USCITEMI DAL COR

Francesco Cavalli (1602 - 1676)

Aurelio Aureli (fl. 1652 - 1708)
From L'Erismena (1655, reworked 1670), Act II Scene xxii


RITORNELLO

      
   
Violin I   
         
Violin II   
 


Idraspe
Disguised as Erineo       

          
Continuo 
# 6

    
6
  

   
      

        
# § 5 6

    
10
     

    
 
     

        
# 6 # #
 
2

      
14

  

    
      

       
4 #

  
18
       

         
 

        
# #

  
22
  

  
  

   
    
Us - ci - - - - te -

      

  
26

          
mi dal cor la - - - - - gri - me_a -

      
7
 3

   
30

   

 

      



     
ma - re,

         
7 6 §

   
34
      

     
        

        
# #

   
38

   

 
 
   

        
 
E con - ver - se_in tor - ren - ti

    



42
   
   
Del mio lun - go pe - na - - - - - -

         
4

 
46

      
- - - - - - - - - - - - -

         

 
50

      
- - - - - - - - - re

        


54
   
       
Es - tin - gue - te - mi_in sen le fiam - me ar -

         
#

  
58

    




     



       
den - ti.

    
 


   
62
      




         

       

# #
 5

 
66

    


      

         

Cruc - cio trop - po cru - del pro -

  
      

  
70

    

 
    

 
 
   

- - - - vò l'a - ma - - re.

         
#

 
74
      

       
      

       
   
Us - ci - - - - - te - mi dal

      
6

        
78
   

 
        

            
 
cor la - - - - - - - - - - -

     

  
82
      

 
 
       

   
     
- gri - me_a - ma - te.


     

       
86

 
      
   


 
    
# 6 # §

      
90

  

  
        

        

5 6 # 6 #
 7

  
94
      

   
       

       

        
98

 

       
   

        
# 6 #

 
102
      

       
  


      
Las -

      

  
106
       

cia - - te - mi dal duol ca - der

     
8

  
110

   

 
    


           
sue - na - - to

       
§

        
114

 

 
        
  

         
#

        
118

 
        
 

     
 
Cru - de

      



122

          
stel - le fa - ta - li Dal - la par - ca tron -


 
 
 9


126
      

ca - to Lo sta - - - - - - - - -

         


 
130

       
- - - - - - - - - - - - -

          
#


134

          
- me ha de gior - ni, de gior - ni

        

  
138

   

 
   

   
       
miei vi - ta - - - - - - li.


        
#

        
142

 


      
  

        
# #
10

        
146


 
       

      

Co - sì

    
  

   
150

      
più non viv - rò scher - - - - zo del


          


        
154

  

    
     


       
Fa - - to. Las - cia - -

      

         
158


       
      

            

- te - mi dal duol ca - der,

    
 11

   
162
       


 

 
     

   
           
ca - der sue - na -

     

 
166      
 

     

   

    
 

 
to.

      

# 6

      
170

  

    
      

       
# § 5 6

         
174

 

     
   
 


        
# 6 # #
  
12

    
 
178

 
      
     

      


       
4 3
182

 
      
 


     

     
# #


185


     
 

    
4 3

Uscitemi dal cor lagrime amare, Flow from my heart, bitter tears,
E converse in torrenti and converge in torrents:
Del mio lungo penare My endless pain's
Estinguetemi in sen le fiamme ardenti. Ardent fire extinguish in my breast.
Cruccio troppo crudel provò l'amare. Loving proved too cruel a torment.
Uscitemi dal cor lagrime amare. Flow from my heart, bitter tears.
Laciatemi dal duol cader suenato* Let me, by pain, fall opened
Crude stelle fatali Cruel, deadly stars
Dalla parca troncato By Fate curtailed
Lo stame sia de giorni miei vitali. The thread be of my days.
Così più non vivrò scherzo del Fato. Thus no more I'll live as a plaything of destiny.
Lasciatemi dal duol cader suenato. Let me, by pain, fall opened.

*Suenare, literally 'to cut the veins of ones throat'.

Source: Biblioteca Nazionale Marciana, Venezia. Segnatura: It.IV,360(=9884)

Based on a reworking of the 1655 score, presumably completed for the revival of 1670.
Figures and slurs are preserved; the closing ritornello, and any repeated material in the second
strophe left out by the copyist, are indicated by small notes.

Translation by Oliver Doyle

EDITION MUSICA ANTICA www.musicaantica.org.uk