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Performing Editions of the Handel Cantatas HWV

81, 105, and 113 for Soprano, Obbligato
Instruments, and Continuo, or Piano Reduction,
with Accompanying Notes, Phonetic
Pronunciations, and Translations
Elizabeth N. Deutmeyer
University of Nebraska-Lincoln, bethdeutmeyer@gmail.com

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Deutmeyer, Elizabeth N., "Performing Editions of the Handel Cantatas HWV 81, 105, and 113 for Soprano, Obbligato Instruments,
and Continuo, or Piano Reduction, with Accompanying Notes, Phonetic Pronunciations, and Translations" (2012). Student Research,
Creative Activity, and Performance - School of Music. Paper 49.
http://digitalcommons.unl.edu/musicstudent/49

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PERFORMING EDITIONS OF THE HANDEL CANTATAS HWV 81, 105, AND 113

FOR SOPRANO, OBBLIGATO INSTRUMENTS, AND CONTINUO, OR PIANO

REDUCTION, WITH ACCOMPANYING NOTES, PHONETIC PRONUNCIATIONS,

AND TRANSLATIONS

by

Elizabeth N. Deutmeyer

A DOCTORAL DOCUMENT

Presented to the Faculty of

The Graduate College at the University of Nebraska

In Partial Fulfillment of the Requirements

For the Degree of Doctor of Musical Arts

Major: Music

Under the Supervision of Professor Kathleen S. Butler

Lincoln, Nebraska

April, 2012
PERFORMING EDITIONS OF THE HANDEL CANTATAS HWV 81, 105, AND 113
FOR SOPRANO, OBBLIGATO INSTRUMENTS, AND CONTINUO, OR PIANO
REDUCTION, WITH ACCOMPANYING NOTES, PHONETIC PRONUNCIATIONS,
AND TRANSLATIONS
Elizabeth N. Deutmeyer, D.M.A.
University of Nebraska, 2012
Advisor: Kathleen S. Butler

This document consists mainly of performing editions of the Handel cantatas

Alpestre monte (HWV 81), Dietro lorme fugaci (Armida abbandonata) (HWV 105), and
Figlio dalte speranze (HWV 113). For each of the three cantatas on which the document
is focused, provided in this document are a full score with realized continuo and extracted
parts; a piano reduction; an overview containing information on key, tempo, range,
tessitura, timing, and musical characteristics and vocal skills required; IPA, idiomatic
translations, and word-for-word translations for each; options for da capo ornamentation;
indications for cadential delays in recitatives and traditionally expected appoggiature and
trills. Additionally, the author has provided pertinent biographical information on
Handel, background on the cantatas, and notes on performance practice.
! iii!
Authors Acknowledgements

The author would like to thank Dr. Pina Mozzani of Wichita State University for her help
in ensuring the accuracy of the translations in this document, and Professor Kate Butler
of the University of Nebraska for her help in researching and ensuring the accuracy of the
pronunciations and translations in this document.
! iv!
Table of Contents
Title Page.. i
Abstract ii
Authors Acknowledgements. iii
Table of Contents iv
List of Multimedia Objects.. v
Handels Cantatas.1
Handels Time in Italy..3
Notes on Performance Practice 6
Notes on the Pronunciation Guides..8
About this Edition 9
HWV 81: Alpestre monte................................................................................................... 11
Overview.. 12
Pronunciations and Translations.. 13
Piano-vocal score. 17
Full score..29
Extracted obbligato parts. 44
Extracted cello part.. 52
Ornamented voice part. 55

HWV 105: Dietro lorme fugaci (Armida abbandonata).......... 57

Overview.. 58
Pronunciations and Translations.. 59
Piano-vocal score. 68
Full score..85
Extracted obbligato parts... 106
Extracted cello part 113
Ornamented voice part... 118

HWV 113: Figlio dalte speranze120

Overview 121
Pronunciations and Translations 122
Piano-vocal score... 126
Full score141
Extracted obbligato part. 160
Extracted cello part 163
Ornamented voice part... 167

Bibliography 169
! v!

LIST OF MULTIMEDIA OBJECTS

Musical scores to HWV 81: Alpestre monte, pages 15-54

Musical scores to HWV 105: Dietro lorme fugaci (Armida abbandonata), pages 66-117

Musical scores to HWV 113: Figlio dalte speranze, pages 124-166

!
! 1!
Handels Cantatas

Grove Music Online states that a cantata is a work for one or more voices with

instrumental accompaniment.1 This basic definition is necessarily loose; the term

cantata can apply to anything from a relatively short solo piece with continuo

accompaniment to a long scene utilizing multiple solo voices, orchestra, and even choir.

Besides opera and oratorio, the cantata was the most important and prevalent vocal genre

of the Baroque era, and the primary kind of vocal chamber music in Italy. The form is

characterized by a sectionalized structure. By the beginning of the 18th century it had

evolved into a multi-movement work, most often consisting of two or more arias, with a

recitative preceding each. Walter Ford describes these recitatives as integral, and rich

in harmonic change and bold in modulation.2 In Handels cantatas, the recitatives tend

to be less straightforward and more melodically and harmonically surprising than the

recitatives in his later operatic works. They serve the same purpose, however. As in

opera, the cantata recitatives are used to move the action forward. The harmonic daring

that is characteristic of Handels cantata recitatives often makes the contrast starker

between stable (more dramatically static) aria and less stable (more dramatically mobile)

recitative.

Jonathan Keates writes, the cantata was related to opera, though independent

from it, using the same expressive alternation of recitative and aria, but exploring a

simpler and more intimate world. It offered the composer excellent practice in
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
Colin Timms, et al, "Cantata," Grove Music Online. Oxford Music Online,
http://0-www.oxfordmusiconline.com.library.unl.edu/subscriber/article/grove/music/04748pg1 (accessed
Feb 11, 2012).
2
Walter Ford, Handel's Cantatas, Proceedings of the Musical Association, 58th Sess. 1931-1932,
http://www.jstor.org/stable/765646 (accessed December 3, 2011) 39.!
! 2!
constructing a sequence of linked numbers and rewarded the singer with opportunities for

vocal display.3 These opportunities came through expressive and virtuosic vocal

writing, as well as through ample call for the singer to embellish her or his part. Though

not always, Handels cantatas most often employed the standard da capo Baroque aria

form, in which a singer was expected to tailor the repeat of the main theme to his or her

particular skills and abilities through unique ornamentation.

Handels cantatas cover a wide array of scope and structure. Most were written

for solo voice and continuo, but there are also cantatas scored for voice and one or two

obbligato instruments, cantatas for up to five solo voices, and cantatas that employ a full

orchestra of strings; woodwinds such as flute, oboe, and recorder; trumpet; and archlute.

According to the Works list in the Grove Music Online article on Handel, two of his

cantatas are sacred, six are categorized as dramatic, twenty-five (twenty"two of which

are fully extant) are scored for a vocal solo or duo and instruments, and sixty are for

vocal solo and continuo. Most of his cantatas were written for soprano. Altos have the

next greatest number at their disposal, a few are meant for baritone, and only one cantata

was written for tenor. In all, Handel wrote nearly 100 cantatas, the vast majority of

which were composed while he was in Italy from 1706 to 1710.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
3
Jonathan Keates, Handel, the Man and his Music (London: V. Gollancz, 1985), 35.
! 3!
Handels Time in Italy

It seems that Handel made the decision to travel to Italy at the prompting of the

so-called Prince of Tuscany, a title which probably refers to Gian Gastone de Medici,

in order to absorb the Italian musical style.!When Handel left his home in Hamburg for

Italy in the winter of 1706, he was only 21 years old and had already seen compositional

success in his first opera, Almira. He ultimately based himself in Rome, but before he

settled there he spent periods in both Florence and Venice. It was during this time in

Venice that he most likely composed the cantata Figlio dalte speranze. He did not

remain long in Venice, however; documentation indicates that he was living in Rome by

the end of 1706.4 There, he quickly became connected with wealthy patrons of

musicians, Cardinal Colonna and Cardinal Pietro Ottoboni. Through his link to the

Ottoboni household, he worked with and gained the acquaintance of other!important

musicians of the time, like the influential Arcangelo Corelli. He also made the

acquaintance of Cardinal Benedetto Pamphilj, who lent financial and organizational

support to musicians, and who was a skilled poet and librettist. Cardinal Pamphilj wrote

the libretto to Handels first oratorio, Il trionfo del Tempo e del Disinganno, as well as to

some of his cantatas.

Through his relationships with the two Cardinals and his growing reputation,

Handel also secured the support of a third patron: the Marchese Francesco Maria

Ruspoli, one of Romes wealthiest citizens, and Handels most important patron during

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
4
Rainer Heyink, "Rome," in The Cambridge Handel Encyclopedia, ed. Annette Landgraf and David
Vickers, trans. Angela Baier, 553-555 (New York: Cambridge University Press, 2009), 553.
! 4!
5
his stay in Italy. Handel possibly made a trip to Venice in the winter of 1707/1708 his

exact whereabouts during this time are unknownbut by the spring of 1708 he was back

in Rome and living at the Ruspoli palace. He spent the summer in Naples, and then

returned again to Rome in August. He devoted that autumn of 1708 to writing cantatas;

he wrote almost a third of his entire cantata output during this time. He quit Rome

permanently in the spring of 1709, spent March through December of that year in

Florence, then traveled to Venice, where he stayed until he left Italy in the spring of

1710.6 By the time he left Italy, he had written nearly all of the cantatas he would

produce; he composed only two more cantatas with instruments after this time.

While in Italy, Handel did write two operasRodrigo and Agrippinaand two

oratoriosIl trionfo del Tempo e del Disinganno and La Resurrezionebut the great

bulk of his vocal output consisted of cantatas. So why did Handel focus so intently on

writing cantatas while he was in Italy? And why did he all but abandon the genre after he

left in 1710? For one thing, Pope Innocent XII closed the theater in 1697, which ended

public theatrical performances in Rome until 1709.7 Operas and oratorios continued to be

written and performed, but less frequently and only in the private residences of Romans

like Ruspoli and Ottoboni. In addition, producing larger works like operas or oratorios

requires resources that may have been more difficult for Handel to obtain frequently.

Works of this type demand a much greater personnel, and a more extended and involved

rehearsal period than cantatas. Such expenditures of time and money could have been

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
5
Jonathan Keates, Handel, the Man and his Music (London: V. Gollancz, 1985), 40.
6
Anthony Hicks, Handel, George Frideric, http://0-www.oxfordmusiconline.com.library.unl.edu/
subscriber/article/grove/music/O902119 (accessed November 28, 2011).
7
Jonathan Keates, Handel, the Man and his Music (London: V. Gollancz, 1985), 30.!
! 5!
difficult to justify on a regular basis, considering the resources he did have at his

disposal. Handel could readily collaborate with the household musicians of his

benefactors Ottoboni, Pamphilj, and Ruspoli. His easy access to these small contingents

of musicians, as well as the constant demands on his time, explain the great number of

cantatas he wrote for vocal solo and continuo only. It also explains why the majority of

his cantatas were written for soprano; the soprano Margherita Durastanti was one of

Ruspolis household musicians,8 and many of Handels cantatas were certainly written

for her. Obviously Handel and his patrons had the ability to bring in outside musicians as

wellhence the few operas and oratorios, and the cantatas scored for multiple singers

and instrumentsbut it is clear that more often, he simply wrote for the ensembles at

hand, which were a perfect fit for the cantata.

Most importantly, cantatas were in demand. Cardinal Ottoboni held weekly

concerts in his palace on Wednesdays,9 and Marchese Ruspoli hosted musical

conversazioni every Sunday, where new compositions were frequently premiered.10

Marchese Ruspoli and Cardinals Ottoboni and Pamphilj, along with other aristocrats from

Rome, Naples, and probably Venice, frequently commissioned cantatas from Handel to

be performed in their homes. Because of Handels cantata manuscripts presence in

various Italian libraries, Jonathan Keates suggests that these were the compositions for

which he first became noted.11 At the end of his time in Italy, Handel traveled through

Hanover, Innsbruck, Dsseldorf, and the Netherlands before settling in London near the

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
8
Rainer Heyink, "Rome," in The Cambridge Handel Encyclopedia, ed. Annette Landgraf and David
Vickers, trans. Angela Baier, 553-555 (New York: Cambridge University Press, 2009), 554.
9
Jonathan Keates, Handel, the Man and his Music (London: V. Gollancz, 1985), 30.
10
Jonathan Keates, Handel, the Man and his Music (London: V. Gollancz, 1985), 35.
11
Jonathan Keates, Handel, the Man and his Music (London: V. Gollancz, 1985), 35.
! 6!
end of 1710. Unlike in Rome, theatrical productions in London were flourishing at the

time, so the greatest vocal music demand existed for opera and oratorio and not cantata.

This explains Handels suddenly minimal output in this genre.

Notes on Performance Practice

One of the most fundamental means of expression in Baroque music is

highlighting the differences between stressed or unstressed, or good and bad notes.

Martha Elliott writes that it is essential to emphasize the duality of heavy versus light and

tension versus release, and that performers should use the flow and stresses of the text to

their greatest advantage. When a strong syllable falls on a weak beat, the resulting

rhythmic clash can add more interest and texture to the musical fabric.12 The singer

should tap into the expressive potential of dissonances and add dissonant appoggiature.

In this edition, points at which these appoggiature would traditionally be expected are

marked, as are suggested trills. Also marked are the places in the recitatives at which the

cadences would traditionally be delayed. These places are all internal, and do not fall on

the final cadences of the recitatives. In the preface notes of the Hallische Hndel-

Ausgabe, Hans Joachim Marx writes, For the performance of the recitatives it should be

observed that Handel never treats the final cadence as delayed; this means that the

continuo enters with the last accented syllable of the singer and not after it. Chrysander

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
12
Martha Elliott, Singing in Style: A Guide to Vocal Performance Practices (New Haven: Yale University
Press, 2006).
! 7!
printed Handels cadences as delayed, an editorial correction which is not followed in this

edition.13

In measures where rhythmic discrepancies between parts exist, such as dotted

eighth-sixteenth figures versus triplets, the rhythms should not be performed as written.

Martha Elliott writes,

Dotted figures, which we today understand to have specific proportion and

duration, were interpreted with much more flexibility. A dotted eighth
and sixteenth note, for example, could be performed with different degrees
of length and crispness, ranging from a gentle triplet to a double
dotdepending on the character of the situationWhen different
rhythms appear simultaneously, they pose particular problems that need to
be solved on a case-by-case basis. Again, depending on the character of
the music, dotted figures would most likely be softened to accompany
simultaneous triplets, since it was unusual to have a two-against-three
rhythm in Baroque music.14

This idea of rhythmic alteration needs to be employed in the aria Venti, fermate from

Dietro lorme fugaci, HWV 105. Marx writes that in instances where straight eighth or

sixteenth notes in the upper parts occur simultaneously with triplets in the bass, the upper

parts should be altered to conform to the triple rhythm of the bass. He states, The

decision about the performance of such rhythmic conflicts needs to be based on

consideration not only of the metre and basic rhythm, but also of their relationship to the

meaning of the words. In most cases the conclusion must be to synchronise the dotted

rhythm with the triplet.15

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
13
Hans Joachim Marx, "Preface," in Hallische Hndel-Ausgabe, ser. 3 bd. 4, trans. Terence Best, (New
York: Brenreiter, 1958-), XXIII.
14
Martha Elliott, Singing in Style: A Guide to Vocal Performance Practices (New Haven: Yale University
Press, 2006).
15
Hans Joachim Marx, Preface, in Hallische Hndel-Ausgabe, ser. 3 bd. 4, trans. Terence Best, XVI-
XXIII (New York: Brenreiter, 1958-).
! 8!
Some recommended resources for further research on the performance practices

of these cantatas are:

Elliott, Martha. Singing in Style: A Guide to Vocal Performance Practices. New Haven:
Yale University Press, 2006.
Marx, Hans Joachim. Preface, in Hallische Hndel-Ausgabe. Translated by Terence
Best. New York: Brenreiter, 1958-.
Tosi, Pier Francesco, and Johann Friedrich Agricola. Introduction to the Art of Singing.
Edited and translated by Julianne C. Baird. New York: Cambridge University
Press, 1995.

Notes on the Pronunciation Guides

All pronunciations are given using the International Phonetic Alphabet (IPA).

N assimilations have not been indicated, aside from modifying the letter n to [] before

[k] or [g], and changing the letter n to [m] before bilabial consonants in recitatives.

Instances where the special or phrasal doubling of consonants may be desirable have also

not been indicated.

Diction scholars are divided upon the pronunciations of some Italian words,

specifically the voicing or not of intervocalic S; the opening or closing of unstressed Es

and Os; and the opening or closing of E in the words nel, del, and their derivatives. In

this edition, the pronunciations of these are transcribed as found in the dictionaries (see

bibliography). Although the dictionaries used, and therefore this edition, indicate some

instances of intervocalic S as unvoiced [s], it should be noted that these are commonly

modified to voiced [z] in sung Italian. The words nel, del, and their derivatives have

been transcribed using closed [e]; singers should feel free to modify these vowels to open
! 9!
[]. The same is true for unstressed Es and Os. While the dictionaries used for this

project and this edition list most of them as closed [e], this is meant to serve as a guide

only and singers should feel free to open them as needed or desired, or at the advice of a

trusted coach or teacher.

To quote Nico Castel,

The difference between closed [e] and open [] and closed [o] and open []
in Italian singing is minimal due to the demands of tone production,
tessitura and long held notes. In Italian speech the difference is more
noticeable, but even then local speech habits make any set of rules
impossibleThe punctilious singer or coach looking for consistency in
this matter of the Italian e o vowels will be totally frustrated, as there is
no consistency possible, and certainly no inflexible rules to be followed.
Italian singers have used, do use, and will continue to use these e o
vowels to suit their VOCAL NEEDS, and not their VOCALIC (vowel)
preferencesAs for the unstressed and final e o some texts state that
they are always closed, and others state categorically that they are always
open. I say that they are neither. They open or close depending on vocal
needs, tessitura and the color of neighboring vowels (vocalic
harmonization).16

About this Edition

All of the arias in this edition were originally written in da capo form. Here the

da capo sections have been recopied after each B section. This eliminates burdensome

page turns for the pianist, and allows the singer to write in ornaments without worry of

rendering the first A section illegible. Additionally, whole or partial recitative texts have

been copied into the violin and cello parts so that the string players may more easily time

their note changes with the singer. Syllables that should coincide with a particular note

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
16
Nico Castel, Handel Opera Libretti, ed. Hemdi Kfir (Geneseo: Leyerle Publications, 2005), xviii.
! 10!
or rest have been underlined and aligned above the note or rest in question. In the

recitatives, each suggested appoggiatura is marked with a plus (+), and each suggested

cadential delay is marked with an asterisk (*).

! 11!
HWV 81: Alpestre monte

Handel wrote Alpestre monte in Venice, most likely during the winter of 1708-

1709. Handel originally wrote this cantata for soprano castrato. Before the Hallische

Hndel-Ausgabe published this cantata in its volumes of Kantaten mit Instrumenten, it

was available only in fragmented form. It is the first-person narrative of a desperate man

alone in the mountain woods, walking to find his beloved and confess his love, imagining

the worst, and hoping that at the very least, death will end the misery of his likely

unrequited passion. This piece is a stunning example of Handels ability to heighten text

musically. The first aria begins starkly, with the two obbligato violins in unison,

unaccompanied by continuo. The constancy of the staccato eighth notes seems to drive

the piece forward with a sense of inevitability, mirroring the mans journey toward death.

The second is permeated by descending lines in the upper parts, and by sequences. These

features again add to the feeling of the inevitability and unhappiness of the mans fate.

Carlo Vitali sums it up as follows: A desolate obbligato recitative, modulation to remote

keys in the first aria (Io so ben chil vostro orrore), and the interweaving downward

spirals between solo soprano and violin in the second (Almen dopo il fato mio),

enhance the pieces depressive mood.17 Handel was perhaps first inspired to write this

cantata after hearing his contemporary Mancinis setting of this text, the authorship of

which is unknown.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
17
Carlo Vitali, The Cambridge Handel Encyclopedia, ed. Annette Landgraf and David Vickers (New York:
Cambridge University Press, 2009), 32-33.
! 12!
Overview

1. Accompagnato Alpestre monte

Key: C minor
Range: C4-E5
Tessitura: E4-D5
Timing: approx. 45 secs.

2. Aria Io so ben chil vostro orrore

Key: C minor
Tempo: Largo (= 40-60)
Range: C4-G5
Tessitura: G4-F5
Timing: approx. 5 mins.
Musical characteristics and vocal skills required: sustained legato phrases, some
large leaps; requires sostenuto singing and vocal agility

Recitativo Quindi men vengo a voi

Key: G minor
Range: D4-F5
Tessitura: F4-D5
Timing: approx. 1 min.

3. Aria Almen dopo il fato mio

Key: G minor
Tempo: Adagio (= 66-76)
Range: D4-A5
Tessitura: G4-G5
Timing: approx. 5 mins.
Musical characteristics and vocal skills required: long phrases, frequent large leaps;
requires good breath control and vocal agility
! 13!
Pronunciations and Translations

IPA and word-for-word translation

!
1. Accompagnato
[al!p!stre!!!!mon!te!!!!e!!!!!!!so!li!ta!rja!!!!sel!va]!
Alpestre monte, e solitaria selva,
Alpine mount and solitary wood
!
[tri!stoal!br!go!!!!!!dor ror!!!!ni!do!!!!di!!!!fe!re]!
tristo albergo dorror, nido di fere,
wretched residence of horror nest of beasts
!
[fra!!!!!!!!!!!lom!bre!!!!!!!!!!ku!pee!!!!!!!!!!ne!re!!!!del!!!!!!!v stro!!!!sen!!!!!!!!e!la!te]!
fra lombre cupe e nere del vostro sen celate
through the shadows gloomy and dark of the your breast hidden
!
[kwe!stin!fe!li!ee!!!!!!!di!spe!ra!toa!man!te]!
questinfelice e disperato amante,
this unhappy and desperate lover
!
[kea!!!!!!voi!!!!!pj no!!!!di!!!!!dwl!!!!m!ve!!!!!!le!!!!!!pjan!te]!
che a voi, pieno di duol, move le piante.
that at you full of grief moves the soles
!
2. Aria
[i!o!!!!so!!!!!!!!!!bn!!!!!kil!!!!!!!!!!!v stroor ro!re]!
Io so ben chil vostro orrore
I know well that the your horror
!
[u!ni!ma!go!!!!del!!!!!!!!mi!o!!!!k re]!
unimago del mio core,
is an image of the my heart
!
[u!ni!d a!!!!del!!!!!!!!mi!o!!!!!pen!sj re]!
unidea del mio pensiere.
is an idea of the my thoughts
!
!
!
! 14!
[ko!mei!kwe!sto!!!!a!tro!!!!!!!!sod!or!no]!
Come in questo atro soggiorno,
As in this gloomy residence
!
[ko!si!!!!!!!!!!!!stan noal!!!!!!!!!!k reat tor!no]!!!!
cos stanno al core attorno
in this way stay to the heart around
!
[om!bre!!!!!lar!ve!!!!!!!!r ri!dee!!!!!!!!fj re]!!
ombre, larve, orride e fiere.\
shadows wraiths horrid and fierce
!
Recitativo
[kwin!di!!!!!!men!!!!!!!!v!goa!!!!!voi!!!!per!!!!er!kar!!!!mr!te]!
Quindi men vengo a voi per cercar morte,
Therefore at least I come to you for to seek death
!
[kil!!!!!!!!!!!mi!o!!!!dwl!!!! si!!!!fr!te]!
chil mio duol si forte
that the my grief is so strong
!
[da!!!!non!!!!tro!var!!!!mai!!!!pa!e!!!!al!tro!!!!kin!!!!!!!!li]!
da non trovar mai pace altro chin lei,
that not to find ever peace other that in it (death)
!
[a!mo!!!!!nin!fa!!!!!en!ti!le!!!!e!!!!!!!!!la!mo!!!!!!!!!!!tan!to]!
amo ninfa gentile, e lamo tanto,
I love nymph delicate and her I love much
!
[ke!!!!per!!!!!!!!!!!!so!vr!kjoa!mo!re!!!!al!!!!!!!!!!!fin!!!!!pr!di!!!!mi!!!!stes so]
che per soverchio amore al fin perdei mi stesso,
that through excessive love at the end I lost my self
!!
[el!!!!!!!!!!!!!kr!!!!!!!pr!di!!!!dal la!!!!!!!!!!!!!gran!!!!!!!!!fjam maop prs so]!
el cor perdei dalla gran fiamma oppresso.
and the heart I lost through the intense flame oppressed
!
[a!i!!!!ni!e!!!!a!i!!!!!di!!!mi a!!!!mr!te!!!!a!spra!!!!ka!o!ne]!
Ahi Nice, ahi di mia morte aspra cagione,
Ah Nice ah of my death harsh cause
!
! 15!
[nomper!!!!!!!!!!!tu!a!!!!!kol!pa!!!!ma!!!!per!!!!!!!!!!!!mi!o!!!!de!sti!no]!!
non per tua colpa ma per mio destino,
not through your fault but through my destiny
!
[se!!!!la!mar!ti!!!!!!!!!!de!lit to!
se lamarti delitto,
if the love-you is offense
!
[vw!!!!!!mo!rn!do!!!!pu!ni!re!!!!!!di!!!!mi!e!!!!pu!pil le]!
vu morendo punire di mie pupille
I wish dying to punish of my eyes
!
[il!!!!!!te!me!ra!rjoar!di!re]!
il temerario ardire.
the reckless impudence
!
3. Aria
[al!men!!!!do!poil!!!!!!fa!to!!!!mi!o]!
Almen dopo il fato mio
At least after the fate my
!
[vj nia!!!!!dar!!!!!!!!!le!str!moad di!o]!
vieni a dar lestremo addio
come to give the final farewell
!
[al la!!!!fred da!!!!sp ae!za!gwe]!
alla fredda spoglia esangue.
to the cold remains lifeless
!
[per!!!!!!!!!!!tem!prar!!!!il!!!!!!!mi!o!!!!!gran!!!!!dw lo]!
Per temprar il mio gran duolo,
Through to temper the my great grief
!
[si!o!!!!tof fr!sil!!!!!!!!!!!!!pjan!to!!!!!so!lo]!
sio toffersi il pianto solo,
if I you offered the weeping only
!
[k kor!!!!tof fro!!!!!!!!!!a!ko!rail!!!!!!!sa!gwe]!
eccor toffro ancora il sangue.
here now you I offer more the blood
!
! 16!
Idiomatic translation
Alpestre monte, e solitaria selva,
tristo albergo dorror, nido di fere,
fra lombre cupe e nere
del vostro sen celate
questinfelice e disperato amante,
che a voi, pieno di duol,
move le piante.
Io so ben chil vostro orrore
unimago del mio core,
unidea del mio pensiere.
Come in questo atro soggiorno,
cos stanno al core attorno
ombre, larve, orride e fiere.
Quindi men vengo a voi per
cercar morte,
chil mio duol si forte
da non trovar mai pace altro chin lei,
amo ninfa gentile,
e lamo tanto,
che per soverchio amore
al fin perdei mi stesso,
el cor perdei dalla gran
fiamma oppresso.
Ahi Nice, ahi di mia morte aspra cagione,
non per tua colpa ma per mio destino,
se lamarti delitto,
vu morendo punire di mie pupille
il temerario ardire.
Almen dopo il fato mio
vieni a dar lestremo addio
alla fredda spoglia esangue.
Per temprar il mio gran duolo,
sio toffersi il pianto solo,
eccor toffro ancora il sangue.
High mountain and solitary wood,
wretched home of horror, lair of beasts,
through dark and gloomy shadows
of your hidden breast
this unhappy and desperate lover,
who toward you, full of grief,
moves his feet.
I know well that your horror
is a reflection of my heart
and a product of my thoughts.
As in this gloomy residence,
so stand around my heart
shadows and wraiths, horrid and fierce.
Therefore, I come to you at least
seeking death,
since my grief is so strong
that I can only find peace in death,
I love a delicate nymph,
and I love her so much,
that through excessive love
I have finally lost myself
and my heart to the intense and
oppressive flame.
Ah Nice, ah harsh cause of my death,
not through your fault but by my destiny,
if my loving you offends you,
I want dying to punish my eyes
for their reckless impudence.
After my fate, at least
come to give a final farewell
to my cold and lifeless remains.
To temper my great grief,
if I once offered you weeping only,
here now I offer my blood as well.
 17

Alpestre monte
G. F. Handel

1. Accompagnato
b
+ +
Soprano & b bc j n J n
b

{
Al - pe- stre mon - te e so - li - ta - ria sel - va, tri -sto_al - ber - go d'or- ror, ni - do di fe - re,

b b n
& b bc n

w
w
w
Piano
? bb c w w w
b

j
6
b j # j n
&b b

{
fra l'om - bre cu - pe_e ne - re del vo - stro sen ce - la - te quest' in - fe - li - ce_e

b w #w
&b b w
w nw
w
w #w
w
? bb w w
bw

n n
9
b
+

& b b n J b

{
di - spe - ra - to_a - man - te, che_a voi, pie - no di duol, mo - ve le pian - - te.

b <#>
& b bn
n #n

n

? bb #
b
+ appoggiatura * cadential delay
 18

2. Aria

b
Largo e staccato
S. &b b

{
Io so ben ch'il vo - stro_or - ro - re _un' i-

b b n n
n
&b b
Pno. f p
?b
bb

&b b
4
b
n

{
ma - go del mio co - re, _un' i - dea del mio pen - sie - - re, io so

b n b
& b b b n n

? bb
p
n
b

n J bn
7
b
&b b b

{
ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co- re, _un' i - de - a del mio pen sie - re,

b n
& b b n n #n
n
# # nn
n J
b n b # n n
? bb
b b j

& b b b
j
11
b J

{
io so ben, io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio

b
& b b n
j
n b J
? bb n b
b
 19

<>

14
b
b n b
& b b n

{
co re, _un' i - dea del mio pen sie

- - - re, _un' i dea del mio pen
b
bbb n b n
& J
J
? bb J J


b J

17 <>
b
& b b n

{
b j b
- sie - re, _un' i - dea del mio pen- sie - re.
b
b
& b b n n
n

J

? bb n # J n
f
b J J

20
b b
&b b

{
Co - me_in que- sto a - tro sog

b n b n
& b b bJ b
p J
? bb J nJ #
b b

b b n
23
b b
&b b

{
gior - no, co - s stan - no_al co- re_at - tor - no om - bre, lar - ve, or - ri - de_e fie - re, or -

bbb b b b n bb
& J

? bb b b n n b
b
 20

b b n b

26
n
&b b

{
- ri - de_e fie - - - re,_e fie - re. Co - me_in

b
b n j b b
& b b n n
b b b b b

? b n b b
b b n n J b J

n b n
29
b n n
&b b n

{
que - sto a - tro sog- gior - no, co - s stan - no_al co - re_at- tor - no om - bre, lar - ve,

b b n n n n# n
& b b b n

n
J n # n
b n # n
? bb
b

b b n n
32

&b b

{
or - ri - de_e fie - re, co - me_in que - sto a - tro sog- gior - no, co- s stan - no_al co - re_at - tor - no, co- s

n
b
& b b bn n J
J J
? bb # n j
b J n J

35
b
& b b n

n # # n

{
stan - no_al co - re_at - tor - no om - bre, lar - ve, or - ri - de_e fie - re.

# n

b n
&b b n n J # n
J J
? bb
b n j n
J
 21

38
b
&b b

{
Io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co - re, _un' i -

b n n b n
&b b n
f p
?b
bb

42
b n
&b b b

{
dea del mio pen sie - re, io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co- re, _un' i-

b n b n n n
& b b n
n
? bb
p
n b n b # n n
b b

bn
b
j
46
b
& b b n J J

{
de - a del mio pen sie - re, io so ben, io so ben ch'il vo - stro_or

b
& b b #n
n
# # nn n
J n b J
n b
? bb
b j

<>

50
b
&b b n b n

{
ro - re _un' i - ma go del mio co- re, _un' i - dea del mio pen sie
b
- - -

j
bbb n b n
&
J

? bb J J
b
 22

53 <>
b b n
&b b

{
b j b
re, _un' i dea del mio pen - sie - re, _un' i - dea del mio pen- sie
- re.

b
& b b


n

n

J
J
? bb J n # f
J n

b J

56
b
&b b

{

b
b
& b b n b n b n
J
? bb
b J J nJ #
 23

Recitativo
b j
+
S. & b # # J

{
Quin - di men ven- go_a voi per cer - car mor - te, ch'il mio duol si for - te da

bw
&b w w







#

Pno.
? b #w n
b

4
b n
+

& b # n n J J

{
non tro - var mai pa- ce al - tro ch'in lei; a-mo nin - fa gen - ti - le, e l'a - mo tan - to, che per so- ver - chio_a

b
& b <#> n

w
w
w
w
w
w

? bb <n> # w w

8
b
+

& b J j b J b n b

{
mo - re al fin per - dei me stes - so, e'l cor per - dei dal - la gran fiam - ma_op - pres - so. Ahi

b *
b
&b w w

b n
b
w b
? bb w n
n

j
12
b
+ + +

& b J b b
b n n #

{
Ni- ce, ahi di mia mor - te a- spra ca - gio - ne, non per tua col-pa ma per mio de - sti- no,

b
& b <b>w
w
w


b



n


#
n
? bb<n>w b
 24

16
b n
+

& b # n # J #

{
se l'a - mar - ti_ de- lit - to, vu mo - ren - do pu-ni - re di mie pu - pil-le il te - me - ra - rio_ar - di - re.

b
& b <#> #n
#n
n

? bb
w

3. Aria
bb 3 Adagio
& 4

{
n
b
& b 43




? bb 43

7
b
&b

{
<> Al - men do - po_il fa - to mi - o vie - ni_a dar l'e - stre- mo_ad - di - o

& b
b
# n
n


b

?b
b

<>


13
b
&b J

{
al - la fred - da spo- glia_e - san - - -
<> gue, al - men do - po_il fa - to

j
b nn
b
& b


? bb
n
 25

19
b #
& b J J

{
mi - o vie - ni_a dar l'e - stre- mo_ad - di- o al - la fred - da spo- glia_e - san - - -

b
& b

#


? bb n #

<>
#
25
b
&b

{
- - gue, al - la fred - da spo - glia_e san - gue, vie - ni_a dar

b
& b b n n
# # #

? bb

n

<>
b
31
b n j n
&b b # #

{
l'e - stre- mo_ad di - o al - la fred - da spo - glia_e - san - gue, al - la fred - da spo glia_e- san -

b b b #j
& b bb #n
#

? bb b

&b
36
b

{
<>
gue.

b
&b #n b
#
? bb
j

 26

n # n n
43
b J
& b J

{
n
Per tem - prar il mio gran duo - lo, s'io t'of - fer - si_il pian - to so - lo, s'io t'of

b n # n n n
& b n n


? bb
# n n

b n J # n # j
bJ
49

&b n

{
fer - si_il pian - to so - lo,_il pian - to so- lo, ec - c'or t'of - fro, ec - c'or t'of - fro an - co - ra_il

b j
& b


# n #
# n

n


? bb # n

b n
56

& b b b b n # n
J

{
san - - - gue, ec - c'or t'of - fro an - co- ra_il san - gue, ec - c'or

b b b
& b b n #
b b n
? bb b b
b

<>

64
b n
& b #J #

{
# n #<n>
t'of - fro_an co ra_il san - gue.

b
& b J #

? bb n

 27

71
b
&b

{
<>

Al - men do - po_il fa - to mi - o

b
&b #

n

J


? bb

<>

77
b
& b

{
<>
vie - ni_a dar l'e - stre- mo_ad - di - o al - la fred - da spo- glia_e - san - - - gue,

j
b
b
&b
b
n

? bb

83
b
&b J J
J

{
al - men do - po_il fa - to mi - o vie - ni_a dar l'e - stre- mo_ad - di- o al - la fred - da spo- glia_e

b
& b nn
?b
b n

<>
89
b #
& b #

{
san - - - - - - gue, al - la fred - da spo- glia_e san -

b
& b #



# #

? bb n #


 28

b j
95
b n b
&b

{
gue, vie - ni_a dar l'e - stre- mo_ad di - o al - la fred - da spo - glia_e

bb b n n bb b b
& #
b

? bb n
<>

100
b n
& b # #

{
san - gue, al - la fred - da spo- glia_e- san - gue.

b #j
& b #n
#

?b
b

105
b
&b

{
<>
bb # n b
& #

? bb j


 29
Alpestre monte
HWV 81 G. F. Handel

1. Accompagnato
b b n
Violin I & bb c n w

& b b c
b
Violin II w

b
+ +

& b bc j n J n b

Soprano

{
Al - pe- stre mon - te e so- li - ta - ria sel - va, tri -sto_al - ber - go d'or- ror, ni - do di fe - re,

b
& b bc w
n w
w
w bn
Piano
? bb c w w w
b
6 b w w #w
& bb

& b b w
b w
nw

b j # j j
&b b n

{
fra l'om - bre cu - pe_e ne - re del vo - stro sen ce - la - te quest' in - fe - li - ce_e

b #w
&b b w
w #nw
w n#w
w
w w w
? bb w w
bw

9 b <#>
& bb n n

& b b
b
n n

n n
b
+

&b b n J b

{
di - spe - ra - to_a - man - te, che_a voi, pie - no di duol, mo - ve le pian - - te.

& b b<#><n>
b
b n n
n
? bb #
b
+ appoggiatura * cadential delay
 30
2. Aria
n
Largo e staccato
bb b n
Vln. I & b

p n
bbb
f
Vln. II & b
f p

b
S. &b b

{
Io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co - re, _un' i -

b
&b b
Pno.
?b
bb

5 b b n n
& bb

& b b
b n n
n
n

b n
&b b b

{
dea del mio pen sie - re, io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co- re, _un' i-

b n n
&b b n n
b
? bb
p
n b n b # n n b
b

9 b #J
n # j
& b b #

& b b j
b n n n n

b
b j
& b b n J b n J

{
de - a del mio pen sie - re, io so ben, io so ben ch'il vo - stro_or

b #j # j b n
& b b # n
n n b n
? bb j
b
b

 31
13
b
J


& bb

& b b
b J

<>
b n
&b b b
n

{
ro - re _un' i - ma go del mio co- re, _un' i - dea del mio pen sie - - - -

b j j
& b b b n b j n
b n
? bb
b J J

16 b n
b
J
& bb

& b b
f
b n

<>
f

b
&b b
b n

{
re, _un' i dea del mio pen - sie - re, _un' i - dea del mio pen- sie - re.

b j j
& b b b j n b b
b n

J J n
f
? bb nJ #
b

19 b

n


& bb

& b b n
b
b
J

b
&b b

{
b j
&b b j n
b j n
n b n

? bb
b J n #
J J
 32

22 b b b
& bb

& b b
b
p
b b

p

b b b b
&b b

{
Co - me_in que - sto a - tro sog - gior- no, co - s stan - no_al co - re_at - tor - no om - bre, lar - ve, or -

b
&b b
b b
b

b b
p J


? bb b
b b

25 b n
J
& bb

& b b
b n b

b b
&b b n b n b n

{
- ri - de_e fie - re, or - ri - de_e fie - - - re,_e fie - re.

b
& b b b n b j
n b
? bb b n n b n n b
b n J

28 b b b b b b
j
n n
& bb J n
b <b>
& b b
b b b
j n #

n b n
b n
&b b

{
Co - me_in que - sto a - tro sog- gior - no, co - s stan - no_al co - re_at- tor - no

b j b n #
& b b b b b
b

n
nn
J
? b b b n
bb b
J
 33
31
b n # n n

& bb J

& b b n

b n n J

b n b n n
& b b n

{
om - bre, lar - ve, or - ri - de_e fie - re, co - me_in que - sto a - tro sog- gior - no, co-s

b n b j
& b b n n n b n

n



j

# n
? bb # n
b J n J

34

b
n # n n
& bb J


# n
& b b
n
b nJ

b n
&b b n #

{
stan - no_al co - re_at - tor - no, co- s stan - no_al co - re_at - tor - no om - bre, lar - ve, or -

b j j
& b b n # nj n
n
?b
bb j n j
J

37 b b n

& bb n
f p

& b b
b
n n
f p

b
& b b # n

{
- ri - de_e fie - re. Io so ben ch'il vo - stro_or - ro - re _un' i

b
& b b #
n
? bb
b n

 34
41
b n b n
& bb

& b b
b b n n
n

&b b
b n
b

{
ma- go del mio co - re, _un' i - dea del mio pen sie - re, io so ben ch'il vo-stro_or-ro- re _un' i-

b n n n
&b b b
?b
p
n b n b
bb

45 b # n #
& b b n # J

& b b j
b nn n
n
n

b
b j
& b b n J b n

{
ma - go del mio co- re, _un' i - de - a del mio pen sie - re, io so ben,

b #j # j b
& b b n # n
n n b

? bb # n n b
b j

49 b j
J

& b b

& b b
b J

b n
&b b J

{
io so ben ch'il vo - stro_or - ro - re _un' i - ma- go del mio co - re, _un' i dea del mio pen sie -

b b j n j
& b b n b
b

n b
? bb J
b
 35

52 b

n

& bb


& b b
b n

<> <>
b n
& b b b
b n

{
- - re, _un' i dea del mio pen - sie - re, _un' i - dea del mio pen- sie -

b j
& b b j n
b j n
n b n

?b
bb J
J nJ #

55 b b
J


& bb

& b b

f
b n
f

b
&b b

{
re.

b j
&b b b b j n
n

J
f
? bb n J
b

57 b n


& bb

& b b
b b
J

b
&b b

{
b j
& b b b j n
b
n

?b
bb J nJ #
 36
Recitativo
b j
+
S. & b # # J

{
Quin - di men ven- go_a voi per cer - car mor - te, ch'il mio duol si for - te da

b
&b ww
w







#

Pno.
? bb #w n

n +
4
b # n J
&b n
J

{
non tro - var mai pa- ce al - tro ch'in lei; a-mo nin - fa gen - ti - le, e l'a - mo tan - to, che per so- ver - chio_a

b
& b <#> n

w
w
w
w
w
w

? bb <n> # w w
8
b
+

& b J j b J b n b

{
mo - re al fin per - dei me stes - so, e'l cor per - dei dal - la gran fiam - ma_op - pres - so. Ahi

b b
&b w n
*
w b
w b b
? bb w n
n

bj n n #
12
b
+ + +

& b J b b

{
Ni- ce, ahi di mia mor - te a- spra ca - gio - ne, non per tua col-pa ma per mio de - sti- no,

b w
& b <b>w
w b



n


#
n
? b<n>w b
b

16
b n
+

&b # n # J #

{
se l'a - mar - ti_ de- lit - to, vu mo - ren - do pu-ni - re di mie pu - pil-le il te - me - ra - rio_ar - di - re.

b
& b <#> #n
#n
n
?b
b w
 37

b 3
3. Aria

Vln. I &b 4

& b
b3

4

Vln. II

b
S. & b 43

{
& b 43 n # n b b
b



Pno.
? bb 43

<>
6

b j n
&b

b
& b
n

&b
b

{
<>
Al-men do - po_il fa - to mi - o

# n
b
& b


? bb

11 b
<>

&b J
<>
& b
b
J

<>
b
& b

{
vie ni_a dar l'e - stre- mo_ad - di - o al - la fred - da spo- glia_e - san - - - -

b
& b
n b b


?b
b

 38
16
& b n
b

& b b
b

&b
b
J
J

{
gue, al - men do - po_il fa - to mi - o vie - ni_a dar l'e - stre- mo_ad - di - o al - la

b
&b b
n n

? bb n

22b
&b

& b
b

&b
b # #
J

{
fred - da spo- glia_e - san - - - - - - gue, al - la fred - da

b
& b #



#
#

? bb #
n

28b b
&b

& b
b b n
#

<>
&b
b n b b
j

{
spo- glia_e san - gue, vie - ni_a dar l'e - stre- mo_ad di - o al - la fred - da spo - glia_e

b
& b b b

#


?b
b n b

 39
34 b #



& b J

& b
b #
J

b
& b # n #

{
san - gue, al - la fred - da spo- glia_e- san - gue.

b # n b b
& b # #
n
? bb

<>
40b b
&b # n

n # n
& b


b
# #

&b
b J n # n

{
<>
Per tem - prar il mio gran duo - lo,

b j
& b # #


# n

? bb j
#

46b n n
&b

& b
b n

b n n
J # n #
j
&b J

{
s'io t'of - fer - si_il pian - to so - lo, s'io t'of - fer - si_il pian - to so - lo,_il pian - to so- lo, ec - c'or

b
& b n


# n #
? b n
b n #
 40
52
b j n b b b
&b

b
& b
b b b
#

b
& b n bJ b b b

{
t'of - fro, ec - c'or t'of - fro an - co - ra_il san - - - gue, ec - c'or

b b
& b
b
b b b

? bb n b

<>
60b n n
&b

& b #
b

J #

<>
b n # n n
& b n
J

#J #

{
t'of - fro an - co - ra_il san - - gue, ec - c'or t'of - fro_an co ra_il san - gue.

b n
& b n b n # n
# #n #


? bb b n
b

67 b
& b

j

& b
b

b
&b

{
& b # n
b
b b

?b
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 41
<>
73
& b
b n

& b
b n

b
&b

{
<>
Al men do - po_il fa - to mi - o vie ni_a dar l'e - stre- mo_ad

# n
b
&b n b
? bb

78b
<>
n
&b J
<>
& b b
b
J

<>

b
&b

{
di - o al - la fred - da spo- glia_e - san - - - gue, al - men

b
& b
b
n
? bb
n

84b
&b

& b
b

b #
&b J J J

{
do - po_il fa - to mi - o vie - ni_a dar l'e - stre- mo_ad - di- o al - la fred - da spo- glia_e - san -

b
&b b


#

n
?b n
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 42
90
b
&b

& b
b
#

<>
b #
& b

{
- - - - gue, al - la fred - da spo- glia_e san - gue, vie - ni_a

b
& b
#
#
#




? bb #

96 b b #
&b J

& b
b b n #
J

b n b j n
&b b #

{
dar l'e - stre- mo_ad di - o al - la fred - da spo - glia_e - san - gue, al - la fred - da

b
&b b





b #

n
? bb b
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101b




&b

& b
b

b
& b #

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spo - glia_e- san - gue.

b #
& b # n b


? bb

 43

<>
105

b b
&b # n

&


bb # #

b
&b

{
<>
b j
&b
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 44
Violin I

Alpestre monte
HWV 81

1. Accompagnato G. F. Handel

w
Alpestre monte, e solitaria selva, tristo albergo d'orror, nido di fere, fra l'ombre cupe e
b b n
& b bc n w

nere del vostro sen celate quest'infelice e disperato amante, che a voi, pieno di duol, move le pian - - - - - - te.
7
b #w
&b b w n n
2. Aria 45
n
bb b n b
Largo e staccato

& b
f p

b n #
#J
6
n n
&b b #

12
b j

J
& b b

17
bb n b

& b J
f

b n b
b
21

b
& b
p
26
b n J b b b b b j
&b b J

n n n #
30

bbb n n
& n J

n # n n
n
34
b
&b b J

38
b b n n b
&b b
f p

b n #
#J
43
n
&b b n #

49
b j

& b b J

54
bb n b

& b J
f

57
b n
&b b
 46

Recitativo
-tacet-
 <>
47
3. Aria
b
& b 43 j


Adagio

J
9
b
& b n

17
b
& b n

2 b
#J
26
b
&b

<>
# b
36
b
&b n
44
b 2 n n 2
&b j n

b b b
54
b
&b

<>

64
b n n
&b

<>
n J
72
b j
&b

<>
b n
81

& b

89
b 2 b
& b

#
100
b
& b J

<>
105
b b
&b
# n
 48
Violin II
Alpestre monte
HWV 81

G. F. Handel
1. Accompagnato
Alpestre monte, e solitaria selva, tristo albergo d'orror, nido di fere, fra l'ombre cupe e
b
& b bc w w

7 nere del vostro sen celate quest'infelice e disperato amante, che a voi, pieno di duol, move le pian - - - - - - te.
b w
& b b nw n n

 49
2. Aria
b n b n n
Largo e staccato

&b b
f p

j nn
6
b
& b b n n
n
11

b
& b b n J

b n n b
16

& b b J
f

b
b
21
b
& b b
p

26
b n b b b b j #
&b b n

n # n n
31

bbb n
& n n J J

b n
36

&b b
f p

b n b n n
40

&b b n

j
45
b
&b b n nn n
n
51
b
n
& b b J

b n b
55

&b b J

f
 50

Recitativo
-tacet-
 51

3. Aria

b
Adagio

& b 43

<>
b n J b
10

& b

18
b
&b

2
b n #J
27
b
&b #

# #
37
b
&b

b n # n n 2
45

&b
#

b b b
#
55
b
& b

65
b
& b J #
<>
&b

74
b n
J

b b
82

&b

2
b n
90
b
&b #

#
100
b
& b J

105
b
&b # #
 52
Cello Alpestre monte
HWV 81
G. F. Handel
1. Accompagnato

? bb c w
Alpestre monte, e solitaria selva, tristo albergo d'orror, nido di fere, fra l'ombre cupe e

b w w w
7 nere del vostro sen celate quest'infelice e disperato amante, che a voi, pieno di duol, move le pian - - - - - - te.
? bb w w #
b
2. Aria
n b n b
? bb
Largo e staccato

b
p
n b
8
? bb # n n b j n b
b

? bb J n #
13

b J J J

? b n n #
18

bb J J J J b
f p

? bb b b nnb nnb
23

b n J

? bb b b b n # n #
28

b J J
33
? bb n j j
b n J n J n

n b n b # n

39
?b n b
bb
p
n b
? bb j
46
n b
b

? bb J
51

b J J nJ #

? bb J n J n #
55

b J J
f
 53
Recitativo
Quindi men vengo a voi
per cercar morte, ch'il mio duol si forte da non trovar mai pace altro ch'in lei;
? b #w n #
b

amo ninfa gentile, e l'amo tanto, dalla gran fiamma

6 che per soverchio amore al fin perdei me stesso, e'l cor perdei oppresso. Ahi Nice,

?b * n
b w w w n

? bb<n>w
ahi di mia morte aspra cagione, non per tua colpa ma per mio destino, vu morendo punire
12
b
se l'amarti delitto, di mie pupille il temerario ardire.

w
* cadential delay
 54
3. Aria


? bb 43
Adagio

? bb
10

#
20
? bb

n

b

30
?b
b n

?b
39
j
b
# n

? bb n n b
48

? bb b n
58

? bb

68

? bb
77

#
86
?b n
b

b

96
? bb n

103
? bb j


 55

Alpestre monte
HWV 81
Possible vocal ornamentations
of da capo sections

2. Aria: Io so ben ch'il vostro orrore

38
b
& b bc
Io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co - re, _un' i -

b n n b
42

&b b b
dea del mio pen sie - re, io so ben ch'il vo - stro_or - ro- re _un' i - ma - go del mio co- re, _un' i -

n b
46
b
& b b n J
J
j

de - a del mio pen- sie - re, io so ben, io so ben ch'il vo - stro_or

n b n
50
b
&b b

<>
ro - re _un' i - ma - go del mio co - re, _un' i-dea del mio pen- sie - - - -
53
b
&b b b


- re, _un' i - dea del mio pen - sie - re, _un' i - dea del mio pen - sie -
55
b
&b b
- re.
 56

3. Aria: Almen dopo il fato mio

67
b
& b 43

<>
Al - men do - po_il fa - to mi - o

77
b
& b
vie - ni_a dar l'e - stre- mo_ad - di - o al - la fred - da spo- glia_e - san - - gue, al - men

b
84

&b J #
do - po_il fa - to mi - o vie - ni_a dar l'e - stre- mo_ad - di - o al - la fred - da spo- glia_e -san -

n# #
90
b
& b
- - - - - - gue, al - la fred - da spo- glia_e- san - gue, vie - ni_a

b
96

&b n b b #

<>
dar l'e - stre - mo_ad - di - o al - la fred - da spo - glia_e - san - gue, al - la fred - da

101
b
&b
spo- glia_e- san - gue.
! 57!
HWV$105:$Dietro'lorme'fugaci'(Armida'abbandonata)'
!
In late May of 1707, Handel traveled with the Ruspoli household to the

Marcheses summer villa in Vignanello. He composed Armida abbandonata during his

time there, probably for the soprano Margherita Durastanti, a member of Ruspolis

household. The story, adapted from Tassos Gerusalemme Liberata by an unknown

librettist, concerns the sorceress Armida after her lover Rinaldo has deserted her. As

Armida sits watching as Rinaldos ship sails away, she curses him for betraying her and

asks the gods to destroy his ship and the sea monsters to consume him. She changes her

mind suddenly, asking them instead to stop and spare him. Since she cant help loving

him despite his betrayal, she asks the God of Love to at least lessen her pain. Carlo Vitali

writes,
A tense dramaticism, enhanced by the extended use of the accompagnato
recitative, prevails throughout the cantata, which provides many time-
honored devices of opera proper. Such are the first aria Ah, crudele a
lament whose florid singing line is based on repeatedly descending lines
and the concluding Siciliana In tanti affanni miei, with its (Neapolitan-
style) finely nuanced textures, and during which the eloquent cantabile
supported by unison violins in the A section gives way to subdued
stepwise phrases accompanied by continuo only in the B section. The
accompagnato recitative O voi, dellincostante, marked Furioso,
introduces the second aria, whose vigorous octave leaps would
customarily hint to warlike or vengeful feelings (aria di sdegno).
Nevertheless, its text Venti, fermate ostensibly proclaims Armidas
forgiveness a study in psychological ambivalence announcing the great
dramatist.10

Armida abbandonata was copied and performed multiple times by various parties.

Johann Sebastian Bach himself made a meticulous copy of this cantata and gave it a

performance in 1731 at the Collegium musicum in Leipzig.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
10
Carlo Vitali, Dietro l'orme fugaci, in The Cambridge Handel Encyclopedia, ed. Annette Landgraf and
David Vickers, 191-192 (New York: Cambridge University Press, 2009), 191-192.
! 58!
Overview
1. Accompagnato
Key: D minor
Range: D4-F5
Tessitura: F4-D5
Timing: approx. 1 min.

2. Aria
Key: F major
Tempo: Adagio (= 66-76)
Range: C4-G5
Tessitura: F4-F5
Timing: approx. 4.5 mins.
Musical characteristics and vocal skills required: some extremely fast-moving florid
sections; requires vocal flexibility, ability to sing quick ornamental passages.

Recitativo
Key: D minor
Range: F4-G5
Tessitura: A4-F5
Timing: approx. 30 secs.

3. Accompagnato
Key: G minor
Range: D4-G5
Tessitura: G4-G5
Timing: approx. 1 min.

4. Aria
Key: C minor
Tempo: Not indicated; author recommends Andante moderato (= 72-84)
Range: C4-A5
Tessitura: E4-E5
Timing: approx. 3.5 mins.
Musical characteristics and vocal skills required: disjunct vocal line, some large leaps;
requires vocal agility and accuracy.

Recitativo
Key: G minor
Range: E4-G5
Tessitura: A4-F5
Timing: approx. 1 min.
! 59!
5. Aria
Key: G minor
Tempo: Siciliana (.= 46-54)
Range: D4-G5
Tessitura: G4-E5
Timing: approx. 4 mins.
Musical characteristics and vocal skills required: lilting vocal lines, accented syllables
often fall on lower notes; requires good control over high range, ability to sing softly in
upper range

Pronunciations and translations

IPA and word-for-word translation

1. Accompagnato
[dj$tro$$$$$lor$me$$$$$$$$$$$$$$$$fu$ga$i]$
Dietro lorme fugaci
Behind the footprints fleeting

[del$$$$$$$$gwer$rjr$$$$ke$$$$$$$$$$$gran$$$$$tm$po]$
del guerrier, che gran tempo
of the warrior whom long time

[in$$$$la$i$vo$$$$$sod$or$noa$sko$zoa$ve$a]$
in lascivo soggiorno ascoso avea,
in wanton stay hidden had

[ar$mi$daab$ban$do$na$ta$$$$il$$$$$$$pj$$$$$$$mo$v$a]$
Armida abbandonata il pi movea;
Armida abandoned the foot moved

[e$$$$$$$pi$$$$$ke$$$$$$vi$deal$$$$$$$$$$fi$ne]$
e poi che vide al fine
and then who saw at the end

[ke$$$$$l$ro$$$$$$$$$$del$$$$$$$$$su$o$$$$kri$ne]$
che loro del suo crine,
that the gold of the her hair
! 60!
[i$$$$$$$vet$tsi$$$$$$$i$$$$$$$$zgwar$di$$$$i$$$$$$$pre$gi]$
i vezzi, i sguardi, i preghi,
the caresses the glances the pleas

[non$$$$an$$$$$$$fr$tsa$$$$$$$$ke$$$$$$$le$gi$$$$$il$$$$$$$fud$i$ti$voa$man$te]$
non han forza che leghi il fuggitivo amante,
not have strength that binds the fleeing lover

[fer$m$$$$$le$$$$$$sta$ke$$$$$pjan$te]$
ferm le stanche piante,
stopped the tired soles

[e$$$$$$$$as$si$za$$$$so$praun$$$$sk$o]$
e assisa sopra un scoglio,
and seated on a rock

[kol$ma$$$$di$$$$ri$o$$$$$$$$kor$d$o]$
colma di rio cordoglio,
full of bitter grief

[a$$$$kwel$$$$led$$roa$be$te]$
a quell leggiero abete,
at that light fir-wood

[keil$$$$$$$su$o$$$$bn$$$$$$$$$$$$$$$le$$$$$$$$$$$$$$$$ra$pi$a]$
che il suo ben le rapia,
that the her well-loved from her was stealing

[le$$$$$lu$iaf$fis$se]$
le luci affisse,
the eyes affixed

[pjan$n$do$$$$e$$$$$$$$so$spi$ran$do$$$$ko$si$$$$dis$se]$
piangendo e sospirando cos disse:
weeping and sighing thus said

2. Aria
[a$$$$$$$kru$d$le$$$$e$$$$$$$$pur$$$$tn$$$$$$$$$$$$$vai]$
Ah! crudele, e pur ten vai,
Ah cruel one and yet you from you go
! 61!
[e$$$$$$$mi$$$$la$iimpr$daal$$$$$$$$$dw$lo]$
e mi lasci in preda al duolo,
and me leave in prey to the grief

[e$$$$$$$pur$$$$sai$$$$$$$$$$$$$$$ke$$$$$$si$$$$$$$$$$tu$$$$$$so$lo]$
e pur sai che sei tu solo
and yet you know that you are you alone

[il$$$$$$di$lt$to$$$$del$$$$$$mi$o$$$$kr]$
il diletto del mio cor.
the beloved of the my heart

[ko$mei$gra$to]$
Come, ingrato,
How ingrate

[e$$$$$$ko$me$$$$pwi$$$$$$$in$vo$la$rea$$$$$kwe$sto$$$sen]$
e come puoi involare a questo sen,
and how you can let fly to this bosom

[il$$$$$si$rn$$$$de$$$$lu$mi$$$$twi]$
il siren de lumi tuoi,
the siren of eyes your

[se$$$$per$$$$te$$$$$$$$son$$$$$$$$$$tut$taar$dor]$
se per te son tutta ardor?
if for you they are all ardor

Recitativo
[per$$$$te$$$$$$mi$$$$strug$go$$$$in$fi$do]$
Per te mi struggo, infido,
for you I yearn treacherous one

[per$$$$te$$$$$$$la$gwi$sko$$$$i$gra$to]$
per te languisco, ingrato;
for you I pine ingrate

[a$$$$$$pur$$$$lo$$$$sai$$$$$$$$$$$$$$ke$$$$$$sol$$$$$$$da$$$$$twi$$$$bi$$$$$$$$$$$rai]$$
ah! pur lo sai che sol da tuoi bei rai
ah but it you know that alone for your beautiful eyes
! 62!
[per$$$$te$$$$$$pja$ga$toil$$$$$$$$se$no]$
per te piagato ho il seno,
for you sore I have the bosom

[e$$$$$$$pur$$$$$tu$$$$$$$mab$ban$do$ni]$
e pur tu mabbandoni,
and yet you me abandon

[in$fi$doa$man$te]$
infido amante.
treacherous lover

3. Accompagnato
[o$$$$$voi$$$$del$li$ko$stan$te]$
O voi, dellincostante
Oh you of the inconstant

[e$$$$$$$pro$el$lo$zo$$$$ma$re$$$$r$ri$di$$$$mo$stri]$
e procelloso mare orridi mostri,
and tempestuous sea horrid monsters

[dai$$$$$$$$$$pju$$$$$$$pro$fon$di$$$$kj$stri]$
dai pi profondi chiostri
from the most deep cloisters

[a$$$$$ven$di$kar$miu$i$te]$
a vendicarmi uscite,
to avenge me come out

[e$$$$$$kon$tro$$$$kwel$$$$kru$del$$$$$$i$kru$de$li$te]$
e contro quel crudel incrudelite;
and against that cruel one act cruelly

[si$$$$$sia$$$$v$stroil$$$$$van$to]$
s, sia vostro il vanto
yes be yours the pride

[e$$$$$$del$$$$$$$v$stro$$$$ri$go$re]$
e del vostro rigore,
and for the your severity
! 63!
[ummo$stro$$$$$la$e$rar$$$$di$$$$$$$$voi$$$$mado$re]$
un mostro lacerar di voi maggiore;
a monster to tear than you greater

[on$de$$$$vn$ti$$$$ke$$$$$$$fa$te]$
onde, venti, che fate,
waves winds what you do

[ke$$$$voi$$$$nol$$$$$$$$$$$$$$$$som$mr$e$te]$
che voi nol sommergete?
that you do not him submerge

[a$$$$$$$no$$$$$fer$ma$te]$
Ah! no, fermate.
Ah no stop

4. Aria
[vn$ti$$$$fer$ma$te$$$si$$$$$$fer$ma$te]$
Venti, fermate, s, fermate,
Winds stop yes stop

[nol$$$$$$$$$$som$mr$e$te$$$$no$$$$nol$$$$$$$$$$som$mr$e$te]$
nol sommergete, no, nol sommergete;
not him submerge no not him submerge

[$$$$ver$$$$ke$$$$$me$$$$tra$di$$$$$$$$$$$$$ma$$$$pur$$$$$la$d$ro]$
ver che mi trad, ma pur ladoro.
is true that me he betrayed but yet him I adore

[on$de$$$$kru$d$li$$$$no$$$$non$$$$lut$i$de$te]$
Onde crudeli, no, non luccidete;
Waves cruel no not him kill

[$$$$ver$$$$$ke$$$$$$mi$$$$$sprt$ts]$
ver che mi sprezz,
is true that me he scorned

[ma$$$$il$$$$$$mi$o$$$$te$z$ro]$
ma il mio tesoro.
but is the my treasure
! 64!
Recitativo
[ma$$$$ke$$$$$$$par$lo$$$$$$ke$$$$$$di$ko]$
Ma che parlo, che dico?
But what speak I what say I

[a$$$$$$ki$o$$$$$va$ned$o]$
Ah! chio vaneggio;
Ah what I rave

[e$$$$$$ko$mea$mar$$$$po$tri$$$$un$$$$tra$di$to$re]$
e come amar potrei un traditore,
and how love I can a traitor,

[in$fe$li$e$$$$mi$o$$$$k$re]$
infelice mio core?
unhappy my heart

[ri$spon$di$$$$o$$$$di$o$$$$ri$spon$di]$
Rispondi, o Dio, rispondi!
Respond o God respond

[a$$$$$$$$ke$$$$$$tu$$$$$$$ti$$$$$$$$$$$$$$$kon$fon$di]$
Ah! che tu ti confondi,
Ah that you yourself confuse

[dub$bjo$soe$$$$$$$$pal$pi$tan$te]$
dubbioso e palpitante,
hesitant and trembling

[vor$r$sti$$$$$$$$$$$non$$$$a$ma$re]$
vorresti non amare,
you would want not to love

[e$$$$vi$via$man$te]$
e vivi amante.
and to live lover

[spet$tsa$$$$kwel$$$$lat$oin$de$o]$
Spezza quel laccio indegno,
Break that snare unworthy
! 65!
[ke$$$$tj$neav$vin$to$$$$a$kor$$$$af$ft$ti$$$$$$$$$$twi]$
che tiene avvinto ancor glaffetti tuoi.
that holds enthralled still the affections your

[ke$$$$$$$fai$$$$$$$$$mi$ze$ro$$$$$$kr]$
Che fai, misero cor?
What you do miserable heart

[a$$$$$$$tu$$$$$$$nom11$$pwi]$
Ah! tu non puoi.
Ah you not can

5. Aria
[in$$$$tan$tiaf$fan$ni$$$$mji]$
In tanti affanni miei
In many anxieties my

[as$si$sti$mial$men$$$$tu]$
assistimi almen tu,
assist me at least you

[nu$me$$$$da$mo$re]$
Nume damore!
God of love

[e$$$$$$$se$$$$pje$to$so$$$$$$$$$$$$$si]$
E se pietoso sei,
And if compassionate you are

[fa$$$$$$$ki$o$$$$$$non$$$$a$mi$$$$pju$$$$$$$kwel$$$$tra$di$to$re]$
fa chio non ami pi quel traditore.
make that I not love more such traitor

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
11
Due to the high tessitura of this passage, the singer may wish to ignore this assimilation, or to leave the
consonant out altogether.
! 66!
Idiomatic translation
1. Accompagnato
Dietro lorme fugaci
del guerrier, che gran tempo
in lascivo soggiorno ascoso aveva,
Armida abbandonata il pi movea;
e poi che vide al fine
che loro del suo crine,
i vezzi, i sguardi, i preghi,
non han forza che leghi
il fuggitivo amante,
ferm le stanche piante,
e assisa sopra un scoglio,
colma di rio cordoglio,
a quell leggiero abete,
che il suo ben le rapia,
le luci affisse,
piangendo e sospirando cos disse:
2. Aria
Ah! crudele, e pur ten vai,
e mi lasci in preda al duolo,
e pur sai che sei tu solo
il diletto del mio cor.
Come, ingrato,
e come puoi involare a questo sen,
il siren de lumi tuoi,
se per te son tutta ardor?
Recitativo
Per te mi struggo, infido,
per te languisco, ingrato;
ah! pur lo sai
che sol da tuoi bei rai
per te piagato ho il seno,
e pur tu mabbandoni,
infido amante.
3. Aria
O voi, dellincostante
e procelloso mare orridi mostri,
dai pi profondi chiostri
a vendicarmi uscite,
Behind the fleeting footprints
of the warrior, who for a long time
in wanton sojourn had been hidden,
the abandoned Armida moved her feet;
and then who saw finally
that the gold of her hair,
her caresses, her glances, her pleas,
did not have the strength to hold back
her fleeing lover,
stopped her tired feet,
and seated upon a rock,
full of bitter grief,
on that light fir-wood ship
that was stealing her beloved from her,
affixed her eyes
weeping and sighing thus said:
Ah! cruel one, and yet you go,
and leave me beside myself with grief,
and yet you know that you alone
are the delight of my heart.
How, ingrate,
and how can you send flying at this bosom
the siren of your eyes
if they are all ardor for you?
For you I yearn, treacherous one,
for you I pine, ingrate;
ah! but you know
that for your beautiful eyes alone
for you my bosom aches,
and yet you abandon me,
treacherous lover.
Oh you, horrid monsters of the inconstant
and tempestuous sea,
from the deepest cloisters
come out to avenge me,
! 67!
e contro quel crudel incrudelite;
s, sia vostro il vanto
e del vostro rigore,
un mostro lacerar di voi maggiore;
onde, venti, che fate,
che voi nol sommergete?
Ah! no, fermate.
4. Aria
Venti, fermate, s, fermate,
nol sommergete, no, nol
sommergete;
ver che mi trad, ma pur ladoro.
Onde crudeli, no, non luccidete;
ver che mi sprezz,
ma il mio tesoro.
Recitativo
Ma che parlo, che dico?
Ah! chio vaneggio;
e come amar potrei un traditore,
infelice mio core?
Rispondi, o Dio, rispondi!
Ah! che tu ti confondi,
dubbioso e palpitante,
vorresti non amare,
e vivi amante.
Spezza quel laccio indegno,
che tiene avvinto ancor
glaffetti tuoi.
Che fai, misero cor?
Ah! tu non puoi.
5. Aria
In tanti affanni miei
assistimi almen tu,
Nume damore!
E se pietoso sei,
fa chio non ami pi quel traditore.
and act cruelly against that cruel one;
yes, be it your pride
and for your severity,
to tear at a monster greater than you;
waves, winds, what are you doing,
that you do not submerge him?
Ah! no, stop.
Winds, stop, yes, stop,
do not submerge him, no, do not
submerge him;
it is true that he betrayed me, but yet I adore him.
Cruel waves, no, do not kill him;
it is true that he scorned me,
but he is my treasure.
But what do I speak, what am I saying?
Ah! how I rave;
and how can I love a traitor,
my unhappy heart?
Respond, o God, respond!
Ah! you confuse yourself,
hesitant and trembling,
you would want to not love,
and to live as a lover.
Break that unworthy snare
that still holds enthralled
your affections for him.
What are you doing, miserable heart?
Ah! you cannot.
In my many anxieties
at least assist me,
God of love!
And if you are compassionate,
make it that I no longer love that traitor.
 68
Dietro l'orme fugaci
(Armida abbandonata)
HWV 105 G. F. Handel

1. Accompagnato
Soprano & bc

{
Die - tro l'or - me fu - ga - ci

& bc
Piano

& bc

&b
J

{
del guer - rier, che gran tem - po in la - sci - vo sog- gior - no_a- sco - so_a - ve - a, Ar - mi - da_ab - ban - do -

& b # # #

&b

n J
6 + +

&b j j n
J

{
na - ta il pi mo - ve - a; e poi che vi - de_al fi - ne che

&b # #n #n
#
&b


n #

n b j # j
9 + +

&b
J

{
l'o - ro del suo cri - ne, i vez - zi, i sguar - di, i pre - ghi, non han for - za che

& b #n # b

&b

+ appoggiatura * cadential delay
 69
12 +

& b # nJ # J # j

{
le - ghi il fug - gi - ti - vo_a - man - te, fer - m le stan - che pian - te, e_as

b n # bn* roll chords from here on

staccato #

& #
&b

15
b
+

&b J

{
si - sa so- pra_un sco - glio, col - ma di rio cor - do - glio, a quel leg - gie - ro_a - be - te, che_il suo

&b

&b

j r
18
j r
+ +

&b J J #

{
ben le ra - pia, le lu - ci_af - fis- se, pian gen - do e so - spi - ran - do co- s dis - se:

&b #n #

&b



 70
2. Aria
j
J
Adagio
S. &
b

{
Ah! cru de - le, e pur ten' va - i, e mi la - - - - -

j n

& b


Pno.
?b

5

& b n n

{
- - - - - - - sci_in pre - da_al duo - lo, e pur

& b n j

n
n b
?b J

8
b
& b #j b# n n

{
sai che sei tu so - lo il di - let - to del mio cor, e pur sa - i, ah! cru - de- le, che sei tu

& b # j b b # b n n
j
n n b
?b n j
b b

<>
b r n
11

&b

{
<>
so lo, tu so- lo, so - lo il di - let - to, il di - let - to del mio cor, e pur ten' vai, e pur ten'

&b j bj j
# n
n
J J
?b j

n

 71

j
14

& b J n

{
vai, ah! cru - de - le, e pur sa - i che sei tu so - lo il di - let- to del mio

&bn
j

j



J J
? j
b b J

<>

17

&b

{
cor, il di let - to del mio cor. Co -me,_in

& b j r j

J
?b J
r

j # n
20
b b
& b # n # b #j

{
gra - to, e co - me puoi in - vo - la - re_a que- sto sen, il si - ren de' lu- mi

& b # # n b
# # bb #
n n
?b # #

n b b b
23

& b b n

{
tuo - i, se per te son tut - ta_ar - dor? son tut - ta, tut - ta_ar- dor? per te, in -

n #
& b bb
n # b b

#
?b # b
 72
25
n
& b # n # # n n b

{
gra - to, e co- me puo i, co- me,in - gra - to, e co- me puo - i in - vo - la re_a que - sto sen, il se

& b # nn# n nn # n
n n

# n # nn
?b

n
n
# #

<>

#
b
28
j
3 3

& b # n #

{
<>
ren de' lu - mi tuo - i, se per te son tut - ta, tut - ta_ar dor? son tut - ta_ar - dor?

& b n # n n # #
n

n
? n n # n #
b n

j
J
31

& b

{
Ah! cru de - le, e pur ten' va - i, e mi la - - - - -

& b

j
n

?b

n
35

& b n

{
- - - - - - - sci_in pre-da_al duo - lo, e pur

& b n j
n

?b n b
J

 73
38
& b #j b b# n n

{
sai che sei tu so - lo il di - let - to del mio cor, e pur sa - i, ah! cru - de- le, che sei tu

& b # j b b # b n n
j
n n b
?b
b b n
j

<>
b r n
41

&b

{
so lo, tu so- lo, so - lo il di - let - to, il di - let - to del mio cor, e pur ten' vai, e pur ten'

<>
& b j
# n b
j j
n
J
J
? j
b n

j
44

& b J n

{
vai, ah! cru de - le, e pur sa - i che sei tu so - lo il di - let to del mio

&bn
j j




J J
? b j
b J

<>

47

&b

{
cor, il di let - to del mio cor.

j
& b j r

J

? J
r


b

 74
Recitativo
j b b j j J
+ +

& J J R

{
S.

Per te mi stru - go, in - fi - do, per te lan - gui - sco, in - gra - to; ah! pur lo sai che

& w w
w
w w
w
Pno.
? w #
#w

J #
5
b b
+

& J J b

{
sol da tuoi bei rai per te pia ga- to_ho_il se- no, e pur tu m'ab - ban- do- ni, in - fi - do_a- man - te.

& w
w



b

w #
? b
w #

3. Accompagnato
b
&b

{
S.

b n # #
&b n #

Pno.
? bb n # n#

3
b
&b

{
b # n
& b n #n
nb
? bb n b
#

b j
6
b +
& b j n # j J b

{
O voi, dell' in - co - stan - te e pro - cel-lo - so ma - re or - ri - di mo - stri, dai pi pro - fon - di

b
&b

? b #
b
 75

J #
10
b
+

+

& b J n j

{
chio - stri a ven- di - car - mi_u - sci - te, e con- tro quel cru - del in - cru - de

b
&b


? bb

J J R n n J
13
b
&b

{
n
li - te; s, s, s, sia vo - stro_il van- to e del vo - stro ri - go - re, un mo - stro la - ce

b b
#
& b n # n

? bb

b J b
17

&b

{
rar di voi mag - gio - re;

b n* b
& b b b n
nb
? bb b n
b

20
b
&b

{
on - de, ven - ti,

b
&b

? bb

J J
22
b b
&b n J

{
che fa - te, che voi nol som - mer - ge- te? Ah! no, fer - ma - te.

b n
&b
n
? b
b n
 76
4. Aria
bb 2*see noteson performance practice

S. & b4

{
b n
& b b 42 n
n n

? bb 42 n 3 nn
Pno. 3

b n
3 3 3 3 3 3
3 3 3 3 3 3

8
b
&b b

{
Ven - ti, ven - ti, fer

b n n
3 n

& b b n
3 3 3

n


? bb
3

nn

3

b
3 3 3 3 3 3 3 3
3 3

16
b J
&b b J J

{
ma - te, s, fer - ma - te, ven - ti, fer - ma - te, s, nol som - mer - ge - te, no, nol som - mer

b j j
& b b
3 3

n

? bb
b J J J J

25 <>
b j #
3

&b b

{
ge - te; ver che mi tra - d, ma pur

bbb

n b
b
n
J
&
3 3
? bb
3
3

3

J
3
b
3 3 3 3 3
3 3
 77

# 3n j b b
33
b
3

&b b J
3

{
l'a do - ro, pur l'a - do - ro, mi tra - d, ma pur l'a do - ro, ver che mi tra - d, ma

b # #
J # n
j 3
#nj j
3

& b b J J # J

b

? bb n J n J n n # j
3 3

J n
3
J
3

b J j n
3 3

3
41
b 3 3

& b b n
3 3 3 3 3 3 3

{
pur l'a - do - ro; ven- ti, fer ma - te, s, nol som - mer - ge - - - -

bb 3 j
b
& b n


? bb j J
3 3

3
b
3 3 3
3

<>
b
n n
48
b J
3 3

& b b n
3

{
- te; ver che mi tra - d, ma pur l'a - do - ro, pur l'a - do - ro, mi tra-

bb j


3

b
& n j j
J
? bb J 3j J J nj nj
3 3 3

3
b
3 3

56
b
3
& b b 3

{
- d, ma pur, ma pur l'a do - ro.

j
b j j
3

&b b n n
n

? bb n
3

nn
3 3

b J
3 3 3 3 3 3
3 3 3 3 3
 78
64
b
&b b

{
b n n 3

&b b n
3

n n
3 3
#n
n
? bb nn

3

b
3
n
3 3 3 3 3 3 3 3
3

72
b 3 n 3 J J
3

&b b #
J

{
On- de cru-de - li, no, no, non l'uc - ci - de - te, non l'uc - ci - de - te;
n j b
b j nj j
3 3

& b b # n b
3

# n

n n
? b n# 3
b #nn n b n
bb n J J J
3 3 3 3 3 3 3 3 3
3 3

3
& b b n # J n # n n
80
b 3 3
3
3 3

{
ver che mi sprez - z, ver che mi sprez - z, ma _il mi - o te - so - ro, on - de cru de - li,

j j
b j 3 j j j
3 3

& b b #n # n# n
3 3

3 3 3
#n

? bb j 3 j j j j
3 3

3

3 3 3

b n # n
J 3 3
3 3 3

3 j
87
b 3 3 3
3

& b b b
3

{
no, non l'uc ci de - te; ver che mi sprez - z, ma _il mi - o te - so - ro.

bb
3
j 3 j
3

3 3
b
3
&
n




J
? bb n j 3
b J
3 3 3 3 3 3 3 3 3 3 3 3 3
3
 79
95
b
&b b

{
bb n
& b n
n
n

? bb n 3
nn
3

b n
3 3 3 3 3 3 3 3
3 3 3 3 3 3

103
b
&b b

{
Ven - ti, ven - ti, fer - ma - te,

bbb n n n
3 n

n
3 3 3
&

? bb
3


nn
3

b
3 3 3 3 3 3
3 3

111 <>
b J
&b b J J

{
s, fer - ma - te, ven - ti, fer - ma - te, s, nol som - mer - ge - te, no, nol som - mer - ge -

b j j
& b b
3 3

n

? bb
b J J J J

120
b j #
3
J
&b b

{
- te; ver che mi tra - d, ma pur l'a do -

bbb
n bb
n
J # J
&

n
3 3 3
? bb
3

3
J J
3
b

3 3 3 3 3
3 3
 80

# 3 3 3
j b b
128
b
&b b n
3 3

{
- ro, pur l'a - do - ro, mi tra - d, ma pur l'a do - ro, ver che mi tra - d, ma pur l'a - do -

bb # # j j
j
j
3
J n
3 3

& b J # #n b n
J b
? b n J n
J n J# j j
3 3

J n
3

3
bb j n
3 3 3

<>
3
136
b 3

&b b
3 3 3 3 3 3 3

{
- ro; ven- ti, fer ma - te, s, nol som - mer - ge - - - - - -

bb j
3

& b
J


? bb J 3 j
3 3

b
3
J
3 3 3 3

b
3

n n
143
b
3 3

&b b J n

{
- te; ver che mi tra - d, ma pur l'a - do - ro, pur l'a - do - ro, mi tra - d, ma

b
&b b n j j j

? bb J nj nj
3 3 3
n
3
b J J

151
b
&b b

3 3

{
pur, ma pur l'a do - ro.

bb j j 3

& b n n
n

? bb n 3
3 3

b n

{
3 3 3 3
3 3 3 3 3

b n n n

157

&b b n
n
nn
? b


bb
3 3 3 3 3 3 3 3 3
3 3 3
 81
Recitativo
j + b
+
b n
S. & bc J J #

{
Ma che par - lo, che di co? Ah! ch'io va - neg- gio; e co- me_a - mar po - trei un tra - di - to - re,

& bc w n #
w #
? bc w
Pno.
#

J # J J J b

+ + +

& b b J

{
in - fe - li - ce mio co- re? Ri- spon- di, o Di o, ri - spon- di! Ah! che tu ti con - fon - di, dub - bio - so_e pal - pi

<#>
& b<#>

w
w w w
w w w
?b w w w

j b
9
b
+ +
b
&
J J

{
tan - te, vor re - sti non a - ma - re, e vi - vi_a - man - te. Spez- za quel lac - cio_in - de- gno, ke tie- ne_av

* w
&b w
w
w
w b w
?b
w w w

j j b j b n #
13

& b b b b

{
vin - to an- cor gl'af - fet - ti tuoi. Che fai, mi - se - ro cor? che fai, mi - se - ro - cor? Ah! tu non puoi.

& b b #n n # #
b b
? b n #
b
 82
5. Aria
b
& b 12
Siciliana

{
S.

b j
#
nn nj J
& b 12
8 J
J # J J J
J J
J
J
8 J J
f

Pno.
? bb 12 J J J J
J
4
b
&b

{

b
b n
& b # J n J# # n# nJ #


j
j b
? bb J n# J n nj
J J nJ # J J J

&b J J nn b n
7
b J J # J J

{
In tan - ti_af - fan - ni mie - i as - si - sti- mi_al men tu, Nu - me d'a - mo -

b j j nj #
j
&b n b
j

nJ
J j

p
? bb j J J J

b J n b j
10

&b J J J J

{
re! In tan - ti_af - fan - ni mie i as - si - sti mi_al - men
j
b
J J #n
J # b n nj bj j
&b
f
j
n n
j J

? bb nJ J p j b J b
J J n J J J J J

bj j j
13
b j
& b #n j J J J # n

{
b J j
tu, Nu - me d'a - mo - re! as - si - sti_in tan - ti_af - fan - ni mie - i, Nu - me, Nu-me d'a mo -
j
#
j j
& b # J J n n
b
J

J J
j j j j nj
pp
?b j
b # #
J J
 83

&b
16
b J n J J

{
# n
re! E se pie - to - so

b bb J
j n j j
& J n
b J J J J # n
f
? bb J n j j # j j
p
j

J J j J

& b n
19
b J n J J n J b J J

{
b
se - i, e se pie - to - so se - i, fa ch'io non a - mi

& b
j j j
b j b n bj j n J


J
j J J
? bb j b j J bJ
J
J J J

b n J b b b j b j j b j j J J
22

&b

{
pi quel tra - di - to - re, e se pie - to - so se - i, fa ch'io non a - mi

& b n b n
j j
b j b j
n j
j
b b
n b J
? bb J b
J bJ
j
J
b
J n j j j
J J J n

b # n
25

&b J J j
J n

{
pi quel tra - di - to - re, quel tra - di - to - re.

& b b J #
j j j
n j n j j
b j
# # # J

J n j J
f
? bb
J J J J J J
29
b
&b

{

b
& b # nn nj J J # nJ n #
J J J J J J #
?b J nJ #

J n J
b J J J J J J
 84

32
b J J #
&b J

{

In tan - ti_af - fan - ni

b

b
& b # nJ # j
n

j b J j
? bb n # nj j
J J J

nn b n
35
b
& b J J J

{
mie - i as - si - sti- mi_al men tu, Nu - me d'a - mo - re!

b j nj #
j
J J #n
J #
&b n b
j
p f
? bb J J J n
j J
J
J nJ J J

&b
j
38
b J J n J b j #n j J
J J

{

In tan- ti_af - fan - ni mie i as - si - sti mi_al - men tu, Nu - me d'a - mo - re! as-
b n nj j
b bj j
&b n n J # J
j j J
J
nj bJ J
? bb
p
b j j j

pp

J J J
J

j
j n
41
b j
&b
J
J b #

{
si - sti_in tan - ti_af - fan - ni mie - i, Nu - me, Nu - me d'a - mo -
j j
#
b j j
&b J J n n
b

J
? bb j j
# # n
j

J J

&b
43
b

{
# n
re!
bb
J
b
n
b
& J J J J #
f J

? bb n j j # j
J J j
J
 85
Dietro l'orme fugaci
(Armida abbandonata)
HWV 105 G. F. Handel

1. Accompagnato

Violin I & bc

Violin II
& b c

Soprano & bc
Die - tro l'or - me fu - ga - ci

3
# # #
& b

& b

&b J
del guer - rier, che gran tem - po in la - sci - vo sog- gior - no_a- sco - so_a - ve - a, Ar - mi - da_ab - ban - do -

6 # n # n
&b #
#

& b n
#

n J
+ +

&b j j n
J
na - ta il pi mo - ve - a; e poi che vi - de_al fi - ne che

9
& b # n # b

& b


#

n b j # j
+ +
b
& J
l'o - ro del suo cri - ne, i vez - zi, i sguar - di, i pre - ghi, non han for - za che
+ appoggiatura * cadential delay
 86

12 # n
staccato
#
& b #n b
n

& b

& b # nJ # J # j
le - ghi il fug - gi - ti - vo_a - man - te, fer - m le stan - che pian - te, e_as - si - sa so- pra_un sco - glio,

16

&b

& b

b j r
+

& b J
col - ma di rio cor - do - glio, a quel leg - gie - ro_a - be - te, che_il suo ben le ra - pia, le lu - ci_af -

19 #
&b #n

& b

j +
r
+

&b J J #
fis - se, pian - gen - do e so - spi - ran - do co - s dis - se:

2. Aria
j
J
Adagio

& b

{
S.

Ah! cru de - le, e pur ten' va - i, e mi la - - - - -

& b

j
n

Pno.
?b

n
5

& b n

{
- - - - - - - sci_in pre-da_al duo - lo, e pur
j
& b n
n
?b n b
J

 87

8
b
& b #j b# n n

{
sai che sei tu so - lo il di - let - to del mio cor, e pur sa - i, ah! cru - de- le, che sei tu

& b # j b b # b n n
j
n n b
?b n j
b b

<>
b r n
11

&b

{
<>
so lo, tu so- lo, so - lo il di - let - to, il di - let - to del mio cor, e pur ten' vai, e pur ten'

& b j
# n b
j j
n
J J
?b j
n

j
14

& b J n

{
vai, ah! cru de - le, e pur sa - i che sei tu so - lo il di - let to del mio

&bn

j

j



J J
? b j
b J

<>

17

&b

{
cor, il di let - to del mio cor. Co -me,_in

& b j r j

J
?b J
r




 88

j # n
20

& b # n # b b #j b

{
gra - to, e co - me puoi in - vo - la - re_a que- sto sen, il si - ren de' lu - mi

& b # # n b
# # bb #
n
n
? # #
b

n b b b
23

& b b n

{
tuo - i, se per te son tut - ta_ar - dor? son tut - ta, tut - ta_ar- dor? per te, in -

& b bb n
#
n # b b
?b # #
b

25
n b
& b # n # # n n

{
gra - to, e co- me puo i, co- me,in - gra - to, e co- me puo - i in - vo - la re_a que - sto sen, il se

& b #
n nn# n nn #
n


# # n nn
n
? b n n
# #

<>
n # #
b
28
j
3 3

& b #

{
<>
ren de' lu - mi tuo - i, se per te son tut - ta, tut - ta_ar dor? son tut - ta_ar - dor?

& b n # n n # #
n n
n # n
? n #
b n

 89

j
J
31

& b

{
Ah! cru de - le, e pur ten' va - i, e mi la - - - - -

& b

j
n

?b

n
35

& b n

{
- - - - - - - sci_in pre-da_al duo - lo, e pur

j
& b n


n

n b
?b J

38
b
& b #j b# n n

{
sai che sei tu so - lo il di - let - to del mio cor, e pur sa - i, ah! cru - de- le, che sei tu

& b # j b b n n j
b n n# b


? n j
b b b

<>
b r n
41

&b

{
<>
so lo, tu so- lo, so - lo il di - let - to, il di - let - to del mio cor, e pur ten' vai, e pur ten'

& b j
# n b
j j
n
J
J
? j
b n

 90

j
44

& b J n

{
vai, ah! cru de - le, e pur sa - i che sei tu so - lo il di - let to del mio

&bn
j j




J J
? b j
b J

<>

47

&b

{
cor, il di let - to del mio cor.

& b j r j

J
r
?b J

Recitativo
j b b j j J
+ +
S.
& J J R

{
Per te mi stru - go, in - fi - do, per te lan - gui - sco, in-gra - to; ah! pur lo sai che

& w w
w
w w
w



Pno.
? w #
#w

J #
b b b +
5

& J J

{
sol da tuoi bei rai per te pia ga- to_ho_il se- no, e pur tu m'ab - ban- do- ni, in - fi - do_a- man - te.

& w
w
w


b
#

?
w # b

 91

3. Accompagnato
b
Furioso
n # #
&b n #

Vln. I, II

& b
b n # #
n #

Vln. II

b
&b

{
S.

b n #
& b n #
n#
Pno.
? bb #
n

3 b
# n

&b n # n
# n
& b
b
n # n

b
&b

{
b n b
& b n b #
nb
n b #
?b
b

6 b
&b

& b
b

bb j j j b + J b
& n #

{
O voi, dell' in - co - stan - te e pro - cel-lo - so ma - re or - ri - di mo - stri, dai pi pro - fon - di

b
& b

? bb #

 92

10b

&b

& b
b

J #
b
+

+

& b J n j

{
chio - stri a ven- di - car - mi_u - sci - te, e con- tro quel cru - del in - cru - de

b
&b

? bb

13 b
n

& b #

& b
b b
n #

b
&b J J R n n J

{
li - te; s, s, s, sia vo - stro_il van- to e del vo - stro ri - go - re, un mo - stro la - ce

b
&b # n






? bb

17b
n b

&b
b

b
& bb b n
n b

b J b
&b

{
rar di voi mag - gio - re;

b
& b b b
nb
*

n

n
? bb
b b

 93

20b
&b

& b
b

b
&b

{
on - de, ven - ti,

b
&b


? bb

22b
&b
n

& b
b
n

b J J
adagio

&b b n J

{
che fa - te, che voi nol som - mer - ge- te? Ah! no, fer - ma - te.

b n
&b
n
? bb
n
 94

4. Aria
b
Vln. I, II & b b 42

& b b
b 2 n n
4

{
n n n
Vln. II

b
& b b 42 n





n

n


? bb 42 n 3 nn
Pno. 3

b n
3 3 3 3 3 3
3 3 3 3 3 3

8 b n

3 n
& bb n
3 3 3
n

& b b
b
n
3 3 3 3

b
S. &b b

{
Ven - ti, ven - ti, fer

b n
n
& b b
n



? bb


3

b nn
3 3 3 3 3 3 3 3
3 3

16 b
& bb
3 3

& b b
b
3 3

n

b J
&b b J J

{
ma - te, s, fer - ma - te, ven- ti, fer - ma - te, s, nol som - mer - ge - te, no, nol som - mer

b j j j j
& b b n




?b
bb J J J J
 95

25 b
n b n
& bb J
3 3 3

& b b
b

J

<>
3 3 3

b j #
3

&b b

{
ge - te; ver che mi tra - d, ma pur

bb j 3 3 j 3 3
j
b
&

n b



? bb
3

3
J
3
b
3 3 3 3 3
3 3

33 b #
J #
#
& bb J J

& b b
b J J J
#

b # 3 3n j b b
3

&b b J

{
l'a do - ro, pur l'a - do - ro, mi tra - d, ma pur l'a do - ro, ver che mi tra - d, ma
j j j j
b #nj j
3 3

& b b #
#

#

# J n

b

? b n J n J n n3 # j
3

J n
3
J j
3
bb J n
3 3

41 b
& bb

& b b
b

3
b 3 3
3 3
& b b n
3 3 3 3 3

{
pur l'a - do - ro; ven- ti, fer ma - te, s, nol som - mer - ge - - - -

b j 3
j
& b b b n


?b j J
3 3

3
bb
3 3 3
3
 96

48 b

n
& bb j

j

3 3

& b b
b
j j j j
<>

b b n n n
3 3

& b b
3
J

{
- te; ver che mi tra - d, ma pur l'a - do - ro, pur l'a - do - ro, mi tra-

b j j
j j j j
3

& b b



? bb J j
3 3
J J nj nj
b
3 3

56 b j
j

& bb

& b b
b j j n
n

b
3
& b b 3

{
- d, ma pur, ma pur l'a do - ro.

b
3
j
& b b j

n

n












3
? bb n
3

3

b J nn
3 3 3 3 3 3
3 3 3 3 3

64 b n

3 3

& bb n n
3 3

#n

& b b
b
n
3
n
#n n
3 3 3

n n

b
&b b

{
b n n n
& b b n


? bb nn

3

b n
3 3 3 3 3 3 3
3 3 3
 97

72 b
& bb

& b b
b
#
n

b
3 n 3 J J
3

&b b #
J

{
On- de cru-de - li, no, no, non l'uc- ci - de - te, non l'uc- ci - de - te;

b n
3
j j nj
3
j
n b
3

& b b #n

#n

n
? bb n# 3 b n #nn n b
b n J J J
3 3 3 3 3 3 3 3 3 3
3

80 b n

& bb
3 3
3

& b b
b n#
3 3
n

3

# 3 n 3 3
& b n #
b 3 3
3
b J n n

{
ver che mi sprez - z, ver che mi sprez - z, ma _il mi - o te - so - ro, on - de cru de - li,

bb n j j n j j n j n j 3 j
j
3 3 3
#n
3 3
b
3
& # # #
n
? bb j 3 j
3
j j n j
3 3 3 3

b n # J
3 3 3
3 3

87 b

& bb

& b b
b

b 3 j 3 3 3
3

& b b b
3

{
no, non l'uc ci de- te; ver che mi sprez - z, ma _il mi - o te - so - ro.
3
b j
3
j
3 3

&b b
3 3

n





J

? bb n j J

3

b
3 3 3 3 3 3 3 3 3 3 3 3 3
3
 98

95 b
& bb

& b b
b n n

n n n

b
&b b

{
b
& b b n



n

n



? bb n 3

nn
3

b
n 3 3 3
3 3 3 3 3 3 3 3
3 3 3

103 b n


3 n
& bb n
3 3 3

n

& b b n
b 3 3 3 3

n

b
&b b

{
Ven - ti, ven - ti, fer - ma - te,

b
n
& b b n
n





? bb

3

nn
3

b
3 3 3 3 3 3
3 3

111 b
& bb
3 3

& b b
b
3 3


<>
n

b J
&b b J J

{
s, fer - ma - te, ven - ti, fer - ma - te, s, nol som - mer - ge - te, no, nol som - mer - ge -

b j j j j
& b b n


?b
bb J J J J
 99

120 b
n b n #
& bb J J
3 3 3

& b b

b

J J

3 3 3

b j #
3
J
&b b

{
- te; ver che mi tra - d, ma pur l'a do -
j 3 3 j j
b n b j
3 3

&b b
#



? bb n J
3

3
J
3
b
3 3 3 3 3
3 3

128 b #


J #

& bb J

& b b
b J # J

bb # 3 3n j b b
3

b
3 3
& n

{
- ro, pur l'a - do - ro, mi tra - d, ma pur l'a do - ro, ver che mi tra - d, ma pur l'a - do -
j j j
b #nj j j
3 3 3

& b b # # # n
J



b


b n
? bb n J n 3
J n J# j3 j
3

j
3
J n
b n
3 3 3

136 b
& bb

& b b
b

3
b 3
3 3
&b b
3 3 3 3 3

{
- ro; ven- ti, fer ma - te, s, nol som - mer - ge - - - - - -
j
b j
3

& b b
3

?b J J j
3

3
b b
3 3 3 3
3
 100

143 b

n
j
& bb j

j


3 3

& b b
b
j j j j j

b
b n n
3 3

&b b J n

{
- te; ver che mi tra - d, ma pur l'a - do - ro, pur l'a - do - ro, mi tra - d, ma

b j
& b b j j j j j

? bb J J nj nj
3
n
3
b J

151 b j
& bb

& b b
b j n
n

b
&b b 3
3

{
pur, ma pur l'a do - ro.

b j 3

&b b n n


? bb
3 3

n n
3

b
3 3 3 3
3 3 3 3 3

157 b n

& bb

n

& b b
b
n
n
n n

b
&b b

{
b n
& b b

n


n n

? bb nn
b
3 3 3 3 3 3 3 3 3
3 3 3
 101
Recitativo
j + b
+
b n #
S. & bc J J

{
Ma che par - lo, che di - co? Ah! ch'io va - neg- gio; e co- me_a - mar po - trei un tra-di - to- re,

& bc w n #
w #
? bc w
Pno.
#

+
5

b
+ +

& b b
J
J # J
J J

{
in - fe - li - ce mio co- re? Ri- spon- di, o Di o, ri - spon- di! Ah! che tu ti con - fon - di, dub - bio - so_e pal - pi

<#>
& b<#>

w
w w w
w w w
?
b w w w

j b
9
b
+ +

& b
J J

{
tan - te, vor re - sti non a - ma - re, e vi - vi_a - man - te. Spez- za quel lac - cio_in - de- gno, ke tie- ne_av

* w
&b w
w
w
w b w
?b
w w w

j b n #
13

& b b bj b b j

{
vin - to an- cor gl'af - fet - ti tuoi. Che fai, mi - se - ro cor? che fai, mi - se - ro - cor? Ah! tu non puoi.

& b b #n n # #
b b
? b n #
b
 102

bbSiciliana
5. Aria

& 8 J n n
12
J J # J J
j
J J J
Vln. I, II
J
f

b
S. & b 12
8

{
& b 8 #j #j nj
b 12 j j
n j


8 J J
J J
f
J
Pno.
? bb 12 J J
J

4 bb
&

# nJ
# n #
J #
n # J

b
&b

{
n
j j
& b #n
b n # #j bj j

j j j j
J n

? bb nJ # j b
J n nJ # nj j
J J J J
J

7 bb
&
j j
j

&b
b J J # J J nn b n
J J

{
In tan - ti_af - fan - ni mie - i as - si - sti- mi_al men tu, Nu - me d'a - mo -

j
&b
b j nj

n b #
j

nJ
J j
b
p
?b j J J J
 103

10 bb
&
b n n j
J J # J n b
n j n j J J J J

b
p

&b J J n J b j
J J

{
re! In tan - ti_af - fan - ni mie i as - si - sti- mi_al - men
j j

b j j j b j j j j
& b j
n n b n b
# # n n J


p
? bb n
J J J J nj b
J

J J b J
J J

13 bb
&
j
J
J
J
J

pp

b j
& b #n j J bj j #j n
J J

{
tu, Nu - me d'a - mo - re! as - si - sti_in tan - ti_af - fan - ni mie - i, Nu - me, Nu-me d'a mo -

j
n b
b j j j j j j
& b #
J
b n n n #


J J

j j j j j
pp
? bb j # # J n
J

16 bb b # n
& J

J J J J J #

&b
f

b J n J J

{
re! E se pie - to - so

j nn
j j j j
& b b j #n j j j #j
b

? b
f
n j j j
p
j j
b J J #J j J

& b n
19
b J n J J n J b J J

{
b
se - i, e se pie - to - so se - i, fa ch'io non a - mi

& b
j j j
b j b n bj j n J


J
j J J
?b
b j b j J bJ
J
J J J
 104

b n j j
22

&b J b b b j b b j j J J

{
pi quel tra - di - to - re, e se pie - to - so se - i, fa ch'io non a - mi

& b n b n
j j
b j b j
n j
j
b
b
n b J
? bb J b
J bJ
j
J
b
J n j j j
J J J n

25 bb
& J
J # J
f

b # n j
&b J J J n

{
pi quel tra - di - to - re, quel tra - di - to - re.

& b b
j j j j j j
b n j #j
# # n #
n j


f
? bb
J J J J J J J
J

29 bb
&
n n # nJ
J # n
J J j
J J J #
J

b
&b

{
& b # n j
j j
b j j
n j n n #
#

J
J

? bb J J J J J J
n # J n
J
J

32 bb
& #

n # j
J

&b
b J J #
J

{
In tan - ti_af - fan - ni

& b n
b #j bj j j j j
j
n

? bb n # nj j b j
j
J
J J J
 105

35 bb
&
j
J J n
j J #

bb J nn b n
& J J

{
mie - i as - si - sti- mi_al men tu, Nu-me d'a - mo - re!

&b
j j
#
b j j
nj j
# j #n
j
n
n b
? bb nJ
J n J
p
J J J j
J J J

38 bb
&
b n n b j

n j n j J J J J

&b
pp

b J n b j j # j J
p

J J J J n

{
In tan-ti_af - fan - ni mie i as - si - sti- mi_al - men tu, Nu - me d'a - mo - re! as-
j b j j
& b
b j b j b j j j j
n #
n n J pp J
? bb j j
p
nj bJ
J J b J j

J J

41 bb
&
j
J J J J

b
&b j
b
j
j n
J J #

{
si - sti_in tan - ti_af - fan - ni mie - i, Nu - me, Nu - me d'a - mo -

& b bj n n # n
b j j j
J n b

J
? bb j j
# # n
j

J J

43 bb b #
& J
n
J J J J J #
f

&b
b

{
re!

j j
& b b j #n j j j
b j
#


? bb
f
n j j j
J #J

j
J
 106
Violin I
Dietro l'orme fugaci
(Armida abbandonata)
HWV 105 G. F. Handel

1. Accompagnato

& bc #

4

& b # #

#

7

& b # #n #n #n

10

& b # b #n

ferm le stanche piante, e assisa sopra un scoglio, colma di rio cordoglio,

# n #
13

staccato

& b b


n

17 a quel leggiero abete, che il suo ben le rapia, le luci affisse, piangendo e sospirando, cos disse:

&b #n #

8
2. Aria Recitativo
Adagio

&b
TACET
 107
3. Accompagnato
bbFurioso
n# # # n
& n#

o voi, dell'incostante
4
b e procelloso mare

&b n #n

8 orridi mostri,
b
&b



n
n
13
b #
&b
b

b b
19

& b

22
b 2
&b
n

n n 3 3
4. Aria
bbb 2


& 4
12
b n 2 3 2
&b b
3 3 3 3

bb n b n
27

b J
&
3 3 3

b # 3
J # J #
33

&b b J
 108
42
b
& b b n j
3

3

55
b j j
& b b j

b n
67

b n 3 3 3
n
3

& b #n

77
bb 3 2 7
& b n
3 3
3

bb n n 3 3
95

b
&

106
b n 2 3 2
&b b
3 3 3 3

bb n b n # #
J J J J #

121

& b
3

3 3

133
b 3
&b b n

3
3

j
147
b j
&b b j

j

b
156
n
&b b n


 109
Recitativo 17
& bc

5. Aria
b J nn j J J J # n
b 12 J J # n #
Siciliana
& 8 J J # J J J
f

b n
j j j
5

b
& # J #

b J J # b n n b j
10

& b J n j j
n n J J J J
pp
p

J b J # n J J
& b J J J J
j
14
b J J #
f

9
J J# J J J nn

18
b
&b J
f

b j J J J # n
# J
30

& b J J # n # n #

j j j
34
b J J # Jn b n n
&b

n j n j J J
p

j
39
b J J J
& b J bJ J
pp

b J # n
& b J J# J
42
b j
J J

f
 110
Violin II Dietro l'orme fugaci
(Armida abbandonata) G. F. Handel
HWV 105
1. Accompagnato
& bc




n


#
9 ferm le stanche piante,

&b
#





e assisa sopra un scoglio, a quel leggiero abete, che il suo ben le rapia,
15 colma di rio cordoglio, le luci affisse, piangendo e sospirando, cos disse:

&b

2. Aria Recitativo 8
&b
Adagio TACET

# n
3. Accompagnato
b n# #
&b n#
Furioso

o voi, dell'incostante

b
4

n #n
e procelloso mare

&b

8 orridi mostri,
b
&b

13
b b b b
& b n # n nb

b
19

& b

22
b 2
&b
n

 111
4. Aria
bb 2 n n n 3 3
b
& 4
n n n

12
b 3 3 2 3 2
b b
&
3 3

n n


27
b
&b b J J J # J
3 3 3

39
b 3
&b b
j j

54
b
& b b j j j j n n
n
n n

bb n
66

3
b #n n

3 3 3
& #
n
76
b 3 2 7
&b b n # n
3 3

n
95
b
& b b n n
3 3

n n n
106
b 3 3 2 3 2
&b b
3 3

n n

121
b
&b b J J J # J
3 3 3

133
b 3
&b b
j j

148
b j
& b b j j

j

n
n
156
b
&b b
n
n
n n

 112
Recitativo 17
& bc

5. Aria
bSiciliana J nn j J J J # n

12 #
J#
b
& 8 J J # J J J n
J
f

b n
j j j
5

b
& # J #

b J J # b n n b j
10

& b J n j j
n n J J J J
pp
p

J b J # n J J
& b J J J J
j
14
b J J #
f

9
J J# J J nn
18
b
&b J J
f

b j J J J # n
# J
30

& b J J # n # n #

j j j
34
b J J # Jn b n n
&b

j j
n n J J
p

j
39
b J J J
& b J bJ J
pp

b J # n
& b J J# J
42
b j
J J

f
 113
Cello
Dietro l'orme fugaci
(Armida abbandonata)
HWV 105

1. Accompagnato - tacet

2. Aria
n
? bc J
Adagio

? b b b b n
7

j j

12
?b
n b j J

? b J r # #
17

? b # n
22

# b

? b # n # n n # n # n
26

n
30
?
b J

? b b b b n
37

j j

42
?b
n b j

? b J J r
46

 114
Recitativo
Per te mi struggo, infido, per te languisco, ingrato; ah! pur lo sai che

? w #
#w
5 sol da tuoi bei rai per te piagato ho il seno, e pur tu m'abbandoni, infido amante.

? b
w #

Furioso
n# nb
? bb n# n b

? bb # #
4 ...e procelloso mare orridi mostri

9
? bb

? bb
14
b n
b

? bb
20

22 Ah! no, fermate.

? bb n

? bb 42 n 3 b b nn
4. Aria 3

3 3 3
3 3 3 3 3 3 3 3
3 3 3
9
? bb
3
b
n b J
3

3 3 3 3 3 3
3 3

b b
? b bJ b
19

J
3

b J
3 3 3 3
3

? bb # j 3 3 3
29
3
J J J J J j
3
b
3 3 3
3
 115
b j
b
39
?b J n j b
3 3
J J
3
b
3 3 3 3 3
3
b b
49
? bb J J nj nj n
3 3

3

J 3 3 3

? bb n 3 b b nn
59 3

3 3 3
3 3 3 3 3 3 3 3
3 3 3

#n
67
? b
3

n# b
3 3
b
3 3 3 3 3 3 3 3 3
3 3

? b nb j 3 j
76
j 3 j j
3 3 3

b J J
3 3 3
J # J
3 3 3

? bb b n b j Jb b b
85 3

3 3 3 3
3 3 3 3 3 3 3 3 3
3 3

? bb b
93


3

b b nn
n
3

3 3 3 3 3 3 3 3
3 3 3 3

? bb
101

3

n
3

3 3 3 3 3 3 3 3 3
3 3 3

b b
J b b
110
? bb
b J
J J
3 3

b
? bb #
121 3

3
J J J J J
3

b
3 3 3 3
3

3

? bb j j 3 Jn j b
131 3 3 3
3

3
b
3 3 3 3
3

? bb J b J j b
141
j j
3
J J n n n

3 3

3 J
3 3

? bb b n 3 b b
152 3

3 3
3 3 3 3 3 3
3 3

? bb n n
158

3 3 3 3 3 3 3
3 3 3
 116
Recitativo

Ma che parlo, che dico? Ah! ch'io vaneggio; e come

? bc # w
amar potrei un traditore,
w
infelice mio core? Rispondi, o Dio, ri-

7 Ah! che tu ti confondi, dubbioso e palpitante, vorresti non amare, e vivi amante. Spezza quel laccio indegno, che tiene

?b spondi!
w
*
w
w w w

13 avvinto ancor gl'affetti tuoi. Che fai, misero cor? che fai, misero cor? Ah! tu non puoi.

?b b n #

 117

? b 12 J n# J n
5. Aria

J
J J
b 8 J J J J J J J
f

? bb n# nj j b j J
J J J
5
j
J J J
p

? bb n J j n J J J nj b J b
9

J J J J J J J
f p

n
? bb j j j j #j # nj J j
13

J J J
pp f

? bb j # j j j j j b j bJ J
17

J
J J J J
p

? bb j J J Jb J b j Jb J n j j j
21

J J J J J n

J n j J
25
? bb
J J J J J J
f

? bb J J J J J J nJ # J n J n# nj j
29
J J J

J J J nJ J j

? bb b j J j
J
33

? bb n J J J nj b J b j j j
37

J J J J J J
f p pp

? bb j j
n
j
41

# #
J J

43
? bb n j j j
J #J

j
f
J
 118
Dietro l'orme fugaci
Possible vocal ornamentations
of da capo sections

1. Aria: Ah! crudele, e pur ten' vai

31

& b 44 J
Ah! cru - de - le, e pur ten' va - i, e mi la - - -

n
35

& b n
- - - - - - - sci_in pre - da_al duo - lo, e pur

n
38
b
& b # r b# n n
sai che sei tu so - lo il di - let - to del mio cor, e pur sa - i, ah! cru - de- le, che sei tu

b r n
41

&b
so - lo, tu so- lo, so - lo il di - let - to, il di - let - to del mio cor, e pur ten' vai, e pur ten'

j
44

&b n

vai, ah! cru - de - le, e pur sa - i che sei tu so - lo il di - let- to del mio

<>

47

&b
cor, il di - let - to del mio cor.
 119
2. Aria: Venti, fermate
12
J J
95
b
& b b 42
Ven - ti, ven- ti, fer - ma - te, s, fer - ma - te, ven- ti, fer - ma - te, s, nol

116
bb 3
j # J
3 3

& b J
som - mer - ge - te, no, nol som - mer - ge - te; ver che mi tra - d, ma pur

bb # # 3 3 3n j n3 3b b
127 3

& b J J
n

<>
l'a - do - ro, pur l'a - do - ro, mi tra - d, ma pur l'a - do - ro, ver che mi tra - d, ma

3

135
b

3 3 3

&b b
3 3 3 3 33 3

pur l'a - do - ro; ven- ti, fer - ma - te, s, nol som - mer - ge - - - - -

b
n n
143
b J
3 3

&b b n
- te; ver che mi tra - d, ma pur l'a - do - ro, pur l'a - do - ro,

10
&b b n
149
b
3

3

mi tra d, ma pur ma pur l'a - do - ro.

3. Aria: In tanti affanni miei

6 nn n b n
J J #j j J J
28
b
& b 12
8 J
In tan - ti_af - fan - ni mie - i as - si - sti- mi_al - men tu, Nu - me d'a - mo -

b

J n j b j j
37

&b
- re! In tan - ti_af - fan - ni mie - i as - si - sti- mi_al - men

j
40
b j
&b
J J

J
J b
tu, Nu - me d'a - mo - re! as - si - sti_in tan - ti_af - fan - ni mie - i,

# 2


&b
42
b
J
Nu - me, Nu - me d'a - mo - re!
! 120!
HWV 113: Figlio dalte speranze
Figlio dalte speranze is the first cantata with obbligato instruments that Handel

wrote. It was written before he settled in Rome, making it one of the earliest works of his

Italian years. Although the exact date and location of composition are not known,

scholars have determined that it was probably written in Venice in the autumn of 1706.

The autograph shares characteristics of handwriting, and is written on the same type of

paper, as Dixit Dominus, which is known to have been composed in Venice at this time.

Many scholars believe that Handel may have originally intended this cantata to

begin with an instrumental sonata, since the word [So]nata appears crossed out on the

first page of the manuscript. Handel could have thought he would begin with a sonata

and then changed his mind, or the cantata could have been an unrelated project that

Handel decided was a better use for the paper at the time.11 Hans Joachim Marx, the

author of the preface notes in the Hallische Hndel-Ausgabe, states that the sonata in

question

can only be the Sonata a 5 (HWV 288): it is certainly likely on grounds of key,
for the sonata is in B flat major, like the first recitative of the cantata. The
autographs of both the sonata and the cantata are, moreover, so similar in the
handwriting and paper-type, that we can speak of nearly identical characteristics.
Like the first part of Dixit Dominus, the three-movement sonata must have been
composed in Venice in 1706; the concerto-technique in the manner of Vivaldi,
which Handel uses in the last movement, supports this thesis.12

The editors of the Hallische Hndel-Ausgabe have not felt strongly enough that this

sonata belongs with the cantata Figlio dalte speranze that they have published the two

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
11
Ellen T. Harris, "Figlio d'alte speranze," in The Cambridge Handel Encyclopedia, ed. Annette Landgraf
and David Vickers, 231-232 (New York: Cambridge University Press, 2009), 232.
11
Hans Joachim Marx, "Preface," in Hallische Hndel-Ausgabe, ser. 3 bd. 4, trans. Terence Best, XVI-
XXIII (New York: Brenreiter, 1958-), XX.
! 121!
together as a unit. Unless new evidence comes to light, it is appropriate to perform the

cantata without the introductory instrumental sonata.

The text of this cantata is anonymous, as are most of the texts of Handels

instrumental cantatas. Its subject concerns Abdolonymus before he became the last king

of Sidon, which lies in what is now Lebanon. Abdolonymus was a Phoenician of royal

descent, but was a gardener before Alexander the Great gave him the kingship in 332

B.C.

Handels compositional tactic is centered on the idea that Abdolonymus was fated

to be king; it was fate that denied him the throne at first, but that then turned around and

gave it to him. The work is saturated with spinning or turning motives, which are meant

to represent the turning of the wheel of fate or fortune.

Overview
Recitativo
Key: G minor
Range: E4-F5
Tessitura: F4-D5
Timing: approx. 45 secs.

1. Aria
Key: G minor
Tempo: Not indicated; author recommends Andante (= 76-108)
Range: D4-A5
Tessitura: G4-F5
Timing: approx. 3.5 mins.
Musical characteristics and vocal skills required: long phrases, coloratura passages, some
large leaps; requires good breath management, good vocal flexibility, agility, and
accuracy

Recitativo
! 122!
Key: B minor
Range: E4-E5
Tessitura: B4-E5
Timing: approx. 30 secs.

2. Aria
Key: E minor
Tempo: Not indicated; author recommends Adagietto (= 70-80)
Range: D#4-F5
Tessitura: E4-D5
Timing: approx. 3 mins.
Musical characteristics and vocal skills required: sits in a relatively low tessitura; requires
strong and unified middle voice

Recitativo
Key: D major
Range: F#4-E5
Tessitura: F#4-B4
Timing: approx. 15 secs.

3. Aria
Key: G major
Tempo: Not indicated; author recommends a fast Andante (= 92-108)
Range: D4-G5
Tessitura: G4-F#5
Timing: approx. 3 mins.
Musical characteristics and vocal skills required: long phrases and coloratura passages;
requires good breath management, good vocal flexibility

Pronunciations and translations

IPA and word-for-word translation

Recitativo:
[fi$o$$$$$dal$te$$$$$$$spe$ran$tse]$
Figlio dalte speranze,
Son of high hopes
$
[ab$do$lo$ni$mo$$$$$na$kweal$lim$pr$$$$$$$$$$di$$$$$$si$d$nja]$
Abdolonimo nacque all imper di Sidonia;
Abdolonymus was born to the empire of Sidon
! 123!
$
$
$
[si$$$$$$$$$$$$$$$$$dis$seun$$$$di$$$$la$$$$$fa$ma$$$$$e$$$$$$$pi$$$$$si$$$$$$$$$$$$$ta$kwe]$
s disse un d la fama e poi si tacque
in this way spoke one day the fame and then himself silenced
$
[lo$$$$spir$to$$$$su$o$$$$$go$de$re$$$$$tra$$$$$$$$$$$$$$di$za$stri$$$$$$ve$de$te]$
lo spirto suo godere tra disastri vedete
the spirit his to enjoy through disasters (you) see
$
[kwal$$$$$$$ke$$$$$$$$$p$sa$$$$$nok$kjr$$$$$fra$$$$$$$$$$$$le$$$$$tem$p$ste]$
qual che posa nocchier fra le tempeste.
such as which rest helmsman through the tempests
$
1. Aria:
[trp$po$$$$$k$sta$$$$ad$$$$u$nal$ma$$$$ke$$$$$$$$$$$in$tn$de]$
Troppo costa ad unalma che intende
Too much costs to a soul which intends
$
[la$$$$su$a$$$$sr$te$$$$$del$$$$$$$re$oil$$$$$$kon$tn$to]$
la sua sorte del regno il contento,
the its fate of the reign the happiness
$
[kwel$$$$ful$go$re$$$$$ke$$$$$$$$$$al$let$ta$$$$e$$$$$$$$$ri$spln$de$$$pr$$$$$kon$fr$to]$
quel fulgore che alletta e risplende per conforto
that splendor which attracts and sparkles for comfort
$
[e$$$$$$non$$$$$$$$$ke$$$$$$$tor$men$to]$
e non che tormento.
and not is but torment

Recitativo:
[$ra$$$$$$$kon$fr$to$$$$il$$$$$$$su$o$$$$$pe$nar$$$$$$trai$$$$$$$$$$$$$fjo$ri]$
Era conforto il suo penar tra i fiori,
He was comforted the his struggle through the flowers
$
[men$tre$$$$al$$$$$$$$$$$s$o$$$$$$$pen$san$do$$$$ri$mi$ra$va$$$$$$$la$$$$$$pal$ma]$
mentre al soglio pensando rimirava la palma
while on the throne thinking was gazing at the palm
$
! 124!
[e$$$$$$$$pa$e$$$$a$$$$$$vo$ler$$$$$$$en$de$va$$$$$nel$lal$ma]$
e pace a voler scendeva nellalma.
and peace at to wish descended to the soul

2. Aria:
[si$a$$$$gwi$da$$$$si$a$$$$stel$la$$$$$kwe$stu$naal$$$$$$$$$$$$$$$$$$$de$kr]$
Sia guida, sia stella questuna al decor.
Be guide be star this one toward the dignity

[for$tu$na$$$$si$$$$bl$la$$$$$fa$$$$$$$$$$$r$to$$$$lo$nor]$
Fortuna s bella fa certo lonor.
Fortune so fine makes certain the honor
$
Recitativo:
[i$$$$ko$si$$$$dir$$$$$$$$$$pre$vi$de$$$$$kwal$$$$$a$mi$ko$$$$$sem$bjan$te]$
In cos dir previde qual amico sembiante
In so saying predicted what amicable appearance
$
[la$$$$sr$teal$lor$$$$ve$stis$se]$$$$$$$$$$
la sorte allor vestisse
The fate then was donning
$
[pr$$$$far$lo$$$$$$$$$$$di$$$$$$$$mes$kin$$$$$$al$to$$$$re$an$te]$
per farlo di meschin alto regnante.$
to make him from lowly one high ruler
$
3. Aria
[bril$la$va$$$$$$$pro$tt$to$$$$$da$$$$$sp$ne$$$$$gu$sta$ta$$$$nel$$$$$$$$k$reil$$$$$$$do$lor]$
Brillava protetto da spene gustata nel core il dolor.
Was shining protected of hope tasting in the heart the pain
$
[i$ra$va$$$$$$$$so$let$to$$$$kon$$$$pe$nal$lu$ga$ta$$$$in$$$$men$te$$$$$lar$dor]$
Girava soletto con pena allungata in mente lardor.
Was turning alone with sorrow extended in mind the fervor
! 125!
Idiomatic translation
Recitativo:
Figlio dalte speranze,
Abdolonimo nacque allimper di Sidonia;
s disse un d la fama e poi
si tacque
lo spirto suo godere tra disastri vedete
qual che posa nocchier fra le tempeste.
1. Aria:
Troppo costa ad unalma che intende
la sua sorte del regno il contento,
quel fulgore che alletta e risplende per
conforto
e non che tormento.
Recitativo:
Era conforto il suo penar tra i fiori,
mentre al soglio pensando
rimirava la palma
e pace a voler scendeva nellalma.
2. Aria:
Sia guida, sia stella questuna al decor.
Fortuna s bella fa certo lonor.
Recitativo:
In cos dir previde qual amico sembiante
la sorte allor vestisse per farlo di meschin
alto regnante.
3. Aria:
Brillava protetto da spene gustata nel core
il dolor.
Girava soletto con pena allungata in mente Fervor, with drawn-out pain, was turning
lardor.
Son of high hopes,
Abdolonymus was born to be emperor of
Sidon;
Fame spoke in this way one day and then
silenced himself.
See his spirit find pleasure in the midst of
disasters
as that which gives rest to the helmsman
in the midst of the storms.
There is too much cost to a soul that intends
its fate to be the contentment of reigning,
that splendor which lures and sparkles in
order to comfort
and is nothing but torment.
He was comforted by his struggle through
the flowers,
while he was thinking of the throne and
gazing at the palm,
and peace, at his wish, descended to his
soul.
This is both guide and star towards dignity.
Fortune so fine makes honor certain.
In so saying, he predicted what amicable
face
fate was donning to make him from lowly
man into high ruler.
Tasting of hope, the sorrow sheltered in his
heart was shining.
alone in his mind.
 126
Figlio d'alte speranze
HWV 113
G. F. Handel

Recitativo
b
+
Soprano &b c n
J
J

{
Fi - glio d'al te spe - ran - ze, Ab - do - lo - ni - mo na- cque_all' im - per di Si -do - nia; s

b w
&b c ww w
w
w
w
? bbc w
Piano

w w n nw w
nw w

b J n
5

nJ n b
+ +

&b

{
dis - se_un d la fa - ma e poi si ta - cque lo spir - to su - o go - de - re tra di- sa - stri ve -

b n* w
& b n
nw
w n
? bb #w w

9
b
+

& b b #

{
de - te, qual che pos - sa noc - chier fra le tem - pe - - ste.

b
& b bnw
w # n n # w
w
? bb w
w # w

1. Aria
b
Sop. &b

{
b j #
&b
Pno.
? bb #


 127
5
b
&b

{
n b #

b
& b

? bb
#

8
b j #
&b

{
b n
Trop - po co - sta ad un' al - ma, ad un' al - ma,

& b b# n
#

? bb #
#

11
b j #
&b

{
b # n b n
trop - po co sta ad un' al ma che in - ten - de la sua sor - te,

& b #



? bb

15
b
&b n

{
la sua sor - - - - - te del re -gno_il con- ten - to, del re - gno_il con

bb n


n


& #
? bb # n

b
18

&b

{
ten - - - - - - - - - - to, il con

b
& b
n

n
? bb


 128

& b n b #
b
21

{
ten - to trop - po co - sta ad un' al - ma che in - ten - de la sua sor - te, che in -

b
& b b n n b # #
b n

? bb #

24
b
&b

{
-ten - de la sua sor - te del re - gno_il con - ten - - - - to, il con -

b n #n b # n
b
& #
? bb # n

n

b
27

&b

{
# n
ten - - - - - - to,

b
& b #


? bb

30
b
&b

{
quel ful - go - - re, quel ful - go - - re che al -

b
& b b# n n



? bb

b n
33

&b J

{
- let - ta e ri - splen - de per con - for - to e non che tor - men - - - -

b n n
& b
? bb n

 129
b b n
36

&b

{
- - - - to, quel ful
b
b
& b b n n n
n
n
b b b
? bb

j
39
b
& b # n #

{
go - re che al - let - ta, che al - let - ta e ri - splen de per con - for - to, e non che tor -

b n n
& b n # #
#

? bb n n
n

b n n b j
42
# #n
&b n

{
men - - - - - - - to, che tor men - to.

bb n n # n
& #n

? bb n n
#
n
46
b
&b

{
b
& b j #

? bb #

50
b
&b

{
n b #

b
& b

? bb
#
 130

53
b j #
&b

{
b n # n
Trop - po co sta ad un' al ma, ad un' al - ma,

&b b#n #

? bb #
#

57
b j #
&b
n

{
trop - po co sta ad un' al ma che in - ten - de la sua sor - te, la sua sor -

bb
& b# n #

? bb # n

61
b
&b

{
- - - te del re -gno_il con- ten - to, del re - gno_il con - ten - - -

b n
& b
n
? bb

b n b
64

&b

{
- - - - - - to, il con - ten - to trop - po

b
&b
n b n n


n
? bb

67
b
& b #

{
co - sta ad un' al - ma che in - ten- de la sua sor- te, che in - ten- de la su - a sor - te del

b
& b b # # #
b n
? bb #
# n
n
 131

70
b
&b

{
re - gno_il con - ten - - - to, il con - ten - - -

b n #n b # n
&b
? bb

73
b
& b

{
- - to,

n
& b #
b #
b# n


? bb

Recitativo
b j n n n
+ +
Sop. &b c n #

{
E - ra con- for - to il suo pe - nar tra_i fio - ri, men - tre al so - glio pen- san - do ri - mi

b
& b cn w
w
n
n nnnw
w
w w
Pno.
? bbc w w #w

4
b n n #
+
n n # # J
&b J

{
ra - va la pal - ma e pa - ce a vo - ler scen - de - va nell' al - ma.

& b <n><n>
b
<n> n nnn ### nn ###

>
? bb
<#> n # n # n
 132
2. Aria
#
Sop. & 43

{
#3
& 4 # # #
n
#
? # 43 # n # n #
Pno.

#
5

&
#

{
Sia gui - da, sia stel - la

#
& # # n #
n n

# #
?#

#
j
10
j
&

{
quest' u - na_al de - cor, quest' u - na_al de - cor, sia

#
& # n #

#
n n
?#

#
15

&
J J J

{
gui - da, sia stel - la quest' u na_al de - cor, sia gui - da, sia stel - la quest'

#
#
&






? #
j
J

#
# j j
21
j
& #
j

{
u - na_al de - cor, sia gui - da, sia stel - la quest' u - na_al de - cor, quest'
#
& # # #

? # # n
 133

& #
# # #
27
j j
#

{
u - na_al de - cor, quest' u - na_al de - cor,

#
j #
& #
# j j j
#
#

#
? # # # #

#
32

#
& j j
#

{
sia gui da, sia stel - la quest' u - na_al de - cor.

#
& # j
n # #
##
? # # n

#
37

& j j

{
For - tu - na s bel - la, for - tu - na s

#
& # # n
# j
n n
?# j

# # j
43

& J

J #J # #

{
bel - la fa cer - to l'o - nor, fa cer - to l'o - nor, for tu - na s bel - la fa

#
& # #
# #

?# # # n

&
# n b
50
#
J

{
cer - to l'o - nor, s bel - la for - tu - na, for -

#
& #
# # n
b

#
?# # # n n

 134

# j
54

& # n n

{
- tu - na s bel - la fa cer - to l'o - nor.

#


& # n #
n n
?# #

#
58

&

{
#
& #
# # # #
n
?#
#
# # n n
n # n

#
63

&
#

{
Sia gui - da, sia stel - la quest'

#
& n # # #

?# # # n n

&
#

j
68
j
J J

{
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Recitativo
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34
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 139
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 141
Figlio d'alte speranze
HWV 113 G. F. Handel

Recitativo
b
+

&b c n J

{
Soprano
J
Fi - glio d'al te spe - ran - ze, Ab - do - lo - ni - mo na- cque_all' im - per di Si -do - nia; s
b w
&b c ww w
w
w
w
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Piano

w w n nw w
nw w
b
5
n n
+ +

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{
dis - se_un d la fa - ma e poi si ta - cque lo spir - to su - o go - de - re tra di- sa - stri ve -
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{
de - te, qual che pos - sa noc - chier fra le tem - pe - - ste.
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b
1. Aria
#

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f

b
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{
&b

b
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n

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 142

b # n b
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{
la sua sor - - - - - te del re -gno_il con- ten - to, del re - gno_il con

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 143
18
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ten - - - - - - - - - - to, il con

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ten - to trop - po co - sta ad un' al - ma che in - ten - de la sua sor - te, che in -

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 144

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 145

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 146

b
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 147

57
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 148

67
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70

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 149
Recitativo
b j n n n
+ +

&b n #

{
S.

E - ra con- for - to il suo pe - nar tra_i fio - ri, men - tre al so - glio pen- san - do ri - mi

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b n n #
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ra - va la pal - ma e pa - ce a vo - ler scen - de - va nell' al - ma.

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 150

#
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u na_al de - cor, sia gui - da, sia stel - la quest' u - na_al de -

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 151

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 152

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 153
Recitativo
# # #
+

& c #j # J
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{
S.

In co - s dir pre - vi - de qual a - mi - co sem - bian - te la

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w
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w
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4
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{
sor -te_al - lor ve - stis - se per far - lo di me - schin al - to re - gnan - te.
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3. Aria
#

&

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la - - - - - - - va pro - tet - to,
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 154

#
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bril - la - va pro - tet - to da spe - ne gu -
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&

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va, bril - la - va pro - tet - to da spe - ne gu - sta - ta nel co - -
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#
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25

&

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re_il do - lor. Gi - ra- va so- let to con

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 156

#
29

&

# # n J
&

{
pe - na_al - lun - ga - ta, con pe - na_al - lun - ga - ta in - men - te l'ar - dor, con pe - na_al - lun - ga - ta in-

#
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#
# #
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J

#
33

& # # #

# #
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J

{
men - te l'ar - dor, gi - ra - va so - let - to, gi - ra - va so - let - to con

# j
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36
# # #
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# # # #
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{

pe - na_al lun - ga - - - ta in men - te l'ar - dor, in

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n J #
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 157

39
# #
&

# j #
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{
men - te l'ar dor, in men - te l'ar - dor.

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#
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43

&

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{
Bril - la - - - - - - - va pro -

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46
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 158

#
49

&

#
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tet - to da spe - ne gu - sta - ta, da spe - ne gu - sta - - -

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52
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 159

#
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&

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re_il do - lor.

# j j
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 160
Violin
Figlio d'alte speranze
HWV 113 G. F. Handel

Recitativo
b 12
&b c

b
1. Aria

& b j #
f

#

5
b b
& b n

b n b n
# n
8

&b #
p

12
b
& b b# n #


16
b n
&b

b 3
#n
20

& b

b # nb # n
26

&b #

4 b
n
30
b
& b b# n n
p

n n

38
b
& b n

42
b n 2
& b
 161

b
46

& b j #
f

50
b n b #
& b

b n b n
# n
53

&b #
p

57
b
& b b# n

#

b n
61

& b

b 3
#n
65

b
&

71
b # n b
&b

# n b
73
b
b
& # # n

Recitativo - 2. Aria - Recitativo

b
&b
TACET
 162
3. Aria
# 2
&

6
# 4
&

# # #
13

&

# 2

17

&

# j

22

&

#
26
5
& #

#
34 # #
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39

& #

# 2 4

44

&

# # #
53

&

# 2

57

&

#
62

& j

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65

&
 163
Cello
Figlio d'alte speranze
HWV 113
G. F. Handel
Recitativo
Figlio d'alte speranze, Abdolonimo nacque all'imper di Sidonia; si disse un d la fama e poi si tacque

? bc
*
b w w w
nw
7 lo spirto suo godere tra disastri vedete, qual che possa nocchier fra le tempe - - - - - - -ste.

? bb #w w w # w

#
1. Aria
? bb

f

? bb # # #
6

p

# n
11
? bb


? bb n
17

? bb # # n
22

n

? bb
27

f p

? bb n b
32

? bb b b n n n
37

n # #
42
? bb n
n
f
 164

? bb
47

# #
52
? bb #

p

# n
57
? bb


? bb n
63

? bb # # n
68

n

? bb
72

Recitativo
Era conforto il suo penar tra i fiori, mentre al soglio pensando rimirava la palma e pace a voler scendeva nell'alma.

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#w # n # n # n

# n n
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2. Aria

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6
# # n n

12
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? # # n
19

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26
 165

# # n n

33
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#
39
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48

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62
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n n

67
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73

? # # n #
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79

? # # # # n
87

# # n n

92
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 166
Recitativo

In cos dir previde qual amico sembiante la sorte allor vestisse per farlo di meschin alto regnante.

? #c #w
#w w

3. Aria
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J J

7
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12
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17

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j j j
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n
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53

j

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58

J J J j
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j j
63
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 167
Figlio d'alte speranze
Possible vocal ornamentations
of da capo sections

1. Aria: Troppo costa ad un'alma

46
b
S. &b c J
Trop - po co- sta ad un'

J #
55
b
&b
#
al - ma, ad un' al - ma, trop - po co- sta ad un' al - ma che in - ten - de la sua sor - te,

n
60
b
&b

<> <>
la sua sor - - - - - te del re - gno_il con- ten - to, del re - gno_il con

63
b
&b
ten - - - - - - - to, il con - ten - to trop - po

n
# n
67

bb
& #

<>
co - sta ad un' al - ma che in - ten - - - de la sua sor - te del re - gno_il con- ten -

71
b #
&b
- to, il con - ten - - - - - to.

2. Aria: Sia guida, sia stella

# # #
58

S. & 43

<>
# #<>
Sia gui - da, sia stel- la quest'

#
68

& J J J
J J

<>
u - na_al de - cor, quest' u - na_al de - cor, sia gui - da, sia stel - la quest' u - na_al de - cor, sia

j
# j # j
76
n
& J
gui - da, sia stel - la quest' u - na_al de - cor, sia gui - da, sia stel - la quest' u - na_al de-
 168

# # j # # #
83

& j
J #
cor, quest' u - na_al de - cor, quest' u - na_al de - cor, sia

90
# <>


& j
gui - da, sia stel - la, quest' u - na_al de - cor.

3. Aria: Brillava protetto

#
j
41

S. & c J
Bril - la - - - - - va pro - tet - to,

47
# <>
& J
bril - la - va pro - tet - to da spe - ne gu - sta - ta, da spe - ne gu -

#
51
<> n # <>

J
&
- sta - - - - ta nel co - re_il do - lor, nel co - re_il do - lor, nel co - re_il do

<>
#
55

& J J

lor, bril - la - va, bril - la - va pro - tet - to da spe - ne gu - sta - ta nel co -

# J
59

& w
R J R
- - - - - - - - - - - -

<>
# r
63

& J
- - - - - - - - re_il do - lor.
! 169!

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