Anthology of Italian Song -Vol.2

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SCHIRMER'S LIBRARY OF MUSICAL CLASSICS

Anthology of Italian Song Of the Seventeenth and Eighteenth Centuries Selected and Edited with Biographical Notices by ALESSANDRO PARISOTTI English Translations by

DR. THEODORE BAKER

BASSANI BONONCINI CACCINI CAVALLI CESTI DEL LEUTO

GASPARINI GIORDANI MARCELLO MONTEVERDE PARADIES PICCINNI

RONTANI DELUCA SARRI DURANTE SCARLATTI FALCONIERI STRADELLA FASOLO TENAGLIA

Boolc I

• library Vol. !90

Boolc II

• Library Vol. 291

G. SCHIRMER, Inc., NEW YORK Copyright, 1894, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker ,...._d 111 the U. S. A.

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BIOGRAPHIES OF AUTHORS REPRESENTED IN THIS VOLUME. speedily gave evidence of his talent by publishing instrumental compositions, Masses in 8 parts, and other noteworthy compositions. Proceeding thence to Vienna, he was admitted to the court orchestra in the capacity of violoncellist. Here he wrote the opera Camilla, which had extraordinary success both in Vienna and at the Italian theatres, and later at the Haymarket in London. At Rome he composed, in I 694, the operas 'Tullo Ostilio and Serse. In I6oo he brought out at Vienna La fede pubblica, and in 170 I, at Berlin, Poltfemo. Being invited to London in 1716, Bononcini, un.. der the protection of the Duke of Marlborough and others, and Handel, whose cause was espoused by the reigning family. became bitter rivals; their rivalry was the occasion of the proposition, that these two eminent composers, in conjunction with a third (Attilio Ariosto), should write an opera together, each composing one act. The libretto chosen was Muzio Scevola,Ariosto took the first act, Bononcini the second, and Handel the third. Handel's victory was decisive; but Bononcini's patron, far from being discouraged, heaped new favors on him, received him into his own house,, gave him a pension of £500 and afforded him every opportunity for the prosecution of his musical work.-His downfall, however, was approaching, and was hastened by the story, which he was too proud to contradict, that he had ap, propriated a madrigal by Lotti and given it out as his own composition. The resulting loss of prestige was never made good. The date of his death is uncertain, but is assumed to be I 748 .

0. B. BASSANI.

I657-I7I6. HE was born at Padua in 1657 ; became maestro di cappella in the church of San Petronio in Bologna, and in I685 accepted a similar position at Ferrara, where he died in 1716. He was entered as a member of the Philharmonic Academy of Bologna in 1677, becoming its president in 1682. He was also a member and the director of the celebrated A ccademia della Marte at Ferrara. He was an eminent violinist, one of his pupils being Corelli ; and likewise a very skilful organist and a distinguished and gifted composer, having written six theatrical works, besides thirty other vocal and instrumental compositions. His teacher in music was Father Daniele Castrovillari.-From an extremely rare work entitled Languidezze amorose-cantate a voce sola, etc., the songs '' Dormi, bella" and '' Posate, dormite" (fragments of the Cantata called La Serenata), and "Seguita a piangere, povero cor" (fragment of the Cantata L'Amante_placata), were taken-three pieces in which natural grace and simplicity are united with deep emotion and exquisite artistic taste. 0. B. BONONCINI.

1672-1748. A soN of Giovanni Maria Bononcini (or Buononcini), the celebrated theoretician and composer already mentioned in Vol. I of our Collection, the date of his birth is in doubt, being given variously at 1672 and 166o. He attended the school founded in Bologna by Gian Paolo Colonna, and

.II

The aria "Per Ia gloria d'adorarvi," which we print herewith, is from his opera Griselda, written in London in 1722 ; it has many fine effects and an agreeable and flowing melody.

with brilliant results, to the study of musical composition. FRANCESCO CAVALLI. I

599-1676.

PIER FRANCEsco, known under the family

OIULIO CACCINI.

name of his protector Federico Cavalli, a Venetian nobleman, was born in I 599 (or, according to other authorities, in I 6oo), as the son of Giovanni Battista Caletti-Bruni, maestro di cappella at the church of Santa Maria in Crema. His patron, who was the sheriff of Crema, being transferred in 1616 to Venice, took the youthful Caletti with .him, entertaining him with splendid hospitality at his own palace, and furnishing him with amplest means for the cultivation of his musical gifts. In I 6 17 he was received into the choir of San Marco, then conducted by Monteverde ; in I 640 he was appointed organist of the second organ of that cathedral, obtaining the post of first organist in 1665. In 1668 he became conductor of the ducal musical organization, holding this position until his death, which occurred on jan. 14, 1676. He was an extremely fertile writer of opera, composing within the space of 32 years (I 6371669) thirty-nine dramas, all of which were successfully produced in the principal theatres. Cavalli continued Monteverde's reforms, imbuing his operatic works with greater breadth and power by means of increased variety of harmonization, the definitive establishment of the string-band, development of dramatic effect and rhyth· mic intensity. In 166o he was summoned to France by··· Cardinal Mazarin, to assist at the nuptials of Louis XIV and Maria Theresa of Spain, on which occasion he brought out his "festival opera" Serse (Nov. 22), though with poor success, owing either to the then prevailing ignorance of the Italian language in France, or to a lack of musical culture at the French court The introduction of the Aria into

1546-1614. HE was born about 1546 in Rome, and was known under the name of Giulio Romano. From Scipione Della Palla he received instructton in singing and luteplaying, and had already distinguished him-

self in his art when he sang, in 1 579) the part ot Nt"gbt at the celebration of the nuptials of Francesco De' Medici and Bianca Capello, in an intermezzo composed by Pietro Strozzi. The renown of this gifted Roman composer, who, in coOperation with Jacopo Peri, Monteverde, and Emilio del Cavaliere. had so large a share in the creation of the musical drama, renders it easy to dispense with a long biographical sketch. Only a few of his principal works will be mentioned : It Combattimento d, Apolli.ne.. on a poem by Bardi ; La Dajne and L, Euritlke.. on verses by Rinuccini ; It Rapiftlento di Cefalo.. on a poem by Chiabrera, written for the wedding of Maria de' Medici, the niece of Grand Duke Ferdinand, with Henry IV of France, which took place Nov. g, r6oo.-We may also add a collection of Monodie.. Canzoni e Madrigale for solo voice, from among which latter the song "Amarilli" was selected by reason of the rare artistic treasures which it reveals. -The precise date of Caccini's death is unknown; but one of his dedications establishes the fact that in 1614 he was still Uving in Florence, advanced in years. His daughter Francesca was a · distinguished writer of music and the authoress of the celebrated ballet La Libera1_t"one di Rug,.,.o 41111• Isola d" Alcina. Francesca Cacclni enJoys the honorable distinction of being the first lady who devoted herself,

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tributed to Arcangelo Del Leuto, concerning whom no positive facts could be found. The appended biographical notice consequently rests upon induction alone. Pietro Della Vaile, the author of the poem Carro di fedelta d' amore, which was set to musk by Paolo -

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"Giasone! '

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E quando ve n'and.ate. (0 when will ye e'er leave me.) Scherzo. English Version by Dr Th. Baker..

ANTONIO FRANCESCO TENAGLIA .

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Gia il sole dal Gange. (O'er Ganges now launches.) Canzonetta.

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Alracquisto di gloria. (To \Vin glory.) Aria from the Opera

"Tigrane'!

English Version by Df Th. Baker.

ALESSANDRO SCARLATTI. (16119 -1725.)

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79

D ormi, bella, dormi tu·? (Art thou sleeping, fair one?) Fragment from the Cantata

"La Serenata." English Version by Dr Th.Baker.

GIOo BATTISTA BASSANI. (J6li7 -1716.)

1\Ioderato. ~ I 1 1 r .,...., 1 ...

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so-gna-ti d'esser rrien be thy dream not all too

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85

Posate, dormite. (Sleep on, then.) Fragment from the Cantata Serenata.~'

"La

English Version by Dr. Th. Baker.

GIO. BATTISTA BASSANL ~-

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Seguita a piangere . (Mourn with temfrity.) Fragment from the Cantata

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Vergin., tutto amor. (Virgin, fount of love.) Preghiera.

English Version by Dr Th. Baker.

FRANCESCO DURANTE. (!684- t'71SIS.)

Largo religioso. (J.: 110.)

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ma-dre pi - a, rna- dre ma-dre di bon - ta - .de, 0 0 Dear Moth-er, thou of mer- cy,whoseheart was riv-en,whoseheartwas

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a, en,

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Il pian-to suo ti Let kind compas-sion

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116

._gt 0

rna- dre di_ bonmother thou of

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o Ver - gin, tut - to~a 0 Vir - gin, fount of

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rna - dre di_ bonmoth - er thou of

gin, tut - to._.,a-mor, __ more, love, 0 Vir -gin, fount of love,_

117

Danza, danza, fanciulla gentile. (Dance, 0 dance, maiden gay.) Arietta.

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(For my love thus to die.) Fragment from a Cantata.

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Recita.tivo .

(1686 - 1739.)

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C aro mio ben. (Thou, all my bliss.) Arietta.

English Version by Dr. Th. Baker.

Larghetto.

(J

GIUSEPPE GIORDANI. (GIORDAt\ELLO.) (1743

60.)

1798.)

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SCHIRME R'S LIBRARY of Musical Classics

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VOCAL STUDIES AND EXERCISES SERIES ONE The Library Volume Number is !liven In

bra~ckets:

[45l)

CON CONE, J .-Continued

ABT, F. Op. 474. Practical Slnting Tutor. For all Voices (Spieker). 2.00 For Soprano or Tenor. Complete [453} Part I: Production of Tone. Intervals [454} .75 Part II: Exercises for the Cultivation of . . . . . . . . . . . . . . . . 75 Fluencyj455J . . . . . . . . . . . . . 75 Part II I: 20 Solfeggi [456} Part IV: 12 Exercises on Vocalization [457}. .75 For Mezzo-Soprano or Alto. Complete [458}. 2.00 Part 1: Production of Tone. Intervals (459] .75 Part II: Exercises for the Cultivation of Fluency [460] . . . . . . . . . . . . . . . . . . . . . . .75 Part Ill: 20 Sotfeggi [461].............. .75 Part IV: 12 Exercises on Vocalization (462) .75 For Baritone or Ba~s. Complete (463] .... 2.00 I: Production of Tone. I ntcrvals Part [464] .75 Part II: Exercises tor the Cultivation of .. . . .75 Fluency (465]. . . .. . . .. Part Ill: Solfeggi and Exercises on Vocalization [466). . . . . . . . . . . . . . . . . . . . . . . . . . .75

BEHNKE, E, & PEARCE, C. W. 30 Voice-Training Exercises. For Soprano (1090] ........................ For Mezzo-Soprano [1091).. . . . . . . . . . . . . . . . . For Alto {1092).. .. .. . . . . . . .. . . . . . .. . . . . . .. For Tenor [1093] . . . . . . . . . . . . . . . . . . . . . . . . . ................. For Baritone [1094]. For Bass [1095]. . .. . .. . ..................

1.25 1.25 1.25 1.25 1.25 1.25

BONA, P. A Complete Rhythmical Articulation. Method [1170]. . . . . . .. .. . . . . . . . . . . . . . . . . . 1.00

BONOLDI, F. Exercises in Vocalization. Sop. [117); M.-Sop. [118]; Alto [119].........

Op. 11. 30 Daily Exercises. H [29-lj; L [55 5] Op. 12. i5 Vocalises. Finishing Studil's. H [275]; l\1 or L [276] ........... . Op. 17. 40 Lessons. Alto [2-17]; Bass or Bar. [248] ............................... . Practiol The School of Si~ht-Sin~in~. Method for Young Beginners (Lutgen) [2-!5]

1.00 1.00

1.50 1.25

~ ~~

._,

DANNHA USER, A. L.

:;

Solfege des Solfeges. Bk. I [1289]; Bk. II [1290): Bk. Ill [129I].ea. 1.00 The same. sp. Bk. I 11085] .............. . 1.00

ESLAVA, D. H. Metodo de Solfeo (Carrillo).

sp.

Complete (1366] 1.50

The same. Bk. I [1376]: Bk. II [1377]; Bk. JII [1378]; Bk. IV [1379] .......... ea.

.60

LAMPERTI, F. The Art of Sin!?,ing [1587}.. . . . . . . . . . . . . . . . 1.00 Daily Exercises in Sin!?,in!?, [570}.. . . ... . . . . . . . .75 Vocal Studies in Bravura (Liebling) [1633]. . . 1.00

LAMPERTI, G. B. 30 Preparatory Vocalises. Sop. [568] 19 Preparatory Vocalises. Alto [569]

1.25 1.25

LOTGEN, B. Vocalises {Spieker). Bk. I: 20 Daily Exerdses. H [654]; M [655]; .. L [656]................... M [93of: Bk .. II: 20 Opera1ic Vocalises.

.75 .75

MARCHESI, M. C. .75

BORDOGNI, M.

25 Easy Vocalises in Progressive Order (82). . 1.00 36 Vocalises in Modern Style (Spieker) For Soprano {432] ........................ 2.50 For Mezzo-Soprano or Baritone [433} ....... ,. 2.50

CONCONE, J. Op. 9. 50Lessons. H(l468];M[242];L[243) 1.25 Op. 10. 25 Lessons. M [244]; L [246].. . . . . . . 1.00

Elementary Progressive Exercises [384} Op. 2. :Z4 Vocalises for Soprano or Mezzo· Soprano [391] .......................... . Op. 3. 24 Vocal'ises for Soprano [597] ..... . Op. 21. The Art of Singing. Bk. I: Ele· mentary and Gradua·ed Exercises [793); Bk. II: 30 Vocalises for 1\lezzo-Soprano [794) ...... ea. Op. 32. 30 Vocalises (Liebling) H or l\1 [126} .. Op. 1.

1.00 1.00 1.50

1.00 1.25

~l;i;.1 u0~1se~ra\:b::v~!ii~~~~~:J: s~~~J~~~e,raM!; ;t~t~';~ lt:.-L1~!1;ia8~r~~ a:r't:~~:~·M:~,~.e-t~i~;z~~S~p~~~~~ iS~~~~t~~nPr~~~? i~~.i~ i~!~:.~ Any Schirmer Library volume may be obtained in cloth binding. Prices will be quoted on request. Prices Subject to Change Without Notice.

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11~------------------------------------------------------------~~~ NEW YORK G. SCHIRMER, INC.

~

Anthology of Italian Song -Vol.2

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