Songs of Italy (1904)

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BOSTONPUBLICLIBRARY

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in 2010 with funding fromBoston Public Library

http://www.archive.org/details/songsofitalysixtOOmarz

Copyright, 1904By G. Schirmer, Inc.

Printed in the U. S. A.

,H33

PREFATORY NOTE.

IT was notintended to friake a complete collection of Italian

Folk-songs, but merely to present some of the best and most

typical from the various provinces. In pursuance of this aim,

traditional songs have been included wherever such were procurable;

when they were not to be had, songs of a more modern characterhave been introduced, but only such as have become genuinely anddeservedly popular among all classes.

For details concerning the several songs, the reader is referred to

the Notes at the beginning of the work.THE EDITOR.

NOTESNo. I. La Savoiarde. (The Savoyarde) Savoy, although at present one of the departments of France, was

the cradle of the House of Savoy, the present Kings of Italy, and originally belonged to the Kingdomof Piedmont As geographically it is naturally a part of Italy, its folk-music should have a place in thisCollection.

The accompaniment to this song has been very cleverly adapted by Heinrich Reimann, in imitation ofthe hurdy-gurdy, a very ancient instrument used by wandering Savoyards.

No. 2. Dona Lombarda is considered one of the oldest, if not the oldest, of known folk-songs. Versions of thesame words with different music are found in almost every country of Europe.Two versions of the music are given here, one from Piedmont, the other from Istria (the Italian Tyrol).(It is through the kindness of Mr. H. E. Krehbiel that we have .been enabled to include in this collection

the very characteristic songs, Nos. 2 and 3 )

No. 3. L'avvelenato (The Poisoned Lover) is another version of Dona Lombarda; the story of the eel (orsnake) by means of which the poisoning was done, in a different form.

Nos. 4-9. Some of these songs from Lombardy have elaborate accompaniments, more so, perhaps, than is inkeeping with folk-music; but the melodies have been respected as far as possible, even if somewhataltered as to rhythm and form.

No. io. La Biondina di Voghera. (The Fair Maid of Voghera.) Voghera is a town of Lombardy, near Milan.The melody of this song was introduced by Donizetti in his opera L'Elisir d'Amore.

Nos. n to 14. The accompaniments to these songs were arranged by A. P. Berggreen. The great charm ofVenetian folk-music lies in its simplicity and grace.

No. 15. La Rondinella. (The Swallow.) The Italian poem of this song is to be found in the celebrated novel" Marco Visconti," by Grossi. Petrella wrote another melody to these words in his opera MarcoVisconti.

No. 16. L'Addio del Volontario. (The Volunteer's Farewell.) This is a modern song, and became so popularin Tuscany and throughout all Italy, during the revolution of 1859, as now to be considered a folk-song.

No. 17. La Barchetta (The Little Boat), also a modern song, but like a folk-song in character. Probably fromthe beginning of the last century.

No. 18. Giulia gentil (Fair Julia) won extraordinary popularity through all Italy, also during the revolutionaryperiod, 1859-60, being sung by Garibaldi's volunteers.

Nos. 19-21. These songs are by Gordigiani (the Italian Schubert). He succeeded so well in imitating thecharacter and the spirit of the folk-music of Tuscany, that now his music is sung by the people justas much as the folk-songs.

No. 22. La Treccia Bionda (The Flaxen Tress), transcribed by Filippo Marchetti, has also been called " LaLivornese " ; but the most accurate researches have settled that it is Romanesca (from the Romagna).

No. 23. Er Passagallo (The Improvvisatore) is the name given to the extemporaneous poets who go about thestreets in Trastevere (Rome), and like their confreres in Naples, who are called Rinaldo, improvising onthe history of Rome; of course very crudely, and twisting it to suit their purpose. It is almost im-possible to give the rhythm of this song. They generally go very fast, and slacken the time accordingto the words and the facility which they have in improvising.

No. 24. Piuriur, ti vo' sposa. (Piuriuri, I 'd marry you !) The refrain piuriurl cannot be translated. In allparts of Italy they have some of these intercalari (burdens, refrains) which are repeated in the middle oftheir folk-songs, and are typical of the different regions (provinces).

No. 25. Coraggio, ben mio. (My darling, be brave.) This song, although popular and traditional, does notpresent the characteristics of a folk-song.

No. 27. Fatte la nonna. (Lullaby). The religious sentiment which predominates in this song makes it quitetypical of the education of the people in this part of Italy, where the domination of the priests has beenof so long standing.

No. 28. La Monacella. (The Young Nun.) Another version of this song is popular in Naples also. Thewords and the music differ somewhat, but the idea is the same.

No. 29. Il Sor Carlo Parmonico. (The Musical Master Charley.) Sor is the Roman for Signor (Mister). Theidea of this Sor Carlo following the band, and getting into trouble by being tripped by fighting dogs, isvery comical. Evidently the music of the song was inspired by some well-known march.

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VI

No. 30. Canzone di Campagnuolo. (Peasant's Song.) The ideas in this song are very poetical, although expressed in the words of a peasant ; and the music, in its plaintive mood, is very descriptive of the senti-ments that inspired it.

Nos. 31-35. These fine folk-songs from the Abruzzi are beautifully transcribed by F. Paolo Tosti, himself anative of that region, the accompaniments being especially characteristic and elegant.The remarks about the refrain to No. 24, apply equally to la gnicche, la gnocchi, etc., in the song " Dammiun ricciolo dei capelli."

No. 36. Antonia. Rather than a song, this might be called a Ritornello (refrain) It is especially attractive forthe brightness of its music and the spirit of its words.

No. 37. Fenesta vascia (The Low Window) is probably very old, judging by its name, Colascionata, which meansa song accompanied on the Calascione, a species of large lute.

No. 38. La Monacello. (The Young Nun.) Evidently this is the original song ; the one sung in Rome beinga variant of it.

No. 39. Michelemm. One of the oldest folk-songs of Naples, probably first composed or sung about 1600.By some it is attributed to Salvator Rosa.

No. 40. Fenesta che lucivi. This most beautiful melody is said to be the composition of Bellini. It is certain,however, that if he did not write it, this song gave him the inspiration for several of the melodies in hisearly operas.

No. 41. Cicerenella. The rhythm of this song is typical of the Tarantella, the national dance of Naples; theminor key being always used for this dance-music.

No. 42. La Luisella. A very pretty and graceful song, much like Neapolitan music in style.No. 43. La Vera Sorrentina. (The Real Maid of Sorrento ) At the time of the feast of Piedigrotta, the great

Neapolitan holiday during the old regime, the troops went on parade to escort the King on his visit to theChurch of Piedigrotta. The description of the storm, and of all the troubles that the Sorrentina causedthe poor sailor, is especially attractive.

No. 44. Santa Lucia. No comments need be made on this song, which, from its having been carried every-where by itinerant musicians, has become almost a folk-song of all nations. This explains why thegondoliers on the Laguna consider it their own, as much as the fishermen in Naples.

No. 45. La Carolina. A song similar to La Luisella in spirit, although quite different in rhythm.

No. 46. La Fiera de Masf Andrea. Another of the very old songs of Naples. It is not likely that SalvatorRosa composed it, but the second idea of it reminds slightly of a musical fragment by that celebratedpainter, poet, and musician.

No. 47. Trippole, trappole. Considered of Spanish origin, probably on account of the rhythm and style, whichperhaps is the case with many of the old Neapolitan songs.The reason is easily seen, from the fact that Naples was under Spanish rule for several centuries.

No. 48. Lavandare. This is also a refrain, and is very popular with the local washerwomen, a great majorityof whom at one time resided in the village of Vomero, which is situated on the hill above Naples.

No. 49. / Zampognari. (The Bagpipers.) They come to Naples from the mountains of Abruzzi at Christmas-tide, and go about from house to house playing and singing before the image of the Holy Infant duringthe Novena (the nine days before Christmas). There are generally two, who go together, one playing thebagpipe, the other a species of small clarinet called Ciaramella. The music which is given here isplayed by them with some little change, and while the bagpiper continues the accompaniment, the one whoplays the clarinet stops to sing the different stanzas of this Pastorale. It is particularly interesting fromthe pastoral character of the music and the beautiful poetical ideas of the words. In all probability themelody suggested to Hndel the theme of his pastorale in The Messiah.

No. 50. La Festa di Piedigrotta. Here again the festival of Piedigrotta supplies the subject for a lovely song.It was, and still is, the custom of the people of Naples and the neighborhood to go to the shrine of theMadonna (in whose honor the celebration took place) on the eve of the 8th of September. A greatmany of the young people go there singing the new songs, and playing on the different instruments withwhich they accompany the Tarantella such as tambourines, castanets, and trie 1 balia (a woodendevice in the shape of two or three hammers with handles joined together, which they strike to mark therhythm of the dance).

No. 51. A Ischia, etc. Ischia is an island in the bay of Naples, where some of the peasants make their livingby plaiting straw-goods, especially fans. Marano, a village, is famous for its strawberries and cherries

;

Capri, another island in the same bay, is overrun with quails at the time of their transit to and fromAfrica, where they breed; at Massa they make a specialty of cream cheese, which explains all thesimiles given in this song. Nfrunchete, nfrunchete, is the usual refrain, that cannot be translated, andwhich in this instance imitates the sound of string-instruments.

No. 52. La Capuana. This plaintive cantilena is supposed to be from Capua, a city near Naples.16689

VII

No. 53. Canzone di Somma (Song of Somma) ; so called because, perhaps, it refers to some girls in thatvillage. Somma is on the slope of the extinct volcano of that name, near Vesuvius.

Nos. 54-56. The spirit of revenge, inborn in the Calabrian people, is well expressed in the Catanzarese, whilethe Scillitana is full of passion, and the Calavresella dainty, and simple in sentiment. The music ofthe first two has a leaning toward the weird and mournful, which is typical of the Sicilian, and has someof the character of Neapolitan song; it is generally written in the minor mode. Calabria is betweenNaples and Sicily, and resembles both in the style of its folk-music.

No. 57. Canzone di li Carriieri. (The Waggoners' Song.) The refrain Toinella toi nai, etc., is peculiar to theSicilians, and is found in many of their folk-songs.

No. 58. Alla Fontana. (By the Spring.) Another Ritornello with chorus-accompaniment; the refrain Toinellatoin being similar to the above.

No. 59. Lu labbru. (The Lips.) The words of this song are by the celebrated Sicilian dialect poet Abb Mele.They are very beautiful, and the music, although somewhat modern, has all the characteristics of Sicilianfolk-music.

No. 60. Canto del Carcerato (The Prisoner's Song.) This cantilena is extremely pretty. Its weird style showsthe influence of Arab music. The Sicilians are geographically neighbors of the Arabs, and at onetime their island was overrun by the Saracens.

No. 61. Serenata. (Serenade.) Again another Ritornello, rather than a real song. Especially characteristic ofArabic origin in the interval from d flat to b natural, which occurs twice.

No. 63. Amuri, amuri. (O Love, O Love.) Refrain sung by the muleteers.

No. 64. Malatu famuri. (Ill for Love.) A pathetic melody in the minor mode very peculiar for its chromaticdescending scale another strong proof of Arabic influence.

No. 65. Canto de' Contadini Etnei. Song of the Peasants from the neighborhood of Mount Etna.The "ngu-,ngu " is the sound by which they imitate the cry of an infant, in their dialect.

sfino

VH1

INDEX

Page

A Ischia no nee so tanta ventaglie,No. 51

Alla Fontana, No. 58Amuri, amuri ! No. 63A Nina, No. 14Antonia, No. 36Canto de' Contadini Etnei, No. 65Canto del Carcerato, No. 60 \Canzone di Somma, No. 53Canzone d'i Zampognari, No. 49Canzonetta di Campagnuolo, No. 30Canzuna di li Carriteri, No. 57Carina Bellina, No. 11Che mai t'ho fatt', amor, No. 31Cicerenella, No. 41Coraggio, ben mio, No. 25Cori, curuzzu, No. 62Crudele Irene, tu m'hai lasciato, No. ^3Dammi un ricciolo dei capelli, No. 3 5Dona Lombarda, No. 2E lo mio amore andato, No. 19Er Passagallo, No. 23Fanciullo appena, ti parlai d'amore,

No. 34Fatte la nonna, No. 27 Ll\abFenesta che lucivi, No. 40Fenesta vascia, No. 37Giulia gentil, No. 1

8

Il Sor Carlo l'armonico, No. 29La Barchetta, No. 17La Bianchina, No. 2

1

La Bionda di Voghera, No. ioLa Calavresella, No. 54La Capuana, No. 52

152

142

83161

3584

"574176

9 1

98

45769

Paci

La Carolina, No. 45La Catanzarese, No. 56L'addio del Volontario, No. 16/La Festa di Piedigrotta, No. 50

/_JLa Fiera di Mast' Andrea, No. 46La Luisella, No. 42La Monacella (Rome), No. 28La Monacella (Naples), No. 38La Moraschina, No. 9La Pastorella, No. 8

_JLa Peppinetta, No.5

La Rondinella, No. 15La Rozina, No. 4La Savoiarde, No. 1La Scillitana, No. 55La Smortina, No. 6

_JUa/Treccia bionda, No. 22L'avvelenato, No. 3La vera Sorrentina, No. 43LuJLabbniy No. 59Malatu p'amuri,.No. 64Michelemm, No. 39Oh, pescator dell'onda, No. 13Piuriur, ti vo' sposa, No. 24Ritornello delle Lavandare, No. 48Santa Lucia, No. 44Se Amor mai da vu se vede, No. 12Serenata, No. 61

Son figlio di Baciccia, No. 7Tempo passato perch non ritorni

No. 20Ti faccio far 'n' zinale, No. 26Trippole trappole, No. 47Tu nel tuo letto, No. 32

121

76>183i^

72

*39124

3617320

607613686

TABLE OF CONTENTS IX

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La Savovarde. I The Savoyarde.Savoy (Piedmont1 .

Quasi presto.(J - eo)gioioso e con brio

Air. by H. Reimann.

Voice.

1.

Piano.

> t J J)T0 fi li i X^i^1. A - sco,Gian - net - ta,l.Tell me,Gian - net - ta,

ti vouesti lou - gar, la-li-ret-ta,do you care to wed? la-li-ret-ta,

m(Jew's-harp).

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j* J 1^ 1 J ^ x Pa -sco,Gian - net - ta,

Teli me,Gian - net - ta,ti vouesti lou - gar?do you care to wed?

Nen- ni, maOh, Moth-er

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r H F^#^fma'i-r.e, mi voueli mari - dar, la-li-ret-ta, nenni, ma maire, midar- ling, the ver-y word you've said! la-li-ret-ta, Oh, Mother dar -ling, the

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v : g r/

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ma ri - - dar.word you've said!

toung!blue!

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. uueli ma - ri - dar.ver-y word you've said!

toung !blue!

-9-9-9-9

SHH mFJQ t# *J516689

X

Printed in theU. S. A.

3LA SAVOYARDE.

i.

Asco, Gianetto, ti vouesti lougar,Laliretta,

Asco, Gianetta, ti vouesti lougar?Nenni, ma maire, mi voueli mandar,

Laliretta,

Nenni, ma maire, mi voueli mandar !

2.

Jeou voueli un homequi vende de tabac,

Sin sao lou rouze etdouge lou mouscat.

Quand vou calignoung,vous proumettoung proung,

Et quand vous tegnoung,vous dognoung dou bastoung !

THE SAVOYARDE.

2.

Teli me, Gianetta, do you care to wed?Laliretta !

Tell me, Gianetta, do you care to wed?Oh, Mother darling, the very word you 've said !

Laliretta I

Oh, Mother darling, the very word you 've said !

I want a manwho keeps a 'baccy-shop,

Five for the light ones,and ten the fancy crop.

They promise fairly,while they 're courting you,

And when they 've got you,they beat you black and blue I

16889

Dona Lombarda.Piedmont.

Allegretto.

; r p ip p?p p p i |- p p p ir 7: iim s i p1. A-mei-me mi, Do-na Lom-bar-da, A-mei-me mi! A-mei-me mi !1-Give meyour love, Do-na Lom-bar-da, Do not de - ny! Do not de - ny!

2. m t fe^f i *tS I i-T^-y- ^Zs stanza *) poco a poco rail.Last stanza *> jooco a jooco rait. ^

Vp i -P hpf pip p*n p i rp^P p Mr'^La terza gussa ch'a n' bei-vii-ne, Do-na Lom-bar-da cia-ma'l so-trur!Af-ter the third drop of wine she tast-ed, For the grave-dig-ger she sent at last!

m ^m5Egt^^

jooco a poco rail, col canto

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Donna Lombarda (another Version)Istria.

is ^ i cjr p i [^r p ip p p ip J) ^ i [jr p1. A - me - me mei, Don-na Lom-bar-da, A - me - me1-Give me_ your love, Don-na Lom-bar-da, Give me_ your

m 3i^=at f^m ^3 iiSm ja i S=fcisi 3 p i P p P i p j) p i -T3 J 1 1 J p i ^ ^^

mei,love,

Don-na Lom-bar- da, A me - me mei, A - me - me mei!Don-na Lom-bar-da, Do not de - ny! Do tot de - ny!

y ^D & ^^ m &&fj_j> risi m ^ i j lb j j>m I ^ ?^ iW=F*) There is no authority for the minor setting of the last stanza and final cadence. The liberty is taken

for the sake of an effective close.- Something of the kind was doubtless done by the old minstrels.CH. E. KrehbieU

16689

DONA LOMBARDA. DONNA LOMBARDA.

Ameime mi, Dona Lombarda,Ameime mi, ameime mi !O cume mai voli che fassa,Che j''l mari, che j''l mari?Vostro mari, Dona Lombarda,Feilo muri, feilo muri !O cume mai voli che tassaFelo muri, felo muri?Mi v'mostrero d'una maneraD'felo muri, d'felo muri.

Ant'el giardin dare la caza

J' un serpentin, j' un serpen tin,

Preje la testa e poi pisteila,Pisteila bin, pisteila bin,

E poi bUteila ant'el vin neiro,Dj da bei, dj da bei,Che'l voss mari ven da la cassaCun tanta sei, cun tanta sei.

Give me your love, Donna Lombarda,Do not deny, do not deny !

How do you think that I may love you?Wedded am I, wedded am I !

What of your spouse, Donna Lombarda 1See that he die, see that he die 1

What shall I ever do to kill him !How shall he die? how shall he die?

Oh, I will show you how to kill him,How he shall die, how he shall die !

Back of your house there, in the garden,There is a snake, there is a snake,

Put the snake's head into a mortar,Powder to make, powder to make.

Into your husband's wine you '11 pour it,Into his wine, into his wine,

When he comes home at night from huntingThirsty for wine, thirsty for wine.

Dei-me del vin, Dona Lombarda,

J' tanta sei, j' tanta sei.Coz' j'ive fait, Dona Lombarda,L's anturbid, l's anturbid?El veint marin de l'atra seraL' anturbid, l' anturbid.Beivelo ti, Dona Lombarda,Beivelo ti, beivelo ti !

O cume mai voli che fassa,Che j' nin sei, che j' nin sei?L' per la punta de la mia spejaT'io beverei, fio beverei !

Give me some wine, Donna Lombarda,Thirsty am I, thirsty am I !

What have you done, Donna Lombarda?Cloudy? for why? cloudy? for why?

Yesterday eve the sea-wind roil'd it,Wind of the sea, wind of the sea !

Drink to my health, Donna Lombarda,Drink you to me, drink you to me !

Why should I drink, I pray you, tell me !Thirst I have none, thirst I have none !

Now, by my dagger's point, I tell you,Drink and be done ! drink and be done I

La prima gussa ch'a n' beivUne,Dona Lombarda cambia colUr;La sgunda gussa ch'a n' beivune,Dona Lombarda ciama'l consur;La terza gussa ch'a n' beivune,Dona Lombarda ciama'l sotrur 1

When the first drop of wine she tasted,Donna Lombarda's color 'gan waste.

After the second drop she tasted,For the confessor sent she in haste.

After the third drop of wine she tasted,For the gravedigger she sent at last.

168

L'avvelenato The Poisoned Lover.

Como (Lombardy).

Andantino .f

1 1 j j i j 1 I j j h J> liW M #1. Do - ve si sta jer - si - ra, fi-gliuol mio ca - ro, fio - ri - tq^e gen-

1.Where wert thou yes -ter - e - ven, My dar - ling son, the delight of mine

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Do - ve si sta jer - siWhere wert thou yes - ter - e

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1 1 1 i }, J 1 1 j i j ii J> js =r= ' sta dal-la mia da - ma, Si-gno-ra ma-ma, mio co - re sta mal! Son

went to see my sweet-heart, Mi- la - dy moth-er: my heart is so ill! I

m pfi E m

V AVVELENATO.

Dove si sta jersira,Figluol mio caro, fiorito e gentil?Dove si sta jersira?Son sta dalla mia dama...Signora marna, mio core sta mal !Son sta dalla mia dama...Ohim ! ch'io moro ! ohim !

Cossa v'halla d da cena,Figliuol mio caro, fiorito e gentil?Cossa v'halla d da cena?On inguilletta arrosto...Signora marna, mio core sta mal !On inguilletta arrosto...Ohim ! ch'io moro ! ohim !

L'avi mangiada tutta, ecc.Non n'ho mangia che mezza, ecc.

Coss'avi & dell'altra mezza, ecc.L'ho dada alla cagnola, ecc.

Cossa avi fa della cagnola, ecc.

L' morta dre la strada, ecc.

THE POISONED LOVER.

Where wert thou yester-even,My darling son, the delight of mine eyes?Where wert thou yester-even?I went to see my sweetheart,

Milady mother : my heart is so ill !I went to see my sweetheart,Ah me 1 I die ! ah me !

What gave she thee for supper,My darling son, the delight of mine eyes?What gave she thee for supper?It was an eel she broil'd me,

Milady mother : my heart is so ill !It was an eel she broil'd me,

Ah me ! I die ! ah me I

And didst thou eat it all, then? etc.I only ate the half on't, etc.

What didst thou with the other? etc.1 gave my dog the other, etc.

1MB

What hast thou done with him, then? etc.He died upon the highway, etc.

La Rozina. Rosina.

Lake of Como (Lombardy).

i tfAndante, sostenuto assai.

Transcription byGiulio Ricordi.

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A ^ _z^^=yf f ^ dit de vo - rett ben,

told my love for you,E tijn - ve - ce zem - praBut the more I come to

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men, Zem - pra men, zempra men me net vol- z.woo, All the less, all the less you care for me!

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^p,SW,P^ ? y " 7 b " v ywmg i 4 I

/w//.

A allontanandosi ^3E-O- ^ZI

si

- na,

- na!

Ro-ziRo-si

na:.

na!.

t^ #n^*

-. A o fir

ealando

i=2 off

gH ^perdendosi a poco a poco

m b. M^ ^^* -

lo

La Peppinetta. Peppinetta.

Milan (Lombardy). .

For one or two voices.Allegro.


1. Che bel mof- l'in la Pep - pi - net- ta, Cor-po de di- a, vui fagli Fa -l.What a sweet face has Pep- pi - net-ta! 3od-y o' me! if she only were

k=S PPP m p^ EEI* * m *Pk> \> r f ff~ri

1 1 i m ==*La lie - ra la la la lie - ra la la la la la la la la la la la la

P^mor! La lie-rala la la lie-ra la la la la la la la la la la.mine! La lie-ra la la la lie-ra la la la la la la la la la la.

la la

la la

P F !-r i EW ftl J> i$) eJjujS^,.tt.f1 g r-if} rr 1 7 r

H-HT ..ff.f^ O' CJ.'

lie - ra la la la lie - ra la la la la la la la la la la! Che ca-ralie - ra la la la lie - ra la la laHe - ra la la la He - ra la la la

i [}

-U tu ted~frJjHla la la la la la la! Che ca-rala la la la la la la! She is a

Llf >llJ ^

^^ i^ \y16689

13

lit J J)JiJ> J)|J M J>JmJ JiJ>hJ'^ l rto -sa al-le-gra, scet-ta, L'^ona bel- lez - za, l'jDn ver te - sor. _

dear, I can-not for- get her, Live-ly and love-ly, tru- ly di - vine!.

I 3^ ?p

1+^3; r^ '

i

S^F?

F If*

jrr p p

i j> Jpp Jiti j'JW'^Mp^La la lie - ra la la la lie - ra la la la la la la la la laLa la lie - ra la la la lie - ra la la la la la la la la la

h j:

p p#n^ ti JJ73 l^j^CD^^N t H** i r C-^ J C-^ J

Mpfo j!f p J'ia H^ip^ *^' 1la la la lie - ra la la la lie - ra la la la la la la la la la

la la la lie - ra la la la lie - ra la la la la la la la la la

'^ & sM g Ws -4 # i^3 ^ cj^flU JrJ^y

la!,

la!.

^ fekrjh-'W-g^? ZEP^m^^ $m gii ^ -m -lt 5^16689

14

>l i j j * 1 1^ Q'j'J'j-if tipSej)-naquei voi - ta su quel mof - fin_ Po-dess mo fagh quel che vuiIf an-y time I dare to do it,What I would like to, on her

Er^ y yf pr p ^ feps *

3 ini i*p

imi iti .,

mi, Mi ghe fa - ri - a on bel ba - sin, Che no de -a on bel ba - sin, Che no deface, With a warm kiss 111 ven-ture to woo it, And I shall

YnXj fa) j i*L j? Ill^r Jf ^ m i=*-f

pbp p ^ < H^ f-H ' ? '' P PMi ghe fa - ri - a on be=T*si - de- ri de pu d'in - sci, Mi ghe fa ri a n bel ba

wish me no more and no less! With a warm kiss I'll ven-ture to

h LXJ w^ k *lljs I Im M=^ I

I

ti~J> JW'

J

P 'p g^J 1 J' V1

si - de - ri de pu d'in

JBsin, Che no de - si - de - ri de pu d'in - sci, Miwoo it, And I shall wish me no more and no less! With

ghe fa -a warm

ri - a on bel bakiss I'll ven-ture to

sin, Che no de - si - de - ri dewoo, And I shall wish me no more

pu din -and no

EE E I

s16689

feeI

15

jTTi;f3

h l!) F=

.iJ) i J)

SCI,

less!

Mi ghe fa - riWith a warm kiss

a on bel baI'll ven-ture to

sin, Che no de -woo, And I shall

f^^ * mfe^ s

I J) J' J' p | | I j j B p j p I [7 j p p j psi - de - ri de pu d'in - sci, d'in -sci, d'in - sci, d'in- sci, d'in

wish me no more and no less, no less, no less, no less, no

sci. La la lie - ra la la la lie - ra la la la la la la la la laless! La la lie - ra la la la lie - ra la la la la la la la la la

' 1r pp

E= e SS1 p ^*^3 JLJI Jf u^ c^

la la la lie - ra la la la lie - ra la la la la la la la la la

la la lala la lie - ra la la la He - ra la la la la la la la la la

= ttj^D psW a*>!, ?}}*}. m ii i^ ^ J c^ j '

^ o J * P P * P 1 P * P P * P

la la la la la la la la la!la la la la la la la la la!

j > 1 I ^1 i^j irj : * 5 5T9-1

3=*l

3EE^*

1 } \ y *E

16689

&

616

La Smortina. I The Pale Girl.

Milan (Lombardy).


ytfAndante sostenuto.

m ^^i=1. T'ho la -

1. Now I've

6.;pte

i>/>

*ltA >? J

PP# # r r v w was 7* jt

^:

ift&

scia-to, e son con -ten -to, Non min - ere - see ni-en - te, nien-te; Al-troleft you, I feel so hap-py, And my heart nev-er beats un- steady, I've an-

i W V * W3Sill B

*fePP g MP'F ' r p ? E3E3

*I

gio-vi-ne ho gi in men - te Pi bel - li - no as -sai di te.oth-er in mind al - read -y, Who's a far fin - er lad than you.

17

*4 h^'-^ i r p'p J 1- JH j y?-$ \m mM*-mo - re; Glijio do - na - to tuttojl mio co - re, Pin- che vi - vo l'a-me-tru - er, All my heart I havegiv'n my woo -er, While I live, I'll love him,

pi^J J J J W * ** * *

aft

*Acresc.

m p p I T P p p; p l J iij AW- ppPi bel - li - no e pi era- lan - te. Pi co-stan - te ne

=t

TO.

too.

*i bel - li

He is finno e pi ga - lan - te, Pi co-stan te nel-l'aer and more at - ten - tive, As a lov - er he is

m a* Vw wrt

7f-

U. ^^ V*=F

*mor; Gliho do - na - to tuttojil mio co - re, Fin-ch vi - vojo l'a-me-tru-er, All my heart I havegivhmy woo- er, While I live, I'll love him,

wimW 9^fe=

16689

18

^ _ . -, i - T^ T?_ _1_ _ ' J.

44

r. 3. Non ba - dar se son smor-ti - na, L' l'a - mor che mi tor-too. 3. Nev-er mind, if I am pale now, Tis by love I am tor -

urnatgei

# . legato assaiPP

*

Jy

#

13=^

m

rSea.

r*.:-

&& Bjj,^'-i|jjir p-p J i >u }wPf ^ Emen-ta; Quan-do po - i sa-r con-ten - ta, Il co - lor ri-tor-ne-ment-ed, If I ev - er maybe con -tent -ed, Thenmy bloom will come a-

r. T'ho la - scia - to e son con-ten - ta, Non m'in-cre - see ni-en-te,new. Now I've left you, I feel so hap - py, And my heart nev-er beats un -

kTi 'llJiuUi I ', d' \ d d. d' d*. d*-\nien-te; Al-tro gio-vi-ne ho giin men -te Pi bel - li - no as-sai di

stead-y, I've an - oth - er in mind al - read - y, Who's a far fin - er lad than

f-wf-

16689

19

ir\ pp

jft^J & p-p i'-> i j j^pj i r'p--^^*

te.

you.

Non ba - dar se son smor-ti - na, L' l'aNev-er mind, if I am pale now, "Tis by

mor che mi tor-love I am tor-

p JL^^f=5pp e ben lega to sin' al fine_

ai ^ 1*

#

'7 r r

A |).J*|J Ai'^JJtE*fi:: ^men-ta; Quan-do po - i sa-r con-ten - ta, Il color ri-tbr - nemented, If I ev - er maybe con-tent -ed, Then my bloom will come a-

A p i J fTW ^as

#

#

* a

r r r r

ra, n -tor - ne - ra, n -tor -ne-ra._new, will come a - new, will come a - new.

Sniffipp

rtrtf: ^#1,3 *t'M>

mtS;^=* ^ 1

16689

20 $

"Son figlio di Baciccia.,, TiItti the son of old Baciccia."

English version byMaria X. Hayes.

Milan (Lombardy) .

Allegretto sostenuto.

$ h^E^mB Wf7.' pgm m m

col %.

U Jft

1. Son1. I'm the

Ifi^ ^m ?=??Wf FPm wn r~i'ygnF^ ppl V *l v-f-f 3z2=^E5

p I f

7

E^

3EEE

f* =:.

16689

21

r ppir pfpma, In piaz-za del_ mer- ca,ace,_ down in the mar - ket -place,

/.^m

a, a, a, In

ace,_ down

piaz-za del mer - ca, a,in the mar - ket - place, a, a, a, ace,.

In piaz-za del mer-down in the mar - ket -

m T^FTr p r p

i

r

r P2. Se ben voi mi guar -da - te, Da2. Now care-ful-ly ob - serve me,From

c.place.

iw

mp

j' V i

r r^

5- b* "

=fcit -r-r f -IMr s 5=5= S= F

r p. r pi r r P i

JI r P '

J'Tr p i

ci-ma_in si - nq_al fon - do, No gh' bel-lez-zaaltop to toe look fair - ly, For beau - ty you've seen

^

^^

I mmmon - do Cherare - ly A

I g i

1*689

22

^=rras - so - mi -gli_a me,youth to matchwith me,

ilt P

mjm/^ 9m PJT\mm=?=3F

r PGr T p i^^ ^e, , , Che ras -so -'mi - glXji me,Be, ee, ee, a youth to match with me,

m^ ;^5? i nn i ^

^^ =i-

p^'T '7 p23

pip h tfp gjgiboc - ca, Ghe pas-saji-na pa - gnoc - ca, De quel -le de_ sol -d,sis - tin', It's got a fa - mous twist in, And wide as it can be,

*Wtrf t m i ?==p _____ _ ' _ ' 3^3=5

__^

3E3E1 1 y3 -t-t- n- 5= -r-r=5

__=: ^r~ f i r ' p c? i r p ir p i r j 7 ! j

"

a, a, a, de_ quel-le de_ sol - dEe, ee, ee, It's wide as it can be,

a, a,

ee, ee,

, de_ee, As_

5E 3_EEi^-m Wffi i HJn335

/ 4 3=3_^

it- r- # * *

/F b- m p 7 p ^ 7 t

pi

p 7 : ^ 7: i a 7 \ v , uy f p'l:T

-n- rquel-le de sol -d, a, , a, a, a, a, a, , , a, ayou may plain-ly see, ee, ee, as you mayplain -ly see, ee, ee, as

_=M h=^ ) \ }>f* M

"J JrUi aa=2s-ffl TJ7

J= ! ?*

$ v j) h i $C\

7 7 Jt E mP 7p

^p^F

3. ci, ci* ci 1 ti .

you mayplain -ly see.j'-MMa

16689

_fe:

^Ffgf^P____5_P^

_5__ fi-

M^t

^

w

24 (J

La Pastorella. The Shepherdess.


Milan (Lombardy).

**

Andantino con brio.

8. tf S? S=5

l.Ah-i, me-schi-na pa - sto1. Ashepherd-ess, my sorrows

P^ 5^5 5 S j-^r

*

t^~tpWa jh P^ ife ^ ^ ^

#i eVoli te:

W

(

tfPrei - la, Po ve - rei - laj;d in - fe - li - ce! vol_ ten-pit - y, Vain - ly I try my grief to smoth-er, My fortunem s 5S1=EE -*h+ -**- -*-

gg . i P P^f ^f P zs HE

a ?

t

ta - re^p ge - ni - tri - ce, Di re -car - mj^al-la cit - t.I will tempt,dear Moth-er, To the cit - y I will hie.

5= 5 5 5 53=iEE5 :": 1j9 *H^J* trt;;# ,^h

f m\

I & PP BEJHPP t^L ^u j """"S

p p pp e i p p

p

p p 1 1 mh i r p 7 1 p i p p'ra la la la la, tra la la la la, tra la la la la la la, tra la la la la

tf

Tra la la la la, tra la la la la, tra la la la la la la, tra la la la la,Tra la la la la, tra la la la la, tra la la la la la la, tra la la la la,

fctmf cresc.

aiti ., f. f j

mmm 4=1 m

g

sam

18889

\\\o 5*fc

^ p cresc.

p_pfipp IPPFP PN p'p i^i:tra la la la la, tra la la la la la.2.La cit-ta la di - con lie - ta,tra la la la la, tra la la la la la.2All is gay with - in the cit - y,

U Om B# sSE3! ^ Fif =F^m p cresc.

t* I

*=* W0&=&rrf*t ( p a i

r^^

cresc.

Vo' cer - car fr;Cer-ta me-ta^Gems and hon - ors,

gemmerwealth and

IU

no - ri;

plea-sures,

fraI will seek 'mid

P^E

a*

dn .m m

Co IB?cresc.

^=^ P

**= 5 rfm

.

m :'.t P P I r

Itf=

quei te - so - riall those trea - sures

Pur la mia fe - li - ci - ta.Thehap-pi - ness for which I sigh.

T=^ p; j;F^ f #--#JEa6 P P

dim._ _

/## ^#V mi miu f cresc.

Pnpp

pI p-p-pp p IP PPP Mr p T Ip bbb

ra la la la la, tra la la la la, tra la la la la la la, tra la la la if

*fe

-*-ni

Tra la la la la, tra la la la la, tra la la la la la la, tra la la la la,Tra la la la la, tra la la la la, tra la la la la la la, tra la la la la,

j cresc.fF-

m ^3i i im i mm-t *-

16689

26

NtJt/T\ P

p" r P P P i n

P

p p ph p-p > tat 1 ;#

#tra la la la la, tra la la la la la.3. Ma se fo-la3 quel te - so-ro, Se_ queltra la la la la, tra la la la la la.3.Should it be an empty sto -ry, Should that

mm133iaH

m m mm * */T\

3I*>

*

3^=3

l'o - ro fos-sej)r - pel -lo,gold be tin - sei on - ly,

II mo - de - sto mio pa - e - sei -loThenmy vii - lage, tho'poor and lone-ly,

mm^J# J i

% HE m mmi

^

**creso.

f i ji. i' i J J l r *r I f

^:

tf > P ^ H fcP P ^=f ^*S I ^^#

*

vun-que_e - gua - le_ill are e - qual,

Cre -do sia-ciji be-nejl ma - le, Qui da_And you'll find it, in the se - quel, In the

mm ^5 ^5 5 ta* ^ iteî ^5^* m m ? êpp fj^ ^*jt s f cresc.

Pfl I

p pI p pÊ

Tra la la la la, tra la la la la,Tra la la la la, tra la la la la,

noitown

co -mejnand vii

cit - ta.

lage too."

*fa^P

^ ^ ^

E

/5EEE

t*s ~^fh

*fcP ppP P If p^ l p pp i n p

l

p ppp p I P pPP P^^ra la la la la la la, tra la la la la, tra la la la la, tra la la la la . la.tra la la la la la la, tra la la la la, tra la la la la, tra la la la la

tra la la la la la la, tra la la la la, tra la la la la, tra la la la la

=tf==1=1=1 =

- =f==S=ti^m m mEmla.

la.

&

V*$p f p

#- #- I7\

:s:

16689

// //sia Moraschina. The Brunette.

English version byMaria X. Hayes

Andantino.

Milan (Lombardy).

For one or two voiqes.

La Mo- ra- schi-na la-vaal-la ron-gia, La-vaal-la ron-gia a re-sen-The nut-brown maid-en stood in the streamlet, The snow white lin- en therein to

t, E pas-sa vi - a onca-va-lie - re, Che giunsas-set - to el gha ti-lave,__ A ca- va-lier, who thatway was pass-ing, A peb-ble lightly threw in the

ra "Ch'el sta-ga fer - mo, sur ca-va -lie - re, Che tutta l'ac- qua lain4or-bowave.J'Praywhat a-muse-mentcanyou dis-cov - er In thus dis- turb- ing thewa-ter

1H689

\\ 29

mm^ ^t=t nfmfiiiu^^r?., Cliel sta-ga fer - mo, sur ca - va -lie - re,Chetut-ta Uac-qualajntor-bohere?^_Pray,what a-muse-ment can you dis- cov - er In thus dis-turb _ing the wa-ter

r? Ben'ren des- so - ra, o Mo - ra- schi- na, Fintant che l'ac-qua se scia-ri-here? Coiresit beside me, thou nut-brown maid-en, Un-til the wa-ter a-gain grows.

Q-nvr n/^'^J 1 m ?^mra, Renven des-so - ra, o Mo- ra - schi - na, Fintant che l'ac -qua se scia-ri-cl*aar,_Comesit beside me, thou nut-brownma id- en, Un-til the wa-ter a-gain grows

r. Mi te da - ri - a due cen-to scudi Un so - lo ba- cioa a-ver daclear. And I will give thee brightcrownstwohun-dred If I_mayhave one sweet kiss of

16689

30

dcpii ffJTY^ ~hp^ f^J^ Zff^ti "Mi no non vu - i ne l'or, near-gent, Ma vui el so coeur tutt, tutt perthee._"No kiss-es I, sir, for coin will sell, But giveme your heart, yes, all to

sg^o mi, Mino non vn- i ne l'or, nejir-gent,_ Mavuiel so coeur tutt, tutt perme, No kiss-es I, sir, for coin will sell, But give your heart all, all to

mi, Mi no non vu - i ne l'or, nejir-gent,_ Mavuiel so coeur tutt,tutt perme, No kiss-es I, sir, for coin will sell, But give your heart, all, all to

mi, Mavuiel so cceur_ tutt,tutt per mi!me, First give your heart ,_ and then we'll see! "

morendo

16689

31

La Biondina di Voghera. The Fair Maid of Voghera.English version byMaria X. Hayes.

Andante mosso.

Voghera (Lombardy).

^==*S* * P" P

1. La Bion-di -1. 'Twas the beau

fegna di Vo -

- ty of Vo

|gfe^m m y > tf* *

^m tMs^i?+*

/T\.

^p P' PSEw^mghe - - ra Gi per l'er -ghe - ra Came thro' mead

ba se ne va;- ows from the town,

Ma laBut the

upnp affi pjjij tT\P SE^gg Jt MI fe| T *

16689

32

ii Aw hf mm ^mstra- -da a le tant lun - ga, La se fer - ma a ri - pway was so long and wea - ry, For a rest soon she sat her

$*jffP*f3-7* ^ 7' ^

^^^|

yjT?P r ^

h 7 P 7 {Eg

o*

^'l j p Ir Jl ^ P^fsa. a. fassa vidown. 2. A Sa- vo - yard,

a d'on sa - vo - jar - do,who that way was pass - ing,

El qualFell in

i ft7 I I m^m v 7 ' tf*iUPs

/C\

7 1 i M $fp rail.

j g p' ^ i f ^rpHfP i r yg^papl'e -

love

ra in _ na - mo - ra,with themaid, they say,

nfc

in - na - mo - ra,He fell in love,

in na - mo-

.love, they

r, E. ve- dend la bel -la bion-da La voi- su - da ben ba -say, For he saw her so fair and love-ly: And he kiss'd her, and fled aI7\

_3_

ir dsn c/Ejit3J m finn-

33

j t p 1

1

1 r-ji p i i J- p p p i r p j^p. sa, S, ben ba - sa, s, ben ba - sa, s, la voi -su- -da ben baway, he fled a- way, he fled a - way, and then he kiss'd her, and fled a -

3=sa.

way.rail.

\$ a tu O Ci- CJrdim.

m K r *etfLULSt op fjj ^

3. Sem-per poeu3. Stili the pret .

a tempo

al - la bel - la bion -

ty, fair- -haird maid-- da, Quand per

_ -en, When she

g^gf gP^f TJF*^i 3Ep leggiero

i

* lt t iikH^ si

/?\

J.-^-hs J s 1P E P ?3T

Ter - - ba se ne va, Ghe ven in ment quel satreads those fields, they say, Sighs when think - ing of

vo -

that

ifgSpllliC\

5JEE?^ M Ii^^

o^=* Jk

p

16689

34

Xjar - r do Che l'a - vea in - sci ben ba - sa, Ghe ven inSa - vo-yard, He who kiss'd her, and fled a - way, Sighs when

m^^ ^>rPt >J| 7 I hi lTOW* J> * f ? ; p N^N f-1 g j fif p- p I f P- P fr >p

mentthink -

jfgjNquel sa - vo - jar - do Che l'a- vea in- sci ben baing of that Sa- vo-yard, He who kiss'd her, and fled a

P^ piHtim 4femi

Jt ssa, In -

way, whosci ben ba - sa,fled far a - way,

inwho

scifled

^ LP L.pp

ben bafar a -

^ ^1 ^SH + t t i=k

rail.

r t t

16689

35

Catina bellina. Pretty Kathrin.Venice.

irzAllegretto.

mm/7\

ti- na bel r - li-na, Gra - zio- sa vu se, So que]

})

11.

1^

Ca - ti- na bel "- li -na, Gra- zio- sa vu se, So quel che vo -Ah Kath-rin,pret-ty Kath-rin, You're charming in-deed! I knowwhatyou

&W b = B y 7 \u upW il y 1 ^S ^

dc

p p j 1 Cifl p p P lp ^ P $ P *a-*-1+' *le, Ma, cara,

need: But, darling,

dt

ma, ca-ra, sto cor, No_a-sool- ta pi>-but darling, this heart Is deaf to Love's

ft^55=5 U [ m & f

p

n^b s i P V9fi* *P *fr

t^p

? Jl 1 j P p I }> p p I I P pi J^ ^^mor. L'ha trop-po sen - ti - o, Ljun cor de - sco - ni - o, Noart, Too well I have felt it, Now Love can not melt it, No

d* m ms=gp ^ s2>

=1S9

JiJ^p p p P I P?P I J> I J'' l p ^gh'pi quel bai- sa- mo, no. Ca - ti- na, ca - pi?bal-sam can heal it, ah me', Ah! Kate, do you see?

16689

'Se Amor mai da vu se vede.,, "If you ever look on Love."Venice.

tfAllegrettoPfU fl I P JiJ>J^ Kn J'

V v I P pp

1. SeA-mor mai da vu s ve - de,1. Oh my chil-dren, if you ever

Ca - ri put - tLa go - goLook on Love while he's at

*fe'II" }> fr J> Ji 7

p HIP' M' Jl|jl P 7 MP

stes-si_a ca-rez - zar

ress him on your way.Sul- la boc - caelmostrail ri - so, La dolNot a mouth po sweet-ly smil-ing, Not a

16689

37

fe f^ I ii i i IH ^ PPcez - za sul

face thats so

suo vi - SO;be - guil- ing:

Ma col ri - der sul - laTho' his lips are wreath'd in

$WP p

y Ji i 1 1 1 J' M p I p p >| pboc-ca El ve piz _ zi - ca, ve piz-zi-ca, ve toc-ca, E fralaugh-ter, He will stab you to the heart a min-ute after, Like a

*fcii" J' | J J'' i I I p p i p p p- p I p p * p^

itf

mez- zoal-le ca

thousand point-edrez- ze, Mil- le dardi, mille frez - ze Quel fur-arrows His ca - ress-es pierce your marrows, Till the

^m S=3E-r

Tft3*

jooco

88

"SE AMOR MAI DA VU SE VEDE.,,

i.

Se Amor mai da vu se vede,Cari putti, a gogolar,

Per piet no deghe fede,No lo stessi a carezzar.

Sulla bocca et mostra il riso,La dolcezza sul suo viso;Ma col rder sulla boccaEl ve pizzica, ve tocca,

E fra mezzo alle carezzeMille dardi, mille frezze

|:Quel furbazzo sa misciar.:|

Saven come me l'ha fatto

A chiapparmi sto briccon?El s'ha messo come un gatto

Quacchio quacchio in cuffolon.L'aspetta ch'un di NinettaMe contasse una fiabetta,Mi credendo esser in porto,De col non m'avea accorto,E la vien per la drio via,Chiappa, strenze e mena via,

|:N vai pianto, n rason. :|

"IF YOU EVER LOOK ON LOVE."

i.

Oh, my children, if you everLook on Love while he 's at play,

Never stop to hear him, never !Or caress him on your way.

Not a mouth so sweetly smiling,Not a face that's so beguiling:

Tho' his lips are wreath'd in laughter,

He will stab you to the heart a minute after;Like a thousand pointed arrows

His caresses pierce your marrows,

| : Till the rogue has caught his prey.:|

Have I told you how he caught meWhen he gave my heart this wound?

How he slily creeping sought meLike a cat upon the ground?

I was list'ning to a story

That Ninetta was relating,And I never thought to worry,For I did not see him waiting :Then he softly came behind me,And so tightly he did bind me,|:That relief I've never found 1:|

1MHS

39

'Oh, pescator dell'onda.,, "Oh, fisher in the ocean."Venice.

Barcarole.

Andantino.P

t jj j) g a a i [j^^ E j J>5l."Oh, pe - sca-tor del - Ton - da, Fi-de-lin!1. Oh fish-er in the o - cean, Fi- de - lin!

Oh, pe - sca-tor delOh fish-er in the

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Vie- ni a pe-scar in qua!,, Col-la bella su - aCome fish a-while by me! In his dain-tyboat a

SS 8=i=;vvHJ-**"^3 ma

#

s-?-

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bar-ca, Col-la bel -la se neply- ing He is flying o'er the

va, Fi- de _ lin, lin,

sea, flying o'er_ the_la.

sea!

z ^s^ f7jooco riten.

fe :^=z^1r

16689

40

OH PESCATOR DELL'ONDA.

i.

|:Oh pescator dell'onda,Fidelin h|

Vieni a pescar in qualColla bella sua barca,

Colla bella se ne va,

Fidelin, lin, l.

2.

:Che cosa vuol, ch'io peschi?Fidelin!:)

L'anel che m' cascaiColla bella sua barca, ecc.

|:Ti dar cento scudi,Fidelinl:|

Sta borsa ricama.Colla bella sua barca, ecc.

"OH FISHER IN THE OCEAN."

:Oh fisher in the ocean,Fidelin !.|

Come fish awhile by me IIn bis dainty boat a-plyingHe is flying o'er the sea,

Flying o'er the seal

|:What shall I catch beside you,Fidelin?:]

My ring I've lost a-lee !In his dainty boat a-plying, etc.

I: I'll give a hundred scudi,

Fidelin!:|Yours this gay purse shall be 1

In his dainty boat a-plying, etc.

10689

41

A Nina. To Nina.

Venice.English version byMaria X. Hayes.

Andantino quasi allegretto.

^

14 B I i 7 nzLjm&p4);\ * A

m < ^ n I ^ p P I I r p ?Quel d che te go vi - sto, QuelThat day when first I saw thee, That

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Bz = 1=3 mm S j a B

16689

42

M r~p P i P P '-p. nr p p i p p j>-pmi No go pen-saal tosee I think not of thy

sta - to, No go cer - cel tosta - tion, Thy name has not been

con

h r p p I J JO J> I p p P I P p P' P I r * Pno - me, No go sa -ve -sto co - me Me so tro-v con ti. Sotold me, I seek but to be - hold thee,And find my-self near thee. Two

molta espressione

t- p p p pi f ^ p i U 1 p ^ p p i p j> P~ p i rche ti eu - na vo - se, Che can - ta fi - na al "si.,che ti gu - na

sweet-est voice posvo - se, Chesess - ing, That

can - ta fi - najilsings as high as Wert

1689

43

I

jl -p \ p MP" p p i I t J' p p I J J> J'na - ta daji - nathou of Gyp - sy

zin - ga-na,or - i - gin, Or

fia deji - na re - gi - na, Elborn of lin-eage roy - al, My

Ho

^-Mf P Mr P P J P M if 7 pcuor tlia di - to Ni - na, E ti ga d del "ti!,, Ti

phcuor Aa di - to Ni - na, E ti ga d del "ti!,, Ti mi Seheart would still be loy - al, And think of thee as "ti!" How me But

P P 'p P l P' p P P l P p I p l r p p l te J* I*ti xe do-na sen-ti -te, Qui, sul - la mia banchet - ta, Te me-ne-rQJnbar-if thou art a wo-man,dear,Ah, come and sit be -side me,Then o'er the wa-ter

m&rTN

a pppptachet -ta, E vo-ga-r per ti.

glide we: Oh joy, to fly with thee!

16689

44

A NINA. TO NINA.

i.

Quel d che te go visto,Quel di che ti m'ha piasso,Mi no go fato un passoMa no so sta pi mi.

That day when first I saw thee,That day thou didst so please me,I find no balm to ease me,

I 'm not myself, d 'ye see.

No go pensa al to stato,No go cerca el to nome,No go savesto comeMe so trova con ti.

I think not of thy station,

Thy name has not been told me,I seek but to behold thee,And find myself near thee.

So che ti g do ori,Che dixe tante cose;So che ti g una voseChe canta fino al " si.

,

Two eyes hast thou so lovely,So many things expressing;The sweetest voice possessing,

That sings as high as "si."

O nata da una zingana,O fia de una regina,El cuor t'ha dito Nina,

E ti ga d del " ti !

Wert thou of Gipsy origin,Or born of lineage royal,My heart would still be loyal,And think of thee as " t ! "

Ti poi mostrane sotoQualunque forma strana,Metterte la sotana,

No vogio dir de chi.

Howe'er disguised thy form were,

However strange appearing,Whatever garments wearing,

Whose, I will not say here :

6.

Un certo che me avisa,Che ti me xe vicina,So che ti xe la Nina,Sento che ti xe ti

If thou unseen wert near me,

Tho' no sign might reveal it,Yet I should surely feel it,

That thou, my love, wert near.

Nina, se ti xe un anzolo

Casca da qualche stella,Quando ti torni in quella,Portime su anca mi

And if thou art an angel fair,New-fallen from some star there,

When mounting up afar there,Then with thee, dear, take me.

item

8.

|:Se ti ze dona sentite,Qua, sulla mia banchetta,Te menato in barchetta,E vogar per t.:|

8.

|:But if thou art a woman, dear,Ah, come and sit beside me,Then o'er the water glide we :Oh joy, to fly with thee 1:|

45

La Rondinella. The Swallow.


Tuscany.

Andante

m m fes & mm idolce* i r? s w in

/

ear /

t3E FfH^ m $^$p p i r pp p pip=f1. Ron- di - nel - la pel - le1. Pil-grim swal - low, lightly

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the terrace

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16689

46

i g35 p 3fei& J>il -hfie

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fe16689

47

LA RONDINELLA. THE SWALLOW.

Rondinella pellegrina,Che ti posi sul verone,Ricantando ogni mattinaQuella flebile canzone,

|:Che vuoi dirmi in tua favella,Pellegrina rondinella?:!

Pilgrim swallow, lightly winging,

Now upon the terrace sitting,Ev'ry morn I hear thee singing

In sad tones thy song repeating.|:What may be the tale thou'rt telling,Pilgrim -swallow, near my dwelling ?:|

Solitaria nell'oblio,

Dal tuo sposo abbandonata,Piangi forse al pianto mioVedove tta sconsolata?

|: Piangi, piangi, in tua favella,

Pellegrina rondinella.:!

In thy solitude abandoned,By thy mate perchance forsaken,

Dost thou weep to see me weeping,Gentle widow all heartbroken?

| : From thy tears relief I borrow,Weep then, weep, thou pilgrim swallow. :|

Pur di me manco infelice

Tu alle penne almen t'affidi,Scorri il lago, e la pendice,

Empi l'aria de tuoi gridi,|: Tutto il giorno in tua favella

Lui chiamando, o rondinella ! :|

Thou art happier far than I am,On free wing at least thou'rt flying;

Over lake and breezy mountain,Thou canst fill the air with crying

|: His dear name through cave and hollow:Thou art free, thou pretty swallow. :|

Oh se anch'io ! . . . Ma lo contendeQuesta bassa angusta volta,Dove'l sole non risplende,

Dove l'aria ancor m' tolta,|: D'onde a te la mia favellaGiunge appena, o rondinella.:!

Were I free ! but 't is denied me

This low roof my soul confineth,E'en of air they have deprived me,

Here the bright sun never shineth;

|:From this murky dungeon hollowScarce my words can reach thee, swallow ! :

5-

Il Settembre innanzi vieneE a lasciarmi ti prepari:Tu vedrai lontane arene,Nuovi monti, nuovi mari,

|: Salutando in tua favella,Pellegrina rondinella.:!

Ed io tutte le mattineRiaprendo gli occhi al pianto,Fra le nevi e fra le brine

Creder d'udir quel canto,|:Onde par che in tua favellaMi compianga, o rondinella.:!

7-

Una croce a primaveraTroverai su questo suolo:Rondinella, in su la sera

Sovra lei raccogli il volo;

|: Dimmi pace in tua favella,Pellegrina rondinella.:!

16889

Soon September will be coming,Soon wilt thou prepare for leaving,

To far shores wilt thou be roaming,O'er new seas and mountains cleaving.

|:Of thy flight could I but follow!Greet them for me, pilgrim swallow 1 :|

6.

Here then ev'ry morn awaking,In mine eyes will tears be springing,

'Mid the snow and frost so chillingI shall deem I hear thee singing;

|:And 'twill seem that in thy dittyThou art fain to tell thy pity. : |

In the spring a cross so lonelyOn this soil wilt thou find planted;

.Swallow, in the shades of evening

Let my last poor wish be granted :|: Circle round my narrow dwelling,While thy song of peace is telling. :

48

L'Addio del Volontario. I The Volunteer's Farewell.

Florence (Tuscany).

*Moderato.

iB - *=y ^16. #p dolce

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rf^r f fr J-^J>T T P

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16689

49

ate P^ ^mdio mia bel - la,ad - di , -well, my love, I leave

o, L'ar

thee, Ourma - ta se ne_fleet must now de -

pinj r-rn rn rirrnsm

kk& PPf. mmva; Se non par - tis - sejm - ctfj - o, Sa - reb - bejipart; Should I not go, be - lieve me,'Twould show a

m i3E 3 3Jo=*BSg b. Ji. J)' F^^ji &E ZES PS^

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cow -vii

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heart;

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telast timej-

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m P? ^ch'i o, Sa - reb - beji - na vii t.lieve me,'Twould show a cow - ard heart.

16689

60

L'ADDIO DEL VOLONTARIO. THE VOLUNTEER'S FAREWELL.

i.

: Addio, mia bella, addio,L'armata se ne va, :|

|:Se non partissi anch'io,Sarebbe una vilt. :|

:FareweU, my love, I leave thee,Our fleet must now depart ; :|

: Should I not go, believe me,T would show a coward heart.

:I1 sacco e le pistole,

Lo schioppo io l'ho con me::||:Allo spuntar del soleIo partir da te. :|

|:My sack and my good pistolsAnd gun I take with me, :|

|:And at the dawn of morningI must depart from thee. :|

: Asciuga o bella il ciglio,Sol dei codardi il duol, :

|:Chi dell'Italia figlioMuora pel patrio suol.:|

|:Then dry thy tears, my darling,Grief is the coward's plea;:|

|:To die is only dutyFor sons of Italy. :|

|:Non fraterna guerra,La guerra ch'io far, :|

|: Dall'italiana terra

L'estraneo scaccer. :|

:It is no civil warfare

I go forth to maintain, : |: It is to drive the alien 1

From soil which now they stain.

|:Non pianger, mio tesoro,Forse ritorner, :|

|:E se in battaglia moro,In ciel ti rivedr. :|

Then do not weep thus vainly,I may return, my love;:|

: But if I'm slain in battle,

We'll meet in heav'n above.:|

:AUa mia tomba appresso,La gloria seder, :|

|:E invece del cipresso,Un fior vi spunter. :|

6.

.And Fame will there be seatedUpon my glorious tomb, :|

:And stead of mournful cypress,A flower there will bloom.:!

| :Quel fiore, idolo amato,I tre colori avr,:|

|: Bacialo e di ch' nato

In suol di libert 1 :|

|:This flow'r, my well-beloved,Will bear the colore three ;:|

I

: Embrace it, for 'twill spring fromA soil that will be free ! -.1

8.

|:Si stracci il giallo e nero,Simbolo del dolor, :|

|.-E l'Italiano alteroInalzi il tricolori:!

8.

|:We'll rend the black and yellow,*Symbol of grief and dread, :|

| :Then raise we, proud Italians,The green and white and redi*:

1 The Austrian. 2 The Austrian colors. 1 The Italian colon.MAS

J3& ^La Barchetta.


IThe Little Boat.

Florence (Tuscany).

Allegretto.

*Jki#iS M fti P^ ^Pse? 3?17. fmm m * mpp t L!r p r mr-r- -t-t- -r-r- E ^ m

p p p p ^ ^l'on

bil

1. La bar1. Now the

j I I

chet - ta che scor - re sulves - sei that flies o'er the

de, S'av - vi

low Is ap

4 Ci^ii*m

p

ftat

P mP P P P

J)P 'LU^'J^'ip P p P

ci - na por - tan - doil mioproach-ing and brings home my

be - ne, con - ten -to! fi - ni- scon' lelov - er, what joy! soon all pain will be

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v

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ne, Fra brev' o - rajl mioa-mor ri - ve -ver, Soon a - gain my true love I shall

| 1 5z

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16689

5

mft-j p fe^>P. Ip fF"JJ MMfret

bring

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himar - ri - var, la la ra la la, Che t'aback once more, la la ra la la, I a

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I

i I O p O p ' p *p " jl i p^ri - - vaal mar, la la ra la la, Vien t'afon the shore, la la ra la la, Swift- ly

spet

waittojnhim

Vfret - taad^ar - ri - var,bring him back once more,

Che_ t'a - spet-tqjn ri - va_al mar._I a - wait him on the shore-

^^m mmi m 9p rnm M i &=*^ ^

isf r ' T urr^;4Jp TT f16689

53

LA BARCHETTA. THE LITTLE BOAT.

La barchetta che scorre sull'ondeS'avvicina portando il mio bene:O contento I finiscon le pene,Fra brev'ora il mio amor rivedr 1

|:Vien t'affretta ad arrivar,La la ra la la 1

Che t'aspetto in riva al mar,La la ra la la 1:1

Now the vessel that flies o'er the billowIs approaching, and brings home my lover;O what joy ! soon all pain will be over,Soon again my true love I shall seel

|: Swiftly bring him back once more,La la ra la la I

I await him on the shore,La la ra la la 1 :|

Egli riede ricolmo d'onori,Conquistati sul campo di gloria,L qual prode guid la vittoria,Qui al mio fianco l'adduce l'amor.Vien t'affretta, ecc.

He returns now with proud honors laden,From the field where so bravely he bore him,Vict'ry pointed the way there before him,

But 'tis love guides him hither to me.Swiftly bring him back once more, etc.

Voga, voga oh barchetta veloce,Sopra l'alghe del placido mare :Corri, vola, non far pi penareQuest'afflitta che tanto sper !Vien t'affretta, ecc.

Row then, row, happy vessel, so swiftlyO'er the weeds of the bright tranquil ocean,Fly then, fly then and calm this emotionOf a mourner, and blest let me be.Swiftly bring him back once more, etc.

Gli dir del mio pianto versato,Dell'affanno che opprime il mio core,Poi fra i baci d'un tenero amoreOgni traccia di duol sparir.Vien t'affretta, ecc.

I will tell him of tears I shed for him,How my heart was oppress'd with its sorrow,Love's caresses shall soothe me to-morrow,

And all traces of grief disappear.Swiftly bring him back once more, etc

Gli dir delle notti vegliateFra i sospiri d'un rango tormento,Poi stringendolo al sen dal contentoIl mio cor, sul suo cor poseraiVien t'affretta, ecc.

I will tell him of nights robb'd of slumber,Pass'd in sighs, and with terror tormented;With his presence so dear well-contented,Then my heart will repose free from fear.Swiftly bring him back once more, etc.

e'Giulia gentil.

Fair Julia.

English version byMaria X.Hayes.

mAndante.Florence (Tuscany).

= 118. j

^i ' < i r ..=* ^

^4> e legato N^P 1> p P-P P

dal bel cowith brow of

1. Giu-lia gen - til,1. Oh, Ju - Ha fair,

lor,

snow,

Ah tu nonWhat love is

m -, . jy i f*f=j?

55

pal

heart

p P i\ i r-

~J p P PPpi - to d'a - mor,

to love's warm glow,

Giu - lia gen - ti -

Nor thus con - demnlejl tuo belmy life to

H / m?-lArW :J HHi mtim p^f P -P P

E non vo - leBut some sweet pit

P^P PrejO bel te - sor,y feel for me.

cor;

woe;

Ve - der - miNor see me

m m*m ^^1 -JF m3E I ^s i

mor - to dal do - lor. Ti ri - sov- viendie for love_ of thee. Then think of him

di chi_ t'a -who loves thee

m I ^ ^^ ftv?//, a piacere

1 i cjlf=*I

ii giU i ss fm, Giu - lia gen - til,so, Ah, Ju - lia fair,

?dal bel co - lor.

with brow_ of snow.

16689

66

GIULIA GENTIL.,, FAIR JULIA

Uomo. He.Giulia gentil dal bel color,

Ah tu non sai che sia l'amor,Ma forse un di ti batta il cuor,Allor saprai che sia l'amor.

Ah schiudi ai palpiti d'amor,Giulia gentile, il tuo bel cor,

non volere, o bel tesor,Vedermi morto dal dolor.Ti risowien di chi t'am,Giulia gentil dal bel color.

Donna. She.

Giovanottin dal bel color,

Non vo' saper che sia l'amor,Ne mai quel d verr che il cuorIo schiuda ai palpiti d'amor.

Giovanottin, credilo a me,

Non pianger giammai per te,N d verr, in cui d'amorPalpiter per te il mio cuor.Tra la la la, tra la la la,

Tra la la la, tra la la la !

i.

Oh, Julia fair, with brow of snow,What love is like thou dost not know;Perchance some day love's voice thou It hear,Then wilt thou know his pains so dear.Unclose thy heart to love's warm glow,Nor thus condemn my life to woe,But some sweet pity feel for me,

Nor see me die for love of thee.Then think of him who loves thee so,Ah, Julia fair, with brow of snow !

Ah, gentle youth, with tawny cheek,In vain to me of love you speak,

Ne'er will you see the day when IFor any youth with love shall sigh.

Ah, gentle youth, believe thou me,.

I ne'er shall weep for love of thee ;Nor ever deem this heart of mineWill e'er respond to love of thine.Tra la la la, tra la la la,

Tra la la la, tra la la la.

3.

Uomo.Soave palpito del cor,

Immensa gioja egli l'amor,Della fortuna nel rigor,Conforto e speme nel dolor.

Ah, schiudi, ecc.Donna.

Allegra troppo io son cos,

Felice passo e notte e d,

Per me il destin non ha rigor,Pianto non ha, non ho dolor.

Giovanottin, ecc.

He.

She.

There is ho joy like love on earth,For love in Heaven first had birth;Amid all fortune, care, and grief,Love brings us comfort and relief.Unclose thy heart, etc

Too blest am I, my heart so light,I'm joyous still from morn till night;Fate has for me nor gloom nor dread,And all my tears are yet unshed.Ah, gentle youth, etc.

Uomo. He.Dunque sorridimi, o gentil,Come sorride un fior d'aprii;Unisci o cara, al mio il tuo amor,Saran felici i nostri cor.

Ah, schiudi, ecc.Donna. She.

Forse nascosta in fondo al cuorSta gi la fiamma dell'amor,Ma se quel di per me verr,Per te il mio cor non batter!

Giovanottin, ecc.

Then smile on me as smiles the flow'rThat greets us from its April bow'r;Then love unite thy fate with mine,Our happiness shall be divine.Unclose thy heart, etc.

Perchance conceal'd within my heart,Of love may lurk the flaming dart ;But when that day arrives for me,This heart will never beat for thee.Ah, gentle youth, etc.

16689

57

"E lo mio amore andato a soggiornare.;,

"My love has gone to live in lovely Lucca."

Florence (Tuscany).

L.Gordigiani.

Tempo di Valse

19.

g | j | | i J 1 g 1 jS=f1. E lo mioa - mo-re_jinda- toja sog-gior - na - re A Lue - cal.My love has gone to" live in love-ly Lue - ca, And there he

x&-* * i I * *?

* E J^ ^ B P a ^j< j^ 1 p e p i r p a p pbel-lae di _ ven-tar si - gno. re E lo vor - rei man-da-reji sa - hi -will be -come a lord, they tell me, And now I wish that I could send him

\

*f$F=

mm ^^creso.

mm *16689

58

* iS }> * I Ji 2\ J' pita - re, Ma non mi fi - do dell' am-ba - eia - to

greet - ing, But I'm a - fraid my .mes-sen-ger would fail

r H> # -J) P P Pre. Val pi 'name: One word a

ri; 4

*=t "P F *P P p I 'T "p p j p 1 p p p a p ppa - ro - li - na dell' a - man - te Che dell' am - bascia-tor che ne falov - er speaks will find more fa - vor Than an - y mes-sag-es of love what-

i 3=F=cspi;

crese.

t 1- iti*

Lento

j\ J) | Ji I h ^ p p r > j>p^p*p?tan - te, Val pi 'na pa - ro - li - na del miqji - mo - re Che cen - toev - er, One word from his own lips would more con - tent me Than fif - ty

$^i

//T\ Lento

m

a tempo

p ltJ'

p| J'p i r ife

mi-la dell' ambascia - to - re.thousand that he ev-er sent me!

i Si pee

*

WV^ia tempo

m16689

_J

p

if

i=a:

f Sr

f *

59

"E LO MIO AMORE E ANDATO A SOGGIORNARE.

i.

E lo mio amore andato a soggiornareA Lucca bella e diventar signore,E lo vorrei mandare a salutare,Ma non mi fido dell'ambasciatore.

Val pi 'na parolina dell'amanteChe dell'ambasciator che ne fa tante,Val pi 'na parolina del mio amoreChe cento mila dell'ambasciatore.

2.

Tutti mi dicon che son nera nera,La terra nera ne mena buon grano,E guarda il fior garofan com' nero,Con quanta signoria si tiene in mano.

Tutti mi dicon che il mio damo tintoEd a me pare un'angioini dipinto,Tutti mi dicon che il mio damo neroEd a me pare un angiol vero vero.

"MY LOVE HAS GONE TO LIVE IN LOVELY LUCCA."

My love has gone to live in lovely Lucca,And there he will become a lord, they tell me,

And now I wish that I could send him greeting,But I 'm afraid my messenger would fail me :

One word a lover speaks will find more favorThen any messages of love whatever,One single word from him would more content meThan fifty thousand that he ever sent me.

They tell me I 'm as dark as any brownie,But where the soil is black, the grain is finest;

And see how darkly the carnation flowers,Yet in your hand it waves in grace divinest.

Altho' they say my love with dyes is tinted,He looks to me an angel as they're painted,Altho' they say he 's black as any raven,He seems to me an angel straight from heaven.

1M8U

60"Tempo passato perch non ritorni!,,

"Why are days we have lived lost for ever?"Florence(Tuscany).

Lento.L.Gordigiani.

\ li t it JHJSJ JiJ ^^1. Spe - ran - za dell.Time was, when of

mio cormy heart

20. Ine - riu-na

you were the

ffmii uis 7 7

M JH J3J H^ d

voltrea

ta.

sure,.

Or tiAnd now

sei fat - toof oth - er

1=1=1 1=1

3 ==S Jtu 7 12=ft

I IP fr 1 j l j j^ * * 1 > J' ^ J J 1 1la spe

hearts you

.

ran - za_al-tru - i,win th'e - mo - tion.

Non ti ri - cor - diHave you for- got . ten

*:

^ smcresc.

_5 a i = i- fi nil? pT ?

'

2ni^=P P " 7 7?piuall

di quel - laour for - mer

volplea

tasure.

ii

i

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^S ^ r r f=18689

61

* IPm p ' p p 7Che- ra-mQJn-na - mo _ ra - tiWhen we both loved so fond-ly,

tutti e

all de

offre tt.

du -vo -

n t i ij~3 a -T

-=

j

/

creso. affrett.

m

i?tion?

Non ti ri -cor-di pi, non ti riHave you for- got-ten all, have you for

cor-di pi di quei beigot-ten all our love's sweet

\ %1 1 7 7I=F*=* ? =f=FI|

PPP cresc.

0-0-7 1 1 7

f** n

m t j. rail.p p s i A ^ I m i>mmgior- m?sa - vor?

Ah!Ah!

i

tern

why.po pasare the

sa - to per -che non ri -days we have lived lost for

:

"r"rrrrT-l -^~

"X

p- *

: . \ LL E ffPIB i''f i

'M^J i'V dJ 4*rail.

% e r ir I7 7

5=t^orev

-0ni!

er?

P4 fe^^

^hl^L_.tr *

a tempo

r p77 7 7 7s p

-7

7-rs:

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7 7

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7 7

16689

62

"TEMPO PASSATO PERCHE NON RITORNI?,

Speranza del mio cor era una volta,Or ti sei fatto la speranza altrui.Non ti ricordi pi di quella voltaCh'eramo innamorati tutti e dui?Non ti ricordi pi di quei bei giorni?Ah ! tempo passato perch non ritorni I

2.

Ti ho scrtto tante volte inutilmenteE sempre invano attendo la risposta.Dimmi pur che ti sono indifferente,Ma scrivi per piet... cosa ti costa?Non ti ricordi pi, ecc.

"WHY ARE DAYS WE HAVE LIVED LOST FOR EVER?"

i.

Time was, when of my heart you were the treasure,And now of other hearts you win th' emotion ;

Have you forgotten all our former pleasure,

When we both lov'd so fondly, all devotion ?Have you forgotten all our love's sweet savor?

Ah 1 why are the days we have liv'd lost for ever?

How many a time I've vainly writ you a letter,Not even comes the answer, that l 've lost you 1

Tell me you love no longer it were better,

Only a line, I pray what does it cost yon?Have you forgotten, etc.

16689

La Bianchina.;

Bianchina. -3

Florence(Tuscany).

L.Gordigiani.

*

Andantino.T m^rnE j > t

1. A - vel.Thy face.

te pu - reunis pale in-

21. mE P^f I I :=f i i :p

mm S 1

:

P P g g rzfc

fe fc==$=t=fr*

*^-#ipai - li - do vi - si^deed as an - y flow

ii^ Che fa .er, And ali.

_ tut -te le_ who chance to

$ ^m ^ij^i a lira5#" i

api i>rlhl3=t==Sr* ^-a- a-^-

ifrJ.j'fpN. i ^^ . -*gen-tijn-na-mo - rasee thee, love thee mad

re: Ph - reA jas

te sul -lamin thou,that

s

3/

asm m_ m.f^F\

*MM^\i ti i

p pSE!S&J^rli

*^1

f 9- 9-*f +

16R89

t4

4- J^ -hJ^Jl .hno

- er.

^ zs

sie-pe un gel - so - rn~~hath in a hedgeher bow

E la_And my.

5 r^ppBian-chi - na vi vo-glio chia-maBian-chi - na I would name thee glad

re.

iy.-EAh!

m a-T-a

31 ^^^ 77 1 'n ? jt

?

Maggiore

^p J Jirse vor

could Ire

win.te far conmejil-1'a - mo - re, Vi chia - me

thee o'er with ten -der art, love, I'd call thee

\^PJ r7m ^^ Pi

cresc.

flftf * T

CElSS '/

/

^^16689

65

m m Mf J'Mr'cQ i r jr'tr la don - na del mio cuo - re, E se vor - re - te cone'er the la - dy of my heart, love! Ah! could I win_ thee_-

*F m = mm f 7 i 7 3 * 4 tp crese.

a f#^ fee mi^ u i^h . fe

rail. /C\5 ^^ Lr J)| Jgfl^^ I i J =* * ime far al-l'a- mo - re, Vi chia-me-ro la don-na del mio cuo -o'er with tender art, love, I'd call thee e'er the la - dy of_my heart,

*

* mm-mITS

mimmf m 7rail. col canto

m mmTPITS

P=?tpas-r-r

? ;

| y

re.

love!

*F P j' I

66

LA BIANCHINA.

Avete pure un pallido visino,

Che fa tutte le genti innamorare :Parete sulla siepe un gelsominoE la Bianchina vi voglio chiamare.

|:E se vorrete far con me all'amore,Vi chiamer la donna del mio cuore.

Donatemi una ciocca di capelli,Che per memoria gli terr sul corejVoltate verso me quegli occhi belli,Mi sentirete sospirar d'amore,

|: D'amore sospirar mi sentereteSe un bacio, angiolo mio, voi mi darete.

BIANCHINA.

i.

Thy face is pale indeed as any flower,And all who chance to see thee love thee madly I

A jasmin thou, that hath in a hedge her bower,And my Bianchina I would call thee gladly;

|:Ah, could I win thee o'er with tender art, love,I'd call thee e'er the lady of my heart, love !:|

One only let me have of all thy tresses,That for remembrance on my heart I '11 bind me ;

From thy sweet eyes if only a glance caresses,For love before thee sighing thou shalt find me,

|: For love thou soon shalt hear me sigh before thee,

If thou wilt kiss me : my angel, I adore thee 1 :|

leiw

*La Treccia Bionda.

Andante.

The Flaxen Tress.Romanesca,

Transcription byF. Marchetti.

j> j | j I ^#U2 j ! iSS1. Bel - la ra -gaz - za1. love - ly maid - en

dal -

mine-la tree -eia

with flux - en

ffePP22., ff ' ** # * # * *4

r r r

^Jj-J^J J>J J^J^ i Jm-MiN^

bionda,,tresses,

Per no - me via chia - maThe name they call you by-

te Ye -ne - randa-, Li gio-va-ni peris Ve - ne - randa , The lads all want to

I P m -*m m-*~

m

m ^m 'fe= E Si^ffPff

5 1^ a ^-a ** # * * * *

?^=^ - > 5 j y 'y - g =S

i J ^ i . f> m i f m mda. Pa - pa ncVOl-

pay-fan-no layou their ad

ron-da. Pa -p non vuo - le, Mamm nem-dresses: Pa -pa won't hear it, Mamma can't

ffe^* ^^5 5EEEI rr rr r?!, | 7 > 7*7

* *

^^^ fat

me - no: Co - me fa - re - mo Per far 1'

ff\

^me - no: Co - me fabear it: Tell me, how

re - mo Per far l'acan we ev - er make

mor?_love?_

#O

feE|=5 ff^f a I 7.2sr* *^^ I

/O* 7 * ^

16689

68

LA TRECCIA BIONDA.

Bella ragazza, della treccia bionda,

Per nome vi chiamate Veneranda :li giovani per voi fanno la ronda.

Pap non vuole,Mamm nemmeno :Come faremoPer far l'amor?

Venir se voi volete nel giardino,Voi troverete, o bella, un tulipanoChe fatto par pel vostro canestrino.

Pap non vuole, ecc.

E se mi date un sguardo rubacore,Io, bella, proprio a voi lo voglio dareQuel fior che tengo e che m'ha dato amore.

Pap non vuole, ecc.

Poi vi dir che rosa in primaveraNon tanto voi siete tanto cara,E voi ci avrete gusto... e buona sera.

Pap non vuole,Mamm nemmeno:Cos faremoPer far l'amor.

THE FLAXEN TRESS.

Oh lovely maiden mine with flaxen tresses,The name they call you by is Veneranda,

The lads all want to pay you their addresses:Papa won't hear it,Mamma can't bear it :

Tell me, how can we ever make love?

Come down into the garden when I shall ask it,And there you '11 find a tulip, oh, my beauty !

That looks as if it grew for your wee basket:Papa, etc.

And if you send me one of your dear glances,Ah, then, my only darling, I will give you

A flow'r that Love gave me, and love enhances:Papa, etc.

And I will say to you, In spring's delight, love,There 's not a rose compares with you in sweetness 1

And that will please your heart and so good night,love !

Papa won't hear it,Mamma can't bear it:

That is the way that we shall make love !

69

Er Passagallo.j

The Improvvisatore.Romanesca.

Andante.


grandioso quasi a piacere

70

M >i i I i S^ * *3glianeweather.

Er ci - gnojn - ve - ceThe swan, how - ever,

mco' tut - ti re-

hc gave ra-ther

I^^ Ell5 ^^=^f^^iffi =J -t-t-

fe j7M u 77 jijii j. j h i J J) J JTJys^t

sto -ne.

more time,.E li f - ce cor can -to ral-le-grane.For his sing-ing re-joiced themal-to-gether.

Pi I I J> :5^yy- ^r /

ai ^*-*- 23

i kS i^hli J^g H J JS| J >IJ 7 j: 7?Io qui so_er ci - gno_e de can-tane_ho drit - to,_I sing, the swan! my right,who dare de - ny it?.

kWi S^ im 3E5E3E^=1 gMfc f as ayt23

fet**

tjyij)j ji i ilp?p J*M l -IS ar^J

Tuer corvo, dunque sfarda e_ stat-te zit-to!.The raven you, so get a - long and be qui-et!.

jt ^ H ]te

3z

^E

5^=pPS*P= sam

tr-

16689

71

ER PASSAGALLO. THE IMPROVVISATORE.

Qnanno Noene l'arca frabbicone,Omini e bestie drento fece entrane,Ma er corvo, che assordiva le persone,L'aria fresca manne- presto a pigliane.

Er cigno invece co' tutti restone

E li fece cor canto rallegrane.Io qui so er cigno e de cantane ho dritto :Tu er corvo, dunque sfarda e statte zitto !

i.

When Father Noah built the ark aforetime,He let the beasts in with the men together:

The raven, tho', who yelled as if 'twere wartime,He sent out on the roof to watch the weather.

The swan, however, he gave rather more time,For his singing rejoiced them altogether.

I sing, the swan! my right, who dare deny it?The raven you, so get along, and be quiet !

Tu fai dritto lo storto e storto er dritto,Ma che cigno non sei lo dir er fatto.Io te disfido a singoiar confritto

E chi ci ascorta dica s so matto.Dimme quar fune de Tarpea er delitto,O tu che de sapienza sei lo stratto !Dimme che fine fece, e, si lo sai,Dimme si er gallo a Roma cant mai.

2.

White you call black, sir; black you say is white,sir,

But you are no swan, that I soon will showyou !

I dare you here to meet me in fair fight, sir :

All who hear, let them tell me if I know you !Tell me the misdeed of Tarpeia aright, sir,

For I feel I'm in wisdom far below you !Tell me what was her end, and, if you're able,Did e'er the cock of Rome crow? is't a fable?

Tarpea trad la patria, e ho detto assai;Mor la rea sotto li scudi altrui.Dichi si er gallo a Roma cant mai?Per Dio, lo senti coll'orecchi tui !Ma si arza er volo, nun ce so pi guai,Che Roma trover li fiji sui.Mo' tu che sei dottore in battilonta,Quante le stelle so, si poi, racconta.

Tarpeia betrayed Rome that you've compre-hended ;

Where she was buried, shields were overflow-ing;

And if the cock of Rome to crow pretended?If you open your ears, you '11 hear him crow-

ing !If he should fly off, our sorrows were ended,

For her children Rome has a way of knowing !And now, you scholar in a wig, I '11 task you :How many stars are in the sky, let me ask you?

Dotto nun so, ma la risposta pronta:Rena in der mare nun ce ne sta tanta,Quante so stelle; e tu vattele a conta,S nun credi de crede a chi lo canta,Ma che serve de fa chi pi ci affronta,Quanno de forza avemo tanta e tanta?Io lasso er canto e me ne torno ar monte,

Te do la bona notte e passo ponte.

I am no scholar, but I know the answer:Not in the ocean are the sands as many

As stars in heav'n ; now count them if you cansir !

Tho' you value my singing not"a penny!But why go on so, and fight man to man, sir,When we two are as near alike as any?

I'll sing no longer, but go home to bed, now,And so good-night, and never mind what l 've

said, now !

1608

72

*>

Piuriur, ti vo' sposa. "Piuriur, I'd marry you!"

Romanesca.

Allegretto.


1 j) J> J 'i r Mr pl- Mani - ma, mam - ma, c'_un ca - va - lie - re,1. Moth - er, Moth-er, a gay young gal - lant,

34. I v-f- mn it ii-m^fr -y^y- > i y

*y y

^ FPP E I Xl>UrU\e^ * *Mam - ma, mamma,c'un ca - va - He - re Che m'ha det-tc, pi - riu -Moth - er, Moth-er, a gay young gal - lant Just now told me, pi - riu

t m ; rr TI ?w w W Vf Im ^==^ - \ 7 7 ' 7 7

-77-

P J' J' 1 1 1 & / 1 P Ji Ji I J> p Jl I U J> I j^ri, che m'ha det-to, pi - riuri! just now told me, pi - riu

ri, che m'ha det-to, ti vo' spo - sa.ri! just now told me, "I'd mar - ry you!"

S; K 1 7 -r

h y y T?y v

7

if?

J*)y 7 M

16B89

78

PIURIURI, TI VO' SPOSA.,, PIURIUR, I'D MARRY YOU!

Mamma, mamma, c' un cavaliere,Mamma, mamma, c' un cavaliereChe m'ha detto, piuriur,Che m'ha detto, piuriur,Che m'ha detto, ti vo' sposa.

i.

Mother, Mother, a gay young gallant,Mother, Mother, a gay young gallant

Just now told me, piuriur,

Just now told me, piuriur,

Just now told me : "I 'd marry you ! "

Figlia, figlia, sta un po'a vedereSe t'ha detto la verit.

Daughter, Daughter, if you have talent,You '11 discover if he says true.

Mamma, mamma, baciarme ha chiesto,Che ft, mamma? lo lascio fa?

Mother, Mother, he asked to kiss me IShall I let him? what shall I do?

Figlia, figlia, va troppo presto,

Fa che l'abbia da sospira.Daughter, Daughter, he goes too briskly,Keep him waiting and let him sue.

A li piedi d' un confessore,Mamma, mamma, io voglio and.

Mother, Mother, in such a matterTo confession I ought to go.

6.

Come devi fare l'amoreAl curato puoi domanda.

How one ought to make love, my daughter,From the parson you soon will know.

Colla bocca dir i peccati,Cogli occhietti far l'amor.

With my lips I'll confess transgression,With my glances my love I '11 tell !

8.

Ne sai quanto tutti i curati;Ai pie sei del confessor.

8.

Now, my daughter, you're at confession,Not a parson knows love so well !

Padre, padre, io voglio amare,S' peccato domando a te.

Father, Father, for love l 'm yearning IIs it sinful, when I begin?

io.

Figlia, figlia, sappilo fare,Che l'amore peccato non .

io.

Daughter, Daughter, you should be learningHow to do it, and not to sin.

iew

74

4

'Coraggio, ben mio.,,

Moderato.

'My darling", be brave."Romanesca.


IE * ifr

1 P

f

^s

25./; m1. Si bel - la ne - gli_occhi, Sei1. Thine eyes are so love - ly, So

PS3 1 ?9 *^^ Pa a ? ? P y y a aa y y

=&P P

JI J* ^^I 1 If^

SeiAli

bel - la nelten - der thy

co - re,

heart, love,tut - taun apas - sion thou

mo - re, Seiart, love, For

PP i=j ^* ~9m^> P V 7

b J I J>* j> I j-J) j I ^J J^ I I ^ ^^fAh, no, no, non pian-ger, Co rag-gio, benAh! no, no, my dar - ling, Be

na - ta per me.me thou \vert born. brave, do not

m m m m m* 3=tg*^ mi * i 1 V

E MW h J) J' I J pT p^p mi - o, Que - st'ul - ti - mo ad - di - o Ri - ce - vi da me.cry now, Tho' I say_ good - bye now, Be not so for - lorn.

i sfl S^g^ r f i y a m i

16689

75

CORAGGIO, BEN MIO.,, "MY DARLING, BE BRAVE."

Sei bella negli occhi,

Sei bella nel core,

Sei tutt'un amore,

Sei nata per me.

Ah ! no, no, non pianger,Coraggio, ben mio,Quest'ultimo addioRicevi da me.

Thine eyes are so lovely,So tender thy heart, love,

All passion thou art, love,

For me thou wert born.Ah, no, no, my darling,Be brave, do not cry now,Tho' I say good-bye now,Be not so forlorn.

2.

Ti vedo si veglio,S dormo ti vedo,E viver non credoDiviso da te.

Ah ! no, no, ecc.

Awake I shall see thee,And when I am dreaming,Alive hardly seeming

Until I return.

Ah, no, no, etc.

Sei bella nel viso,

Nel pianto sei bella,E barbara stellaMi parte da te.

Ah ! no, no, ecc.

In tears thou art lovely,

Or smiling thy favor;How cruel that ever

Asunder we 're torn !Ah, no, no, etc.

Ma s'io da te parto,Qui resto coll'alma,Tu gioia, tu calmaSei solo per me.

Ah ! no, no, ecc.

But tho' I must leave thee,

My heart stays with thy heart,Thou only my joy art,Of peace thou my bourne.

Ah, no, no, etc.

Sei bella, e vagandoSu rive straniereSar col pensiereIo sempre con te.

Ah ! no, no, ecc.

Oh love, on thy beautyWhen far I shall ponder,Wherever I wander,

Wherever I turn.Ah, no, no, etc.

Tu pensa che fedeTi do in questo giorno,Che s'io non ritomo,Son morto per te.Ah t no, no, ecc.

To-day but rememberThe promise I make thee :That ne'er to forsake thee

Till death, I have sworn.

Ah, no, no, etc.

16689

76"Ti faccio far' n' zinale.,, A striped apron they shall make.

Olevano (Rome).

For one or two voices.

. Allegro

s

Ti fae - ci farV zi - na le col - le striA strip - ed a - pron they shall make for you,

26.,I W^

sce,_

love v

Un1

A

semprepm

^^Tar

mmmt-t-tri- ghe rosgive you too,

faz - zo-let - to col -leker- chief barr'dwith red I'll

se,

love.

Uri*

Ase

love ._"Oi"0

mm ijji j ji :i.m m f

^#^ i i j -> j> ji ji E fI fill ' i | | I =*=1b, oi-b, oi - b, oi-b! Mamma_ -det-to, che tot-to non vuo; Oidear, dear, dear, dear! Mamma says, Pa_pa nev-er will hear'

i^n^i mmm*^m

-fiM-

jj j' j jmj }> p^m w^mSS^5 I I I 1b, oi-b, oi - b, oi - b! Mammana - det-to, che tot - to non

dear, dear, dear, dear! Mamma says,Pa-pa nev-er willvuo.^

hearth

**^ m mXIli.a16689

Fatte la nonna.,,

Olevano (Rome).

Lullaby.

Andante, ma scioltoPB i ft I i 1 I J .3 J

1. Fat - te la non1. Now by - low, ba

na e posby, and slum

si benber sweet_

27/tS w ' m w^

dorand

7-\, u i i

sempre pp

/T\

^B ^ ^a jmisound

re! Il let -to tily, Your ti - ny bed

si - a fat - to di vibe of vi-

o

-lets soft and

/T\ /T\ C\ /?\i 1) bM^JO ' UWiJio - le, Il cu-sci-net-to di see - ven, Your downy pil-lowof silk.

r\

ta genti.smooth and shin

mmsmle, E le leny, And ali the

wmfj^Fr

m eee ppEE6W\^J Vi/

s I/?\ o

^ m izuo - le di chia - ri-bed-clothes of gold - en sun-

- to so

beams wole.ven!

16689

78

"FATTE LA NONNA. LULLABY.

Fatte la nonna e possi ben dormire!Il letto ti sia fatto di viole,

Il cuscinetto di seta gentile,

E le lenzuola di chiarito sole.

Now bylow, baby, and slumber sweet and soundly,Your tiny bed be of violets soft and even,

Your downy pillow of silk smooth and shiny,And all the bedclothes of golden sunbeams woven.

2.

Fatte la nonna e la nonna ti venga,

Songs of Italy (1904)

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Transcript of Songs of Italy (1904)