CO PURCELL RE ROO OHO 7 40 SONGS | FOR VOICE AND PIANO (HIGH) s (SERGIUS KAGEN) & (i) ; No.2071 e a ORR BB INTERNATIONAL MUSIC COMPANY NEW YORK SRO OCC Printed ia US.A. OE ECO HOO OO ORO OKSESS ES SEE EE SEE ES Se cee eee Preface jons of Purcell’s songs and airs, the editor attempted to make his role as incon sccm cnc EE mene Se Most of Purcell’s music for voice and continuo is a magnificent example of two part counterpoint in which the melodic function of the bass part is fully equal to that of the voice. In Purcell’s time it was a common practice to perform the bass parton a bowed sting instrument and to use a keyboard instrument (2 cavicembalo, virginals or harpsichord) for the purpose of filling out the harmonic structure. The great disparity of timbre between a sustained bass line and the weaker and more percussive sound of the keyboard instrument allowed the listener to perceive cleaty the melodic importance of the bass. This held true even when the keyboard past ‘was ceulized in a most complex and ornate manner, But when both the bass part, as well as an ornate elaboration tof the chordal progressions are played on the modern pianoforte, the historically legitimate complexity of the inner parts may, and often does, totally obscure the melodic function of the bss In these realizations the editor did his utmost t0 refrain from all contrapuntal elaboration of the inner voices that could possibly affect adversely the acoustic clarity of the bass melody. Such procedure can, and ao doubt, will be criticized by those who will hasten to remind the editor that the keyboard players in Purcll’s time allowed them- selves to improvise most elaborately in performance. No one can dispute this. Even on a modern pianoforte a pianist could do this more or less successfully. provided s cello were playing the bass line, But since this edition ts intended for performance in which the pianoforte is used as the only accompanying instrument, the editor feared that an elaborate keyboard part would tend to acoustically distot Purcell’s music, sometimes beyond re- cognition. ‘The pianist should bear in mind that his bass line is fully as important as the voce line. He should attempt to play it a8 a melody and to phease it as such, and ever to allow the tight hand to obscute it ia any manner. This advice is, of couse, not to be followed in performing piano reductions of airs with orchestral accompani- ment, where a tebe line (violin, ute, eumpet ur oboe) may be of great melodic importance, nor in performing ‘ocd recitatives", where the bas is often stationary. In performing these exttordinary songs the singer must be fully aware of the descriptive function of the Arid passages. They almost invariably occur un verbs and attempt to heighten aad to illustrate the meaning of the word, The action of such words as "fy", “tee”, “arise”, “glide”, “swell” etc, is most faithfully illustrated by the shape and direction ofthe respective coloratura passages, and unless the singer accepts this premise he might perform them as senseless vocaises. Parcel developed 4 unigue form uf vocal writing which could be best described as “rid recitative". Songs like “Tis Nature's Votee", "Not all my Torments" or the fst section of "Lord what is Man" are some of the ‘magnificent examples of this style of writing, They ought to be performed with the thythmic freedom of 3 recitative, So that the tempo and character of each coloratura passage cuuld be determined by the meaning of the text it illustrates. A metronomically accurate performance of such music would amount to a parody. Because of this the editor refrained from endowing the accompaniments of such flosid ecitatives with thythmically indepen- ‘dent figuration Which would aut allow the singer the necessary freedom, ‘The folio edition of the Purcell Society was used as the original text, The voice part in the present edition is precise reproduction of the one printed in the Purcell Society Folio volumes. However, the bass notes may be occasionally doubled, repeated or transposed an octave lower. Figures found in the original, whenever they occur, are scrupulously followed. A few airs from “Harmonia Sucra" and "Orpheus Britannicus” were realized frum the original editions. Al the dynamic marks and tempo indications aot contained in the original are in parentheses. It seemed ad visable to dispense with the usual slurs in the pianoforte part. “Legato” and "aon legato” are used instead, when necessary. However, occasionally, slurs are used to indicate the phrasing the editor suggests, None ofthese slurs are to be found in the original. In case of hemiolas and other polymetsie devices square phrasing lines above the music indicate the rhythmic division regardless of bar lines. In a few airs written for the male alt voice or counter tenor (‘Tis Natures Voice, Music for a while, Sound the Trampet, Your Awful Voice, Strike the Viol) the voice part was raised an octave in elation to the bass, and the entire song then transposed to suit our present day voices, since the range of the counter tenor is entirely unique, being much too low for an ordinary female alto and too high for tenor. In the reduction of airs for voice and orchestra the instcumentation is always indicated, +0 that the pianist ‘may properly adjust his manner of playing. SERGIUS KAGEN iContents. «We sing to him . Music for a while . . Ah! how pleasant 'tis love . Thrice happy Lovers . Sweeter than Roses . : . What can we poor Females do. . Fairest Isle . If Music be the Food of Love (3rd version) . .. If Music be the Food of Love (Ist version) . . I saw that you were grown so high . . Man is for the Woman made . . . From Rosy Bowers .. . . Ah, Belinda, Iam prest . . Thy hand, Belinda! When I am laid in Earth . What shall I do . Your Awful Voice . . More Pe more Disdain . . The Blessed Virgin's Bepostlton : ). The Fatal Hour . . Tl sail upon the Dog Star . Silvia, now your scorn . . ‘Tis Nature’s Voice . . Bess of Bedlam . Cease, o my sad Soul . Strike the Viol... . . Lord, what is man . . . Sound the Trumpet . Hark! The ech’ing Air . ). Not all my torments . . . * O, lead me to some peaceful gloom . . Sweet, be no longer sad . Tattempt from Love's sickness to fly . An Evening Hymn : . There’s not a Swain on the Plain . Nymphs and Shepherds... . . . Hark! how all things . Come all ye songsters . |. The Queen’s Epicedium . . The knotting Song .‘ We sing to Him (Harmonia Sacra) Realization of the Figured Bass and editing by SERGIUS KAGEN HENRY PURCELL (Broadly, forcefully, not too slowly) (ea.1659-1695) Voice —=—5= z Fiwe sing to Him, whose wis-dom form the ear, our songs,let Him who PIANO of) gave us voi - ces, hear; is____ the Spring of _ Pr fr @) who loves the har mo- ny of Heavnand Earth; our hum- ble son - nets fi (crese) ‘shall that praise re - hearse, ff) (Original key C minor) Practically unigured Bass © Copyright 1958 by International Music Company, New York, 2071 Copyright Renewed(A little faster and lighter) (mf) Andwhilstwe sing, andwhilst we sing we con - - seerate our art, and of fer up with ev’ - rytongue a heart; andwhilst we sing, , — — (P) and whilst we sing, we con ~~ P)___ (poco rity (crese.) and of fer up with ev’ - ry tongue aa_—heart. (orese.) A)" (poco rit 2071Music for a while (Oedipus) (Original key C minor) (Andante) Q Voice PIANO (p)(N basso sempre legato ed espressivo) (crese.) = sie for a— while Shall all your-cares be - guile, shall all, al, (Nt basso simile sempre) (crese.) all, shall all, shall all shall all yourcares be - guile: =—_ = = dring how your pains were eas'd,— aa Originally writen for male alto or counter tenor. In this edition the voice part is raised an octave higher in relation to the Bass. Editor. Unvigured Bass 2071(rese.) dis - dain-ing to Jeas’d, THM A- lec - to? free. Terese.) = to. free the dead From their e- ter - Till thesnakes drop, drop, drop, drop, drop, drop, drop, drop, drop **)Alecto: one of the Furies or Eumenides 207‘And the whip, ‘andthe whipfrom out her hands. sie for. a while Shall. all yourcares be - (eresc.) guile, shallall, all, all, —shallall, — all, all,__— shall alll yourcares be - (crese.) ” (crese.) guile, all, all, all, all, —allall, all, all, _— shall all_ yourcares be - guile. rAh! how pleasant ’tis to love (Original key) (Temy 0 di Minuetto) Voice An! how plea~ sant Some do make a PIANO (P) (grazioso)} ment does im = _—prove: ship hoar - ded _ treasure: (Am) now I meet, No- thing like love — charm - ing sweet. still ad - dressing To his nymph, for. ev’ - ry _ essing. im ra Unfigueed Bass 2071Thrice happy lovers Epithalamium from “ The Fairy Queen” (Original key) (Andante) Voice ‘Thrice hap-py, thrice hap-py, PIANO QD Tegatoy (quasi recit.) thrice hap-py,bappy, bappy lo - vers, mayyou be for ev-er, ev - ery * (a tempo) (quasi recit,) ever ever free, may yoube for ev-er, ev- er, ev-er, ev-er (a tempo) free, From the tor - ment - + Nog in the Original Figured Bass 20112071 Jea- lousy; From all the an-xious cares ‘That at- tends i Thrice Hap-py, thrice hap-pys (a tempo) 7 rr thrice happy, happy, bap-py, de for ev-er, ev-er, lo vers, may you2 (Allegretto moderato) basso legato ed espressivo) other true, be fo one, an- 0 - ther true, Kind =a And since the er = rors,since the TTT rors of thenight are past, May he.1B ev - stant, she be_ ev = (egato) er ev - er_ chaste, er, ev-er_ chaste, 2071Sweeter than roses (Pausanias ) (Original key) (Quasi recit. Slowly and freely) ——— — Voice PIANO even-ing breeze, —— —)p =—) or cool, cool - ing breeze, On a warm Figured Bass 2011dear, dear. shore, Was the dear, PF tegato) ($$$) = blingmademe, made me freeze, (animato, a tempo) = made me freeze, ‘Then shot like fire, all, all, all, all o'er, then (animato, a tempo) my sebito), (ion legato) ‘shot like fire, all, all,all, all,thenshotlike fire 2071(Allegretto) (egato) (mf) (1 basso margato sempre) ma-gic has vie - tor - (egato) 2001 What (mf, ma-gie has vie -all T touch, for all is love, an, all, all,all, all, all is 2 al, all, all, al, all is love, 201 hour-ly, hour-ly ali, all, aN, all, (legato) prove, All,all, all, all is love,18 What can we poor females do (Original key) (Allegretto vivace) (pyistrongly accented) (erese. - Voice What can we, what can we poor fe - males do, When press-ing, teas-ing, ? PIANO (P) (strongly accented,non legato) press-ing, teas-ing lov - (simile) poor,— poor (simile) Lp. Poor, poor fe - males do? Fate af-fords no 0 - ther way, But de-ny - ing_ gp Unvigured Bass 20m19 (come prima) or com-ply-ing, But de-ny- ing or com-ply- ing, Whatcanwe, whateanwe poor $ \(come prima) fe - males do, Whenpressing.teas-ing, press-ing,teas-ing lov - ers sue? © What can we, poor, poor fe - males do? What can we, what can we re-sent-ing, or comsent-ing, And re-sent- ingy 7 oT? our hopes be - tray, What can we, *) Note the ross relation. Editor. 2071what can we poor fe - males do, When press- ing, teas - ing, press - ing, teas - ing ? lov - ers sue? What can we, what_ can we poor, poor fe - males do? Fairest Isle (Address to Britain) (Original key B fat major) (King Arthur) (Moderato, grazioso) @ Voice 1. Fair-est isle, all isles. ex - cel - ling, Seat of 2, Gen-tle mur-murs, sweet___ com - plain - ing, Sighs_ that PIANO (legato) Figured Bass 2012 Ve-nus here will Soft re - pul - ses, choose her dwell - ~— ing, | Amd___ for suke___ her kind. dis - dain - ing, Shall_ be all___ the (mf) Cu-pid from is fav-rite Ev-ry swain shall pay his nf) = sons pas - sion, And des - pain that dies. for_ in beau - ty, ‘Those. shall be re - nownd for \ 207* If music be the food of love Third Version (Original key) (Andante sostenuto) =~. Voice Hf imu-sie, If mu-sie bethe food________ of lowSingonsing PIANO: sing on, sing on,— sing, (tegato) on tT am fifa with joy, Chrtcgao) i with joys Forthenny istaingsoulyou move, (iegato, espress.) (———_)} P) Figured Bass 2011Rerthennylisthing soulyou move," youmove Tu plea - rr -suresthat canne-ver;ne-ver cluy. Youreyes, ‘yourtongue (legato) yourmien, ‘That you ar (legato)24 (Allegretto) (py (mmf) (non legato) (legato) @ vade both eye and___ ea, Solera, trans. ports are, they wound,.And all my sen - ses feasted are; Thi? yet, tueat__ is legato) sound, sound, Is on- ly sound. (Tempo 1) Sure T— must perish, 1 per ish by your charms, Un Tess you saveIf music be the food of love First Version inal key) (Andantino) (P) Voice It mu sie_ be— the food of _ love, Sing on, sing on, sing PIANO: ony sing ont Lamia, amt with—foys_ For ? ny list ning soul you move, Fur then my list - ’ning——soul___you-move, To plea-sures that can ne - ver_cloy, Your eyes, yourmlen, your tongue de-clare That Uniigured Bass 2072 ——) » (crese.) Your eyes, yourmien, your (SH) |) ltegatoy Second Stanza Ples-sures in-vade_ both eye and_. ear, So fierce, su fierce, so fierve, 80 fierce, the trans - = ports are, they wound, And all my sen- ses feast - ed are,And all my sen ses__ feast - ed are; Thd yet_ the treat is on - ly sound, Sure = i, 2. 1 must per- ish by yourcharmsUn-less you save me. in your arms.Sure arms. 207I saw that you were grown so high (Original key) (Moderato) (P) tr Voice I sawthatyouwere grown so high, Youfore’d me from your com pa-ny; . PIANO (p)(tegato) Though I con- sent-ed to your will, Yet you of me _— thought naught but tr My gen-tle words flew ‘your breast, Buttheytere-in found lit- tle a rest, Being o-ver-comewith a falseheart, Whichwas the cause that we did part. a ie (—_ Figured Bass aonMan is for the Woman made » (The Mock Marriage) (Original key) (Allegro vivace) f Voice Manjman, man is for the wo-man made, Andthe woman made for man- PIANO (f(non legato) spur is for the jade, Asthe seab-bard for the blade, scep-tre to be Sway’d, As for anght's the se - re - nade, wi-dow be she maid, Beshe wan-ton, be she staid, r 1. dig -ging is the spade, As for li - quor is the 2 pud-ding is the pan, Andto cool us is the S.well or ill ar - ray’d, Que-an, slut, or har-ri - 1.2, 3. is for the wo-man made, And the woman for_ the man.2.As the man. 3.Be she ~ h Unfigured Base, 201130 From Rosy Bowers (Don Quixote) Realization of the Figured Bass and dising by SERGIUS KAGEN (Recitative) HENRY PURCELL (Andante) (ca.1659-1695) Voice From To- sybowrs where sleepa—— the + god of —_ Love, PIANO’ (nf, (arpeggiando ad tid.) ft ir (poco accel.) Fit-ther, hi-they ye t-lle wait-ing Cu- pids, fly, fly, (a tempo) (poco pile mosso) ute whiting GI—=——- pds, fly Teach mo, rr? fF (crese.) teachme in soft, me - Jo-dious songs to move, With ten = - Preset? (Original key) Figured Bass ‘According to Edmondstoune Duncan, Tom Dusfey, the author of the text, describes this piece as "a Mad Song: by a lady distracted with love... performing in the tune all the degrees of madnest”, which are characterised as follows : “sullenly mad, mieth- fully mad (a swift movement), Melancholy madness, Fantastically mad, Stark’ mad! © Copyright 1958 by International Music Company, New York 2071 Copyright Renewed.31 (Tempo I) (riten.) @) passion,my hearts, my ling. joy. Ah!_—letthesoul of music tune my (erese,) ( voice, To win dear_ Stre-phon, An! ah!_____Iet thesoul of music tune my came FIP fF voice, To win dear_ Strephon, dear,— dear, dear_ Strephon,whomy soul if more in-flu - en - cing Is to be brisk and (pe leggiero, non legato) step and a boundAnd a frisk from theground, I will trip like a - ny , 20132 As once on I- da dane - ing, Were three ce - les- tial bo - dies, With an air and 9 face, Anda shape, and a grace, Let me charm like Beau-ty'’s goddess, With an air and a face, And a shape, and a grace, Letme charm like Beau. tys god - dess. (Recit.) anl— Us in val, “Us all, all, all, all in__valn, Death anddes- FF ‘must end the fa - tal pain, Cold des pair, cold, cold des 20033 disguisd, like snow and rain, Falls, falls, falls (Pia mosso) ———— _# _—— Bleakwindsin tempests blow, iid (Tempo 1) veins all shiver andmy fin - gersglow, My pulse beats a s ) march, My pulse beats___ dead_march for lost re - fay And to s0-lid lump of ice, my poor, poor, fond heart. is froze.(Andante) inf) (Nt basso ed espressivo sempre) ® soy, ye Pow'rs, thew my - self, or drown, shall I, shall I, (?) thaw myself or drown?A - mongst the foaming bil-lowsyIn - creas. ing all with ani tears I shed, On beds of ooze and crystal pil-lowsLay down, down, down, lay r Pr———— ) » down, down, down my love ~ sick head. Say, FB | erese.) say, ye Powrs, my shall, shall thaw my = self. or_ drown? (Recit.) (Allegro) Tistraight run mad, mad,mad, mad,mad, That soon, that (sostenuto) S) (>) soon myheartwillwarm; Whenonce the sense is fled, is fled, LovesLove has no-powh, no, no,—no,— OW 2071 wono, nopow® locharmLowhas no pow'yno,-No,-n0;-no,Love has no— pow; no, n0,—no,-no, no,-No,-n0,— (dim) — (poco rit) (r) (Allegro) no, no pow to_charm. ‘Wild_ thrdthewoods tt fly, ——___— (a) rit) (ay PI woods I fly, ——___ shall thus, thus, thus,— us be— (legato) thou-sand, thousand deathsTUdie; a thou-sand,thousand deaths Iiidie (A) thus, thus invain, ere thus, thus invain, in vain a-dore, (a) (egato) 2017 Ah, Belinda, I am prest (Dido and Aeneas) (Original key) Slow » Voice PIANO (p, cantabile e legato) (Gimile sempre) Sas prest__ with tor - ment + ah, Be - lin - da, (nf —— Pp) am__ prest with tor - ment not tobe con fest, (>=) |) (mf) (P ah, — ‘ah, Be- lin - da, tor ment, fad i) Unfigured Bass; Postlude: string orchestra 20138 eee ”) (PP) ment not tobe con - fest. stran - gers, guish “ti my grief is known, 1 r = guish, lan - guish Wmy grief is2071 known, DQ Yet would not, im.) yet would not, stran - gers, stran - gers grown. wy (crese.)Thy hand, Belinda! When I am laid in earth (Dido and Aeneas) (Original key) Recitative PP) Voice : ‘ThyhandBetin - dal dark ness shades me, Onthy bo - som let me ig _e PIANO (PP) (PP) would, but Death in-vadesme; Death is now a wel-come guest. Song Larghetto @ ‘When I am laid, am aid is (7p) (lt basso simile sempre) > - os iS (orese.) (dim) earth, may my wrongs ere - No trouble no trouble in thy breast. 2 Pr = Figured Bass in the recitative.String orchestra in the aria. 2074 forese) in carly may ny woege— ere «ale if (dim) CO) trou - ble, no trou-ble in thy breast. Re-mem-berme, Pr am | Ss o (crese.) ‘mem-berme, but abl for - get my fate. Re-mem-berme, lerese) (——) o Jte~ PF (dim. ” for - get my— fate. (erese.) 2071° What shall I do (Original key D minor) (Dioclesian) (Tempo di Minuetto) @ Voice ‘What shall I do to show how— much I love PIANO (pylegato) mil- ons of sighs can Suf-fice? That whichwins oth - er'shearts,ne - ver can move her, Of repeat p) ‘Those com-mon me-thods of love shell! des - pise, 1 will love more than men t r eer lov'd_be-fore me; Gaze on her ll theday, and_ melt all ownsake at last shell im— plore me, To love herlessyto pre serve our de- light. Unfigured Bass ‘The counterpoint in the right hand of this realization i the second oboe part of Purcell’s instrumental version of this piece (for 2 Oboes and Continuo). The first oboe plays the voice part 2071Your Awful Voice i (Original key C major) (The Tempest) (Recitative) Voice fouraw-fulvoice I hear and I 0-bey,— PIANO (Allegro) monarchof the sea. G Comedown,-come down, come down,— my-blusterers, vuterth | — (cont.) (mf) (pierese.) Come down,—come down, come down my blusterers, Swell a SF np (pi\crese.) Originally weitten relation to the bass. 2071 nor. In this edition the voice pert fe raised an octave inom (P) (crese)_—§$<——— ————— ~ y age give ot, yourstorm - (By (orese.) SSS >. Bn E>. y—ragegive olex—yourstorm Hf (cont.) Derese) YG - yorge give py lerese.) D 20745 (Faster) fy Fine Toyour pri-sonsbe - low, Down youmust go, te down youmust 80. yr , ‘To your pri-sons be - low, Down youmust go, down, down,dowm youmust go. 207146 (Tempo I) @) (cont.) for-sake. D fe vels make, Nori! T call, your trem bling, your IDMD. as \~ D.C. sino al fine More Love or more Disdain (Original key G major) (Andante) P eed Voice More love ormore ais ~ dain I crave, Sweebe ftstit in - aif’ ~ ferent Give mee tem.pect, i *twlldriwe Meo theplace where ‘I would ber GENO (Py(tegato) —= —— Ohsend me quickly to my grave, Orelse af - ford me more con - tent, Or if youll have me still a - live, Confess you will be kind to me. = 2S f~ (A). Or love or hate me more or less, For love ab-hors all luke. warm - ness. Givehopes of bliss, or dig my grave, More love or more dis - dain I crave. Untigured Bass 207148 Since from my dear (Original key) (Andante) Voice Since frommy dear, my dear, my dear,___—since ‘frommy dear, my PIANO \(p legato, espr.) F (simile) S=) my dear, my dear AS ~ tre - a's" sight 1 was e ~ ly torn, My soul has ne.ver, ne-ver, never, has never, never, ne.verknownde-light, Un - less it were to mourn, (nf) The word beloved” may be aubstituted for“Astrea! Editon Figured Base. 207149 = 1 2. (crese. moura, un - less, un = less it were to mourn, But = = Tas, with weep - ing eyes. And bleed - ing - dled - ing heart her,— whose ab - sence SS ‘That makes me wish to 20150 The Blessed Virgin’s Expostulation (Original key C minor) (Harmonia Sacra) (Recitative) Voice tying An gel PIANO tell quidely, quiek-ly, quick-ly say, Where, where does my Soul's sweet —__Dar-ling bs =————) be i py, Freely) ________( Stay? In Ty-ger's, ormore crvel,more cru : =" eeruel He - rod’s 1a Figured Bass, Note: See Luke 2,¥, 42. 2011SI ness, where mild - er, mild-er,where mild - er Sa.va-ges re-sort, the deserts ‘sa - fer, (rese) the de serts fai.rest Object of myLove, why, why dostthou frommy — 2 i) Teng-ng Eyes re-mon? Wea, wn ta WhicngDroem, thet dh fred thy Wondrous W D— (—) w® Birth? ‘ThyWondrous, Wond rous Wondrous Birth? No Vision, no, no, n0,n0, no Vi-sion \p 20n152 wh Wheres Ga-briel, wherés Ga-briel now, that vi-sit-ed my Corese) @ coli? 1 call, I call, I eall, T cal, Gabriel! Ga-briel! — Ga-briel! (crese.) (crese.) (o_O) Gabriel! He comes not: Wheres Gabriel now, that vi Ww, sid-ed my eel? I call, I call, I (>) |w_ of (crese.) Di, @ Gabriel! Ga-briel!_ Gabriel!’ Gabriel!’ == Ho comes not; flatt-ring, W) =——) | SS => == flattring Hopes farewell, farewell, fare. well,flattting Hopes, fare - well.(Grazioso, quasi minuetto) @ Me Ju - dab’s Daugh -ters () (tt basso marcato ma leggicro) Calta me of | Mo- thers, the most, degato), calfd me of Mo - thers, the (egato) the most, (Recit.) Now fa - talChange, now fa talChange of | Mo-thers, s 20 most, of Mothers most, 5334 —————— most distressd, of | Mothers most; most ===" di-stress. 7) (nf) (Allegro) how, how shallmy Soul its Mo how shall I stem, 207155 ——) ® ore80,) rious, va - rfous tide,whilst Faith and Doubt my La ) (B, crese,) (Recit. Adagio) For whilst of thy dear, dear Sight be - guid, Oh! 1 fear, the Chitd. r 20756 The Fatal Hour Realization of the Figured Bass and Editing by SERGIUS KAGEN HENRY PURCELL (Adagio, Quasi Recit) (¢2.1659-1695) Voice tel hour—— comes PIANO. —=_ a— pace, Which I had rather di By, === than see, For when fote calls youfromthis place, Yougo to @ —,) (nf, yougo to cer - tain, cer - (P) = » (mf) = tain mis. e-ry, ‘The thought does stab me to the heart, _—ee (mf) (Original key) — — Figured Bass Copyright 1958 by International Music Company, New York. Copyright Renewed. 2071 ‘All Rights Reserved. International Copyright Secured—=—=—- (crese) me in each vi - talpart, ‘Sure, sure when you — a —— sure when you go; my heart will sure, sure myheart will break, (Andantino) ) ) | Sinee I for you May I not, may I not hope you will, you will be— lieve, 201158 ————————_—} z "Tis you a - lone, ‘tis you a ~ lone these wounds,—"'these wounds, these wounds. can— cure, Which are (mf)(tegato) NS °Tis you a - lone, you a - lone, you a - (tt basso legato ed expr) my grief, Which 207Tl sail upon the Dog Star 7 (A Fool’s Preferment) (Original key € major) (Allegro) wp Voice PU sail up-on the Dog Star, PIANO (f marcato) (basso marcato) vp-on the Dog Star And thenpur.sue themorn - ing; and then pursue, andthen pur-sue the Pu chase—— the moon ‘till it be noon, e = the moon til! it be noon, But make, ['lmake her leave her (mp) (cresc.) horn = ing. TU climb thefros - ty moun - tain, I'l climb the fros -ty , OF Figured Base 2071f ‘moun - tain, Andthere I'l coin the weathers the. rain - bow. from the_ sky) And tie, stars pluckfrom theirorbs, too, the stars pluckfrom theirorbs, (oo,Anderowdthemin mybudget! —~ a> ‘And whe- ther Tin a roar - 201161 = ing boy, Letall, let all the na « tions judge it. Silvia, now your scorn (Original key) (Allegretto grazioso) Voice Silvia, now your scormgive 0 - ver, Lest you lose a falthetul Iov- er Long have T-- Been tn = fe- garded, Sighs and tears sill un ~ re-war~ ded; PIANO ? P (mf non ato) (marcato) If the hu mour you pur - sue, Fare - well love, and Sil - via too! If this does with you ag - ree, ‘Troth, good Ma-dam, twont with me! Unfigured Base 20162 Tis Nature’s Voice (Ode on St. Cecilia’s Day) {Original key F major) (Recitative, very freely throughout) Voice Tis tis Nature's volee, Na - tures voice, ‘thro’ alll the PIANO : : Pt (mf) Dp la => 1 univer - sal tongue, the u-ni-ver- sal tongue, to none of all her — Figured Bass ‘This song was originally written for male alto or counter-tenor. In this edition the voice part is raised an octave in relation to the Bass. Ed. 2001(crese, from her it learnt, the (2) —— y art, To court theea, or = (mf) awe heart, Atonce the passions fo ex-press, and _ move, lorese.) eo fat once the passions to ex - press, to express. lerese.) = ‘Note the clash between the al in the voice and the ab in the Bass. Ed. 201@ SS We hear, andsstraightwe grieve = = (fast)____ P hate; andstraightwe grieve_______~ or hate, _re-joice ie (fast) (my(slower) ” In un - — seenchains it WTB cotta voce)_—_——————_. At once it charms —— Gerese od qeosl) gy the sense, anticap “Terese. ed accel.)| » (2) —_—________ ‘at once it charms the N.S sense, andcap = : : = ti-vates the mind. fpBess of Bedlam (Original key) (Andante, quasi Recit.) Voice From si lentshades,and the Elysian groves, Where sad depart -ed PIANO =e spirits moure———— their loves; Fromerys-tal_streamsand from that ' Si, ——) crowns the fields with flow -ers all Bess, clottid in herrags and fol-ly, Is come to cure her love - sick Figured Base. ‘Note the clash between the ff in the voice and the ff in the bass. Ed, 20n67 (Pia mosso, a tempo) chol-y. Bright Cynthia kept her re -vels late, While Mab, the Fai-ry Queendid dance, (mf) r And © - be-ron did sit. in— state, WhenMars at Ve nus-ran— his ? (Andantino grazioso) (By lance, In yon - der | fe C2) Each day Tl 20n68 (Quasi Recit.) n (= (Andante con moto) new. For since my love is dead, and all__ my joys are gone, Poor Bess for his h (poco riten) gar - land will make, My © mu - sie shall be ar ind aco riten.) (~_(@ tempo) apg. lay me down and die, With - in some hol-low tree, avn and cat, The owl and bat,Shall war ble— forth my el- ? ? (Recit.) Did you but see my love as he passd by you? 2071(Allegro) eyes, if he come nigh you/lhey will burn up your hearts! (Recit.) lerese.) Lest heshould dart & flame that may en - snareye, Hark! Hark! ———‘T-bear oldCharon (crese.) Pf S, bawl, His boat he will no lon-ger stay, And Fu-ries lash their whips and call, “Come,come a - ff Quick (> wayscome, come a -way?” Poor Bess will re - tum to the place whence she 4a 4 a4# (mf) came, Since the world is. so. mad she can hope for no a: ; = 20770 f love's grown a bub-ble, a shadow, a name, Which fools do ad - mire_ and ) (Adagio) = dure, Cold and hungry am I grown, Am - bro- sia gy (Allegro) feed up - on, still and sing. ‘Who is con - tent, Does all BD ‘sor = row pre - vent, And Bess in her straw, Whilst free from the G), (poco rit.) ~ thoughts is as great, GP) (poco rit.) 207a Cease, o my sad Soul (og! t Moderato) (nf Voice © my sad soul, cease to me, O Na - ture, tell me why PIANO (——= and faith are paid ‘With no. thing but dis-dain and seorn, ate wo - men so fair? Or why did’st give them era - el - ty, P, t oS And I to my grief am be - tray, 0, then if she re-main Still ‘To drivemen dai - ly to de - spair? Un - hap-py is his fate That = P) ——— » ( well com-plain Un - to the wind. His guar - dianproves. (o Untigured Bass 201Strike the Viol (Original key Dmninor) (Moderato) nf) Voice PIANO (1 basso_sempre legato ed espress.) (nf ® (mp toueh,— touch, (simile sempre) toueh,— touch the Lute; (ny) Untigured Bass: Originally written for male alto or counter-tenor. In this edition the voice part is raised an octave in elation to the Bass. Fd zon(crese,) ful and har - sing,* Lord, what is Man (Harmonia Sacra) (Original key) (Quasi Recit., Grave) = ) Voice Lord, what is man, lost man,ThatThou shouldst be somind- ful of him? PIANO: (arpeggiando_ad lib.) = (8% bassa sempre) Cc ) Si Lord, what is man, lost man, That Thou shouldst be so mindful of him? ‘That theSonof God for-sook his glo - ry, 9, = tor-ment - ed man! ———— (9) ——) — wit man, That Thoushouldst be somind-ful of him? That the Son of God forsook his Figured Bass 207115 ‘And that for —_—_ (crese.) wound-rous love, ‘And that for == —— me, for me, O_____ wondrous love, for. me. (crese.) rious spirits, when ye knew the way (mf) 20716 SP, —— _ (crese.) Son of God took to re-new lost man,Your vacant pla-ces to sup - ply; Best f (P) Ne (poco pix mosso). spirits tell, tell which, which did ~cel, which was more prevalent, your joy. (poco pitt mosso) (a tempo) or your as -ton - ish-ment, f) TT (), (oresc.) ‘That man should be as- sum in-to theDe - i-ty, —) God shoulddie, should die,7 (Allegretto) (P) for a quill, (senza Sbassa) @. (II basso sempre legato ed espressivo) ch! for a quill, drawa fromyour wing To ———~ — prais-es, to write the praises, the prais - sof e-tern = al love; ~~ — (crese.) here, which ones, which 2011(a) ‘That an - them here, which once you (crese.) (Allegro moderato) 9, ? Hal-le-lu-jab, hal-Ie - 1u-jah! (fy (Ps marcato, non tex) (egato) (mf come prima) (nf) 2), ——"_-—~__ = — A Hol-le-lusjah, hable - Iujeh! Hal - Foif, e—=) (=> lu-jab, Hal-le - Tu.jab, Hal — —————— = le-lu-jub, Halle - Iu -jah, Hal -le-Iu-jah, (erese.) o wo (erese.) 0 (————) mfy_ _ Hal-le - lu-jah, Hal-le-lu-jah, Hal. lu-jah, Hal le-Iu-jah, Hal ~ (rese.) ig (—————) mp a Te = Iu-jah, Hal = @ Dy, lu = jah, Hal - le-~ lu. jah, Hal #,80 forest.) $$ (PP) = le-lu- jah, Hal - le - (erese.) (Pp) crese.) —— ————) lu jah, Hal-le - lu - jh, Hal-Je = lu - jah, Hal- le ~ lu - jah, Hal - le - tress <——S—) if ) @ OQ —$;.-$c.o.- -0—=—=—=—=>7°7 lu- jah, Hal - (nf) (crese,)_ $$ Hal - le - In~ jab, Hal ~ (—_—__ ==) nf) erese,) (8° bassa al fine) (poco rit.) F (poco rit) 207umphytri - umph sings, - umph,tri = umph sings. (mf) 7 OS — 8 hark! the echting air a tri - - = umph sings, i——$—=——) hark! theech2ing air'a tri - ane ~ umphsings, a fp 207= umph, tri - umph sings, ® = umph, tri = umph sings. a . ?) (mf) 2- round, and all__a- round pleas’. (mf) Cu - pids clap their wings, clap, clap, clap, clap. their wings; 207a (nf Cu-pids clap their wings; and all__a- round, and all. @ (mf) round, $$ tupicsctap, clap, @) (mf) clap, clep, clap their. wings, clap, clap, clap, clap, clap, clap, clap. thelr (mf) @, Cu-pids claptheir wings. And all___ a - 207188 Not all my torments Realization of she Figured Bass and diving by SERGIUS KAGEN (Original key) HENRY PURCELL (Andante, quasi recit.) (very freely) ' (a. 1659-1695) (of) —_——$$$—— Voice Not all, all, not all my tor PIANO: - ments ean your pi - — —— ""f) Not all, all, not all my tor ~ ) oo <— =—) we Ss ments ean— your pi ~ Copyright ©1959 by International Music Company, New York. Copyright Renewed. 201 ‘All Rights Reserved. International Copyright Secured.(ocee.) 7 —_—_ rr move, Your scorn,yourscorn increas * 8, yourscom in - creas - (mf) (a tempo) — = es with — my_love, Yet to thegravel will my (a tempo) (p) > rows bear; Yet to thegrave I willmy sor - (nf) s —— nf) (erese,) = rowsbear; I lovellove, I love, I love, I love, I love, I love, I love, tho’ D ail zonO, lead me (Bonduca) (Original key) (Andante) (), Voice = Jeadmeeadme tosome pesce-ful__ PIANO P, legate) ‘gloomWhere none but sigh - ing, none__but sigh - ing, sigh - ing lov - ers_come, i) — = =e @) ‘Where the shrillthe shrill trumpetsnever sound, =z =~ (PP) one e-ter - nalhush, one e- ter - nal_ hush goes round. Qo: = * Original time signature is €. Ed. Figured Bass 2071nf) ‘There Tet mo soothe my pleas - ing pain, (af) ne-ver, né- verthink of war, ne-ver, never think of wan, # (crese.) ne-ver, ne-ver think of war, ‘be-ver, never, ne-ver, ne-ver, ne-ver, ne-ver on (=———}_ (Poco piu mossovmf) ‘What inf) | (iteito, non legato) 201) | (fon gato) To —con- quer, to conquer, to conquer, yet be still, stil___ a slave, yel, yet be still, yet, yet be still, yet, yet be still, still a___ slave? rr 207193 Sweet, be no longer sad (Original key) (Sostenuto) (mf) tr Voice Sweet, be no lon - ger sad, Tel me, oh tell ~=me now, PIANO: (nf) (It basso legato ed espressivo ca te = eo Re-call that quickness once you had In those fair. ‘The ro ses in your cheeks didgrow? © Where's the con - Me-thinks they're hea - As they were You once en - joy? Those pleas ing not your own, And had for - got hearts to charms now are ‘Which dai - ly do my heart Unfigured Bass 294 I attempt from Love’s sickness (The Indian Queen) (Original key) (Tempo di Minuetto) (P ¢ grazioso) Voice I at tempt from Love’s_ sick-ness to fly. PIANO @, sempre teggiero e non troppo legato) (it basso tegato) my own fe - ver, since (nf) self myown fe -ver— and pain, _-No_more now,n0 more now,food—_ heart, with (mf) O) (nf) Pride nomore swell, ‘Thou canst not raise_ for-ces,thou canst not___raise_. (mf Untigured Bass 2071at - temptfrom Love's sick-ness to (come prima) am my - self my own Love has more. power and less mer - cy than fat1 am my - self fe - ver, since at. temptfrom Love's sideness to in vain, Since Tam my - self my own fe - ver_ and 20181 Sound the Trumpet (Origa! key C maior) (Allegro moderato) Voice the Trumpet, up. PIANO Y, the Trum-pet,sound tp, the war-likeDrun, and beat tp. ¢ ‘Theprincewil be with lau-relserowntl, ‘eh Datigured Base and ‘Trumpet, Thisieong waa originally writen for male alto oF counter tenor.In this edition the vote partie raised an octave in rla- tion tothe Base. Eatheprinoewill be with lau-rels erownid Be - fore his man - — hoodcomes py pleasid — he— is and ga @ ‘Whenthe trumpet strikeshis. ean tgp o —w_| 207183 P) ishandstkestak (mfp ing I - lies — play, his handslike Shake = tp, @ nf Lh Ml - Bes play (cresc.) —— ‘cath, and atch, and catch, andeatch = FY speanand catch. i,84 Hark! The ech’ing Air (The Fairy Queen) (Original key) (Allegro moderato) rp. PIANO Dp 0). ——==—— edtingaira th - = =~ umphsings, hark! theecbingalr a a (nf) [(_————<—=)/f = ———— (it basso marcato sempre) nf) ————— (mf) Figured Bass, Trumpet in the Ritornelt and Coda 201An Evening Hymn (Harmonia Sacra) (Original key) Slow (non troppo lento, maestoso) PIANO: (mp) tegato sempre) (4° bassa sempre) that the world good - night, To the soft. s To the soft the -—soft__ # Note the eensecutive sevenths between voice and bass. Ed. Figured Bass 20198 (poco eresc.) t. — =, o_ Pose, But where, where shall my soul__ God, even in Thy arms, PY (crese.) ‘arms, andean there be a= ny so sweet a = ny so sweet, PT ‘Then to thy rest,(poco cxese.) —==) — to thy = ingspraise the mer-cy that — —) (nf) — pro-longs thy days, and sing = Ingypraise the mer-ey that — pro-longs thy days. (P Hal-te - tu - jah, Hal-te - lu -(P), — Iw = jah, Hal-te = Iu ~ jah, Hal-le - tu - jah, Halle - lu - jah, Hal - 2071102 There’s not a Swain (Original key G minor) (Grazioso, molto leggiero) @) Voice ‘There's not a Swain, on thePlain,would be bless PIANO ” (1 basso sempre legato) could youbut,euuld you but,ewuld you but on sme smile; but you ap-pear ose. vere that tremb-ling with fear, my— heart goes pit-a-pat, pit-a-pat, pit-a-pat, all ‘When I cry;must I die, you make no reply, butlookshy, andwith a scornful eye kill meby your In the Original Edition this song has the following heading: "April, A Song, the Notes by Mr. Henry Purcell, The Words fitted to the tune by N. Henley, Esq." Editor, 201103 (PP) (erese.) cru - el - ty. Obl— canyoube, canyoube, canyoube, canyou be, canyou be, can you bo, (How) A Pm Geese, ——— can you be, can_you, can you, can you be so oe f Nymphs and Shepherds (The Libertine) (Original key) . (Vivace e leggiero) m) Voice Nymphs and shep-herds, come a - way, come a-way, Nymphs and shep-herds, PIANO. (D) (non tegato, mottolleggiero) Untigured Bass 2071104 groves, in the groveslets sport and *) this is Flo- ras ho- li ~ day, —andhap-py love, To dancing, to (non legato) dane - ing, — this is play, let’ sport and play, ets sport and play, (it basso legat Flo-ra’s ho- li - day, (Legato) 4) The Purcell Society Folio Edition has E instead of D on the word "play", Editor 201 this is sie and topo- e-trys ‘Your flocksmay now, now, now, now, now, now, now, NOW, NOW, (non flegato) now se - cure - ly ——— ‘Whilst you ex - press, Jol - li-ty. Nymphs and Shepherds, come - way, (11 basso marcato) (D teggiero) (senza riten,) (dimin, —— come a-way, Nymphs andShepherds, come a-way, come-a-way,come,come,come,come & = 7 Pens ritens ppp) 201Hark! how all things (The Fairy Queen) (Original key) (Allegro moderato) PIANO: Dp Voice (nflenergico) hhurk! how allthings in one sound. (mf) (Mt basso sempre marcato) (crese.) Fe- Joico, re- joice,.. _re- joice, ? ‘String Orchestra in the Introduction. Figured Bass ia the Aria 2071107 hark! how joiee— the voice, the world seems to— (come prima) —— hark! how all things inre = joie, re ~ joie,Come all ye songsters (The Fairy Queen) (Original key C major) (Prelude) (Allegro moderato) PIANO} Q Voice (Recit.) Come all, come all, all,all, come all ye song - (mf) PRELUDE: String Orchestra. RECITATIVE and AIR: Figured Basa This song was originally written for male alto or counter-tenor. In thie edition the voice part 1s raised an ‘octave in relation to the Bass. Ed. 2071110 (Air) ‘an el (a tempo)( Allegro moderato © skyWakeand as - sem-ble,wakeand as - sem - fp (mf) (Il basso sempre marcato) @) (eresc.) Come all, * all, all, (PB (cresc.) t= come all, an, o (crese.) HD (crese.) 10 accordance with the figures sn the Purcell Society folio Edition. Ed. 207= ding bird____be nigh, none butthe harm - = less,and DL, — oi bo - ding bird____be nigh, nonone but the harm =~ ) (erese. thegood, nonone but the harm-less, none but the @, the good, no,none but theharm-less, and 2071112 The Queen’s Epicedium Incassum, Lesbia, incassum rogas, Lyra mea, mens est immodulata; Terrarum orbe lachrymarum pleno, Dolorum pleno, Rogitas tu cantilenam? En nymphas! En pastores! Capur omne reclinat Junctorum instar! ‘Admodum flecur! Nec Galatea canit, Nec ludit Tityrus agris; Non curant oves, Moerore perditi. Regina, heu! Arcadiae regina periit! ! damnum non exprimendum! Non suspiriis, non gemitibus imis, Pectoris aut queruli Singultce curbido. Miseros Arcades! © quam lugentes! Suorum gaudium oculorum mirum Abit, nunquam, O nunquam reversurum! Stella sua fixa Coelum uleca lucer.113 The Queen’s Epicedium (Elegy on the death of Queen Mary, 1695) (Original key) (Quast Rect.) (very freely) _ ‘ Voice In - cas-sum,in-cas- - - sum, Les - bia, = = PIANO Plarpeggiando ad tid.) —_ —_—_ — (eresc,) DL cas-sum, in-cas mens, mens est im-mo-du- (——— feresey or-be lschry-marum ple-no, Ter-ra-rum or- be la-chry-ma-rum ple-no,Do-lo - rum (cresc.) Practically unfigured Bass 20114 o-~ Ge, ple - no, do-lo - rumdo- lo - Greely) —————___, ~ a (Andante)(Not too stowly) (nf =) (Plarpeggiando ad lib.) June - to + rum, — june~ e (cresc.) (aim.) =P (nf. June - to 2071=—) cli - nat, june- to - rum, june- to - rum, junc-to - rum 20116 cu-rant, mon eu-raat, 20717 e (aim) coy @ ml bd dd (Quasi Recit.\(Pii mosso) Re- gi-na, & (crese,) —— 1 Ar-ca-dige, re- gi- na pe- riit! (crese.) 7 =) = (9, damoum non ex- pri-mendum! 0! Ol damnum non ex- primendum! _ (crese,118 Non, non,n0n, non, non sus - pi-ri-is, non, non,non, non, non ge - mi- ti- bus < 1- mis,Pecto-ris aut_que-ru-l_sin- gul - quam = lu-gen - tes! keF 119 @® (erese.) SS su-orumgeudium o-¢u- lo-rum, su-orum gaudium o-cu-lo-rum = mi - (2 - rum abi-it, Nunquam, 0, Stel-la,stel-la su-a fix- a inf . ? (BD) Ju cet. Stel-la, stella sua fix-a - tra Iu-cet. 7 @Y l(eresc.)u) The Knotting Song (Original key) (Allegretto grazioso) Voice 4.*Hears not myPhil-lis how the birds, Their feath.er’d mates salute, ‘They 2. “The God of love in thybright eyes Does like a ty - rant reigns But 3. “So ma-nymonthsin si -lence past, And yet in rag - ing love, Might ‘then your faithful swain ex - pire, And not one look ob - tain, x PIANO F (legato) (Legato) 4. tell theirpas-sion in thelr words, Must 1 alone, must I a -lone_ be 2. in thyheart a child he lies, With- out______- "his. darts or 3.well de-serve one word at last, My pas - sion should ap 5 5 4. Which — he to soothe his fond de - sire,__Might pleas - ing - ly_______ ex - ? re Phil-lis, with. out_ a frown or___smile, fo Knott - ed, and knott-ed, and knott-ed, and knott - ed all, = tho =) >) =) =) os ?