon darkens. The apparition evaporates. Max climbs down.) CASPAR (jecring, to himself) Ich denke wohl auch, du musst! T think likewise, you must. MAX (forcefully 10 Caspar) Hier bin ich! Was hab ich zu thun? Here | am. What do T have to do? CASPAR (hands him the canteen, which Max puts aside) Zuerst tink cinmal! Die Nachtluft ist ‘KUhl und feucht. Willst du selbst giessen? Nein! das ist wider die Abrede Fasse Mut! Was du auch horen und sehen magst, verhalte dich hig. Kame vielleicht ein Unbekannter, uns zu elfen, was kiimmen’s dich? Kommt wat andres, was thut's? So etwas sieht cin Gescheidter gar nicht! O, wie wird das enden! Umsonst ist der Tod! Nicht ohne Widerstand schenken verborgene Naturen den Sterblichen ihre Schitzc. Nur du mich selbst zitier sichst, dann komm inir zu Hilfe und rufe, was ich men werde, senst sind wis beide verloren. First drink. ‘The night air is and damp. Do you want to cast the bullets yourself? MAX No, that was not the agreement. CASPAR Courage! Whatever you hear or see, stay calm. Should a stranger come (© help us, don’t let it bother you. Whatever happens, fear not. If you are wise, you will pay no attention MAX How will this ever end? CASPAR Death is in vain. Not without resistance will the invisible powers give up their treasures, But when you see me falter, then ‘come (© my aid and repeat the call that I make; otherwise we shall both be lost. 492 Weber, Der Freischiitz (Max stirs to raise an abjection. ) Still! Die Augenblicke sind kostbar! Be quiet. The moments are precious. (The moon is barely visible. Caspar seizes the crucible.) Merk’ auf, was ich hineinwerfen werde, damit du die Kunst lernst Now mark me, that you may leam the art, (He takes the ingredients from his pouch and throws them in one by one.) Hier erst das Blei. Ewas gestossenes Glas von zerbrochenen Kirchenfenstern, das findet sich. Eowas Quecksilber Drei Kugeln, die sehon cinmal getroffen, Das rechte Auge eines Wiedehopfs, das linke eines Luehses — Probatum est! Und nun den Kugelsegen! First, then, the lead. Then this piece of glass from a broken ehurch window, some mereury, three balls that have already hit the mark, The right eye of a lapwing, and the left of a lynx Probatum est! Now to bless the balls MELODRAMA CASPAR (pausing three times, bowing to the earth} Schiltze, der im Dunkel wacht, Samiel! Samuel! Hab’ achi! Steh mir bei in dieser Nacht, Bis der Zauber is vollbracht! Salbe mir so Kraut als Blei, Segn’ es sieben, neun und drei, Dass die Kugel tiichtig sei! Samiel! Samiel! Herbei! Hunter, who watches in the darkness, * Samiel! Samiel! Pay attention! Stay with me through this night until the magic is achieved Anoint for me the herbs and lead. Bless the seven, nine and three, so that the bullet will be fit, Samiel! Samiel! Come to me! (The material in the crucible begins wo hiss and bubble, sending forth a greenish flame. A cloud passes over the maon, obscuring the light.) {casts the first bullet, which drops in the pan) EINS! ONE (The echo repeats: EINS! Nighbirds crowd around the fire.) ZWEI! TWO (The echo repeats: ZWEI! A black boar passes) (startled, he counts) DRET THREE (Echo: DREI'A storm siarts to rage) (continues to count anxiously) VIER! FOUR (Echo: VIER! Cracking of whips and the sound of galloping harses is heard) (more and more alarmed) FUNF! FIVE, (Echo: FONF! Dogs barking and horses neighing are heard: the devil's hunt.) ‘Wehe! Das wilde Heer! Durch Berg und Thal, Durch Schlucht und Sehacht, Durch Thau und Wolken, ‘Sturm und Nacht! Durch Hohle, Sumpf und Ecdenkluft, Durch Feuer, Erde. See und Luft, Jo ho! Wau wau! jo ho! Wau wau! Ho ho ho ho ho ho ho ho! Woe is me! The wild chase! CHORUS Through hill and dale, through glen and mire, through dew and cloud, storm and night! Through marsh, swamp, and chasm, through lire, earth, sea, and air, Yo ho! Wow wow! Jo ho! Wow wow! Ho ho ho ho ho ho ho ho! Weber, Der Freischtitz tee CASPAR SECHS! SIX! (Echo: SECHS! Deepest darkness. The storm lashes with terrific force.) Samiel! Samiel! Samiel! Hilf! Samiel! Samiel! Samiel! Help! SAMIEL (appears) Hier bin icht Here 1am. (Caspar is hurled to the ground) MAX (nearly losing his balance from the impact of the storm; he jumps out of the magic circle and grips a dead branch, shouting) Samiel! Samiel! (The storm suddenly dies down, instead of the dead tree, the black hunter appears before Max, grabbing his hand.) SAMIEL Hier bin ich! Here Tam. (Max makes the sign of the cross os he is thrown to the ground. The clack strikes one. Dead silence, Samiel has disappeared. Caspar remains motionless, face to the grownd. Max rises convulsively.) ‘cd IA RicHaRD WAGNER (1813-83) Tristan und Isolde (1856-59): Act I, Scene 5 (excerpt) Sebr bewegt Schuld Tendre Schiffsvolk (ouden). Bisse Sehr bewegt sul eveac. molto - 2 FP yest 0 Hr, poe Px & Composed 1857-59; first performance 10 June 1865. Reprinied from Trisuin und Iyolde, edited by Felix Mow) (Frankrurt Peters, 1914), pp. 85-102. Repemted by permission aoa Wagner, Tristan und Isolde 495 N Tristan (anid _sutfaheond ) ° 4 Los tof (FF _—_——< Ses Wohl ken ich 496 Wagner, Tristan und Isolde Wagner, Tristan und Isolde 497 ®- Den Blink auf den Becher gertahtet. ggasem (rasen) Dp tigernd Pp = Be. cher nehen ich E lend iihnster Trot! Trug des Herzens! ‘Traum der AW. oung! Aw. Sjohaven, (gonerger) (etwas Breit) Bw ger Trau-er einz’. ger Trost: Ver - gessens giit-ger Trank, or, Sow | —— | SS eel 7 Und ach - teavchdes Suh ich tum Dank dir s 2 7 6 16 : : “6 = Z Ss = Isolde —— date fa |e obhafeor) Be- trugauch hier Mein die (oe sotat ap und tink & * Sk dich trink’___ ich son-der Wank! Sehr lebhi Fé gree Hore, x Sgecamme) 37 498 Wagner, Tristan und tsolde B pews ea Burrinkons ee (Sie teint) Bfeotde wirft die Schale nic fort, die- aclde entsinkt vieimehr ihrer aliman— 6 SLangsam 1 Dann wie sie Go Bebale fort) we a Tore yrdy . 5 * a * Beido, von Gchausr erfabl, dlicken sich ait Wochater Aufregung, doch mit ar z Wich wich Gfnenden Hand. ve. . leer. = 79 starrer Haltung, umver#sadtin die Augen, in deren Ausdruck der Todeatrots Bald der Liebesglut weich.) “pI Ha | ae Pe ea = =| Sto fassen sch krampfhatt an das Herz, — ob KI. Vie. ey (aitgern ergyaitt ie Etwas bewegt eee) Wagner, Tristan und Isolde 499 und (ihren die Hand wieder an die Stirn,— Langsam arte Ann suchen sig 7 pp sehr ausdrucksvoll y tar ——<—S sookon ihn verwinrtj = pee Heer wort vHien a Web KI. 'solde (wit bobender Stimme) Tri- stan’ Tristan Gverstrdmend) se Hoh dees (Sie vorbleiben in stummer Unecamng) Se. ligste Frau Lebhaft mit Steigerung Wagner, Tristan und Isolde Wagner, Tristan und Isolde SOL Bran gine, dis ai abgevandtam Gesicht voll Yrwirrung ued Sensuder sich ubsr den Bord geichnt halte, weedet sich Jotet dom Anblick doe im : Se Heil! «KS - ae fe 8 = 4 Heil!__Ké «nig ~- ae Mar. ke Heil! fe eft 2 teZe e SS Pe Pe a b¢ lite ¢ ¢ Mar. ke” Heil) ‘Mar. ke Heil! 116 Ligbecumarmung versunkenen Pasres 24 and stiezy DBirdorugend Yok Vaerweifiang in dep Vordecgrund.! * Beangine We | —— oF nig Mar-ke Heil! 8. Sohn toidenschafi- (Iristar und Thole a Heil! ra. “Heil! Ko - nig Mar- ke ‘Trop Ai ae Theater, wig oor Jae Bor Pivhee aks tr = ——— Wagner, Tristan und Isolde Wagner, Tristan und Isolde 503 ri : Was Gham Zit none ft f Beeb oo Sas a | pote Ep te a= = ais “a 3 ~ tester Schmach? Tristan . Horst. dr. Po. zen wo - gend er-he . ben,wie al. le —_== Es = “Wie sich die “Her - a sich die Her . zen wo er-he . ben,wie al - le 504 Wagner, Tristan und isolde Wagner, Tristan und Isolde 505 158 . 2—— Se... - nen.der JachinderBrust ——__ * = a ‘Seh - Str, Hola a? ae en - des t sehmach ten-der schmach - ir Heb in Out Wagner, Tristan und Isolde Wagner, Tristan und Isolde User 24, daw sign, mot ines ohen Polscabng gourbn, make sbi) jon Tristan und Isolde stiirsend) Brangaine (don Brauer, ie nal then ‘Schifferauen hereufeteigen). Wink xseiseh PSS SS dea Ki-nigeschmnuck! Schnell (Tristan und T201de bh den Man-tel, inher, in ihe gogenscitigen Anblick veriorer, obne Wahrachmung des umm sie Vorgehen. > aig bewub, Shlergerusen; dus guore Se witcty una Sutera bedeo, being Uber Bord winken, dow 186 = — << yes dim. Brangane wee é x Alle Manner (eur aer Tantra * g (Sie ear laclden. dso co icht evar den Konlgerastel an) wowir sind! ge! Auf! Hert, Etwas zurtickhaltend sempre stace, 1 Sebilt _— Heil! -Ké-nig Maree Heil: Heil! Ké-nig Mar-ke Heil! Etwas breiter im Zeitmad oleh, ca,