Madrigals and Partsongs

2
CHORAL
CLASSICS
Madrigals
and Partsongs
edited by Clifford bartlett
Series Editor John Rutter

5
CHORAL
CLASSICS
Madrigals
and Partsongs
EDITED BY CLIFFORD BARTLETT
Series Editor
John Rutter
A

3
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© Oxford University Press 2001
for online perusal only
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First published 2001
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without the prior permission in writing of Oxford University Press,
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outside the scope of the above should be sent to the Music Copyright
Department, Oxford University Press, at the address above
Permission to perform the works in this anthology in public
(except in the course of divine worship) should normally be obtained
from the Performing Right Society Ltd. (PRS), 29/33 Berners Street,
London W1T 3AB, or its affiliated Societies in each country throughout
the world, unless the owner or the occupier of the premises
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or its affiliated Societies in each country throughout the world
19
ISBN 0–19–343694–9 978–0–19–343694–7
Music originated on Sibelius
Printed in Great Britain on acid-free paper by
Halstan & Co. Ltd., Amersham, Bucks.

Preface
CONTENTS
1. Anon. Dindirín, dindirín 2
2. Arcadelt Il bianco e dolce cigno 4
3. Bartlet Of all the birds that I do know 8
4. Bennet All creatures now 10
5. Brahms Nachtwache No. 1 18
6. Britten The Evening Primrose 22
7. Campion Never weather-beaten sail 26
8. Cornelius So weich und warm 28
9. Debussy Trois chansons de Charles d’Orléans 35
10. Delius To be sung of a summer night on the water 56
11. Dowland Come, heavy sleep 63
12. Dowland Can she excuse my wrongs 66
13. Dowland Weep you no more, sad fountains 70
14. Elgar As torrents in summer 73
15. Elgar My love dwelt in a Northern land 77
16. Elgar There is sweet music 85
17. Farmer Fair Phyllis I saw sitting all alone 103
18. Finzi My spirit sang all day 110
19. Ford Since first I saw your face 112
20. Gabrieli (G.) Lieto godea 114
21. Gastoldi Amor vittorioso 121
22. Gibbons Ah, dear heart 126
23. Gibbons The silver swan 130
24. Gibbons What is our life? 133
25. Hassler Tanzen und springen 144
26. Hassler Ach, Weh des Leiden 146
27. Haydn Die Harmonie in der Ehe 149
28. Isaac Innsbruck, ich muss dich lassen 157
29. Jones Farewell, dear love 161
30. Josquin Des Prez Mille regrets 165
31. Lassus Chi chi li chi 168
32. Lassus La nuit froide et sombre 178
33. Lassus Bonjour mon cœur 182
34. Lassus Matona, mia cara 185
35. Le Jeune Revoici venir du printemps 194
36. Marenzio Crudel perché mi fuggi 202
37. Marenzio Scaldava il sol 207
38. Monteverdi O Mirtillo, Mirtillo, anima mia 213
39. Monteverdi Ohimè se tanto amate 220
40 Monteverdi Lamento d’Arianna 226
41. Morley My bonny lass she smileth 257
42. Morley Now is the month of maying 260
43. Parry Music, when soft voices die 262
44. Passereau Il est bel et bon 265
45. Pearsall Lay a garland 271
46. Pilkington Rest, sweet nymphs 276
47. Rore Ancor che col partire 279
48. Sandrin Douce mémoire 284
49. Schubert Der Tanz 289
50. Senfl Ach Elslein, liebes Elselein 292
51. de Sermisy Au joli bois 294
52. Stanford The blue bird 298
53. Stanford Heraclitus 302
54. Sullivan The long day closes 305
55. Vaughan Williams Three Shakespeare Songs 311
56. Vautor Sweet Suffolk owl 325
57a. Weelkes Thule, the period of cosmography (The first part) 333
57b. Weelkes The Andalusian merchant (The second part) 340
58. Wilbye Draw on, sweet Night 347
59. Wilbye Weep, weep, mine eyes 358
for online perusal only
Commentary 365
iv

PREFACE
The aim of the Oxford Choral Classics series is to offer choirs a practical and inexpensive
working library of standard repertoire in new, reliable editions. Where space allows, music that
is less widely known but of special value within its genre is also included. Inevitably, any
anthology is a personal selection reflecting the perspective of its editor, and it must also be
recognized that there are wide national differences in repertoire: what is standard fare for a choir
in one country may be little known in another. For this volume of madrigals and partsongs it has
been a hard task to narrow down the enormous field of marvellous music to fit a 384-page book.
In general, I have selected those pieces which are regarded as classics of their kind and which I
have sung with pleasure over the years in a variety of different amateur vocal ensembles. I have
deliberately included three lengthy items—Debussy’s Trois Chansons, Monteverdi’s Lamento
d’Arianna, and Vaughan Williams’s Three Shakespeare Songs—to counterbalance the brevity of
many of the other pieces. I hope that those whose singing has been confined to the English
language will enjoy the French, German, and Italian items. For historical reasons, the book has,
chronologically, rather a hollow centre. During the seventeenth and eighteenth centuries, most
vocal music required the accompaniment of at least a harpsichord, as is shown by the
Monteverdi pieces here: nos. 38 and 39 had continuo parts added in later editions, while no. 40
had one from the start. Writing for unaccompanied mixed voices resumed only in the nineteenth
century. One area that is under-represented is nineteenth-century Germany. Those wishing to
explore that repertoire more fully can do so from German Romantic Partsongs, selected and
edited by Judith Blezzard (Oxford University Press, 1993). Other Oxford anthologies covering
specific areas in more depth are: Philip Ledger, Oxford Book of English Madrigals (1978); Alec
Harman, Oxford Book of Italian Madrigals (1983); Frank Dobbins, Oxford Book of French
Chansons (1987); and Paul Hillier, English Romantic Partsongs (1986).
The specific parameters followed for selection here have been these:
1. The period covered is from about 1500 up to the twentieth century (though copyright
considerations have limited the amount of twentieth-century music included).
2. Music for male or for female voices has been excluded, as have settings of folksongs (though
nos. 1, 28, and 50 may fall into that category) and American music. These may be included
in future volumes of the series.
3. The music included comes from England, France, Germany, and Italy (with one partially
Spanish piece to open the book).
4. Only complete, self-standing compositions have been included. There are two items which
may seem to be exceptions: Elgar’s As torrents in summer (no. 14), a self-sufficient partsong
from King Olaf and subsequently circulated independently, and Monteverdi’s Lamento
d’Arianna (no. 40), which the composer arranged from the solo operatic version.
for online perusal only
This volume contains music from several traditions. The French polyphonic chanson and the
Italian madrigal both arose in the 1520s. The fact that the repertoire circulated so widely in
print implies that there must have been a market of enthusiastic singers throughout western
Europe (and beyond: records survive of the regular dispatch of the latest editions from Venice
to a customer in Poland). In England, the craze for madrigal singing was inspired by the
importation of Italian books in the 1580s and encouraged by Thomas Morley’s publications in
the 1590s. Germany had its own native tradition, which gradually absorbed Italian traits. In
the early years of the seventeenth century, this sort of singing declined. Solo music became more
fashionable. In England it was supplemented by music for male voices sung in convivial
surroundings.
Most sixteenth-century vocal music was essentially for ensembles of soloists. But when it was
revived (a process that in England went back to the madrigal societies of the mid-eighteenth
century), it was sung chorally, and new repertoire was written for larger ensembles. A century
ago, Elgar’s partsongs may well have been regularly sung by choirs of two hundred. Over the last
few decades, such choirs have tended to concentrate on large-scale choral works, leaving
iv

Preface
madrigals and partsongs to smaller choirs. All the music in this collection works when sung
chorally; the madrigals may, of course, be sung with single voices, but some of the twentiethcentury
pieces require a larger ensemble because the parts divide.
Translations
Other volumes in the series have included singing translations. But the tendency now is to sing
madrigals and partsongs in the original language. Since many of the settings are so closely tied
to the sound and shape of the original words, we have instead provided a literal translation so
that singers can understand what they are singing.
Editorial practice
The policy of the Oxford Choral Classics series is to use primary sources wherever possible
(except for copyright pieces, which are reprinted as given by their original publishers). For the
older material, primary sources, mostly printed, have been consulted wherever possible. In
presenting our editions, the aim is first and foremost to serve the practical needs of nonspecialist
choirs. All material in square brackets is editorial. The comments below apply chiefly
to the earlier material.
Prefatory staves have been given for pre-1700 sources, except when two parts are printed on
one stave, when such information is added to the commentary. Note values have been reduced if
necessary to give a crotchet pulse. Changes can be identified from the prefatory staves. Time
signatures have been modernized. When there is a time change during a piece, the original is stated
in the commentary. Key signatures are generally unchanged, including pieces notated in minor
keys with one accidental too few. However, if transposition produces a key with one too many
sharps, the correct modern signature has been used and the accidentals have been adjusted.
Accidentals are expressed in the modern way and superfluous accidentals are omitted. Any doubts
concerning the validity of original accidentals are mentioned in the commentary. Cautionary
accidentals are added in round brackets, and these are also used for accidentals implied but not
notated in the source. Editorial accidentals are in small print. In the figured bass of no. 40, the
original convention of a sharp indicating a major chord and a flat a minor chord (with no
naturals) has been retained. Spelling, punctuation, and capitalization have been modernized,
though archaic words are retained and some early foreign texts that are familiar to singers in their
original form have been only partially normalized. Final notes, when originally notated as longs or
breves, are printed as a whole-bar note with pause. Early sources vary in the accuracy of the
underlay; editorial interpretation of ambiguous placings has not always been noted. In sixteenthand
seventeenth-century editions, the exact repetition of the previous phrase is often shown by ‘ij’.
This is usually unambiguous (or at least no more ambiguous than the fully underlaid phrase), so
we have not marked text added in accordance with the sign as editorial, though have noted in the
commentary if there are any problems.
Obvious errors have been corrected without comment; cases of doubt or discrepancy are
mentioned in the commentary. The length of the final notes of a phrase are often inconsistent; we
have sometimes left them thus, as a reminder that in earlier music, the written length of a note may
be a matter of convenience of notation rather than an instruction to the performer. Examples are
in Draw on, sweet Night, no. 58, bar 115, and Weep, weep mine eyes, no. 59, bars 64–6. Beaming
follows modern conventions, but slurs are not added merely to show underlay.
As regards compass, we have given the range of each part. Before 1700, the choice of voices
was different and ranges were not necessarily suitable for modern SATB choirs. Some pieces
were probably intended for ATTBarB, and even if trebles or sopranos were used on the top
lines, it is likely that voices were not trained to sing as high as they are now. Alto parts tend to
be low, but if the music is transposed up, tenor parts can become too high.
A convention of using two different sets of clefs grew up during the sixteenth century and
declined in the seventeenth (see Commentary, p. 365, for explanation of notation):
a) (low clefs): C1, C3, C4, F4, as in no. 37 (Marenzio, Scaldava il sol),
b) (high clefs): G2, C2, C3, F3, as in no. 36 (Marenzio, Crudel perché mi fuggi).
for online perusal only
v

Preface
These did not indicate different pitch levels, but were used for convenience of notation and to
fit modal theory. Singers were not tied to any absolute pitch level, though the first (lower) clef
combination probably was nearer modern pitch than the higher combination, which implied
transposition down perhaps by a fourth or a fifth. We have generally left low-clef pieces at the
original pitch or transposed them up a tone, but have transposed high-clef pieces down a tone
or two (see, for example, the two Marenzio madrigals, nos. 36 and 37). The arrangement was
less systematically followed in England; Morley, in his A Plaine and Easie Introduction to
Practicall Musicke (1597), objected to it. In practice, he uses the two sets of clefs, but without
consistently following the implied ranges. Modern singers may choose any pitch that suits
them, though the higher the pitch, the more likely it is that the sopranos will sound shrill and
the less likely it is that their words will be audible.
Bibliographical citations of the sources are as simple as possible, though with enough
information to be able to identify them in the standard bibliographies and catalogues. Pieces
taken from sixteenth-century printed anthologies are identified by their number in RISM
(Répertoire internationale des sources musicales, specifically François Lesure, Recueils
imprimés, XVIe–XVIIe siècles, G. Henle, Munich, 1960). The name of the composer is omitted
and titles are generally given in short form, unless there is interesting information worth
quoting. Capitalization is not retained for titles wholly or substantially in upper-case letters.
Place and date of publication are given in modern form. The name of the publisher is included
only for nineteenth- and twentieth-century music: most of the firms still survive.
for online perusal only
Lute airs
We have included a selection of English lute airs. They have been neglected by vocal ensembles
during the last few decades because of the belief that they were primarily intended for solo voice
and lute, which is only partially true. Dowland’s Weep you no more, sad fountains (no. 13) is an
example that is far more effective with four voices. They present a practical problem, in that their
tessitura is rather different from the madrigals of the time. The upper three parts tend to be higher
(fine for sopranos and altos, but awkward for reluctant tenors), while the bass is too low for
downwards transposition to help the tenor. In the original editions, these songs are printed with
the soprano part and lute accompaniment on the left-hand page, so that a soprano can sing the
melody and accompany herself on the lute (domestically, lutes were generally played by women);
the other three parts were printed on the opposite page, facing outwards, so that they could be
sung or played from the same copy. This permitted performance as a solo song, as a four-part
vocal piece, or with a mixture of voices and instruments (probably viols), the latter two
alternatives with or without lute. The difficulty of the singer or player who was taking the bottom
part of the right-hand page getting near enough to the music if the soprano was playing the lute as
well as singing makes it likely that when four parts were present, the lute would usually have been
omitted. We have done so since, apart from that argument, lutenists prefer to play from editions
or facsimiles of the original tablature, not from modern transcriptions. Facsimiles of the repertoire
are published by Performers’ Facsimiles and Brian Jordan Publications. Modern scores with
tablature are published in Musica Britannica, vols. 6 (Dowland, but only the 2000 revised edition
has tablature), 53, and 54.
Only the first verse of each song was underlaid, and sometimes it seems that the composers
paid very little attention to how the subsequent verses fitted, especially in the lower parts. The
worst example is Robert Jones’s Farewell, dear love (no. 29). Singers and editors can break up or
tie the original notes to get a satisfactory underlay, or else follow exactly the pattern of the first
verse, adjusting only when a complete impasse is reached. We have preferred the latter, as being
the way singers accustomed to dealing with ‘ij’ markings would have behaved.
Keyboard reductions
Keyboard reductions are given in their most readable and playable form, without always
showing the movement of individual polyphonic voices, especially where these cross. This
sometimes results in apparent parallel fifths and octaves, but we consider this preferable to the
frequent sight of upstems and downstems crossed. Where all the voices of the texture are
impossible to play, the keyboard reduction has been discreetly simplified. The marking of
vi

Preface
accidentals as editorial or cautionary is not carried through as pedantically as in the vocal parts.
Keyboard reductions from the first editions of nineteenth- and twentieth-century works are not
treated as sacrosanct and are amended without annotation.
Performance suggestions
We have given performance suggestions only in the keyboard reduction. Prescribing an initial
tempo or mood is difficult since, apart from legitimate differences in understanding what the
music is about, they can depend so much on circumstances, the size of the choir (or whether indeed
there is more than one singer to a part), and the nature of the performance space. Fashions change,
and generally the tempo of the earlier music in this collection is now taken faster than was
considered normal a few decades ago. It is often helpful to take a section where the setting is
syllabic in the basic note values of the piece (e.g. crotchets in no. 2), then think of the speed you
would speak it in a fairly formal manner (without electronic aids) in the place where you intend to
perform it. With large forces, however, tempi are likely to be slower. Dynamic suggestions have
been added sparingly: solo ensembles will find it more interesting if dynamics emerge from their
singing, while conductors will want to make their own decisions. Generally, in the earlier pieces,
contrast is achieved within the phrase. Especially in Italian, but also in English and German
madrigals in the Italian style, the stress of the words and the shaping of the phrase are allimportant,
and in polyphonic writing, these do not coincide. Climaxes are often built into the
music when polyphonic writing becomes homophonic and by the harmonic movement. In a piece
that is primarily contrapuntal, chordal sections should be special events, though not necessarily
loud ones; see, for example, both parts of Thule, the period of cosmography (no. 57), where ‘These
things seem wondrous’ is usually sung with quiet amazement. Barlines should not be allowed to
dominate stress. Their presence is not, however, just a modern convenience: Renaissance singers
would have been aware of the continuing tactus and would have realized that ‘Vie più di posa’ in
no. 37, bar 37, made its effect by a rhythmic displacement. We have added pointers to
performance style in the commentary to some of the pieces and have shown the groupings of three
beats in duple contexts by square brackets above the accompaniment. The pattern
is
an attempt to show the esclamazione, an expressive way of singing a long chord with an initial
accent then a rise from soft to a firm centre of the note and a fading at the end. For less dramatic
long notes (especially final ones), the messa di voce is appropriate: just a crescendo and
diminuendo from a quiet start.
We have avoided dynamic indications when several verses are underlaid to the same music.
It is too easy to make loud and soft patterns in the more straightforward pieces too predictable:
see the commentary to no. 41.
for online perusal only
Acknowledgements
First, my thanks to John Rutter for enlisting my help in the series and swapping roles for this
volume. His high standards with regard to all aspects of the work and his eager eye for detail
are difficult to emulate. Brian Clark bore a considerable burden in checking sources and writing
piano accompaniments, and his linguistic skills have been invaluable in understanding the
words and producing the translations. As for all of this series and for my OUP Messiah edition,
the typesetting has been done by Jenny Wilson with great skill and patience (especially with
regard to reading my handwriting). Selene Mills kindly translated the Lamento d’Arianna. That
Pearsall’s Lay a garland is printed, probably for the first time, from the composer’s manuscript,
is due to help from Nicholas Temperley, Michael Pope, the Bristol Madrigal Society (which
confirmed that it had no MSS), and Blaise Compton. I am grateful to Peter Branscombe for
answering queries on the Haydn and Schubert pieces. At the final stage, Leofranc Holford-
Strevens cast his expert eye over the translations. A more long-term debt is owed to all with
whom I have sung the music.
The final stage of work on this volume coincides with the final days of my mother’s life, so
I dedicate it to her memory, with particular gratitude for her firm belief in the importance of
education and the sacrifices she and my father made to ensure that I received the best that the
British educational system could supply.
CLIFFORD BARTLETT
vii

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for online perusal only
singing in the branches.
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© Oxford University Press 2001. Photocopying copyright material is illegal.

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for online perusal only
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that I am now married.’
Din di rin dín. Din di rín, din di rín, din di rín da ña, din di rin dín.
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Words by Giovanni Guidiccioni (1500–41)
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The white and sweet swan, dies singing,
JACQUES ARCADELT
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for online perusal only
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and in tears
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gen
gen
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
!
!
!!
y
8
+
12
= : .
: .
q .
< .
: .
< .
: .
18
: .
q .
< .
: .
< .
! 7 W W ! W W W ! W ! 7 W W W W W W W 7 W
do
/ ! W ! W W W ! ! 7 W W 0 W
) W W W W 7 W
do
! ! W ! W W W ! ! 7 W W 0 W
do
W W W W W W 7 W W W W W W 0 W+
Arcadelt: Il bianco e dolce cigno
W W W W W W W W
/ ! W ! W W W ! " 8 7 W W 0
+ W W W
do
giun
giun
giun
giun
g’al fin
g’al fin
g’al fin
g’al fin
del
del
del
del
vi
vi
vi
vi ver
ver
ver
ver
mi
mi
mi
mi o.
/ 7 ! W WW W !! . WW WW W ! W ! W ! ! 7 WW WW 0 W W +
WW WW WW WW 7 WW
/!!
! ! W
!!W W WW W W !! " ! 7 W W 0 W ) W W 7 W WW 0 W W + WW WW
WW
mo
W W W W W ! W "
W ! W W W W W 7 W W W ! W W W W W W W W . W . W !
mo re scon so la to, Ed io mo ro be a
7 W W W W W W W 7 W W W ! 7 W W W W W "
Ch’ei mo re scon so la to, Ed io mo ro,
ed io mo ro be
W W 8 9 9 7 W W W W W ! "
sor
re
te,
scon
so
o.
o.
o.
Stran’
Stran’
Stran’
Strange and opposite fate,
WW!W W W W WW WW 7 W W W W 7 WW WW W W !W 0 W ) WW
W WW WW W W! W W WW ""W W . . W !
7WW W W W W W W W
8 7 W W W ! W 7 W 7
WW WW WW !W "
that he dies disconsolate,
la
to,
Ed
io mo ro be
and I die happy.
e
e
e
di
ver
di ver
di ver
for online perusal only
a
Ed
io
mo
ro
be
sa
sa
sa
Stran’
a
sor
sor
e
te,
te,
to.
a
sor
di ver
Ch’ei
Ch’ei
te,
sa
5

=
>
!!
)
.
.
`
`
8
)
6
24
= : .
: .
q .
< .
Arcadelt: Il bianco e dolce cigno
! ! W W W W ! ! 7 W W W W W W W W W !
Mor te che nel mo ri re,
! 7 W W W W W ! ! 7 W W W W W W W W ! W
to. Mor te che nel mo ri re, M’em pie di gio ia tut t’e di de
! 7 W W W W W ! ! 7 W W W W W W W W 0
+ W !
to. Mor te che nel mo ri re, M’em pie di gio ia tut t’e di de si
! 7 W W W W W ! ! 7 W W W W W W W W W !
to. Mor
te
M’em
che nel mo ri re, M’em pie di gio ia tut t’e di
: . !!! ! 7 WW WWW WWW WWW WWW !!! !!! 7 WWW WWW WW WW . WW WW W W WW 0 W W + !!
f
mf
< . ! 7 W W W W W ! ! 7 W W W WW WW WW WW W W W! ! W
pie
di
gio
ia
tut
t’e
di
de
si
de si
si
for online perusal only
: .
30
: .
q .
< .
: .
< .
Death which in dying,
fills me with joy and desire.
! ! W W ! W W W W W W ! " ! 8
re.
! ! W W ! W W W 0 W W ! W W W W 0 W )
W W W W
re. Se nel mo rir’ al tro do lor non sen to, Di mil le mor te il dì, di
! 7 W W W ! W W W W W W ! ! 7 W W 0
+ W W 0 W
re.
! ! W W ! W W W W W W ! " 7 W W 0 W+
re.
Se
Se
Se
nel mo
nel mo
nel mo
rir’
rir’
rir’
!!! 7 W WW WW !!3 WW WW WW W WW !W ! . W W" W W 0 W +
W! 0 W+ W W
!!WW WW ! 3 ! WW WW W W 0
W W )
cresc.
WWW!! "W 7 7 W W 7 WW W 0 WW+
If, in death, I feel no other pain
al
al
al
tro
tro
tro
do
do
do
lor non
lor
lor
non
non
sen
sen
sen
to,
to,
to,
Di
mil
Di
I would be content to die
a thousand times each day.
le mor
mil
te il
le

=
>
)
)
)
)
+
)
+
)
)
+
Q
4
4
4
36
= : .
: .
q .
< .
: .
< .
: .
41
: .
q .
< .
: .
< .
7 W W 0 + W W W W W W W ! W " 7 W W 0 W
Di mil le mor te il dì sa rei con ten
to,
di mil
+
! 0 W W W ! 7
W W 0 W )
W 0 W W W ! 0 W
le mor te il dì,
di mil le mor te il dì, di mil
le
W W W 0 + W W 0 W+ W W W W W W W W 0 + W W 0 W W W W 0 W +
mil
dì,
di
W 0
+ W ! ! ! W W ! W W W 0
+ W W 0
+ W !
mor
mil
te il dì
le
mor
te il dì
sa
sa
W W WW W 0 0 W W ) W WWWW WW W W W ! W 0 W W " +
WW 00 WW +
W W W W WW W 0 0 W W ) W
WW 0 W W + ! !W 0 W ! W W WW WWW !W W W
W W W 0 WW+
WW 0 W W !
W W W W W W ! W " " " "4
mor
W W ! 7
W W 0 W )
W 0 W W W W 0 W
) W 0 W
dì,
di mil le mor te il dì sa rei
W 0
+ W W W W W ! W W W 0 W+ W 0 W+ W 0 W
mor
te il
mor te il
dì
te il dì
sa
sa
rei
rei
con ten to, di
con
Arcadelt: Il bianco e dolce cigno
W W ! "
con ten
W W ! "4
! ! W W W W W W 0
+ W W 0 W+ ! 7 W W W ! "
sa
rei con
rei
rei
ten
con
ten
con ten to, di
to, di
mil
WWWW WW W W W ! W 0 W W "
+ 7 W W 0 W + WW" 00 W WW00 W +
WW" W !! """
!W 0 W W!
W WW WWW W! W W WW 00 WW
+ WW 0 W W + ! 7 W W W ! "
ten
mil
mil
to,
di
le mor
for online perusal only
to.
le
le mor te il
mor te il dì
dì
mil
sa
sa
te il dì,
le
mor
di
rei con ten
rei con ten
mil
te il dì
to.
to.
to.
p
le
le
7

=
>
=
>
=
>
:
:
:
.
.
.
!!
!
!
!
!
>
:
W
W
.
WW
W
W
!
!
W
W
WW
W
W
!
!
W
W
W
W
W
W
W
8
Words by George Gascoigne ( c. 1534–77)
SOPRANO
ALTO
TENOR
BASS
=
< .
W
W
W
W
W
W
3
4
3
4
3. Of all the birds that I do know
7 7 W W ! ! WW !! WW W! 0 W + WW !! 00 WW W W W W
[Light and lively]
1. Of
2. Come
3. She
all
in
ne
the
a
ver
birds
morn
wand
that
ing
ers
I
mer
do
ri
know
ly,
broad,
7 7 W W !! W W ! ! W W far
! ! a
W
W ! 0
! 0
JOHN BARTLET
( fl. 1606–10)
Phil
When
But
ip
Phil
is
my
ip
at
7
< .
spar
hath
home
WW!! . WW !! 0
0 7 7 WW ! ! WW !! WW W! 0 W + W
row
been
when
hath
late
no
ly
peer;
fed,
For
Or
I do call,
If I com
WW!! WW !! 0
0 7 7 WW !! W W mand
! ! W W lays
! ! W W
sit
in
she
an
high,
eve
or
ning
she
sit
so
she
ber
on
for online perusal only
14
< .
!! 00 W W W W W W ! ! W W !! . WW !! 0
0
low,
ly,
load,
! 0
! 0
Be
When
With
she
Phil
lips,
far
ip
with
off,
list
teeth,
or
to
with
be
go
she
to
near,
bed,
WW W W W W
There
It
tongue and all She chants,
WW!! WW !! 0
0 WW W W W W
is
is
no
a
she
20
< .
!!W W ! ! W W ! 0
! 0
bird
heaven
chirps,
so
to
she
fair,
hear
makes
so
my
such
fine,
Phippe,
cheer,
WW WW WW !! W !! . W W !! 0
0
Nor
How
That
yet
she
I
so
can
be
fresh
chirp
lieve
as
with
she
this
mer
! 0
!
WW WW WW !
0
! W W hath
! ! W !! 0
0
no
ry
of
mine.
lip,
peer;
© Oxford University Press 2001. Photocopying this copyright material is illegal.

=
>
:
:
.
.
00
W
W
+
00
00
Bartlet: Of all the birds that I do know
9
=
27
< . 00
7 7 W W ! ! WW !! WW !! WW !! 00 WW
WW W W !! WW
7 7 W W ! ! WW ! ! W W ! ! W W ! 0 W
!
W W
0
W W W ! ! W W
For when she once hath felt a fit, Phil ip will cry still:
34
< .
WWW W WW W ! 0
yet,
yet,
yet, yet, yet,
W W W W W W WW W W W W W W WW
0
yet, yet, yet, yet, yet,
yet, yet, yet,
W W !! 0
0
WWWW WW WW W W WW W W WW WW WW W W WW ! ! W W ! 0
! 0
yet,
yet,
yet,
yet,
yet,
yet.
for online perusal only
4. And yet besides all this good sport,
My Philip can both sing and dance,
With new found toys of sundry sort,
My Philip can both prick and prance,
And if you say but ‘fend cut, Phip’,
Lord, how the peat will turn and skip,
Forwhen...
5. And to tell truth he were to blame,
Having so fine a bird as she,
To make him all this goodly game,
Without suspect or jealousy;
He were a churl, and knew no good,
Would see her faint for lack of food;
Forwhen...

=
>
:
;
;
<
:
ý
ý
ý
ý
ý
|
|
|
|
|
+ W
>
W
W
W
W
W
W
W
+
W
+
+
10
S.
A.
T.
B.
Words: Anon.
SOPRANO
4
: - -
: - -
: - -
q - -
< - -
: --
< --
1
2
ALTO
TENOR
BASS
(for
rehearsal
only)
=
: - -
: - -
: - -
q - -
< - -
: --
< --
W
W
W
4
4
4
4
4
Allegro
4
4
fl.
! W W ! 0 W W 0
+ W W W W W
crea tures now are mer
ry, mer ry, mer
! W W ! 0 W W W W W W W W W
crea tures now are mer ry, mer ry, mer ry, mer
! W W ! 0 W W W W W W W
crea tures now are mer ry, mer ry mind ed,
! W W ! 0 W W W W W W W W W
crea tures now are mer ry, mer ry, mer ry, mer
! W W ! 0 W W 0 W W W W W
All
All
All
All
crea tures now are mer
!!! WWW WWW !!! 000 W W W WW W ry,
0 WW WW WW W mer ry, mer
) WWW
WW WWW W W
f!!W W W W
!! 00 WW WW 0 W W WW W WW WW WW
All
4. All creatures now
JOHN BENNET
( 1599–1614)
W W 7 W W 0 W+
W W W W W W W W W W W W
ed,
are mer
ry, mer ry, mer ry, mer ry, mer ry, mer ry, mer
W W W W W W W W W W W W W W W W W W W W W
ry, mer ry, mer ry, mer ry, mer ry mind ed, are mer ry, mer ry, mer ry, mer
W W W W W W W W W W W W W W W W
ry, mer ry mind ed, mer ry, mer ry mind ed, mer ry, mer ry
W W W W W W W W W W W W W W W W W W W W W W W W
mer ry, mer ry, mer ry, mer ry, mer ry, mer ry, mer ry, mer ry, mer ry, mer ry, mer
W 0 W W W W W 0 W+
W W W W "
mind
mer
mer
mer ry,
ry, mer ry, mer ry, mer
WWWWW W W W W W W W W W W 0 ry, mer ry, mer ry mind
W W W ) WW
W WW W WWW WW W W W W WW WW WWW W
WW 0 WW WW WWW
+ W WW WW WW WWWW W 0 WW W W W W WW WWW WW " W W W W W W W W
mer
Cantus
Quintus
Altus
Tenor
Bassus
for online perusal only
ry
ry,
ry,
ry,
ry,
ry,
ry,
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
"
+ W
W
)
"!
û
)
/ WW
W
x
+
+
)
W
W
W
W
S.
A.
T.
B.
7
= : - - W ! W ! 7 W W 0 W+ W W ! W W W 0 W + W W
mer ry mind ed. The shep herds’ daugh ters play
ing, the shep herds’ daugh
: - - W W ! " 8 7 W W 0
+ W W W ! W W
mer ry mind ed.
The shep herds’ daugh ters play ing,
: - - " ! 7 W W 0 W / W W W W W W W 0 W W W
mind
ed. The shep herds’ daugh ters play ing, the shep herds’ daugh
q - - W W ! " 8 7 W W 0 W W W ! W W
mer ry mind ed.
The shep herds’ daugh ters play ing,
< - - " ! 7 W W 0 W+
W W ! W W W 0 W +
W W
: --
< --
ed. The shep
WWW ! W W !! " 7
WWW W 0 0 W ) W
mp
"WW!
7 W W 0 W+
herds’ daugh ters
Bennet: All creatures now
play
ing, the shep herds’
WW!W 0 W )
WWW WW ! W W 0 0 W W WWW WWW
W WWW WW 0 -W
W W+ WW WW W 0 W +
WW WW
ters
the
ters
the
daugh ters
11
for online perusal only
S.
A.
T.
B.
12
: - -
: - -
: - -
q - -
< - -
: --
< --
! ! 8 7 W W W W W W W
ing,
The nymphs are fa la la
ing,
W 0
+ W W ! ! 7 W W W W W
herds’ daugh ters play
ing,
The nymphs are fa
! W W W W W W W W W W W W W W
ing, are play ing, are play ing, The nymphs are fa la la
ing,
W 0 W W ! ! 7 W W W W W
herds’ daugh ters play
ing,
The nymphs are fa
! ! 8 7 W W W W W W W
play
shep
play
shep
play
ing,
The
nymphs
!!W 0 W ! W W W ! W W W W WW 7 W W W W W W W W W WW
W 0 + W ! W WW ! W WW W WW WW
WW WW
WWWW
are
fa
la
la
ing,
la
la

=
>
+
+
+
S.
A.
T.
B.
=
12
15
: - -
: - -
: - -
q - -
< - -
: --
< --
Bennet: All creatures now
7 W W W W W W W 8 7 W W W W W
the nymphs are fa la la ing,
the nymphs are fa
W W 8 7 W W W W W W W 7 W
la ing,
the nymphs are fa la la ing,
the
7 W W W W W W W W W W W W W W W W W
the nymphs are fa la la ing, fa la la la la ing, fa la la
W W 8 7 W W W W W W W W W W
la ing,
the nymphs are fa la la ing, the nymphs
7 W W W W W W W 8 7 W W W / W W
the
nymphs are
fa
la
la
ing,
7WWW W W W W W WW W W W W W W W W W W WW WWW
7WW WW W
W7W W WW WW WW W W WW W W W W W W W
WW W W / WWW WW
the
nymphs are
fa
la
la
are
la
for online perusal only
S.
A.
T.
B.
18
: - -
: - -
: - -
q - -
< - -
: --
< --
W W ! / W ! 7 W W 0 W+ W W W W W W W W W
la la la
ing, Yond bu gle was well wind
W W W W ! ! 7 W W 0 W+ W W W W W W W W W
are fa la la
ing, Yond bu gle was well wind
W W ! !
7 W W 0 W ) W W ! !
la la la
ing, Yond bu gle was well wind
ed,
W W W W W W ! 7 W W 0 W ) W W W 0 W W W W
fa la la la la la ing, Yond bu gle was well wind
W W ! ! 7 W W 0 W+ W W "
nymphs
la
la
la
ing,
Yond
WWWW !W W ! / W !! 7 WWW WWW 000 WWW
mf
WWW WWW ! ! W W W !! 7 WW WW 00 WW
bu
gle was
well
wind
WWW WWW !WW W WW WW WWWW ! WW
WWWW " W 0 W ) W W W

=
>
W
)
+
)
W
W
)
)
W
S.
A.
T.
B.
=
22
: - -
: - -
: - -
q - -
< - -
: --
< --
Bennet: All creatures now
W W W 0 W
) W W ! / W ! W ! W W
At O
ri a na’s pres
ence each thing smil eth.
W W W 0 + W W W W / W W /!
W ! W W
At O
ri a na’s pres
ence each thing smil eth.
7 W W W W W W ! W ! W W / W W W
At O ri a
na’s pres
ence each thing smil eth.
W W W 0
+ W W W ! W ! W W W W W
At O
ri a na’s pres
ence each thing smil eth.
W W W 0 W W W ! W ! W ! W W
ed,
ed,
ed,
ed,
At
O
ri
a
na’s
pres
WWWWWW W W W 00 W W WW WWWWW W !! / / WWW !!! WW ! ! WWW W W
WWWWW 00 WW+
WWW
!!W W ! WWW ! W W / W W WW WWW
ence
each
thing
smil
eth.
The
The
The
The
The
13
for online perusal only
S.
A.
T.
B.
: - -
: - -
: - -
q - -
< - -
26
: --
< --
W 0
) W W ! W W W 0 W
) W W "
them selves dis cov er, the flowers them selves dis cov
W 0 W+ W W ! W W W 0 + W W W W W !
them selves dis cov er, the flowers them selves dis cov
W 0 W ) W W ! W W W 0 W ) W W W / W ! W
them selves dis cov er, the flowers them selves dis
cov
W W W W W ! W W W 0 W
) W W W W W W !
them selves dis cov er, the flowers them selves dis
cov
W W W W W W ! W W W W W W "
flowers
flowers
flowers
flowers
flowers them selves dis
cov
er,
the
flowers them
selves
WWW 000 WWW WWWW
WWW !!! W W W WWW WWW 000 WW WWWW WWW / WW " W | W
WWWW W
W W W W
W W
!!W W WW 0 W WW W W WW
W "W W !
dis
cov

=
>
+
)
-
-
x
"
WWW
S.
A.
T.
B.
=
14
30
: - -
: - -
: - -
q - -
< - -
: --
< --
Bennet: All creatures now
! 0 W W 0
+ W W W W W W W W W W W W W W W W W 7 W W W W
er, Birds o ver her do hov
er, Mu sic
! 0 W W 0 + W W W W W W W W W W W W W W W W W 7 W W W W
er, Birds o ver her do hov
er, Mu sic
! 0 W W 0 W W W W W W W W W W W W W W W W W 7 W W W W
er, Birds o ver her do hov
er, Mu sic
! 0 W W 0
+ W W W W W W W W W W W W W W W W W 7 W W W W
er, Birds o ver her do hov
er, Mu sic
! 0 W W 0 W W W " " 7 W W W W
er,
Birds
o
!!! 000 W W W WWW 000 WWW+
p
! 0 WW WW 00 WW +
ver
her
do
hov
er,
WWW WWW WW WW WW WW WW WW WW WW WWWW W W WWWW
W WW "WW WW WW WW WW WW WW WW
Mu
sic the
WWWW 7 W W W W W W W W
W ) mp
WW WW 7 WWW WWW WWW WWW
the
the
the
the
for online perusal only
S.
A.
T.
B.
: - -
35
: - -
: - -
q - -
< - -
: --
< --
W W /!
W W W W W W W ! ! 7 W
be guil eth, mu sic the time be guil eth.
W W ! ! 8 9 8 7 W
time
time
W W ! / W W W W W W W ! / W ! 7 W
be guil eth, mu sic the time be guil
eth.
W W ! W W W W W W W ! ! 7 W
be guil eth, mu sic the time be guil eth.
W W ! W 7 8 9 8 7 W
time
time
time
be
be
guil
guil
eth.
eth.
WWW WWW /!!!
/ W W WW WW - WW W W W W W !W ! / W !! 7 WWW
WWWW ! WW W W W W W W ! ! 7 W
See
See
See
See
See
mf

=
>
W
WW
W
WWW
+
"
/
S.
A.
T.
B.
39
= : - -
: - -
: - -
q - -
< - -
: --
< --
Bennet: All creatures now
W W W W W W W W W 0 W ) W W ! ! 8 7 W
she comes, see where she comes with flower y gar lands crown ed,
W W W W W W W W W 0 W ) W W /!
! 7 W W W W
she comes, see where she comes with flower y gar lands crown ed, Queen of
W W / W W W W W W W 0 W ) W W ! ! 7 / W W W W
she comes, see where she comes with flower y gar lands crown ed, Queen of
W W W W W W W W W 0 W ) W W ! ! 9
she comes, see where she comes with flower y gar lands crown ed,
/ W W W W W W W W 0 W+ W W ! ! 7 W W W W
where
where
where
where
where she comes, see where she comes with
flower
y gar
lands
crown
) WWWWW / WWW WWW WW WWW WWW WW WWW 000 WWW WWW WWW /!!!
!!!
87WW W7W WW WWW
/ WW W W WW WW W WW WW WW 00 WW WWW!! !! 7 W W W W
ed,
Queen
of
Queen
all
all
all
15
for online perusal only
S.
A.
T.
B.
44
: - -
: - -
: - -
q - -
< - -
: --
< --
W W W W W ! ! 7 W W W W W W ! "
of all queens re nown ed,
queen of all queens re nown
W W ! W W W W W W W W W W ! W "
queens
/ W W W W W W W ! ! " "
re nown ed, queen of all queens re
nown
7 W W W W W W ! ! 7 W W W ! "
Queen of all queens re nown ed,
re nown
W W ! ! 7 W W W W W W " "
queens
queens
re
re
nown
nown
ed,
ed,
queen
of
all
queen
queens
of all
/ W WWWW W W W W WW! W ! W W W W ! W WW ! W W WW WW WW W ! W W """
W WW !W W WW WW WW W !W W W W W W "W W ! " "
re
nown
queens
re
nown
ed.
ed.
ed.
ed.
ed.

=
>
/
S.
A.
T.
B.
=
16
49
: - -
: - -
: - -
q - -
< - -
: --
< --
Bennet: All creatures now
8 ! W W ! W W ! W W ! ! !
Then sang the shep herds and nymphs of Di a na,
8 ! W W ! W W ! W W /!
! !
Then sang the shep herds and nymphs of Di a na,
8 ! W W ! W W ! W W ! ! !
Then sang the shep herds and nymphs of Di a na,
8 ! W W ! W W ! W W ! ! !
Then sang the shep herds and nymphs of Di a na,
8 ! W W ! W W ! / W W ! ! !
Then
sang
the
shep
herds
and
nymphs
8 !!! WWW WWW !!! WWW WWW !!! WW WWW /!!!
!!! ! ! !
f
8 !! WW WW !! WW W W !! / W W W ! ! !! !
of
Di
a
na,
nymphs
nymphs
nymphs
nymphs
nymphs
for online perusal only
S.
A.
T.
B.
: - -
54
: - -
: - -
q - -
< - -
: --
< --
W W ! " 9 9 " ! 0 W
of Di a na:
Long
live
W W ! " 8 ! ! ! W W ! ! !
of
W W ! ! ! ! ! W W ! ! ! ! !
of Di a na: Long
live fair O
ri a
W W ! " " ! ! ! ! W W !
of Di a na:
Long
live fair
O
ri
W W ! " " ! 0 W ! 0 W "
of
Di
Di
a
a
na:
na:
Long
Long
live
WWW WWW !! ! " " ! 8 ! !! W! W !! !! W W ! ! !!! ! 0 / W
WWW W
!!! " "
"" !! 0 ! W ! ! 0 ! W !W W !!
live
fair
O
fair
O
ri
a
ri
na,
a
fair

=
>
+
"!
ˆW
Q
4
4
S.
A.
T.
B.
=
60
: - -
: - -
: - -
q - -
< - -
: --
< --
Bennet: All creatures now
! ! ! 0 W W 0 W ! ! ! " ! !
O ri
a
na, O ri a
na,
fair
! W W W W ! ! ! ! ! 8 ! W W !
a na, long live fair O
ri a na,
O
ri a
9 8 ! ! ! W W W W ! ! ! W W
long live, long live fair O ri a na, fair O
W W W ! ! ! ! 0 W ! W W ! 0 W W W W W
na, long live fair O ri a na, long live fair O
" " ! ! " ! 0 W W W W W
na,
fair
O
ri
!!W! W W ! 0 W !! W !! W 0 W ) !!
W W ! W !" !! !!WW!! W W
"WW W ! "! ! ! ! ! W W " ! W W ! ! 0 0 WW WW WW WW WW
a
na,
long
O
live fair O
ri
ri
ri
17
for online perusal only
S.
A.
T.
B.
: - -
66
: - -
: - -
q - -
< - -
: --
< --
W W ! ! ! ! ! ! W W W W ! "4
ri a na, long live fair O ri a
! 7 W W W W W ! ! W W ! W W ! "4
na,
long
live
fair
O
ri
! ! 9 8 ! ! ! " "
a na,
fair O ri
a
W W ! ! W / W ! 0
W W 0 W+
! " "4
a
na, fair O ri
a
! 0 W W W ! " ! W 0 W+
" "4
a
na,
fair O
a
na,
!W W W W ! !7 W W! W W ! W !! ! ! ! !! W W 7 ! ! W " W W WW !! """
!! 0 ! W W ! W !W / W !"
0 W !W 0 W )
W! 0 W +
"" " "
fair
O ri a
ri
a
na!
na!
na!
na!
na!

ý
ý
ý
ý
ý
ý
ý
ý
WW
W+
7
W
W
)
+
18
Words by Friedrich Rückert
(1788–1866)
Langsam
pp
SOPRANO
1
ALTO
2
TENOR
1
BASS
2
(for
rehearsal
only)
= : . .
: . .
: . .
q . .
< . .
< . .
: . .
< . .
W
.W
W
W
/W
.W
W
W
W
W
W
W
(from Fünf Gesänge Op. 104)
W 0 W+
W W W . W 7 7 6 W+
se Tö ne der Brust,
pp
W W W W W W 7 7 6 W )
Lei
Lei
W 0
+ W W W W W W W 8
W W W W W W W W W W 8
pp
W W W W W W 7 7 6 W ) W W W W W W W W W W 8
se Tö ne der Brust,
ge weckt vom O dem der Lie be,
pp
9 W 0 W W+
W W W 7 7 6 W W 0 + W W W W W
Lei se Tö ne der Brust,
ge weckt vom O dem
pp
9 . W W W W W W 7 7 6 + W W W W W W W
Lei
pp
9 W W W W W W 7 7 6 + W W W W W W W W
0
WWW WW W ) W WW W W W W W W . W
7 )
0
6WWW WW
0 WW WW WW W WWW W W W W W W W W WW W W WWW WW W W W W
9 . WWW WW WW WW W WW W W W )
6 7 7 6 WW + WW W W WW
W WW WW
Langsam
pp
se
Tö
5. Nachtwache No. 1
ne der Brust,
Lei
Lei
se
se
Tö
Tö
ge
ge
weckt
weckt
ne der Brust,
ne der Brust,
vom O
vom O
for online perusal only
dem der Lie
dem der Lie
ge
ge
JOHANNES BRAHMS
(1833–97)
be,
be,
weckt vom
weckt vom
O
O
der
dem der
dem der
Soft sounds from the breast,
awakened by the breath of love,
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
W
W
W WW
8
1
1
1
1
WW
/ W
1
WW
.
1
1
W
1
.
1
.
. 1
.
1
W
1
W
1
1
/
1
1
.
1
.
/
1
S.
A.
T.
B.
S.
A.
T.
B.
5
= : . .
: . .
: . .
q . .
< . .
< . .
: . .
< . .
8
: . .
: . .
: . .
q . .
< . .
< . .
: . .
< . .
Brahms: Nachtwache No. 1
dolce
8 7 W1 W1 W W1 W1 W . W 8 W1 W1 W
hau chet zit ternd hin aus,
hau chet zit
dolce
8 7 . W1 W1 W W1 . W1
W . W 8 7 . W / W1
hau chet zit ternd hin aus,
hau
dolce
8 W1 W1 W W1 W1 W W 7 8 7 . W W1
hau chet zit ternd hin aus,
hau
dolce
W W W 8 8 7 . W1 W1 W W1 . W1
W W
Lie be,
hau chet zit ternd hin aus,
dolce
W . W W 8 8 7 . W1 W1 . W W1 . W1
/ W W
Lie be,
hau chet zit ternd hin aus,
dolce
W W 8 8 W1 . W1
W . W1 W1 W W 7
Lie be,
hau chet zit ternd hin aus,
1
W W W
7WW . W WW WW
1
W WWW WW W1
WWW . WW . WW W1 W W
1
W W . WW
WW
dolce
WWW . WW 8 8 W1 . W . WW W WW . 1 W W1 W . W1
cresc.
/ WW WW
breathe out, trembling,
f
W1 W1 W W 7 8 W W . W W . W W W 7
aus,
ob sich euch öf fnen ein Ohr,
f
W1 . W1
W . W 8 W . W . W . W W W W W / W W
zit ternd hin aus,
ob sich euch öf fnen ein Ohr,
f
. W1 . W1
/ W W 8 W W W W W W W W W W
zit ternd hin aus,
ob sich euch öf fnen ein Ohr,
f
8 / W W W W W W W 7 9
ob sich euch öf fnen ein Ohr,
f
8 7 W . W W W W W / W . W W 8 7 W
ob sich euch öf fnen ein Ohr,
8 7 W W / W W W W W . W W 8 7 W
f
ternd hin
for online perusal only
ob sich euch öf fnen ein Ohr,
1
. W WWW . WW / W WW 8 W W . WWW . WWW . WW W
f
WW . WW WW W WWW / WW 7
f
7 WW W . WW WW W WW WW W WW / WW . WW W 8 7 WW
whether or not they open your ear,
cresc.
cresc.
chet
cresc.
p
p
chet
öffn’
p
öffn’
19

=
>
W
W
W
W
1
.
1
.
1
1
1
+
/
+
WW
)
W
+
W
W
.
.
. W
.
)
)
S.
A.
T.
B.
S.
A.
T.
B.
=
20
11
: . .
: . .
: . .
q . .
< . .
< . .
: . .
< . .
15
: . .
: . .
: . .
q . .
< . .
< . .
: . .
< . .
Brahms: Nachtwache No. 1
p
9 W 0 W W W W W 7 7 6 W 0 W+ + W W W W
öffn’ ein lie ben des Herz,
und wenn sich kei nes
p
8 7 W W W W W W . W W 7 7 6 W )
W W W W W
öffn’ ein lie ben des Herz,
und wenn sich kei nes
p
8 7 W W W W W W W W 7 7 6 W
) W W W W W W
öffn’ ein lie ben des Herz,
und wenn sich kei nes
p
W 0 W+
W W W . W 7 7 6 W W 0
+ W W W W W W W 7 6 W
ein lie ben des Herz,
und wenn sich kei nes euch öff net,
+
W W W W W W W 7 7 W W W W W W W W W W W 7 6 W
ein lie ben des Herz,
und wenn sich kei nes euch öff net,
W W W W W W W 7 7 W W W W W W W W W W 7 6 W
öffn’
ein lie ben des Herz,
8 7 W W W 0 und wenn sich kei nes euch öff net,
W WW W )
WWW WW . W WW
W WW 0 7 W 7
+ W W 6 WW WWW 0 W WW W )
WWW W WWW W W W
WW0 WW WW W )
WWW
WW WW W W . WWW W 7 7 W6W W WW
W WW WW WW WW WWW WW W WW W W 7 6 W W +
may a loving heart open,
and if none opens to you,
dolce
W W W 7 W1 . W1
W1 . W1
W1 ! . W 7 /!
W 7 8 7 . W W W W W
net, trag ein Nacht wind euch seuf zend, seuf zend
in mei nes
dolce
W 7 . W1 W1 W1 W1 . W /!
W 7 ! W 7 7 W ! 0 W W
net, trag ein Nacht wind euch seuf zend, seuf zend in mei
nes
dolce
W 7 W1 W1 W1 W1 W1 /!
W 7 ! W 7 7 W / W W W W 7
net, trag ein Nacht wind euch seuf zend, seuf zend in mei nes zu rück,
dolce
W . W W 7 W1 . W1
W1 . W1
W1 ! ! W 7 ! W W W W W W W W
net, trag ein Nacht wind euch seuf
zend, seuf zend in mei
nes
dolce
W 7 W1 W1 . W1 W1 W1
8 /!
. W 7 /!
W 7 7 W W W W W
net, trag ein Nacht wind euch
seuf zend, seuf zend
in mei nes
dolce
W 7 W1 W1 W1 W1 W1 8 ! W 7 ! W 7 7 W W W W
öff
öff
öff
öff
öff
öff
net,
for online perusal only
trag ein Nacht wind euch
seuf
WWW . WW WW7WWW W WWW WWW1 WWW . WWW1 / !!!! .!
7 /!!!
WW77WWW ! / WWW WWWWWW W . W W W W W W
WWW W 7 WWW 1 dolce
. WWW
1 . WWW 1 . WWW
1 WWW 8 /! ! . WW 7 /! ! WWW
7 7 WW W W W WW WW
zend,
seuf
zend
in
mei
euch
euch
euch
p
euch
p
euch
p
euch
p
zu
zu
zu
zu
nes zu
may a night breeze bear you, sighing,
back to my heart.

=
>
W
WWW
. WWW
W
W
W
.
WW
1
WW
!
1
WW
W
7
1
W
1
1
1
1
1
!!
W
/
.!!W
!
7
/ . WW
W
7
/!!W
4
.
4
.
4
4
.
.
S.
A.
T.
B.
S.
A.
T.
B.
=
20
: . .
: . .
: . .
q . .
< . .
< . .
: . .
< . .
25
: . .
: . .
: . .
q . .
< . .
< . .
: . .
< . .
Brahms: Nachtwache No. 1
pp
! 7 W1 W1 . W1 W1 W 8 8 ! . W 7 /!
. W 7 7 W
trag ein Nacht wind euch
seuf zend, seuf zend
in
pp
! 7 W1 W1 W1 W1 W1 8 8 .!
W 7 ! W 7 7 W
trag ein Nacht wind euch
seuf zend, seuf zend
in
pp
8 7 . W1 W1 W1 W1 . W1
8 /!
! W 7 ! W 7 7 W
trag ein Nacht wind euch
seuf
zend, seuf zend
in
pp
W . W 8 7 . W1 W1 W1 W1 W1 ! . W 7 /!
. W 7 7 W / W W W
rück,
trag ein Nacht wind euch seuf zend, seuf zend
in mei nes
pp
! 8 7 W1 W1 . W1 W1 W1 ! W 7 ! W 7 7 . W W W W
trag ein Nacht wind euch seuf zend, seuf zend
in mei nes
pp
! 8 7 W1 W1 W1 W1 W1 .!
W 7 ! W 7 7 W W . W W
rück,
rück,
rück,
rück,
for online perusal only
trag ein Nacht wind euch
!!W
7 . W WW W . W W WW W . WWW W W1 W1 W1 !! . 7 ! . 7 . WW 7 7 WWW
pp
!!8 7 WW1 WW1 . W W
1 WW1 WW1 .!!
W !!W ! W
7 . WWW / WWW . WWW WWW
/ W W W W . W W W ! f
W fp
! ! ! dim.
pp
! "
mei nes zu rück, in mei nes
zu rück, zu rück, zu
f
fp
dim.
pp
. . W W W W W W . W / W W W W . W 7 / W W W .!
"
mei nes zu rück, in mei
nes zu rück, zu rück, zu
f
fp
dim.
pp
W W W W W . W W W W W W W W 7
. . W W ! "
mei nes zu rück, in mei
nes zu rück, zu rück, zu
f
fp
dim.
pp
W . W W W W W W W W . W W . W W ! W W W . W 7 W "4
rück, in mei nes, in mei nes, in mei nes zu rück, zu
rück, zu
f
fp
dim.
. W ! W . W / W W . W W 7 W W W
pp
7 . W "4
rück, in mei
nes zu rück, zu rück, zu
f
fp
dim.
pp
. . W ! ! ! ! ! ! 7 W "4
rück, in mei
nes
. . W W W WWW WW
. W W W W zu
WW WW . W W / W W . WWW W
rück, zu
. W W
! WW . WW W ! rück,
/ WW WW ! zu
. WW !!! ""
f
fp
dim.
pp
. . W W W !W . W /!W
W .! ! W W 7 ! . WW .!WW
W 7 . WWW ""4
( )
seuf
zend,
seuf
zend
in
zu
zu
mei nes zu
rück.
rück.
rück.
rück.
rück.
rück.
21

=
>
>
W
Wy
W
W
/ W
W
W
W
W
W
)
W
)
W
)
+WW
W
W
W
W
W )
W
W
)
W
)
W
)
W
W
W
)
)
)
)
W
W
W
W
W
W
+
W
)
!
)
)
)
22
Words by John Clare (1793–1864) BENJAMIN BRITTEN (1913–76)
Op. 47 no. 4
SOPRANO
ALTO
TENOR
BASS
(for
rehearsal
only)
=
: . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
W
W
4
4
4
4
4
4
4
4
4
4
When once
pp
6. The Evening Primrose
Andante tranquillo
pp
once
W ) W W )
When
pp
once
W ) W W )
When
pp
When once
Andante tranquillo
pp
WWW W+
the
the
the
the
W W W W W ! W
) W 0 W )
sinks in the west, And dew drops pearl
W W W W W ! W
) W 0 W )
sinks in the west, And dew drops pearl
/ W / W W ! W
) . W 0 W
sinks in the west, And dew drops pearl
W W W / W W ! W ) W W ) W 0 W
sun
sun
sun
sun
sinks
W W W W W W W W W ! ! WW
WWW / W W W //W W W W
! ! WW +
in
the
west,
And dew
drops pearl
the
the
the
the
)
WWWW WW 00 WW
WWWW . +
WW 0 0 W W +
for online perusal only
4
: . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
p
pp
W W W 0 6 W W W / W W W W W ) W 0 W W W W !
ning’s breast; Al most as pale as moon beams are,
as moon beams
p
W . W ! W
) 6 7 8 7 W W W )
W W
) W ) W W
ning’s breast;
Or its com pan ion a ble star,
W W !
) 6 7 8 9 9
ning’s breast;
. W ! W
) 6 7 8 9 9
eve
eve
eve
eve ning’s
breast;
p
pp
WWW . W W!
0 6
+ W 6W
W / W W 7 8 W W W ) 7
W 0 W W WW
+ W W W +
W W W W + !!
p
W
W
!
! 6 7 8 9 9
are,
© Copyright 1951 by Boosey & Co Limited. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.

=
>
W
)
W
)
WW
+WW
W
)
W
)
)
WW
+WW
JW
. WW
W
W
)
)
W
)
W
)
)
W
W
2
2
2
2
.
W
W
)
)
)
+
W
W
y
y
/ / WW
/ -WW
W
W
7
. W W
+
7
/
/
8
!
«
«
«
«
«
«
8
= : . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
W+W W +
W W W 0 W
pp
The eve
pp
The eve
pp
The eve
W W
W W
J W . W 0 W
W W
W 0 + W W 0 W
Britten: The Evening Primrose
! W
)
ppp
6 7 W W W W 7 8
ppp
! W
) 6 7 W W W W 7 8
W W W W W +
W 0 W W W W !
pp
ppp
W+W W + W W W 0 W ) ! W ) 6 7 W W W W 7 8
The eve
pp
ning prim
ning prim rose
ning prim rose
ning prim rose
rose opes
opes
opes
opes
a
a
a new
a
new
new
new
p
Its
del i cate blos
) ) ppp
WW WW J W W W ) W . WW 00 6
WWW
+ W!!W 0 +
WWW W W W W W +
W 0 WW WW W W W W W W
p
( p)
WWWW +
WWWW WW 00 W ) ! W ) 6 7 W W W W 7 8
Its
Its
Its
ppp
soms
blos
blos
blos
soms
soms
soms
to
the dew
23
for online perusal only
: . . . . .
12
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
pp
And, her
. W
W W
cresc.
. W ! W W . W JW
/ W 0 W ) / W W W 0 6
pp
cresc.
W W J W ! / W / W W W 0 W ) W W !
her mit like, shun ning the light, Wastes its fair bloom up on the
pp
cresc.
W ) W W ) W W W W ! W W W W W 0 W ) W W !
And,
And, her
pp
W ) W
pp
And, her
.+
J WW
W .+
WW
mit
mit
like,
like,
W W
mit like,
shun
shun
shun
ning
ning
cresc.
W . W ! W W . W W / W 0 W+ W / W !
ning
the light,
the light,
the light,
Wastes
Wastes
Wastes
WWWW2 J WW WW !! / W W / / WW / WW 00
) WW / WW WW !W 0 6
cresc.
W W W
2 W W . WW ! ! WW WW . WW / WW / WW 00 WW WWW / W ! !
(
(
)
)
its
its
its
fair bloom
fair
fair
bloom
bloom
up
up
up
on
on
on
the night;
the
the
night;
night;
night;

=
>
/ WW
W
W
W
W
W
WW
WW
W
/
W
+
.
3
3
3
3
W W
/
/
)
+
)
W
/
)
WW
y
3
y
3
3
3
24
16
= : . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
: . . . . .
20
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
Britten: The Evening Primrose
ppp
/ W / W W W W W W
) / W 0 ! W 0 W ) W 0 W 7 8
to its fond ca res ses,
ca res ses
pp
ppp
) 6 7 W / W W / W W W W W
) W 0 W 0 W
) W W 0 W 7 8
Who, blind fold to its fond ca res ses,
ca res ses
W+67 8 9 9 9
pp
Who, blind fold
pp
pp
W+67 8 8 7 / W W / W W W W W W W W W !
ppp
+ 6 W 7 / W WW W )
WW WW / W / WW
0 W W W! W 0 WW 00 WW ) /+ WW 00 WW 7 8
pp
WW+ 6 7 8 8 7 / W W / W W 9 W W W W W W 9 W !
pp
cresc.
/ W / W W 0 W+
Thus
cresc.
Thus
Knows not the beau ty
pp
f
mf
W W W ! W W W W W W W3 W W W
f
/ W . W 0 W )
mf
/ W W W ! W W3 W W W W W W W W
cresc.
f
mf
/ W W W 0 W+ / W W W ! . W W3 W W W W W W W W
Thus
f
mf
W W W W 0 W+ W W W ! W W W W W W W W W W
cresc.
Thus
/ / WW / WW . WW 00
) WW / WWW WWWWW W !!! WWW
WWWW W W W WWW WWW WWW WWW WWW WWW
f
mf
/ W W W W W W 0 0 W W+ W W W ! W
W3
W W W W W W W W
cresc.
for online perusal only
it blooms on
it blooms on
it blooms on
it blooms on
while
while
while
while
night
night
night
night
is
is
is
is
by;
by;
by;
by;
When
When
When
When
day
day
day
day
looks out
looks out
looks out
looks out
he
with
with
with
with
pos ses ses.
pp
o
3
o
o
o
pen
pen
pen
pen
eye,
eye,
eye,
eye,

=
>
W
W
W
)
+
)
/ W
)
W
W
W
W
W
7
W )
!
W
W
W
3
+ W
W
)
)
W
7
W
)
24
= : . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
p dim.
W W W W 0 W
) W
’Bashed at the gaze
pp
/ 0 W 0 6 W W W W W W W W W ! 7
p dim.
pp
W W W W 0 W ) W W 0 !
) 6 7 8 7 W W W )
at the gaze it can not shun,
It faints
p dim.
W W W W 0 W ) W ) W 0 .!
W
) pp
6 W W W W +
W + W W W !
’Bashed
’Bashed at the gaze
p dim.
W W W W 0 W
’Bashed at the gaze
it
it
it
can not
can not
can not
W 0 !
shun,
shun,
shun,
It faints and wi
It faints and wi
thers and
thers and
Britten: The Evening Primrose
pp
) 6 7 8 W W W W W W W
It faints and wi
W W W W W 00 W
) ) pp
WW / W W 0 0 ! W 0 6 W+ W6 W W W 7 k
W W W7 W W ! W W + W
pp
p dim.
WWW W W W WW 00 00! . W ) 6 WW+ /+ W 6 W 7
W W ) W W W W 8 W WW W W W ! pp
W W
pp
is
gone
is
gone
and wi
thers
thers and
W +
25
for online perusal only
: . . . . .
28
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
( ppp)
W W W W W W W W W W W ) 6 W ! ! "
It faints and wi thers and
W W W ! 7 W W W )
and
is gone
It faints and wi
W W ) W ! W "
7 W W W +
W W + W W W ! W +
W W + W W "
It faints and wi
thers and
W W ! 7 W W W W W W W W W ! "
is gone,
It faints and wi thers and
is
gone,
is
W W W W W ! W W W W 7
W WW )
W WW 6
+ W W ! ! ! W ""
7WW ! W W W ) W W W WW W W W ! )
W W WW W W W W ! W " "
gone
and
is gone.
thers
and
is
It faints and
is
gone.
gone.
is
gone.

<
;
:
ý
ý
{
{
{
{
=
>
W
W
W
W
W
.
.
26
Words by Thomas Campion
SOPRANO
5
= : .
: .
q .
< .
: .
< .
ALTO
TENOR
BASS
(for
rehearsal
only)
: .
: .
q .
< .
: .
< .
W
W
W
W
4
4
4
4
W W W 0 W+ W W W 0 W+ W W W W "
ver wea ther beat en sail more will ing bent to
er bloom ing are the joys of Heav’n’s high Pa ra
W W W 0 W
) W W W 0 W ) W W W W "
ver wea ther beat en sail more will ing bent to
er bloom ing are the joys of Heav’n’s high Pa ra
W W W 0 W
) W W W 0 W + W W W W "
ver wea ther beat en sail more will ing bent to
er bloom ing are the joys of Heav’n’s high Pa ra
W W W 0 W+
W W W 0 W
) W W W W "
er
WWWW WW 00 W ) W
WWWW W W 0 0 WW+
Andante
the joys
WWWW W W 0 0
W ) W
WWWW WW 00 W W+
WWWW WWWWW " "
WWWW W W "
W W W 0 W+ W W W 0 W+ W W W W " W W W W W W
ver tir ed pil grim’s limbs af fect ed slum ber more, Than my wea ry
age deafs not there our ears, nor va pour dims our eyes; Glo ry there the
W W W 0 W
) W W W 0 W ) W W W W " W W W W
ver tir ed pil grim’s limbs af fect ed slum ber more, Than my wea ry
age deafs not there our ears, nor va pour dims our eyes; Glo ry there the
W W W 0 W
) W W W 0 W + W W W W " W W W W W W W
ver tir ed pil grim’s limbs af fect ed slum ber more, Than my wea ry
age deafs not there our ears, nor va pour dims our eyes; Glo ry there the
W W W 0 W+
W W W 0 W
) W W W W " W W W W
Ne
Cold
Ne
Cold
Ne
Cold
ver tir ed pil grim’s limbs
age deafs not there our ears,
WWWW WW 00 W ) W WWWW W W 0 0
W ) W
WWWW W W 0 0 +
WW W W WW WW 00 W W+
Ne
Cold
Cantus
Altus
; ý
Tenor
Bassus
7. Never weather-beaten sail
1. Ne
2. Ev
1. Ne
2. Ev
for online perusal only
1. Ne
2. Ev
1. Ne
2. Ev
4
4
ver
wea ther beat en
bloom ing are
af fect
nor
ed
pour
sail
slum
more will ing bent
of Heav’n’s high Pa
ber
our
more,
eyes;
Than
THOMAS CAMPION
(1557–1620)
my
ry
to
ra
wea
shore,
dise.
shore,
dise.
shore,
dise.
shore,
dise.
ry
the
va dims
Glo there
WWW WWWWW W " " WW W W W W W
WWWW W W " WW W WW WW W WW
W
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
W
‰
+
W
‰ W
W
+
W
+
)
W
+
W
û
4
4
4
W
)
)
10
= : .
: .
q .
< .
: .
< .
Campion: Never weather-beaten sail
W W W W 0 W
) W W W W W 0 W + W W W W ! W 0 W ) W W
sprite now
sun
out
beams the bless on
see.
W W W W W W W W W W W W W ! W 0 W )
W 0
now
longs to fly out of my trou bled breast. O come quick
out
shines, whose beams the bless ed on ly see. O come quick
W W . W W W W W W W W ! W W W W
sprite
sun
sprite now
sun
out
beams the bless on
W W W W W W W W W W ! W W W 0 W
sprite
sun
now
longs
shines,
longs
shines,
longs
shines,
to
whose
to
to
whose
fly
fly
fly
out
out
out
of
of
of
my
ed
my
out
whose beams the bless ed on ly see. O
WWWW W W W 0 W
)
W WW WW W WW
W WW 0 W W W W WW
W W !! WW 00 )
WW W + W 0 W W +
WWWW W . W W WW W W WW WW WW W !! WW W W WW 0 W W +
my
ed
trou
trou
trou
bled
ly
bled
ly
bled
breast.
breast.
see.
breast.
O
O
O
O
O
come
come
come
come
come
come
quick
quick
quick
quick
quick
quick
ly,
ly,
ly,
ly,
27
ly,
ly,
ly,
ly,
for online perusal only
: .
14
: .
q .
< .
: .
< .
W 0 W ) W W W 0 W
O
O
W W W W W W W W W W W W W W 0 W ) "4
W 0 W ) W W W W W W W W W / W W W W W W W "
O come quick ly, O come quick ly, sweet est Lord, and take my soul to
O come quick ly, O come quick ly, glo rious Lord, and raise my sprite to
W W W 0 W
) W W W W W W W 0 W W W W W W "4
O
O
W W W 0 W ) W W W W W W W W W 0 W ) W W W W W "
O
O
come quick
come quick
come quick
come quick
come
come
quick
quick
ly,
ly,
ly,
ly,
ly,
ly,
O
O
O
O
O
O
come quick ly,
come quick ly,
come
come
quick
quick
come quick
ly,
ly,
ly,
ly,
sweet est Lord,
glo rious Lord,
sweet est
glo rious
sweet est
Lord,
Lord,
Lord,
Lord,
come quick glo
WW 00 )
WW W WW W W 0 W W ) WW
WW W W W rious
W WWW / WW WW WW . W WW W WW W W W 0 W W ) ""
WW W W WW 0
0 )
WW W WW W W WW W W W W W WW 0
0 W W W W W WW W W W W " 4 "
and
and
and take
and raise
and
and
take my
raise my
my
my
take my
raise my
soul
sprite
soul
sprite
soul
sprite
to
to
to
to
to
to
rest.
thee.
rest.
thee.
rest.
thee.
rest.
thee.

=
>
W
>
W
)
WW
+
+WW
)
+
+
+
28
Words by Paul Heyse
(1830–1914)
SOPRANO
3
ALTO
TENOR
: - - -
: - - -
q - - -
< - - -
: -- -
< -- -
BASS
(for
rehearsal
only)
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
W
W
W
W
W
W
W
W
4
4
1. So
4
4
1. So
4
4
4
4
4
4
W )
cresc.
W W ! W W W W ! W W W W
weich und warm
Hegt dich kein Arm
Als wenn
cresc.
W )
W W W 0 W ) W W W ! W W W W
weich und warm Hegt dich kein Arm
Als wenn
p
cresc.
6 6 + W W W W ! W W W W W
1. So weich und warm
Hegt dich kein Arm Als
p
cresc.
6 6 W W W W ! W W W W W W
Moderato
p
p
1. So
8. So weich und warm
weich
und warm
PETER CORNELIUS
(1824–74)
WWW W! 0 W + W W W WW WW !! WW WW WW WW
p
6 6
WWWW WW !! W WW WW WW W W
cresc.
W
No arm embraces you more gently and warmly
p
W W W W W ! 6 W )
W W ! W W W W
ter dich um fängt,
KeinTrost
so traut
Dich ü
p
W W W W W W W W W W W ) W W )
W W / W W
ter dich um fängt, Kein Trost so traut Dich ü ber
p
W W W W W W W W 6 W ) W W !
die Mut ter dich um fängt,
Kein Trost so traut
p
W W W W ! 0 W 6 + W W W !
Mut
Mut
wenn
Mut
ter
dich
W WW W W W ! WW WW
6WWW WWWW W ! W W W W WW / WW WW
p
WWW W W W WW ! W W WW 6 WW WWWW !!
mother cuddles you,
for online perusal only
um
fängt,
© Oxford University Press 2001. Photocopying copyright material is illegal.
Hegt
dich
no comfort is as familiar to you
kein
Kein Trost so
Arm
traut
Als
die
die
die
than when your
ber

=
>
!
!W
W
)
W
W
W
)
W
W W
)
6
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
: - - -
10
: - - -
q - - -
< - - -
: -- -
< -- -
cresc.
pp
/ W W W W W W W W W ! 6 W )
taut,
W 0
taut,
Als wenn
Als wenn ihr Aug’ an dei nem hängt,
cresc.
pp
W W W W / W W W W ! 6 W )
W 0 6 74 7 6 W+
W W !
Cornelius: So weich und warm
W W W W W W W
W W W W W W
cresc.
pp
W W W W W W W W W / W -W
W W W W W W W W W W
Dich ü ber taut, Als wenn ihr Aug’ an dei nem hängt, ihr Aug’ an dei
W W W cresc.
pp
W W / W W / W W ! 0 -W
W W W W W
Dich ü ber taut,
ihr
Als
Aug’
an
wenn ihr
/ W W W WW W WW W W W WW / W WW W W W W ! ! 6 WW WWWW W W W W W W W W W
WWWWWW WW W W / W W W / WW / WW -! 0 W W W W -W
W W W W W WW W W
cresc.
pp
W
hängt.
as her eyes resting upon you.
dei
nem
Aug’ an
hängt,
W W W W / W 0 W
)
mf
W 0 6 64 W ) W W ! W W W W ! W W . W W
Drum sei ge sinnt
Als gu tes Kind,
Dass dich
mf
W 0 6 64 W+
W W ! W W W W ! W W W W
Drum sei ge sinnt
Als gu tes Kind,
Dass dich
mf
W 0 6 64 W + W W ! W W W W ! W W W W
hängt.
hängt.
hängt.
for online perusal only
Drum sei
ge
mf
Drum
sinnt
sei
ge
W 0 6 64 W ) W W 6 ! W ) W W W! W W W !W W W W / W W 0 W . W WW
mf
WWW 000 6 64 WW +
WWW W !! WW WW WW W W !! WW WW W
Als
dei
gu tes
als wenn ihr Aug’ an
als wenn ihr Aug’ an
nem, ihr Aug’ an
sinnt Als gu tes Kind,
Kind,
dei
dei
dei
Dass dich
nem
nem
nem
nem
Dass
die
die
die
29
Therefore try to behave like a good child
so that,

=
>
6
W
W
)
/
-WW
+
WW
+
+
)
-
/
/ W
W
W
/
/
W
W
W
30
13
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
Cornelius: So weich und warm
cresc.
W 0 W+ W W W W / W 0 6 6 W
ster
W 0
Mut
W 0 W+
W W
Mut
Mut
cresc.
ter
bend
W W !
W W -W
-W
cresc.
mf
W ) W . W W W . W 0 6 6 W ) / W . W ! W W -W
W
cresc.
ter
sie
mf
W W W / W / W 0 + W W W ! W W W W
bend seg net ein: Sonst ob auch Lieb
Und
mf
/ W W . W W 0 6 8 6 W W +
W !
ster
dich
ster bend
seg
net
ter ster bend seg net
seg net
ein:
ein:
ein:
mf
Sonst ob auch
Sonst ob auch
Sonst ob auch Lieb,
WW00 WW +
WWW . WWW WWW / WWW . WW 00 6 6 ) WW WW W W !! WW WW - WW WW
cresc.
W W 0 W W )
mf
/ W W . W / WW 00 W + W W W W W W !W W W W
6
Lieb
Lieb
Und Freund schaft
Und Freund schaft
Freund schaft
for online perusal only
: - - -
16
: - - -
q - - -
< - - -
: -- -
< -- -
when she dies, she can bless you:
otherwise, even if love and friendship should remain,
cresc.
p
! W + / W + W W W W W W W 0 6 6 W
blieb,
Ob auch Lieb und Freund schaft blieb,
Bist den
cresc.
! W )
p
W W W W W W / W 0 6 6 W
blieb,
Ob auch Lieb und Freund schaft blieb,
Bist den
cresc.
p
! W W +
W + W / W -W
W W 0 6 6 + W W W
blieb,
Ob auch Lieb und Freund schaft blieb,
Bist den
cresc.
[ dim. ]
W+WWW + W W + W W -W
W W / W / W W W
sonst ob auch Lieb, Ob auch Lieb
und
Freund
schaft
blieb,
) !!WW / ) WW WW WW / W - W W W W / WW 00 6 6
) WW W W W W
cresc.
p
W W W 0 W W WW +
WWWW +
WWW -W
W W WW 0 / W / 6 W 6W W ) W
Bist
den
noch
you will yet
noch
noch
noch

=
>
W
)
)
+WW
19
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
: - - -
23
: - - -
q - - -
< - - -
: -- -
< -- -
pp
W W W W W W 0 6 6 W )
mut
ter see len al lein,
pp
W W W W W W 0 6 6 W )
mut
p
W W W W W W W W 0 6 6 W )
noch mut ter see len al lein.
p
W W W W W W W W 0 6 6 W )
pp
W W W / W W -W
W W W W W W W W W W W 0 6 7 6 W +
mut
p
pp
W W / W W W W 0 6 7 6 -+ W W W W W W W 0 6 7 6 W +
mut
ter
ter
ter
see
see
see
WWW W W W W W W W W W 0 0 6 6 WW WWWW W W W W W W WW WW W 0 6 6 WW WWW
pp
p
WWW W / WW / WW WW
-W 0 W W W W 6 -W
W W W W W WW W W W W WWW 000 6 7 6
be utterly alone.
len
len
len
al
al
al
lein,
lein,
lein,
cresc.
! W W W W ! W W W W W W W W W
greist
cresc.
W 0 W ) W W W ! W W W W W W W W
greist In treu
W W W W 0 W+
wenn er greist
W W W W 0 W+
wenn
er
bist
den
bist den
bist den noch mut ter see len al
noch
mut ter see len al
for online perusal only
greist
In
treu
em
em
In
In
Geist
Geist
bist mut ter see len al
Cornelius: So weich und warm
cresc.
W W W W W W W W W
treu
cresc.
W W W W W W W W W W
treu
em
em
Geist
Geist
W! 0 W + W W W WW WW !! WW WW WW WW W W W WW W W W
WWWW WW WW 00 WW+
W WW WW WW W W
cresc.
W WW W W W W WW
Du
Du
manch’
manch’
Du
Du
ein
ein
lein.
lein.
lein.
Ju
Ju
manch’
manch’ Ju
gend
gend
ein
gend
W W
2. Und wenn er
W W
2. Und wenn er
bild
bild
Ju
bild
p
2. Und
p
2. Und
And when you
be
be
gend
be
31
have become very old in faithful spirit,
holding on to many a memory from your youth,

=
>
W
)
W
+
)
)
W
+
/
/ W
W
W
32
26
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
: - - -
29
: - - -
q - - -
< - - -
: -- -
< -- -
Cornelius: So weich und warm
p
cresc.
! 6 W )
W W ! W W W W /!
W W W W
Vor Al lem hoch
Be glückt dich doch,
Dass
p
W W W W W W W ) W W )
cresc.
W W / W W W 0 W
Vor Al lem hoch Be glückt dich doch, Dass dei ner
p
cresc.
W W W W 6 W ) W W ! W W W W W W
wahrst,
wahrst,
bild
p
! 0 W 6 W+ W W ! W W W cresc.
W W W
wahrst,
WW! WW
6WWW WWWW W! W +
W W
+ W WW / WW WW / W! W W W WW W W W W
p
cresc.
! W W WW 6 WW WWWW !! WW W W WW WW W
pp
W W W W W ! 6 W )
Mut
W W W W W W W W 0 6 74 7
pp
mf
W W / W W W W ! 6 W )
W W W W W W W 0 6 64 W ) W W
ter Kind du warst,
dass dei ner Mut ter Kind du warst. Drum
pp
mf
W W W / W -W
W W W W W W W W W W W 0 6 64 W W W
Mut
dei
W W
dei
ter
ner
ner
be
wahrst,
Kind
Mut ter
Vor Al lem hoch
Vor
Al lem
most of all it will make you happy
hoch
Be glückt dich doch,
Be glückt dich doch,
dei ner
that you were
mf
pp
/ W ! 0 -W
W W W W W W 0 6 64 W + W W
Mut
for online perusal only
du
ter
warst,
Kind du warst,
Kind,
dass dei ner
der
dei ner
Mut ter Kind du
Mut ter Kind du
Mut ter Kind du
warst.
warst.
warst.
WWWW / W WW W W W W ! ! 6 WW WWWW W W W W W W W W W W 0 6 64 W ) W W
WWW W / WW / WW -! 0 W W W W -W
W W W W W WW W W
pp
mf
W WWW 000 6 64 WW +
WWW
Dass
Dass
sei ge
Drum sei ge
Drum sei ge
your mother’s child.
Therefore

=
>
/ WW
WW
W
W
W
+
+
W
-
W
W
+
W
W
W
/
.
/
.
+
W
)
)
33
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
: - - -
36
: - - -
q - - -
< - - -
: -- -
< -- -
6 W
mf
W W !
Drum sei ge
/ 0 6 6 W+
W W !
W W W W / W 0 W
) cresc.
W 0 W+ W W W W
cresc.
! W W W W ! W W . W W W 0 W ) W . W W W
sinnt
cresc.
! W W W W ! W W W W W 0 W+ W W W
sinnt
Als gu tes Kind,
Dass dich die Mut ter ster bend seg
cresc.
! W W W W ! W W W W W W / W W W W
sinnt
sinnt
Als gu tes
Als gu tes
6!W ) W W W! W W W !W W W W / W W 0 W
)
. W W WW 00 WW
cresc.
!!WW WW WW W W !! WW WW W W W W 0 W W )
try to behave like a good child
ein:
Als gu tes Kind,
Kind,
Kind,
Dass dich die
Dass dich die
so that,
Cornelius: So weich und warm
WWW . WWW WWW WWW
/ W W W
cresc.
W W -W
- W ! W + / W W
mf
. 0 6 6 W ) / W . W ! W W -W
/ W ! W )
ein:
mf
cresc.
/ 0 W+ W W ! W W W W ! W W +
W
ein: Sonst ob auch Lieb
Und Freund schaft blieb,
Ob
+
mf
W 0 6 8 6 W W cresc.
W ! 6
W+WW W + W W +
ein:
mf
Sonstob
auch
Sonstob
auch
Sonst ob
. 00 6 6 ) WW WW WW !! WW WW - WW
)
/ WW !! WW / WW WW
mf
cresc.
/ 00 W + W W W W 6
W+
W !W W W W W W W 0 W W WW +
WWWW +
Dass
ster
Mut
for online perusal only
Lieb
Lieb
auch Lieb,
Mut
Und Freund schaft
Und Freund schaft
ter
bend
ter
sie
ster
ster
dich
bend
bend
when she dies, she can bless you:
blieb,
blieb,
seg
seg
seg
Ob
cresc.
Ob
sonst ob auch Lieb, Ob
net
net
net
net
33
auch
auch
auch
auch
otherwise, even if love and friendship remained,

=
>
W
W
W
WW
W
WW
)
+
)
/ W
34
39
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
: - - -
42
: - - -
q - - -
< - - -
: -- -
< -- -
Cornelius: So weich und warm
W W W W W W 0 6 6 W
Lieb
pp
W 0 6 6 W )
W W W W W W W
p
W W W W / W 0 6 6 W W W W W W W W
und Freund schaft blieb,
Bist den noch mut ter see len
p
/ -W
W W 0 6 6 + W W W W W W / W W
und Freund schaft blieb,
Bist den noch mut ter see len
[ dim. ]
p
W W -W
W W / W / W W / W W W / W W W
Lieb
Lieb
Lieb
und
und
Freund
Freund
schaft
schaft
WWW / - W W W W / WW 00 6 6
) WW W W W W W W W W W W W W W
p
W
WWWW - W W WW 0 / W / 6 W 6W W ) W W W W W W / WW / WW WW
lein,
pp
W 0 6 6 W )
lein,
blieb,
blieb,
Bist
you would be alone without your mother’s soul.
W W W W W W W W 0 6 6
W W W W W W W W 0 6 6
pp
- W W W W W W W W W W W 0 6 6
lein,
pp
W 0 6 7 6 + W W W W W W W 0 6 6
lein,
bist
WW0 0 6 6 WW WWWW W W W W W W WW WW W 0 6 6
pp
-W 0 W W W W 6 W W W W W W WW W W W W WWW 000 6 6
den
p
Bist
den noch
noch
mut
for online perusal only
den
bist
bist
den
den
noch
noch
noch
bist
mut
mut
mut
mut
ter
ter
ter
ter
see
see
see
see
len
len
len
len
mut
al
al
al
al
ter
ter
lein.
lein.
lein.
lein.
see
see
len
len
al
al
al
al

=
>
>
W
W
W
W
2
2
2
)
)
*
W
W
W
)
W
)
W
)
)
, W
W
W
W
)
W
+
Words by Charles d’Orléans
(1394–1465)
SOPRANO
3
ALTO
TENOR
BASS
(for
rehearsal
only)
: . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
= : . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
9. Trois chansons de Charles d’Orléans
W
W
W
W
3
4
3
4
3
4
3
4
3
4
3
4
I. Dieu! qu’il la fait bon regarder!
Très modéré soutenu et expressif
mf
p
7 ! W ) W )
Dieu!
mf
p
7 ! W )
3
W W W
Dieu!
qu’il la
mf
p
7 ! W + W+ W
Dieu!
mf
p
7 !2 W
Dieu!
Très modéré soutenu et expressif
) W ) W )
fait bon re gar
W ) W )
3
W W W
fait bon re gar
3
3
W W W W + W W W
fait bon re gar
) W+ + W W
) W W
7 !!2 WW WW W W WWWWWW WW W WW WW
3
mf
p
3
3
3
3
3
7 !!2 W W W W WW WW W W W W
Lord! how fair she is to see ...
! W W ) W )
+ W W+ W W W 7
La gra ci eu se bonne et bel le;
! W W ) W W W )
3
W W W W )
W W 7
La gra ci eu se bonne et bel le;
3
3
! W W + W W W W + W W W W + 0
, W W W W W 7
La gra ci eu se bonne
et bel le;
! W W + W+ W W
* W,
W W W W
) W
der
der
der
La gra ci eu
!!! WW WW WW W WW W WW W se bonne et bel
WW WW WW0 W WW W WWW W W WW 7
3
! WW WW W W 3
3
W W
W W W W W W W W W W W
der
This gracious, good, and beauteous lady;
3
qu’il
for online perusal only
qu’il
qu’il
© Oxford University Press 1998 and 2001. Photocopying copyright material is illegal.
la
la
la
fait
bon
CLAUDE DEBUSSY
(1862–1918)
edited by John Rutter
re
gar
le;
35

=
>
W
)
/ W
)
W
)
W+
WW
W
)
)
W
+ W
W
W
W
W
/
W
)
)
)
)
*
*
)
«
W
)
«
«
W
)
«
« )
WW
W
)
W
W
W
)
)
)
W
)
+W
W
)
W
)
)
/
W
W
)
)
W
W
W
)
W
)
W
)
W
)
/
W
+
)
WW
36
6
= : . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
Debussy: Trois chansons de Charles d’Orléans
p 3
W W W * W ) W W *
W W W ! W
) 3
W W W W
les grans biens que sont en el le
Chas cun est prest de la
p
3
3
/ W W * W ) W W *
W . W . W ! W
) W )
3
/ W W
les grans biens que sont en el le
Chas cun est prest de la
p
7 6 W
) 3
/+ W W / W
)
W W W 6 W
) / W+ W
Pour les grans biens que sont en el le
Chas cun est
p
7 W / W + W+ W+
0 0 W, W, / W W / W 6 W+
W + W
Pour
Pour
Pour
les
grans
biens
que sont
3 )
3
3
3
3
/ WW / WW WW WW WWWW WW WW . WW . WW WW !! / WW WW WW WWWW / WW WW WW
p
3
3
3
7 6W / W ) / WW WW / W 0 W W . WW 0 W W W WW WW / WW 6 WW / +
WW WW
3
en
el
le
Chas cun est
for online perusal only
9
: . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
For all the great virtues which are in her
everyone is ready to praise her.
W W W ) W
) W ) W ) W
) mf
3
! W W W
loü er.
Qui se pour roit d’el le las ser?
Tous
W . W . W W W W ) ) W ) W ) W ) W
) W 0 W
) W ) 6
loü er.
Qui se pour roit d’el le las ser?
/ .+ W . W+ W . W ) W
) mf
3
W+
0 W, W+ 0 W, ! W W W
de la loü er. Qui se pour roit d’el le las ser?
Tous
0 /, W + 0 W, + W W+
W+ + W
+ W W
) mf
+ W ! W+ 6 W+
prest
prest
de la
loü
er.
Qui
se
pour
3
. . WW WW WW WW WWWW WWWWW 0 W WWWWW 0 W !!W W 0 +
WW W W
+ W 6
mf
3
/ WW0 . W / W . W 0 W W )
WW +
. W )
W +
W WW W W W W ! 6 W+
roit
d’el
le
las
ser?
Tous
Who could tire of her?
Her beauty

=
>
W
W
+
W
2
2
2
*
<
+
W
)
W
)
-
/
)
)
y
y
W
W
:
+
1
1
1
/
/
1
1
1
*
12
= : . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
: . . . . .
15
: . . . . .
q . . . . .
< . . . . .
: . . . . .
: . . . . .
mf
3
W+W W W W
jours
W W W ) W * W
Tous
3
W+W W W W
) W
jours
jours
sa
jours
sa
sa
3
WW W W WW W W W W W
3
3
+ W W W W
beau
3
+ W W W W
té re
W ) W * W *
3
+ W W W W
[ mp ]
W W W
) W )
[ mp ]
W W W W W 0 W W )
3
+ W W W W
té re
W+W + W
) W
3
WW W W WW W W W W W
3
3
WW W W WW W W W W W
W ) p
3
6 W W + + W W W+ + W W W W
nou vel le. Dieu! qu’il la fait bon re gar
p
W ) W W ) 6 7 7 5 W1
, W1 W1
* * *
W1 W1 W1 W1
vel
le.
Dieu qu’il la fait bon
p
W + 6 7 7 7 W
3
le.
W W + 6 7 9
) WWW WW 6 W W W W W W W W W
W W W W W W W W + 6 7 7 5 W W W W
always renews itself.
der,
der,
sa beau
beau
beau
W ) W
/ W
W W W !
3
. W W W
[ mp ]
p
W+W W W 0 W W + + W -W+
+ W / W / W W W W
3
der, La gra ci eu se bonne et
[ mp]
p
7 W W W + + W / W+ + W W . W W / W W
3
gar
W W W W WW 00
té
té
W W W W W 2
re nou
re
nou
for online perusal only
La
La
La
mp
gra
gra
gra
nou
ci
ci
ci
vel
vel
eu
eu
eu
le.
WWWW W W / WW / WW WW . WW W WW WW WW
p
3
3
WWWW / WW WW / WW . W W W W
this gracious, good and beauteous lady!
se
se
se
p
Debussy: Trois chansons de Charles d’Orléans
Lord! how fair she is to see ...
p
bonne
p
bonne
bonne
et
et
et
3
3
re
3
1 W W W W
bel
W !
bel
W !
bel
W !
bel
WWW !!!
W !
le!
le!
le!
le!
re gar
3
37

=
>
W
)
W
)
WWW
W
W
2*
W
2
2
2
2
2
W
W
)
+
W
)
)
W
/ W
W
*
W
*
W
*
W
2
W
2
W
*
W
2
2
2
2
W
)
)
W
!!!
W
*
,
2
2
)
)
W
W
2)
2
2
)
+
W
2)
2
W
)
)
38
18
= : . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
: . . . . .
21
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
Debussy: Trois chansons de Charles d’Orléans
pp
Par
0 W
* W
. 0 W
de
W )0 * W )
pp
Par
pp
Par
de
W )0 W * W )
pp
Par
* W
p cresc.
p
0 W
* ! W W W
) W ) W
) W
3 )
p
p cresc.
0 W
* ! . W . W W
) W ) W ) W
là la mer Ne scay da me ne da
p
p cresc.
* W )0 W * .!
W . W W+ + W W
)
+ W W
p
p cresc.
W * W * W )0 W * ! W W W + + W W+
3 )
3 )
3W+ W
3
. 000 WW WWW WW WW . WWW 000 WWW . WWW . WW WW WW WW WW
WW
3
pp
p
p cresc.
3
W 0 W W W W W W W W 0 W ! W . WW WW WW WW WW WW
pp
de
de
ça,
ça,
ça,
ça,
pp
ne
pp
ne
pp
ne
pp
ne
do I know any lady or maiden ...
) mf
p
W+ + + W W W W 3
W W W W +
W+ W W W
Qui soit en tous
bien par fais tel le. C’est
mf
p
W / W W W W W / W W W W W W W W W W W W W W W
) W )
On neither side of the sea ...
sel
sel
de
de
de
de
là
là
là
la
la
la
mer
mer
mer
mf
p
W . W W W + 6 7 6 , W
, W / W W W W W W W W / W W W
sel le
Qui soit en tous bien par fais tel le. C’est
mf
W W / W W +
W W W W W W / W W W W W W W W W W W W W ) W
sel
le
le
le
Qui
Qui
soit
soit
WWWW
)
WW ) W WW W / W W WW W W W W W W W W WW W2W
3
WWW . W
)
WW / 6 W W W / W W
3
mf
p
W W W W / WW WW WWW WWW WWW WWW / WWW WWW WWW WWW / WWW WWW W W W W
who is so perfect in all virtues.
Bar 18: All voices have an erroneous comma after ‘de là’ in the MS and 1910 sources.
en
en
tous
tous
bien
bien
Ne
Ne
Ne
scay
scay
for online perusal only
scay
par
par
da
da
da
fais
fais
me
me
me
tel
tel
ne
ne
ne
le.
le.
da
da
da
3
moi
moi
moi
moi
ung
en dehors
C’est ung
ung
en dehors
p
C’est ung
It is a dream

=
>
W
2
2
W
W
WW
W
2)
2
W
)
2
W
2)
W
)
+
2
2
W
2)
2
W
)
W
2
W
)
W
)
W
!
W
)
)
W
)
W
W
W
)
)
)
W
W
)
4
4
0
4
0
4
W
24
= : . . . . .
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
: . . . . .
27
: . . . . .
q . . . . .
< . . . . .
: . . . . .
< . . . . .
son
son
/ W
son
W W +
W
son
ge
ge
ge
ge
que
) W ) W )
que
que
que
Plus lent
p
W W ! W W ) W )
p
. W W )
3
W W W
p
/ . W W+ W+ W
p
+ + W W W W W
pp
più p
3
W !2 W+ W W W W W + + + W
+ W ! 0
der! Dieu!
qu’il la fait bon re gar
più p
pp
W 7 W W )
W W W W )
W W !
più p
pp
W ! W +
W W W W W W W + W W !
W 7 7 7 6 W+
Debussy: Trois chansons de Charles d’Orléans
W )
) W ) W )
3
W W W W
W )
3
W W W
3
+ W W W
fait bon re gar
)
+ W + W W
) W W
Plus lent
WW2 WW2 WW W W WW W W! . W WW WW WW W W WWWWWW WW W WW WW
3
3
p
3
3
3
3
/ WW WW W W WW / W! W . WW W W W W WW
WW W W W W
even to think about her:
der!
der!
der!
d’i
d’i
d’i
d’i
pen
2
pen
pen
pen
ser:
ser:
ser:
ser:
Dieu!
Dieu!
Dieu!
Dieu!
qu’il
qu’il
qu’il
for online perusal only
Dieu!
Dieu!
qu’il
qu’il
la
la
qu’il
Lord! how fair she is to see!
+ W
WW! 7 W W W W W 3
W W W WWW W W W W W
3
W !!
400
più p
pp
WW! W W W W W 6 WW W W
+
W W W W ! 40 ! 0
fait
fait
bon
pp
bon
bon
la
la
la
la
re
re
re
fait
fait
fait
gar
gar
gar
bon
bon
bon
der!
der!
der!
! 0
der!
re
re
re
gar
gar
gar
39

=
>
>
W
W
W
W
W
W
W
1)
W
1*
W
1*
W
1)
1
1
W1
WW
1
+
2
1*
1
W
W
1)
1
1
1
W
1*
W
1*
W
1)
1
W
1*
1
W
1)
1*
1)
W
1*
W
1)
1
1
1
WW
1
1
1
W
* 1
W
W
1)
1
1
W
1
W
1*
W
1*
1
1
1
W
1*
1
)
1)
W
1)
1
WW
W
)
W
1)
W
1*
W
1)
1
WW
1
1
W
* 1
W
W
1)
1
1
+
1
W
2
0
2
W
1*
W
1*
W
1)
1 2
1
W
1*
W
1*
W
1)
1
1
)
W
1)
1*
1
1
W
1)
1
40
Debussy: Trois chansons de Charles d’Orléans
A.
T.
B.
4
SOLO
ALTO
1
TENOR
2
BASS
U . . .
=
: . . .
q . . .
q . . .
< . . .
< . . .
< . . .
U . . .
: . . .
q . . .
q . . .
< . . .
< . . .
< . . .
.W
W
W
W
W
3
4
3
4
3
4
3
4
3
4
La
Modéré
3
4
3
4
II. Quant j’ai ouy le tabourin
9 9 9
pp léger
9 7 6 W ) . W W W 9
La la la
pp léger
9 W+ 0 , W W + + W + W W+
W 7 7
la la la la la
la
W 0 W 0
la1
W 0
la la la la
la la la la la la la la
W20 W , + W1
la2
pp
W+ W W W W * 6 W
) W W20 W, W1
+ + W W W W
Modéré
pp léger
La
pp léger
la la la la la la la
la
W20 W1 W1 W1 W WW 00
W W 1
WW W . W WWW W la la la la la la
W W 0 7 W W 7W W
W20 W W1 W1 W W W1 W1 W 6 W
) W W20 W W1 W1 W W W W1
pp léger
ALTO or TENOR
SOLO*
p
9 7 6 W
) W ) W
) †
+ W W ) W ) W ) W ) W 6 W + W W )
Quant j’ai ou y le ta bou rin Son ner, pour s’en al
pp
pp
7 6 W ) / W W
* 7 6 W ) W
* 7 6 W ) W
* 9
la la la
la la la
la la la
[ ]
[ ]
W+0 W, + W W W +
W+ 0 W, + W W W +
W+ 0 W, W+ W W +
W+ 0 W, W+ W W
la la la la
la la la la
la la la la
la la la la la
+
W 0 W 0 W 0 W 0
la la la la la la la la la la la
la la la la la la la la la
6 W
) W ) W ) 7 6 W
) W ) W ) 7 6 W
) W ) W ) 9
la la la la
WW 00
W W WW
W / WW W W
la la la
la la la
WW 00
W W WW W W WWW
W WW 00 W W WW
W W WWW W W 0 W W )
WW W
6 W
) W W 7 6 W
) W W 7 6 W
) W W 9
*See Commentary.
†Or +. * * *, to be consistent with bars 23 and 42.
for online perusal only
When I heard the drum sounding, to call everyone to the May festivities ...
la
W *
la
)
W
1
WW
1

=
>
WW
W
2
2
)
W
)
)
1
W
*
W
*
1
W
*
W
*
1
W
1
W
W
*
W
*
1
1
W
1
2
2
2
2
1
W
)
W
2
0
W
1*
1
1
,
W
1*
W
1)
1
W
)
W
1*
1
1
1
W
*
*
W
1*
1
1
1
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ler au may,
En mon lit n’en ay fait af
pp
pp
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* W 6 W ) W
* W
la la la la
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la
la la la
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la la la la la la la
la la la la la la
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la2
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la
la la la
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pp
7 6 W W W ) W * W *
pp
7 6 W W W ) W * W *
pp
7 6 W W W ) W * W *
2
0
W W W W
for online perusal only
la
W
1
W W WW W WWW
W W W W
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W
1
W W WW W WWW
W W W W
la
WW 1W
WW W WWW
7 6 W W W1 W W 7 6 W W W1 W W 7 6 W W W1
W W
As I lay in bed I was not disturbed ...
W W + W
)
+ W W ) W W W W 7 7
fray Ne le vé mon chief du cois sin;
pp
pp
pp
6 W ) W
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la la la la
la la la la la la la la la
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pp
pp
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+ , W1 W1
+ W1 W1
, W1
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la la la la la la la
la la la la la la la lon
lon lon lon lon
pp
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pp1
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la
la la la
la la la la la la la lon
lon lon lon lon
pp doux et expressif
pp
7 6 W W W ) W * W * 9 W W W
1 WW
la
la
la
Debussy: Trois chansons de Charles d’Orléans
la la la la
la
W
2
0 W W W WW W WW W W WWWW 1 WW1 W WW 1 W WW W WW
WW2
WWWW 1 WW1 WW2 WW WW WW1
pp
7 6 W W W1 W W 7 7 W2 WW W1 W W1 W
nor lifted my head from the pillow;
la
la la
con
la
la la
la
41

=
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42
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Debussy: Trois chansons de Charles d’Orléans
7 W W ! 0 W W ) W ) W ) W )
WWWW
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la
la la la la
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lon lon lon lon lon lon lon lon lon lon lon lon lon lon lon lon lon
pp
W W W W W W W W W
lon
En
di
sant:
la
WW2 WW1 WW WW1 WW2 WW1 WW WW1 WW2 WW1 WW WW1 WW2 WW1 WW WW1 WW2
WWW W WW W1 W W WW W1 W W1 W W WW W W WW W W W1
I said: ...
‘It is too early in the morning,
il
est
trop
ma
lon
for online perusal only
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+ W+ W+ + W W W ) W )
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Ung peu je me ren dor mi ray:
p
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tin
lon
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p
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1
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I shall go back to sleep for a little:’
a
la la la la la
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pour s’en al ler au may,
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ner
for online perusal only
! W 0 W W WW 0 ! W W1 1 W1
W 0
2 W W1 W2 W W1 W2 W W1 W1 W W1 ! W 7 W W
Debussy: Trois chansons de Charles d’Orléans
Son
la la
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la
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43

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44
26
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Debussy: Trois chansons de Charles d’Orléans
Un peu animé
[ mf
f ]
9 7 W W ! 0
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gens
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) / W 0 W W 0 W W 0 W
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+ 0 , W1 W W W * , W1 W+
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la la la la la la la la
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mf2
mf
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la
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Un peu animé
WWW2 000 WWW1 / WW WW WW1 WW1 WW WW1
cresc.
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2
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Let the young people share out their prizes [from the festivities];
[dim.
p ] en retenant
W ) W ) W W 7 7 7 7 W
par tent leur bu tin;
De
dim.
p
! W ! 0 ! 0
la
dim.
p
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dim.
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, W W W2
+ W , W, . W , W W
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molto dim.
+ W2 W, W,
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+ , W W, . W ! W W
la la la la la la la la la la la la la la la la
dim.
p
molto dim.
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dim.
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+ W W 6 p1 , W W, / W ) W+ W W 7 7
la
la
la
for online perusal only
la
la
la
la
! W W 2 W W . WW W W1
en retenant
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2 W W . W !! 0 W W
molto dim.
dim.
p
/6 W
1
W / W W W /6 ! 1
W
1
W W W WWW W / W2 W W W W2 7 W W W 7 W
la
la
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///
///
///
///
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/ / /
/ / /
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Coolness will be my friend and companion;
36
. . .
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ray
Trou vé l’ay
plus prou chain voi sin;
1st ALTOS
pp (à bouche fermée)*
:
. . .
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q W -W
W W W W W -W
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Debussy: Trois chansons de Charles d’Orléans
Très modéré
doux et expressif
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W W W W ) W )
W )
cha loir
m’ac coin te ray A lui
je m’a bu ti ne
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W W W W W W W W W W W W W W W W W W W W W W W W
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la
la la la la la la la la la la
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non
pp (à bouche fermée)*
pp (à bouche fermée)*
pp doux et expressif
la
la
Très modéré
WWWW WW WW WW WW WW WW WW WW WW WW WW WW WW WW WW WW WW WW WW WW WW WW
pp doux et expressif
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la
la
WWW -WWW
WWW WWW WWW WWW WWW -WWW
WWW WWW WWW WWW WWW / WWW WWW WWW WWW WWW WWW WWW WWW WWW WW WW
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* ‘with mouth closed’, i.e. humming.
for online perusal only
I have found him to be closer to me [than other people’s company].
la la
45
. . .
. . .

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) + W W ) W ) W
Debussy: Trois chansons de Charles d’Orléans
1° Tempo (un peu retenu)
unis. p
Quant
j’ai
) W ) W 0 W+ W
p
unis. p (Voix naturelle)
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la la la la
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p
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p2
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la la la la
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la la la la la la la la
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+ 6 W
1° Tempo (un peu retenu)
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ta
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la
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+
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2
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+
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dim.
p dim.
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2
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1
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2
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rin
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ner
for online perusal only
la
la
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pour
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A.
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B.
A.
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46
U . . .
: . . .
q . . .
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< . . .
: . . .
< . . .
48
U . . .
: . . .
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: . . .
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Debussy: Trois chansons de Charles d’Orléans
Plus retenu
W W W W
fray
Ne
le
vé mon chief
du
p
più p
W 0 W )
/ ) W * W * /!
W
la la la la la la la a
p
più p
/ W20 W1
+ W2 W1
, , W1 /!
W
la
la la la la a
p
W 0
) / W W W W * più p
! 0
la la la la la la la a
p
7 W
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più p
W W + , W W, + W W, W, W
la la la la
la la la la la la
p
7 W
* più p
W W + , W W, + W W, W / W W W
p
la
la
la
la
Plus retenu
/ W20 W 0 W
+
W W W W W W W / WWW
dim.
W7 0 W WW W W più p
W W W W1 W1 W2 W W / W W W W1
! 0 W 7 7 9 94
sin.
ppp (bouche fermée)*
W W W W W W
4
! 0 W 7 7
a
ppp (bouche fermée)*
W W W W W W ! 0 W4 7 7
a
ppp (bouche fermée)*
W W W W W W ! 0 W
4 7 7
a
[ dim. ]
/ W
* W W
* W W
* ppp
W W2
+ . W W ! W4 7 7
la la la la la la la la la la la la la la la
† [ dim. ]
ppp
4
! 0 ! 0 ! 0 W 7 7
pp
pp
pp
for online perusal only
la
la
4
WWW WWW WWW WWW WWW WWW .!!
00
7 7 WW
pp dim.
! 0 / W W W W ! 0 / W W
2 ppp
6 ! 0 . W W ! WW 7 7
* This instruction to hum (found in the 1910 edition only) is incompatible with the ‘a’ sound (originally in the manuscript but still remaining,
probably through an oversight, in the 1910 edition). It is suggested that the ‘a’ be disregarded.
† In the MS and the 1908 edition the last four bars of B2 are as follows:
< . . .
W W
la
la
la
W W
la
la la la la la la la
la
la
cois
la
! 0 W 7 7
la
47

=
>
>
W
W
W
3
+
6
1
+
1
1
W
1)
1
+
+
1
W
)
3
3
3
3
3
+
XX)\
W+
3
3
3
3
W
1
8
1
1
1
1
+
+
1
48
Debussy: Trois chansons de Charles d’Orléans
III. Yver, vous n’estes qu’un villain
SOPRANO
5
: .
: .
q .
< .
: .
< .
ALTO
TENOR
BASS
(for
rehearsal
only)
= : .
: .
q .
< .
: .
< .
W
W
W
W
W
W
2
2
2
2
2
2
f
9 9 7 W W X\) W W 7 8
Y ver, Y ver,
f
8 !3 W 0 + W1 W+ W ) W " W 0
1
W ) 1
W ) W ) 1
W ) 1
W )
Y ver, vous n’es tes qu’un vil lain
vous n’es tes qu’un
f
9 9 7 W W X\) W W 7 8
Y ver, Y ver,
f
9 9 7 W W X\) W3
W 7 8
Alerte et vif [Alert and lively]
for online perusal only
Y ver, Y ver,
8 !3 W30 W1
+ W1 W W 7 W1 ! 0 W W WW W W
7
0 + W W W W
f
9 9 7 WW WW X\) W WW 7 8
Alerte et vif [Alert and lively]
Winter, you’re nothing but a wretch;
mf
9 6 W + W W+ W
) W )
f
W )
W 6 W )
W 6 W )
Y ver vous n’es tes qu’un vil lain; Y ver,
mf
" ! W 0 W )
f
W 6 W )
W 6 W )
lain;
qu’un
vil lain; Y ver,
p
ff f
6 W+ + W W + + W W+ + W W 7 8 !M WM WM
Y ver vous n’es tes qu’un vil lain;
Y
ver, vous
mf
9 W W
f
+ W W+ W W+ . W 6 W+ W 6 W
Y
ver, vous n’es
W W W W ! ! W W W WW 0 W W
+ W W W 6 W )
W W 6 W )
mf
f
8 6 W W W WW W W W W W W .!M
W 6 + W WWM WM
6 W
tes
qu’un
vil
lain;
Y
ver,
vil
vous
vous
vous

=
>
W
W
W
W
W
7
M
M
1
1
!
2
2
1
1
!
2
2
8
= : .
.
: .
q .
< .
: .
< .
: . . . .
13
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
) W )
) W )
SOLO p
) 6 7 9 8 7 . .
W . W W / W W W W W W W
tes qu’un vil lain;
Es té est plai sant et
SOLO p
. . .
W ) W )
W ) W )
W ) 6 7 9 9 . 8 ! ! !
tes qu’un vil lain;
Es
molto dim.
WM WM WM WM " ! ! . . . . " "
n’es
n’es
.+ W
n’es
n’es
W+ W+
tes
tes qu’un vil
qu’un
W + W + 6 7 9 9 . . . . 9 9
lain,
vil
lain,
. . .
W W W W W W
) 6 7 9 8 7 W . W8 W / ! W
p
W W W!
W !W W
molto dim.
. WWM
W WWM
W WWM
+
WM " ! !
6
. . . .
" "
" W W ! W W1
+ W1
+ ! W + W1 W1
+ !
til
W W W W W W W W W W W W W W W W W W W
té est plai sant
for online perusal only
et
Es
gen
té
til
Es
Debussy: Trois chansons de Charles d’Orléans
Summer is pleasant and gracious ...
W W W W W W
SOLO p
9 8 W W W W W W W W W W W W W W W W
Es
té
est plai sant et gen til
SOLO p
9 9 W W W W W W W W W W W W W
Es
est plai
W"W W W W W WW W W W W! W W W W WW WW W W W WW W W W W W W W WW
legato
9 8 W W W WW WW WW WW WW WW WW WW WW WW WW WW W
té
té
sant
est
est
plai
plai
sant
sant
et
et
et
gen til
gen
gen
gen
til
til
49

=
>
W
1
W
1
W
)
1
W
+
+
1
W
1
1
1
1
1
W
1
1
W
)
1
1
1
1
W
)
W
1
1
1
+
1
1
1
)
+
1)
1
1
W
1
1
1
W
)
+
)
2
2
2
2
2
2
+
W
)
+
+
1
2
W
)
W
.
.
50
17
= : . . . .
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
: . . . .
20
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
Debussy: Trois chansons de Charles d’Orléans
W W W W W + W1 W1
TUTTI
pp
Es
W W W W 0 W
TUTTI
pp
Es
W W )
W W W W W W W W W +
W
TUTTI
pp
Es
W W W W W W W W W +
W
TUTTI
pp
Es
più p
W+W+ W+ + W + W W + W1 W1
vril Qui l’ac com paign ent soir et
più p
) W
1)
W ) W
vril Qui l’ac com paign ent soir et
più p
W+W1 W1
+ + W1
+ W1
+ W1 )
W1 W1
vril Qui l’ac com paign ent soir et
più p
W+W1 W1
+ + W1
+ W1
+ W1 W1
+W1
p
3
W3 W W W W W
p
3
W 0 W W
til En té moing
p
3
W2 W W2 W W W W
W2 p
W W2 3
W W W W W
té est plai sant et gen til En té
1 3
W W 0 W+ W WWWW W20
W3
W W W + W WW W W
p
WWWW WW WW 3 WW WW WW WW WW WW WW WW WW WW WW WW WW WW
pp
vril
té
té
té
Qui
est
est
est
plai
plai
plai
sant
sant
sant
et gen
et
et
gen
gen
for online perusal only
l’ac com paign ent
soir
et
til
3W W
3
W W W
3
W W W
3W W
3
WWW W W W
3WW WW
SOLO
p doux
3
" ! ! ! ! W W W W W
main.
SOLO
p doux
3
" ! ! ! ! W W W W W
main.
SOLO
p doux
3
" ! ! ! .!
W W W W W
main.
SOLO
p doux
3
" ! ! ! ! W W W W W
main.
3
WWWW1 WW WW1 WW1 WW WW WW1 "" !! !! !! !! WW WW WW WW W W
più p
p doux
WWWW1 WW WW1 WW1 3
WW WW WW1 " ! ! !! .!!
WW W W WW WW
til
En
En
té
té
moing
moing
de
de
de
moing de
may
may
may
may
as its heralds, April and May, bear witness with every evening
Es
Es
Es
Es
té
té
té
té
re
re
re
re
vet
vet
vet
vet
et
et
et
et
champs, bois
d’a
d’a
d’a
d’a
champs, bois et
champs, bois et
champs, bois et
et
and morning.
Summer clothes the fields, woods, and flowers ...
Bar 20, bass: the second note of the bar is B in the MS and published editions, but A seems more likely.

=
>
1
1
1
1
1
1
1
1
1
1
.
)
1
1
2
/ 3
3
1
3
/
7
!
3
/
/
1
25
= : . . . .
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
3
W
p1
W . W W . W W W
De sa li vrée de
3
W
p1
W W W W W W
De sa li vrée de
3
W p1 W W1 W W1 W W1 W2
fleurs
fleurs
fleurs
p
W W1 W1 W1
fleurs
De
De
sa
sa
li
li
vrée
3
W1 W1 W1 W2
vrée
de
de
ver
ver
ver
ver
3
WWWW1 . WW1 WW1 . WW1 WW1 WW1
p
3
WWWW1 WW1 WW1 WW1 WW1 WW1 WW2
più p
più p
p cresc.
3
W W W W . W W W W
du
più p
2
p cresc.
3
W W W W W W W W
du
p cresc.
3
W W W W W W W
du
p cresc.
3
W W W W W W W
più p
du
più p
re
re
re
re
Et
Et
Et
Et
3
WW2 WW WW WW . WW WW WW WW
p cresc.
3
WW WW WW WW WW WW W
Debussy: Trois chansons de Charles d’Orléans
de main
de
de
de
main
main
tes
tes
tes
main tes
3
. W W W
au
3
W W
au
3W W W
au
3W W W
au
tres cou
tres
tres
tres
3
. WW WW WWW
W
3WW W W
cou
cou
cou
3W W
leurs
3
. W W W
leurs
3W W
leurs
3W W
leurs
3
WWW WWW
3
W W W
51
for online perusal only
: . . . .
29
: . . . dim.
p
TUTTI
pp
mf
. ! . W W W W W W ."
! .!
" ! 8 7 W !
Par l’or don nan ce de na tu
re.
Mais
f
q . . . dim.
p
pp
TUTTI mf
. !2 W W W W W W + W W W W W " " ."
! 8 8 7 W1
Par l’or don nan ce de na tu
re.
TUTTI
< . . . .
f2 dim.
! W W W W W . W W W p
pp
" ! ! " ! 7 W1 " mf
: . . . .
< . . . .
in its livery of green ...
and many other colours ...
dim.
p
pp
!2 W W . W W W W " ! ! " ! 8 9
f
Par
f
2
Par
l’or
l’or
don
don
nan
nan
ce
ce
de
de
na
na
tu
tu
!!!2 . WWW W W W W . WWW W WW WW WW "" "! ! "" !! 8 8 7
f dim.
p
pp
mf
W1
!2 W W W W WW . W WW W W W .""
!! .!!
.""
!! 7 W1 "
re.
re.
Mais
vous,
vous,
/ W
Mais
by nature’s command.
But you,

=
>
W
1
W
W
1
. WW
WW
.
1
1
W
1
1
1
1
)
1
)
3
3
. W 3
+
+
M
M
1
7
!
3
3
1
W
3
1
.
1
WW1
1
)
1
1
1
)
WW
1)
W
1
)
1)
. W 3
M
M
.
.
1 )
1
. W
1
WW
1)
1)
W
1)
/
/
1
//
+
3
3
W 3
)
1)
+
W
)
+
+
3
3
52
36
= : . . . .
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
Debussy: Trois chansons de Charles d’Orléans
f
p
7 / W W1 7 9 7 / W W W . W / W W W
TUTTI
Y ver,
Mais vous, Y ver, trop es
f
mf
W / W / W 7 7 W /!
W /
p1
W W ) / W W W . W / W / W W ) / W W
Y ver, Mais vous Mais vous, Y ver, mais vous es tes plein De
f
mf p
W3 W W 7 8 7 / W1 W3 W W / W . W W W W
Y ver,
Mais vous, mais vous, Y ver, trop es
f mf
p
W / W . W1 W1 " W / W . W W . W / W . W W
vous,
Y
ver,
mais
vous
Mais
vous,
3
WW / /W1 / 7 8 7 / / W W W1
//W1
/ 1 W1 W W . W / WW / /W1 W W / 1 W1 W W . W1
f mf
p
W / WW . WW1 W1 /"
W / WW . WW / WW . WW / WW . WW WW
Y
ver,
trop
es
tes
nè
tes
tes
. W
ge,
for online perusal only
: . . . .
40
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
Winter,
are too full of snow,
crescendo
f
f
W W1 W W 7 W1 W W W W WM
+ W3 W3
De nè ge,
de nè ge, vent, pluye et
crescendo
/ ) . W ) / W
1
W
1
W 7 / W ) . W ) / W
1
W
1
f
f
W 7 / W . W W / W . W W
3 3
pluye et gré zil,
vent, pluye et gré zil,
vent, pluye et
crescendo
f
f
. / W . W3 W1
+ 7 W / W . W3
+ W1
+ 7 / W . W / WM . W3 W3
De nè ge, plein de nè ge, vent, pluye et
crescendo
f f
. W / W3 W1
+ 7 . W W / W3
+ W1
+ 7 W / W WM W3
+ W3
plein
vent,
plein
plein
De
nè
/ . WW W / WW1
W WWW 7 / 7 W . W WW1
WWW
1 7 / W W . W WW W W M
/ . W WW WW
crescendo
f
f
. / WW / W W W1
7 . WW / WW / W W W1
7 / WW / W / WWM . W W W3
rain, wind, and sleet.
ge,
plein
de
nè
ge,
vent,
pluye
et
gré
gré
gré
gré

=
>
2
W
M
WWM
2
2
2
2
2
2
2
W
2
2
2
2
2
2
W
2
2
2
2
2
2
)
W
)
2
2
2
2
2
2
2
2
2
2
2
2
.
.
.
.
.
)
)
1
+
1
1
)
W
)
)
.
Debussy: Trois chansons de Charles d’Orléans
Retenu
43 f en diminuant
p
a tempo
= : . . . .
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
: .
49
: .
q .
< .
: .
< .
f
f
f
WM 7 W W W W ! ! W W " W 7 8 9
zil.
en diminuant
p
. 7 W W W W /!
! W / W " W 7 8 9
zil.
7 W W / W ! ! / W W ."
W 7 8 9
. 7 ! ! " 2 W 7 + +
en diminuant
p
WM
zil. On vous deust ba nir
en é xil.
en diminuant
WM
p
W2 W2 W2 W2 W2 W2
p!2 W20 W1 W1 W1
zil.
On
On
On
vous
vous
vous
deust ba
deust ba
deust ba
nir
nir
nir
9 9 9 9
mf
9 9 8 ! W 0 W
mf
8 !2 W 0 W+ W+ W ) W
W )
W ) W
mf
W W W W W W W W
mf
! 0 W / W W W W W W W W W W W W
plein,
W1
+ . W1
Retenu
a tempo
. 7 W2 W2 W2W
W2 /!!
!! W2W
/ WW2 "" WW 7 8 9
f en diminuant
. WWM
7 W2 W2 / W W2
W W2 !! !! / W W2
p
WW2 .""
2 2
p
WW 7 !2 W20 + W1 W W W . W1
Sans
You should have been banished into exile.
Sans
en
en
for online perusal only
point
point
fla ter je par le
fla
en
é
é
é
plein,
ter,
8 < !2 W20 W + W W W W 8 : !2 W20 W W W W W
mf
! 0 W W W W W WW WW WW WW WW WW WW WW
xil.
xil.
xil.
Sans
Sans
Sans
point
point
Sans
point fla ter je par le
Without any flattery, I shall speak my mind:
fla
fla
point
ter
ter
je
je
fla ter je
par
par
par le
le
le
53

=
>
2
3
W
8
!
i
M2
)
W
+ `
W
W
2
2
W
2
2
2
2
1
W
)
W
8
M2
1
2M
1
Wy
W
1
1
1)
W
1
1
W
)
1
54
53
= : .
: .
q .
< .
: .
< .
: .
57
: .
q .
< .
: .
< .
Debussy: Trois chansons de Charles d’Orléans
f
p
8 7 WM WM0 W+ W+ W + + W W 7 ! W 0 W ) ) W )
W )
Y ver, vous n’es tes qu’un vil lain. Y ver, vous n’es tes
f
p
! W W W . W WM W W W W 7 /!
! 0 W W
plein:
f
p
W W W W W WM WM W W W W 7 ! ! 0 W W
plein:
! 7
plein:
Y
f
W!WWW7W W WWM
f
! W WWM
Y ver,
Y
ver, Y ver,
WM p
!M W W W 7 /!2
! 0 W
Y
ver,
Y
ver,
ver,
. W W
M0 Y
ver, Y ver,
W W W / WW W WW 7 /!!2
!200 W )
. W WW WW
p
WM
W W WW W W 7 /!!2
! !
20 0 W W W
Winter, you’re nothing but a wretch.
p
W 7 8 8 M2
p
! " ! !
Y
ver
Y
W 7 7
p2
W ! 0 7 8
p2
! !
Y ver,
Y
ver,
marqué
p
W 7 8 9 9 7 6 W1
+ + W W ) W
lain.
ver,
ver,
WWWW WW WW WW WW WW WW WW WW WW WW WW WW WW WW
p
Y ver vous
n’es
tes
qu’un
vil
lain,
Y
WW77W2 ! 0 ! 7 "k !2 W! 0 W+ W!
p
WWWW WW WW WW WW WW WW WW WW WW WW WW WW WW WW W
ver,
for online perusal only
Y ver vous
Y
n’es
tes
ver,
qu’un
qu’un vil
Y
Y
vous n’es tes qu’un vil
vil
lain,

=
>
M
M
W
!
M
M
M
M
M
W
M
M
M
W
!
M
M
M
M
M
M
M
M
W
M
M
i
2
2
1)
1
1
1
+
1
1
+
1
1
1
2
2
+
1
1
1
1
1)
1
1
1
1
+
.
1
"" 4M
M4
M4
61
= : .
: .
q .
< .
: .
< .
Debussy: Trois chansons de Charles d’Orléans
! 8 9 8 ! ! ! "
en augmentant et en serrant le mouvement [cresc. e stringendo]
ver,
p
8 W W W W W W W W W W W W W W W W W W
p en fausset [ falsetto]
W 7 ! ! ! ! W W W W W W W W W W
lain. Y
ver,
vous n’es tes qu’un vil lain Y
WWWW WW WW WW WW WW WW WW WW W W W W W W W W W W
Y
ver,
vous
vous
n’es
n’es
tes
tes
qu’un
qu’un
vil
vil
lain.
lain.
Y
Y
ver vous
ver vous
en augmentant et en serrant
! W! W W ! le mouvement [cresc. e stringendo]
W W! W W! W W! W ! W W ! W WW " W W W WW
WWWW WW WW WW WW WW WW WW WW WW WW WW WW WW W WW WW WW W
Y
n’es
n’es
ver,
tes qu’un vil
tes qu’un vil
lain
lain
Y
Y
ver,
ver,
ver,
55
for online perusal only
: .
66
: .
q .
< .
: .
< .
au mouvement sans presser *
f
sec
ff
W ! W W ! W 9 6
f1
+ W W
) W+ W+ W ) W
) W "M4
Y ver, Y ver,
Y ver, vous n’es tes qu’un vil
sec
W W W W W W W W 9 6
f1
ff
W ) W W ) W )
W ) / W W
) "
Y ver, Y ver, Y ver, Y ver,
Y ver, vous n’es tes qu’un vil
sec
W W W W W W W W
f
ff
9 6 + W1 W1
+ W1 W1
+ W1 W1
+ + W1 "
Y ver, Y ver, Y ver, Y ver,
Y ver, vous n’es tes qu’un vil
sec
f
ff
W W W W W W W W 9 8 W1 W1
+ W1
+ + W1 "M4
Y
ver,
Y ver, Y
ver,
Y
ver,
au mouvement sans presser*
W WW W WW W WW W WW 9 6 WW1 WW W W 1 WW WW
/ WW . WW1
f
sec
f
ff
WWWWW W WW W WW W 9 6
W1 W W1 WW1 W WW WW1 ""M4
n’es
tes qu’un vil
lain.
lain.
lain.
lain.
* ‘in strict time, without hurrying’

=
>
!
!
WW
-W!
!
W
W
>
:
:
:
<
!!
W
-
W
W
W
W
«
«
«
«
«
W
-/"
-W
«
!
«
-
«
«
«
«
«
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«
W
!
/!
!
«
ï
«
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«
-
ò
)
)
+W
«
-
-
!
--
«
-
-
.
.
W
ò
«
íî
íî
íî
S.
A.
1
T.
2
1
B.
2
56
SOPRANO
6
:
:
q
q
<
<
:
<
ALTO
TENOR
BASS
(for
rehearsal
only)
=
q
<
10. To be sung of a summer night on the water
W
W
W
W
W
W
-W
4
4
*
4
4
4
4
*
pp
4
4
4
pp
4
I
FREDERICK DELIUS (1862–1934)
edited by John Rutter
pp
W W W W ! W W - W ! -W
W . W ! W W W . W ! W W W W !
pp
" ! ! ! 0 W -!
! W 0 W )
*
pp
" " !!
W W ! ! ! .!!
!! 00 W
! W W -!
!! ! ! WW .!W
! - W !! 0 W W W
Slow, but not dragging
*
Slow, but not dragging
""W W W W ! !W W - W !!
-!W
W . W !!
-!! W W W . W . ! ! W! 0 W W W !
/ W 0 ! W
! W W -!!
W!
W
!!0 ! W WW .!W
! - W !! 0 W W W
**
W W - W ! W W W W ! W W - W ! « ï
p
W / W W W ò
! « ! 0 W ! !
p
W W ! ! W - W ! 0 W "
ï «
W W W W -W
W W . W !
p
- 0 W W -W
W / W W W -!
/!
0 - W ! ! ! !
p
- 0 W W -W
W / W -!
! " ! W 0 W ! !
W W
p
.!
/"
W W ! W W .!
/!
W - W ! W W
p
- ! -!
! ! ! 9 9 ! !
-! 0 W - W ! ! W ! W W W W W! - W W! W0
W - W ! W / !! 00 / W W W ! -W
! W 0
W !
W W W -WW
W! ! W . W !!!
p
. W
!
/ W -! ! W W ! ! !
W"W .!
/!!
WW
0 -W
- W !!
0 ! W
© Oxford University Press 2001. Photocopying copyright material is illegal.
Two unaccompanied partsongs
for online perusal only
* Sing on vowel ‘uh’ (as in ‘love’), with a very loose mouth (almost closed in the pianissimo)
which should be gradually opened or shut accordingly as more or less tone is wanted. Breath
** = slightly prominent.
should be taken only at the sign if possible, quietly and quickly in order to preserve the legato. [F.D.]

=
>
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:
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W
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ï
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W
. W
W
.!
.
«
«
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«
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-
-
.
!!
« œ
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/
S.
A.
T.
B.
S.
A.
T.
B.
=
:
:
:
q
q
<
<
12
:
:
17
q
q
<
<
Delius: To be sung of a summer night on the water
cresc.
f
! .!
! 0 W ! ! ! 0 . W /!
0 W
cresc.
f
! .!
! 0 W ! ! " ! !
ï ò
cresc.
. /!
/ W W
«
f
W W ! ! -W
W W / W W W ! W W W !
cresc.
W W W . W ! " « ïW W W ! ò f! 0 . W /!
0 W
ï
cresc.
f
! .!
/ W W W W ! ! .!
/"
W W !
cresc.
f
W /!
W ! .!
! ! -"
! / W W
cresc.
f
! -!
" " " ! !
for online perusal only
W!WWW / ! ! / W ! 0 W W W ! W !!! W W W -W! ! W W ! 0 / W W W ! ..W W W /! 0 W / W -!!
W W
.!!W
/!
- ! ! W /!! W
cresc.
W W W .! ! !
" ! f
! .! ! - " W W . "" !! W ! ! W
poco«
dim.
a
poco
p
""W W !! 0 W W ! W W - W ! ! 0 W
( unis. )
poco
a
poco
dim.
p
" ! ! -W
W . W ! W W W . W ! ! !
dim.
poco
a
poco
W W W W W W ò
p
! 0 W ! ! ! -!
"
dim.
" W W - W !
ò « poco
a
poco
p
! 0 W -!
-!
W W / W W !
dim.
poco
a
poco
! ! -!
! -W
W . W ! W W -W
W ! !
mp dim. poco a
poco
p
9 9 W W ! W W -!
! W W
""W"WWWW W !W! 0 ! 0 ! - W W! . W !! W W W -WW
. W / ! !! 0 -!
W
dim.
poco
a
" ! -!W
W - W !! -WW
WW . W !! W -W ! poco
p
! 0 ! W -! W W /!! W W W W -W
W
ò «
57
î
í

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>
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<
:
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ï
-
"
!
W
!
W!
"
W
«
«
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«
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«
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ò
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-
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S.
A.
T.
B.
S.
A.
T.
B.
=
58
:
:
q
q
<
<
22
:
:
26
q
q
<
<
Delius: To be sung of a summer night on the water
! -W
W ! W -W
W W ! ! W + W -+ W
- /!
W W W W W 0 . W ) W / W . W W W -!
0
W W - W ! ! / W -W
W W - W ! W W W W W W
W W - W ! W W W W W 0 .+ W W / W - W ! "
- W -!
" ! -!
! !
- ! -!
! ! -!
"
-W!!
W - W ! !
--W ! !
for online perusal only
- W !!WWW WWW W 0 --W W .+ -
//W W W W - . W! ! W W ! W W W W W )
- 0
. - !" ! ! ! - -!"
! ! - !
p dying away to the end
! 0 W -W
W W W ! W -W
W W 0 W+ ! -!
"
p dying away to the end
W -W
W W -!
! /!
-!
0 . W " "
p dying away to the end
- W W -!
! 0 . W " "
p dying away to the end
! ! -!
! -!
W -W
- W " "
p dying away to the end
" -"
! 0 W " "
p dying away to the end
" -"
" -"
"
W!0 -W
W W -!
W -!W
W W W - ! ! -!! 00 -W
W W 0 . WW W )
""! -!
"" "
!
""! - p
-! " !
dying away to the end
- " ! W -W
/ WW -" " " " " "
W -W
- W )
pppp
pppp
pppp
pppp
pppp
pppp
pppp

=
>
q
:
<
W
. WW
WWW
/ W
6
>
q
. W
W
-W
W
W
WWW
W
«
«
«
W
+
./
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«
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+W
«
«
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./
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-
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Delius: To be sung of a summer night on the water
59
TENOR SOLO
SOPRANO
4
:
:
q
<
ALTO
TENOR
BASS
(for
rehearsal
only)
=
:
:
q
<
:
<
W
W
W
W
W
W
W
W
4
4
4
4
4
4
4
f
p
W W W 0 W . W W W W W W W W W 0 W . W W W W W W W W W W W W W
Gaily, but not quick
mf
luh lah luh luh luh lah,
luh lah luh luh luh lah, lah lah, lah
p
mp pp
. W W W . W W W . W W W W W W
*
p
mp pp
W W W W W W .!
W W W W
*
p
mp pp
W W . W W W W W W W WW . WW WW WW
*
p
mp pp
6 WW 00 WW+
WW00 6 WW 00 WW+
WW00 6 WW WW WW WW +
*Luh
for online perusal only
*
. WWW . W W WWW . WWW WW!W W W . W W W W WWW W . WWWW WWW W WWWW
p
mp
pp
6 WW 00 WW WW00 6 WW 00 WW+
WW00 6 WW WW WW WW +
Gaily, but not quick
II
**
rather slower
f
p
f
W W W W W W W W W W W W W W mp
! " .!
0 W W W W 0 W -W
W W W W W
la ha hah, la ha hah, la ha hah ah
luh luh la ha ha ha lah
mp pp
f
p unis.
W WW W WW ! !W W !" ! .!! 0 .!
W W -W
W -W
W
mp pp
f
. W W ! .!
! ! ! W ) -W
W
) p
-W
W -W
W W
mp pp
f
p unis.
/ / WW . WW / WW .!!
/!!
"" !" .!
W W -W
W W
mp pp
f
p
6 WW 00 WW+
WW00 7 !! 00 "" "! ! W W W -W
W
rather
. / WWW . WWW / WWW .!!!
/ ! W!!
W !!" " !! .!!! 0 -W
W W + / W W slower
W W --WW W W - W W W
mp
pp
WW00 W WW W WW00 W !
+ 7
!! 00 ! "" " f
p
" !!" " .!!
W W W -W
W
* See note on performance, p. 62. ** Bracketed sections of the solo part could be omitted. [Ed.]
© Oxford University Press 2001. Photocopying copyright material is illegal.
p
lah,
«
«
«
«

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q
q
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W
W
W
W
W
W
+ W
W
W
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W W
-WW
-
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//
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)
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W
-
-
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!
-W
«
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«
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«
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W
. W
X
. WWW
-/
WW
x
-
--
«
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.
S.
A.
1
T.
2
B.
S.
A.
T.
B.
=
60
9
:
:
q
q
<
13
:
:
q
q
<
Delius: To be sung of a summer night on the water
f mp
Tempo I
W W W 0 W ! W W W W W W W W mf
W W " W W W 0 W W W W W W W
luh la ha hah, la ha hah, la ha hah, hah,
luh luh la ha ha hah
f
p
(p)
W 0 .
) -!
W -W
W WW W W W WW WW WW - W W! 0 W W W W 0 W . W ) WW
W W +
W W 0W
f
p
(p)
- W - W ! W ! W ! W -W
W W W / W W 0 W
- 0 W
) f
p
(p)
/ W -W
W ! W W " W W W W W W
f
p
(p)
- 0 W W . W W . W W W W -!
W W W W W W W
W -W
W -W
-W
/ WW " W f
p
. W W / W !!
WW 0 -W
W )
- + WW WW WW 00 WW W
+ + W 0 W W
. W 0 / W -W
. W
) -W! ! -W
W WW W Tempo I
W W W WW WW WW - W !W W W W W W 0 -W
W . )
WW WWW W W WW W WWW W 0 W W W WWW -+ W
- )
WW0 -W
W -WW
W
-WW
/ WWW W
f
p
W WW! . W WW / WW !W -!
W -W
WW W - WW W WW00 WWW W WW + W 0 / WW WW
! 0
rall.
a tempo
*
W W W 0 W W
p p p cresc.
W W W W W 0 W W W W W W -W
. W / W W . W . W W W W 0 W . W W W W W W
luh la ha ha hah, luh luh la ha ha ha
ha ha
luh luh lah luh luh lah
W 0 - WW
W - -W
WW W )
unis. p p
p cresc.
W / WW - WW
WW -WW
-W
/ W W W W W . W . W W
p p
p cresc.
! / W -W
/ W - W ! . W W W W W W W W W / W W W
p p
p cresc.
W+W 0 ! W + W W + -+ W W 0 . W / W W . W / W . W W W W
p p
p cresc.
W+W 0 W 0 W -W
-W
/ W W / W -W
W W W W -W
W . W ! . W W
unis.
p p p cresc.
- W / W -W
W - W ! W W -W
WW WW W
) WW 00 WW WW 00 WW
W!
0
WW)
for online perusal only
- )
/ WW
W - W -W
WW WWWWW W ) rall.
- ! WW / WW W -W
. W W / WW W
a tempo
/ WW . WW W WW W . WW . WW . WW WW
p p
p cresc.
W 0 -W
WW 0 / W W - WW -W
/ WW -WW
/ W - WW / WW
0 W -W
/ WW -WWW
-W
W WW W ! WW 00 WW +
* If soloist is omitting bracketed sections, he should sing the small note in this bar, then rest for three beats. [Ed.]
. WWW00
. W
+
WW
«
«
«
«
«
«
«
«

=
>
q
q
:
<
:
<
W
W
W
. WW «
.. WWW
. WW
. WW
WW+
WWW
W
«
..
W
W
W
«
y
y
«
/
W
y
«
«
6
«
+
/
//
-WW
. W
.. WW
.
+
W
+
«
«
. WW
. W
//
.
+
`
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«
«
«
. W
..
.. WWW
W
W
.
/
6
.
W
«
. W
./
+
«
«
«
«
/ . WW
W
«
«
«
«
/
/ W
+
/
/
.
/
./
!
W
«
«
«
î
í
S.
A.
T.
B.
=
17
:
:
q
q
<
20
:
:
q
<
[ f ]
W W W 0 W . W W W
) / W . W W W . W W f
W W W 0 W . W W W W W W
luh lah luh luh luh luh, ha ha ha hah, luh luh lah luh luh luh lah
f
mp
. . W W 0 . . WW
+
. W 0 W / + W . W . W / W . W / W W
f
mp
. ! W / W . W W W . W W W -W
W W
f
mp
. .!
W . W 0 .+ W . W . W W W W
f
mp
! 0 / W -W
-W
0 /+ W / . W / W . W / W W
+ W 0 W f`! W . W / W W 0 W ) mp
9
-W
W . W ) W WW 00 WW+
WWWW +
. !! W W ..WW W . W . W 0 W W / WW W . WWW . WWW . WWW - W . WWW WWW
+ W 0 W / f
! W
mp
! 0 . WW / W - W WW
000 WWW . / WWW WW
W WW00 . W WW WWW WW +
mp
p
mf
W W W 0 W . W W W W W W W W W W W W W W W W W W W W W W W W W W W !
luh lah luh luh luh lah, lah lah, lah lah, la ha hah, la ha hah, la ha hah,
p
pp
p
pp
. W W W W W W W W W WW W WW .!!
!W / W W
pp
p
pp
p
W W .!
W W W W W . W W W ! !
pp
p
pp
p
. !W W W W WW . WW WW WW / WW / WW . WW / WW .!!
!!
pp
p
pp
p
WW00 WW+
WW00 6 WW 00 WW WW00 6 WW 00 WW+
WW00 7 !! 00
WW!W . W W W W W WWWWW W WWWWW W . WWW / WWW . WWW / WWW ..!! !!!! / / W W
pp
p
pp
WW00 ! WW WW00 7 W WW00 . W +
WW WW00 W W WW00 W WW W
p
WW00 W !
+ 7
!! 00 !
. . WWW W
. +
for online perusal only
Delius: To be sung of a summer night on the water
61
«
«

=
>
q
q
:
<
:
<
/ .
W
!
WW
.
"!!
"
"
"
. W
-
«
«
«
«
/
«
«
«
«
/
!
W
!
W
« œ
«
/
.
..
"
«
«
W!
"
«
«
«
«
.
.
.
«
«
«
«
«
!
"
«
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!!
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4
.
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.
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=
62
24
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<
29
:
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<
Delius: To be sung of a summer night on the water
ff dim.
dim.
mf
p
pp
. W W W 0 W . W W W W W -W
. W / W W W 0 W
) " . W W / W W
luh luh lah luh lah luh luh luh luh la ha, luh lah,
a ha
f dim. mp
dim.
p
pp
."!0
. W !! 00 . WW / !! .!!
/""
! !
f dim. mp
dim.
p
pp
/ .!
0 W .!
/!
" . W W / W W
f dim. mp
dim.
p unis.
pp
."!0
. W /!! 00
W - ."!
W 0 W
) ! W / W W W .!
!
f
mp
dim.
dim.
p
pp
""! . ! 0 0
unis.
/ W ! .!
/"
"! . W W
hah
for online perusal only
.""! 0
! 0 . W .!!!
000 . WWW / !!! / !!! /"""
. W! W / W! W
f dim. mp
dim.
""! . !!00 ! 0 0 / WW - W ! .! W 0
p
pp
. W )
/!"
W / W W W .
"
!. W
dying away
. W W . W W W W W 0 W . W W W .!
! .!
! "4
hah
luh luh lah luh luh luh lah, ah
ah
dying away
W -!
W / W W .!
W ! ! ! ! "4
dying away
. W . W / W . W . W / W 0 W
) ! ! ! ! "
dying away
. -!
W / W / W -W 0 .+ W . W /!!
. W W !! "4
dying away
pp
/!"
/!
8 !!
"W W W W ! "W W W W ! "4
. -W!
. W / WW . WW W ..W W / 0 W /+ W .!!!
!!! .! ! ! !! ! " "
4
/ / !! W / W W - 8 ! W 0
dying away
. W )
WW W WW
W /!!
WW W WW
W !! ""4
pppp
ah.
pppp
pppp
pppp
pppp
pppp
* The solo voice should sing to syllables as indicated, introducing delicate staccati at appropriate places (which are generally
where the syllable ‘luh’ is put). On staccato notes the vowel should be sung for a very short time and the remainder of the notes
continued on the sound of ‘l’.
The accompanying voices should sing on ‘uh’ (as in ‘love’). A slight aspirate, without taking the voice off before it, may be
made at ( i) all repeated notes and ( ii) the first notes of slurs (unless it happens to come after a breath, in which case the aspirate
is best omitted). [F.D.]

;
<
ý
"
1
=
>
W
W
W
!
!
W
!
!
W
y
y
W
63
11. Come, heavy sleep
Words: Anon.
SOPRANO
ALTO
TENOR
BASS
Cantus
Altus
; "
; ý " 1
Tenor
Bassus
ý "
(for
rehearsal
only)
: .
: .
q .
< .
: .
< .
W
W
W
W
W
2
2
2
2
2
2
8 ! ! ! ! ! " 7 W W W
Come,
Come,
sha
dow of
and
" ! ! ! ! " ! 0 W W
hea
vy sleep, the
i
sha
dow of my
end
" ! W W ! W 0 W+ " W 0 /+ W
hea vy sleep, hea vy sleep, the i
sha dow of, sha dow of my end
" " " " W 0 W ) W W
Come,
Come,
Come,
Come,
Come,
Come,
Moving slowly
hea
sha
hea
vy
dow
8"! !! !! !! W!!W 0 " 7
+ " W W 00 W /+ W
"""! W W "!
" W 0 W+
vy
sleep,
for online perusal only
sleep,
of
the
my
JOHN DOWLAND
(1563–1626)
the
my
i
end
mage
i mage
end and
WW . WW W
. W
mage
and
6
= : .
: .
q .
< .
: .
< .
! .!
" 7 W W W " W W W W W "
of
shape
of rest
Al lied to
death,
child
! ! " ! 0 / W ! ! W W W W W ! !
of true death, And
close up
these my wea
of rest Al
lied to
death, child to
W W W W " W W W W W W W ! W ! W ! !
shape
mage of true death, And close up these my wea
ry,
my wea ry
and shape of rest Al lied to death, child to
this, child to this
! ! " " W W W W " ! W W
of
shape
true
true
of
death,
death,
rest
And
Al
And
close
up
close
lied
W! ! W . W ! ! W " " 7 ! 0 W W / W W !" ! WW WW WW WW WW !" !
! ! "" "W W W W W W W W W W! . W " W ! W
up
to
these
death,
these
my
ry,
this,
my wea
child to
ry
this
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
!
!
"
W
)
`
W
)
W
`
00
00
00
00
00
00
7
!
.
64
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SOPRANO
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JOHN DOWLAND
(1563–1626)
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she ex cuse my wrongs with Vir tue’s
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cloak?
pire
cloak?
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fires which
so
© Oxford University Press 2001. Photocopying copyright material is illegal.

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grant ed I find?
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67
for online perusal only
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Dowland: Can she excuse my wrongs
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must.
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Dowland: Can she excuse my wrongs
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See ing that she
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thee
tor
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ted:
69
for online perusal only
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Dear,
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but re mem ber it was I Who for thy sake did die con tent
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thou canst not o’er
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come
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I Who
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love will be
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will
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thus
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be thus fruit less
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ver.
ed.
e ver.
tent ed.
ver.
ed.
ver.
ed.
00
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Words: Anon.
SOPRANO
4
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ALTO
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13. Weep you no more, sad fountains
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Weep
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weep you no more, sad foun tains;
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need
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what
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so
so
be
fast?
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more,
re
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Look
Doth
Look
Doth
JOHN DOWLAND
(1563–1626)
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sad
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Look
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not the
tains;
ling,
how
not
snow
sun
What
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not
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the
y
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need
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snow
snow y
sun rise
moun
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What
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y
rise
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moun
smi
© Oxford University Press 2001. Photocopying copyright material is illegal.

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Heav’n’s
When
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doth
fair at
ev’n
he sets. Rest you then, rest,
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then, rest,
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When
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gent
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he
ly waste.
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sets.
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Dowland: Weep you no more, sad fountains
But
Rest
But
my
you
sun’s
then,
my sun’s,
But my sun’s
Rest you then,
my
heav’n
rest,
heav’n
rest,
sun’s heav’n
! / WW WW ! ! !W W W WW
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sad
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rest,
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71
for online perusal only
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" 8 7 / W W W ! " 9
eyes
eyes,
Melt not in weep ing,
W . W W ! 8 7 W W 0 W - W W ! 7 W W W W W
ly eyes
View not your weep ing, That now lies
sad eyes,
Melt not in weep ing, While she lies
! ! 7 W W 0
+ W -W
W ! /!
7 W W W W W
sad
ly
! 7 W W 0
+ W -W
W W / W W ! W ! W W ! W
eyes
eyes,
eyes
eyes,
View
Melt
not,
not,
View
Melt
not,
not,
view not
melt not
View
view not
melt not
your
in
not
weep
weep
your
your
in
ing, your
ing, in
W"W . W ! 8 7 W
7W0 / W W W+ - W 0 W W W - + -W W ! W !! 0 7 WW W W W W W W W W
!!! 7 W W 0 W+ -W
W W / W W ! ! / W ! ! k W W ! W
weep
weep
weep
weep
weep
ing,
ing,
ing,
ing, That
ing, While
That
While
now
she
lies
lies
now
she
sleep
sleep
lies
lies
sleep
sleep
sleep
sleep
ing,
ing,

=
>
!
!W
"
‰
"
-
"
)
00
00
00
00
72
18
= : -
: -
q -
< -
: -
< -
Dowland: Weep you no more, sad fountains
8 ! W W W W W W ! W W W W W W !
W W W W W W ! ! 7 W W ! W W W W 0 W
ing,
ing, While
W W W 0 W +
! ! 7 ! W W ! W "
ing,
ing,
That
- " " ! ! "
Soft
Soft
That
While
sleep
sleep
now
she
ly,
ly,
now
she
lies
lies
lies
lies
sleep
sleep
ing,
ing,
sleep
sleep
ing,
ing,
soft
soft
ing,
ing,
That
While
that
while
WkW W W W ! W W W W W ! ! W W ! W W -7 ! W W W ! W W W W W W W W W !
0 W +
-"
W 0 W ) ! 7 " ! W ! W ! ! W "
Soft
Soft
now
she
lies
lies
ly,
ly,
now
she
ly,
ly,
sleep
sleep
lies
lies
now
now
sleep
sleep
soft
soft
ing,
ing,
Soft
Soft
soft
soft
ing,
ing,
ly,
ly,
Soft
Soft
soft
soft
for online perusal only
: -
23
: -
q -
< -
: -
< -
W W ! W W W W W W ! ! . W W .!
!
- ! 7 W W W W W W ! " "
W ! W W ! W ! ! " "
ly,
ly,
! ! ! ! ! 0 W " "
ly,
ly,
ly,
ly,
soft
soft
- W ! ! W 7 WW WW W WW WW WW !! "! . W W ."!
!
W
!W!! ! W ! ! W !
! 0
! W "" ""
( )
soft
soft
ly,
ly,
now
now
ly,
ly,
soft
soft
ly,
ly,
that
that
now
now
( )
now
now
ly
ly
soft
soft
now soft
now soft
soft
soft
ly
ly
lies
lies
ly
ly
ly
ly
lies
lies
lies
lies
lies
lies
sleep
sleep
sleep
sleep
sleep
sleep
sleep
sleep
ing.
ing.
ing.
ing.
ing.
ing.
ing.
ing.
00
00

=
>
>
2
2
2
2
2
2
2
+
W
+
W
W
W
W
)
WW
W
W
WW
WW
73
Words by Henry Longfellow
(1807–82)
SOPRANO
ALTO
TENOR
BASS
(for
rehearsal
only)
=
: - - -
: - - -
q - - -
< - - -
: -- -
< -- -
W
W
W
W
W
W
W
W
3
4
3
4
3
4
3
4
3
4
3
4
14. As torrents in summer
EDWARD ELGAR (1857–1934)
from Op. 30
+ =76
p
6 W ) W W 6 W ) W W 6 W W+ W 0 W ) W W W
) 6
As tor rents in sum mer, Half dried in their chan nels,
p
6 W )
W W 6 W ) W 6 W W W 0 W ) W W W ) 6
As tor rents in sum mer, Half dried in their chan nels,
p
6 W )
W W 6 W )
W 6 W
) W W 0 W ) W W W + 6
As tor rents in sum mer, Half dried in their chan nels,
p
6 + W W W 6 + W W W 6 W+ W W 0 W )
W W W
) 6
Andantino
As tor rents in sum mer, Half dried in their chan nels,
+ =76
6 ) WW W W WW 6 ) WW W W WW 6 W ) W W WW 00
) WWW WWW WWW W
) 6
p
6 WW WWWW 6 WW WWWW 6 WWW WW+ W 0 0 W )
W W W
) 6
Andantino
for online perusal only
5
ten. 3
ten.
dim.
3
: - - - W2 W W W W W W W W W W ! W W W W W W 0 W+ W
Sud den ly rise, sud den ly rise, tho’ the Sky is still cloud less, the sky is
ten.
[ ten. ]
dim.
: - - 3
3
- W2 W W ! / W W W W W W ! W W W W W W 0 W )
Sud den ly rise,
sud den ly rise, tho’ the Sky is still cloud less, the sky is
[ ten. ] 3
dim.
q - - - W2 W W ! W 0 W ! W W / W W W W -W
W 0 W )
Sud den ly rise,
tho’ the Sky
is still cloud less, the sky is
[ ten. ]
3
< - - - W2 [ ten. ]
W W2
W W W 3 dim.
W W W W W ! W W W W W W 0 W ) W
: -- -
< -- -
Sud den
ten. 3
WWWW WW
W W WW WW
3
ly
rise,
sud
den
ly
rise,
tho’ the
Sky
is still
cloud less,
ten. 3
!WW / WW WW WW WWWW WW ! ! W W W W W W W W W W WW 00 W ) W
3
W!W W
)
W WW ! -W
W ! W W / W W W W dim.
W
3
W W W -W W W W 00 W W +
the
sky
is
still
still
still
still
Copyright Novello & Company Ltd.

=
>
+
/
7
-W
)
W
)
)
74
Elgar: As torrents in summer
10
pp
mf
= : - - - W W 7 7 7 W ! 0 W 7 W ! W W W W W W W W
: - - -
q - - -
< - - -
: -- -
< -- -
cloud less,
pp
mf
W W 7 7 7 W /!
0 W 7 W ! W W W W W W W W W
less,
For rain,
for rain has been fall ing, rain has
p
cresc.
W W W -!
0 W 7 W ! 0 W W W W W W W / W -W
W W
cloud
cloud less, For
W W 7 9 9 9 9 9 7 7 W
cloud less,
rain,
For
rain,
for
rain
pp
WWWW 7 7 7 W W /!!
00 WW 7 WW !! WW WW WW WW WW W W WW WW W
mf
p
cresc.
WWWW W -!
0 W 7 7 W ! 0 W W W W W W W W
7 WW
W
for
rain
has been fall
has been fall
ing,
ing,
fall
rain
ing
has been
pp
For
been
for online perusal only
poco rit.
a tempo
17 pp espress.
pp
mf
: - - - W W W ! W W ! W W W ) 6 6 W ) W W W W W W 6 W
Far
off at their foun tains;
So hearts that are faint ing
+
pp
pp
mf
: - - - ! W W W W W ! W W W
) 6 6 W )
W W W W W W 6 W
fall ing Far off at their foun tains;
So hearts that are faint ing
pp
pp
mf
q - - - ! W W W W W ! W W W ) 6 6 W )
W W W W W W 6 W
fall ing Far off at their foun tains;
So hearts that are faint ing
pp
mf
< - - - ! W W W W W W ! W W W + 6 6 W+ ! W W W W 6 W +
: -- -
< -- -
rain has been fall
ing
at their foun
tains;
poco rit.
a tempo
!WW WW W! W W ) W WW !! WW WW WW 6 6 ) WW W W WW WW WW W W WW 6 W
pp
pp
mf
!!W W WW WW WW W W !! WW WW WW + 6 6 WW ! W W WW WW WW WW 6 WW+
So
hearts
that are faint ing
Grow
Grow
Grow
Grow

=
>
W
)
)
W
+
W
W
W
W
Elgar: As torrents in summer
75
23
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
W W 0 W ) W W 6 W
to o’er flow ing,
W W 0 W ) W W 6 W )
ten.
full
ten.
full
WWWW 00
) WWW WWW WW6 W W
WWW W 0 0 W )
W W 6 WW +
3
W W W
3
W W W
W W 0 W )
3
W W 6 + W W W W W
to o’er flow ing, And they that
W W 0 W )
W W 6 + W W
3
W W W
ten.
full
ten.
full
ten.
to
to
o’er
o’er
flow
flow
ing,
ing,
And
And
And
they
they
they
that
that
that
3
WWWW WW
W WW WW
3
be
be
be
be
cresc.
3
W W W W W
hold
W W / W W W
W W W W
cresc.
3
it, they that
cresc.
hold
3
WWWW / WW WW WW
cresc.
WWWW W W WW WW
3
3
!
it, they that
cresc.
W W
3
W W W
hold
hold
it,
it,
they
they
that
that
be
be
be
be
hold
hold
hold
W
hold
WWWW
W!W -
it
it
it
for online perusal only
: - - -
27
: - - -
q - - -
< - - -
: -- -
< -- -
f
dim.
p
! W W W W W W 0 W + W W W 7 7 7 W ! 0
Mar
f
dim.
p
! W W ! W W 0 W )
W W W 7 7 7 W /!
0
vel, and know not, mar vel, and know not
That God,
f
dim.
p
W W / W ! -W
W 0 W )
W W W W -!
0 W 7 W
it, Mar vel, mar vel, and know not That God,
f
dim.
p
! W W ! W W 0 W ) W W W 7 9 9
Mar
vel, and know not, mar
!!W W W W ! W W W W WW 00 W ) W
Mar
vel,
and
know
not,
mar
f
!WWW / W
dim.
p
! ! -W W W W 00 W W
vel,
vel,
and
and
know not
know not,
That
God,
WWWW WW 7 7 7 W W /!!
00
WWW W WW W -!
0 W 7 7 W
cresc.
that
cresc.

=
>
/
7
-W
76
Elgar: As torrents in summer
33
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
: - - -
38
: - - -
q - - -
< - - -
mf
dim.
W 7 W ! W W W W W W W W W W pp
espress.
W
that
God
mf
dim.
pp
W 7 W ! W W W W W W W W W ! W
that God
at their foun tains, Far off has been rain
pp
! 0 W dim.
W W W W W W / W -W
W W ! W
God
at
at
their
their
foun
tains, their
foun tains,
pp
9 9 9 7 7 W ! W
WW7WW !! WW WW WW WW WW W W WW WW W !W W WW
mf
dim.
pp
! 0 W W W W W W W W
7 WW
W ! ! W W
poco rit.
! 0 W W W ! W W ! 0 ! 0 !
off,
W W W ! W ! W W ! 0 ! 0 !
far
off,
far off
has been rain
ing!
W W W W W W W W W W ! 0 ! 0 !
far
dim.
! W ! 0 ! W W !! 00 !! 00 !!
off,
far
Far
foun
for online perusal only
far
off,
far
off
off
off
has been
has been
has been
off
rain
rain
rain
tains
has been
Far
ing!
ing!
ing!
Far
rain
off,
ing,
ing,
far
: -- -
< -- -
poco rit.
W!0 W W !W W WW ! ! WWW WWW !! ! 000 !!! 000 !!!
!WWW W ! W 0
W W
!WWW W !! 00 !! 00 !!

=
>
:
:
>
)
:
:
M
! M
û
!
M
W
WW
)
)
W
WW
+
W
Q
+
Words by Andrew Lang
(1844–1912)
SOPRANO
5
q
<
:
<
ALTO
TENOR
BASS
(for
rehearsal
only)
=
q
<
:
<
3
4
3
4
3
4
3
4
3
4
3
4
( + =60)
rit. a tempo
p legato
pp
W W 0 W )
W W W W W W . W . W W W W . W W W W W4
+ W ) W W
My love dwelt in a North ern land, A dim tower in a for est green Was his, and far
p legato
W W 0 W )
W W W W ! W W . W W W W W
4)
pp
W ) W W
My love dwelt in a North ern land,
A dim tower Was his, and far
p legato
W W 0 W )
W W W W W . W W W W W . W W . W W W W
4) 6 7
My love dwelt in a North ern land, A dim tower in a for est green Was his,
p legato
W W 0 W + W W W W ! W 0 + W W W W W
4) 6 7
My love dwelt in a North ern land,
a North ern land,
( + =60)
W W 0 W )
W W W W ! W W . W . W WW W W . W W
rit. a tempo
. W WW WW / W W W
4) W WWWW WW
p legato
pp
W W 0 W + W W W W ! W . W W W WW 0 W . W WW .
+ WW WW WW W 6 7 W+
W 0 W+ W W W 0 W )
way
W 0
way
W
W
W
W
.W
W
W
W
Moderato
Moderato
15. My love dwelt in a Northern land
Romance
. W W 0 W
EDWARD ELGAR (1857–1934)
Op. 18 no. 3
rit.
/ W W W W W W W
W+ . W W W W W W W W 0 W ) W W W ) W W ) W W
pp
6 W ) !M W W !M W W W W W W W . W W W W W
and
far
the
the
for online perusal only
sand And gray
sand And
gray
a
way
wash
wash
of
of
the
the
waves
waves
were seen The
were seen The
the waves were seen The
pp
6 W ! W W ! W W W W W W W W W W W W
and far
a way
the waves were seen The wo ven for
WW00 WW+ . WW WW WW 0 W W W rit.
)
. W W W W 00 WW / W WW WW W W W W WW
6
) ! M W W W
WW ! W WW W WW W
WWWW WW WW . W W W W W W WW W W
wo
wo
wo
ven
ven
ven
for
for
for
a
a
est
est
est
est
77
Copyright © 1890, 1996 Novello & Co. Ltd.

=
>
:
:
q
<
:
:
q
<
W
W
W
W
Q
4
W
)
)
)
)
W
W
W
W
W
W
W
WW
2
W
2
2
W2
2
2
2
2
2
. 2
2
2
W
W
W
)
W
îí
íî
=
78
9
:
<
Elgar: My love dwelt in a Northern land
W 0 . W 0 W W 0 / )
W W W W W . W W W W W W W W 0 W
W 0 W W 0 W W 0 / )
W W W W ! W W W W W 0 W
W 0 W W 0 W W 0 / )
W W W W W W . W . W W W W W W 0 W
W 0 W W 0 + W W 0 W W W W W ! W W W W W 0 W
a tempo
p legato
tween: And through the North ern sum mer night The sun set slow ly, slow ly died
p legato
be tween: And through the North ern sum mer night
The sun set died
p legato
be tween: And through the North ern sum mer night The sun set slow ly, slow ly died
p legato
/+
boughs be
boughs
boughs
boughs be tween: And through the North ern sum
mer
a tempo
WW00 . WW WW 00 W W 0 / )
W W W W ! W . W W W W W W W WW W WW 00 WW
p legato
WW00 WW WW 00 + W W 0 /+ W W W W W ! W W . W . W WW W W / WW W W W W 0 0 WW
night
The
sun
set
dim. e rit.
died
a
a
a
a
dim. e rit.
for online perusal only
13
:
<
a tempo
pp
f
dim.
W4
+ W ) W W W 0
+ W W W W 0 + W2 W2 W WW 0 W WW WW WW
way, And herds of strange deer, sil ver white, Came gleam ing through the for
pp
4) W ) 2
W W W W ! W W W W W
2 f
dim.
. W W 0 W ) W W
way, And herds of strange deer, sil
ver white, Came gleam ing through the for
pp
W4
+ W+ W W W
) W W )
f
dim.
. W W 0 + W2 W2 W2 W W W W W
way, And herds of strange deer, sil ver white, Came gleam ing through the for
WWWW +
6 7 6
) WW !! WW WW WW W2 f
W W W 0 )
W WW WW W W
pp
dim.
way,
And herds
of deer, Came gleam ing through
WWW
4) W W W W W
W 0 W ! W )
W W WW
0
2)
W W WW WW
WW0 0 the for
a tempo
W / )
WW W WWWWW
WWW WW W pp
) W W W
+ 6 7
W ) W 6 +
WW !!
W )
. W WWW
0
2)
WW WW W WW 2 WW W f
WW W W W W
dim.
WW W W W
est
est
est
est

=
>
:
W
W
W
1
!
1
1
W
W
1
1
1
1
W
1
1
2
1
!
1
1
1
1
2
1
1
1
1
2
W
W
1
2
W
1
4
4
4
4
4
Q
2
W
1
W
W
W
WW
2
!
1
-
-
-
-
-
-
-
-
2
1
W
2
1
1
W
1
WW
1
1
1
1
1
1
1
1
1
1
1
1
1
W
W
1
1
1
1
S.
A.
1
T.
2
1
B.
2
S.
A.
T.
B.
=
17
:
q
q
<
<
:
<
21
: -
: -
q -
q -
< -
< -
: -
< -
rit.
p
WWWWWWW 0 W !
gray,
. W
Elgar: My love dwelt in a Northern land
a tempo, poco più lento
) pp dolcissimo
6 W ! W
* leggiero
p
ppp
W W W W / W 0 W W W W W W ) 6 W W WW WW WW
And fled like ghosts be fore
the day.
And oft, that month,
p
pp dolcissimo
. W W W 0 W W W W W4 W+ 6 W ! W
gray,
gray,
* leggiero
p
ppp
. W W W 0 W W W W W4 W+ 6 W W W W W
And fled like ghosts be fore
the day.
And oft, that month,
p
ppp * leggiero
W W W W W 0 W W W W W
) 6 W W1 W1 W1 W1
And fled like ghosts be fore
the day.
And oft, that month,
p
ppp
W W W W W 0 W W W W W
) *
6 W ! 0
And fled like ghosts be fore
the day.
And oft,
rit.
a tempo, poco più lento
rit.
WWW W W W W W W W 0 WW W! W .
)
WW WW 6 WW W! WW1
WW1
WW1
WWW . W W W W W WW 00 W W W W W W WW W W W 6 W W+
WW
W W ! WW WW WW W
p
pp
! 0
W W [ ]
W W2 W2 ! ! W ! W
gray,
gray,
gray,
And
And
fled
fled
like
like
ghosts be
ghosts be
rit.
fore
fore
the
the
month,
we watch’d the moon
Wax great
WWWW WW WW WW WW WW WW WW WW WW WW WW WW WW WW
the moon, and oft, that month, we watch’d the moon Wax great and white
W W W W2 W2 ! ! W2 ! W
month,
we watch’d the moon
Wax great
W W W W W W W W2 W2 W2 W2 W W W W W
the moon, and oft, that month, we watch’d the moon Wax great and white
1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1
watch’d
watch’d
watch’d the moon,
and
oft,
that
month,
! W ! W W W ! ! 0
that
WWW W WW1
WW1
WW1
W month
WWW WW
we watch’d the moon
! WW1
WW1 WW! WW1
WW1
WW1 WW! WW1
WW1
WW1
WWW WW WW W WW W WWW WW WW! WW WW ! WW WW WWW2
!
! 0
WW WW WW W
day.
day.
* The passages of vocal accompaniment to be sung as softly and smoothly as possible and without accent.
we
watch’d the
moon
And
And
for online perusal only
Wax
oft,
oft,
great
and
white
that
we
that
we
we
and
o’er
and
o’er
o’er
79

=
>
W
1
!
1
1
1
1
1
1
W
1
1
2
1
!
1
1
2
1
.
1
1
)
1
1
2
2
W
2
2
2
W1
2
2
2
W1
2
2
WW
2
W1
2
2
.
W
2
1
1
1
1
!
1
1
1
1
1
1
)
1
1
7
1
S.
A.
T.
B.
S.
A.
T.
B.
=
80
25
: -
: -
Elgar: My love dwelt in a Northern land
mf
dim.
W W W . W2 W2 ! ! W W W 0 W+ W W
white
o’er wood and lawn,
And oft,
mf
WWWW WW WW WW WW WW WW WW WW WW WW W! W W
wood and lawn, wax great and white o’er wood and lawn, And oft,
that
q - W W
mf
dim.
W . W2 W2 ! ! / W W / W W
white
o’er wood and lawn,
And oft,
that
mf
dim.
q - W W W W W W W W W W W / W W / W W
wood and lawn, wax great and white o’er wood and lawn, And oft,
that
< - 1 W1 W1 W1 W1 W1 W1 W1 W1 mf
dim.
W1 W1 W2 W W W
wood and lawn, wax great and white o’er wood and lawn, And oft,
that
mf
dim.
< - ! W ! W W W W W2 W W W
Wax great
o’er wood and lawn, And oft,
that
: - WWW W W . WWW WW1
WW1
WW1 WW ! WW1
WW
W
WW! WW2 WWW
WW0 W W WW W
< - WWW WW WW W WW W . WWW WW WW! WW WW ! mf
dim.
WW WW / W W W / W W W W
29
p
pp
: - ! W W 0 W+ W W ! W 0 W ! 0
month, we watch’d the moon
Wax great
p
pp
: - ! W ! W ! W W WW WW WW
month, we watch’d the moon,
and oft, that month, we
p
pp
q - W W / W W . W W / W W . W W W W W
month, we watch’d the moon, and oft, that month, we
p
pp
q - W W / W W . W W / W W . W W W W W
month, we watch’d the moon, and oft, that month, we
p
pp
< - W W W W / W W W W / W ! 7
month, we watch’d, we watch’d the moon
p
pp
< - W W W W / W
: - ! W W ! W 0 W W W / W ! 7
month, we watch’d, we watch’d the moon
W WW
W !!
W W0 W W ! 0
p
pp
WW1
WW1
WW1
< -
WWW W / W W W W / W W W W
/ W W W W / W W W!
W W W
for online perusal only
that
dim.

=
>
1
1
1
-WW
7
W
W
1
1
2
W
1
1
2
W
1
1
1
1
1
2
!
1
1
1
1
1
1
2
2
2
2
2
WW
2
W W
2
1
1
1
!
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
!
1
1
!
1
1
1
1
1
1
1
1
1
W
1
1
W
1
1
2
!
2
1
!
1
1
1
1
1
2
2
1
1
1
2
1
2
1
1
1
1
W
1
1
1
2
S.
A.
T.
B.
S.
A.
T.
B.
=
33
: -
: -
q -
q -
< -
< -
: -
< -
37
: -
Elgar: My love dwelt in a Northern land
pp
! 0 ! W W W W W2 W2 !
ppp
WWWW WW WW W WW WW WW WW WW WW WW WW WW WW WW
the moon Wax great and white o’er wood and lawn, wax great and white
pp
W W W W2 ! W W W W W2 W2 !
the moon Wax great
and white
o’er wood and lawn,
W W W W
ppp1
W W W W W W W W W W W W2
the moon Wax great and white o’er wood and lawn, wax great and white
ppp
7 7 W W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1
watch’d
watch’d
watch’d
and
Wax great and white o’er wood and lawn, wax great and white
ppp
7 7 W ! 0 ! W ! W
Wax great
WW! 0 W WW1
WW1
W!WW1
WW1
WW1
WW W WW WW W and
WW W white
2 WWW WW WW! WW
WWWW 7 W WWWW
1
! 0
WW
1 WWW WW W WW WW W
pp
WWW WWW WW WW! WW
ten.
W
! W ! W W W W . W2 W2 !
And wane,
with wan
ing of the June,
: - WWWW WW WW WW WW WW WW WW WW WW WW WW WW WW WW
wood and lawn, And wane, with wan ing of the June, and wane, with wan
q - ! W ! W W W W . W2 W2 !
And wane,
with wan
ing of the June,
q - 2 W2 W2 W W W W W W W W W W W W W
wood and lawn, And wane, with wan ing of the June, and wane, with wan
< - 1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1 W1
wood and lawn, And wane, with wan ing of the June, and wane, with wan
< - W W ! ! 0 !
: - WW! WWWWW WW! W WW1
WW1
WW1
WW1
WW W W ! W
wood and lawn,
And wane,
W W . WWW WW1
WW1
WW1 WW ! WW1
WW1
< -
WW! WW WW WWW WW! WW WW WW W WW W WW WW W WW W . WWW2 WW WW! ! 0
WW
white1
o’er
for online perusal only
wood and
lawn,
o’er
o’er
o’er
o’er
ing
ing
ing
with
81

=
>
1
1
1
1
!
W
W
1
1
1
1
1
1
2
W
2
W
2
WW
2
WW
)
W
W
.
W
!!
W
L
L
L
h
!!
Q
/
/
/
/
/
/
!
/
/
/
/
/
î
í
î
í
rit.
41
f
= : - ! W W W 0
sf
3
dim.
pp
W+ W W W W 0 . W W W ! 0 ! W
Till, like a brand for bat tle drawn, She fell,
: - 2 f
WWWW WW W W 0 W ) sf
dim.
p
W 0 W W 0 W W W ! 7 . W W
) 6 W
of the June, Till, like a brand for bat tle drawn, She fell,
fell,
f
sf
dim.
p
q - ! / W W / W W W 0 W W 0 W WL W ! 7 / W W ) pp
6 W
Till, like a brand for bat tle drawn, She fell,
fell,
f
sf
dim.
p
q - W W W / W / W W W 0 W W 0 W WL W ! 7 / W W ) pp
6 W
of the June, Till, like a brand for bat tle drawn, She fell,
fell,
< - W1 f
sf
dim.
p ppp
W1 W1 W2 W W W W 0 / W W 0 W WL W .!
7 . W W+ 6 W
of the June, Till, like a brand for bat tle drawn, She fell,
fell,
f
sf
dim.
p ppp
< - W W W W2 W W W W 0 / W W 0 W WL W .!
7 . W W+ 6 W
S.
A.
T.
B.
S.
A.
T.
B.
82
: -
< -
: -
46
: -
q -
< -
: -
< -
Elgar: My love dwelt in a Northern land
wan
WW! WW1
WWW!WW W 1 1
ing
June,
WW1
WW
W1
Till,
like
a
brand
for
bat
tle drawn, She
W W ! W 0 3
rit.
W WW 0 W W W WW 00 . W W WW!! 0 7 . W W+
6 WWW
f
/ WW / W W
sf
dim.
p
W WW 0
0
/
W 0 W
W 0 W WW WW .!!
7 . WW +
WW 6 W
rall.
Tempo primo
p legato
! / W . W W / W . W . W ! !
4 W W 0 / W )
W W
fell,
and flamed in a wild dawn.
I know not if
p legato
W W W W W . W
4
W ! ! W W 0 W )
W W
fell,
and flamed in a wild dawn.
I know not if
. W W . W W / W W .!
!
4 p legato
W W 0 / W )
W W
fell,
and flamed in a wild dawn.
I know not if
p legato
1 W1 W1 W1 W1 W1 W1 W1 ! W !4 W W 0 /+ W W W
fell, and flamed in a wild dawn, in a
wild dawn. I know not if
rall.
Tempo primo
. W! ! W / W . WWW . WWW / WWW / WW W . W W . !
4
! W W 0 / W )
W W
p legato
1 W1 W1 W1 W1 W1 W1 W1 ! W ! W W 0 /+ W W W
ppp
for online perusal only
fell,
fell,
a tempo,
poco lento
she
pp
she
she
she
she
she
a tempo,
poco lento
pp
the
the
the
the

=
>
:
:
q
<
:
:
q
<
W
W
2
2
.
+
2
2
2
2
2
)
1
1
1
Q
1
1
1
1
1
1
1
1
1
1
1
1
)
!
M
1
1
W
1
1
W
1
1
=
51
:
<
55
:
<
rit. a tempo
p
pp
W W W . W . W W W W . W W W W W4
+ W ) W W W 0 W+ W W
est green Still gir dles round that cas tle gray, I know not if the
pp
W W W 0 W ) W W . W W W W W W
4)
W ) W W W 0 W+ . W W
est green Still gir dles round that cas tle gray, I know not if the boughs
p
W W . W W W W W . W W . W W W W
4) pp
6 7 6 W ) !M
est green Still gir dles round that cas tle gray,
I know
pp
W W W 0 W+ W W W W W W W W
4) 6 7 6 W
est green Still gir dles round that cas tle gray,
I know
rit. a tempo
W W W W 0 W . W WW WWW W . W W . WW WW WW / W W W
4) W WWWW WW
WW00 WW+ . WW WW
W W W W 0 . W W WW
+ ! W pp
W . W W . WW WW
WW W 6 7 6
) ! M W+
WW !
for
for
for
for
W 0
tween
W 0
tween
for online perusal only
Elgar: My love dwelt in a Northern land
boughs be
dim.
f
pp molto espress.
W2
+ W2 W WW
0 W WW
WW WW !! W ! W W W W
The white deer
2
The white deer
white
van
f
dim. ppp
W ) W . W W 0 W ) W W W . W W W W W W W W W W
van
ish
ish
ere
ere
the
the
day:
day:
f
dim. ppp
W W W W2 W2 W2 W W W W W W . W W W W W W . W W W W
not if The white deer van ish ere the day: The grass a bove my love is green,
W W W W2 W2 W W W 0 W W )
W WW W W ppp
f
dim.
!W . W WW
W W W W W1 W1 W1 W1
not if The deer van
WW00 W ) W 2
WW . WW WWW0 0 ish ere the
W / )
WW W WWWWW W ! day: The grass a bove my love is green,
! . W WW
W! W
1 W1 W1 W1 WW W
f
W
W1
dim. ppp
W1
WW2 WWWW W
WW2 WW WW
WW W WW W WW W WW
W
W!W . W WW
WW1 WW1 WW1 WW1 . WW1 WW1 WW1 WW1
The
The
grass
grass a
bove
a
my
bove
love
is
1
green,
my
the
the
the
be
83

=
>
:
:
q
<
:
<
:
:
q
<
2
1
1
2
3
2
1
1
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
W
+
2
W
W
!!!
Q
4
4
4
4
=
84
60
Elgar: My love dwelt in a Northern land
poco rit.
ffz p
W W ! ! W 0 W ! W W2 W2 W . W W 0 6 7
love
ffz p
W W W W W W W W ! W WW WW WW WW W 0 6 7
grass
ffz p
W W W W W W W W ! W W 7 7 W 0 W )
grass
ffz p
W1 W1 W1 W1 W W W W pp
W W W W2 W2 W W ! 0
grass
is
a
a
a
green,
bove
bove
bove
my
my
my
love
love
love
is
is
is
green,
green,
green,
His
His
His
His
heart
heart
heart
heart
WWWW ! W!W W 0 W !!!
1 W1 W1
W1
WW W poco rit.
WWW2 WWW2
WWW . WWW W W 00 6 7
ffz p
pp
WWWW1 1 WW1 WW1 W W
1 W W
1 W W
1 W W W W W2 W2 W W W30
! 0 / )
W W
is
is
is
is
cold
2
cold er than
cold,
er than
cold er than
the
the
the
a tempo, più lento
clay,
clay,
pp 3
cold
mezza voce
clay,
mezza voce
W W
er than the
a tempo, più lento
for online perusal only
65
:
<
molto rall.
pp mezza voce
ppp
9 W30
+ W W W ! W ! 0 !
cold
er, cold er than the clay.
mezza voce
ppp
W 0 W )
W W W W W 0 W ) ! W ! 0 !
pp
cold
ppp
W W W W W W W W W . W W ! W .!
0 !4
clay,
his
heart
er
than
the
is
clay,
cold
cold
er,
ppp
! 0 W 0 6 7 ! W !! 00 !!
than the clay.
W 0 W )
W W W
W 0 W W 0 W )
W W W
molto rall.
! / W !! 00 !!
ppp
! W 0 W W W W WW 0
W W W 6 .7W
W !! W W .! ! 0
! 0 0
cold
er
er
than
than
the
the
clay.
clay.

:
<
- --
-
.
W
W
)
.
.
85
Words by Alfred, Lord Tennyson (1809–92) EDWARD ELGAR (1857–1934)
Op. 53 no. 1
1
SOPRANO
2
1
ALTO
2
1
TENOR
2
1
BASS
2
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
W
W
-W
W
W
W
-W
W
. W
-W
W
W
W
Wû -W
4
4
4
4
4
4
4
4
( + =44)
8 9 9
Andante
16. There is sweet music
8 9 9
8 9 9
for online perusal only
8 9 9
legato ed espress.
p
6 W W W 0 +
W+ W W W W W 0 W + W W W W
There
legato ed espress.
p
6 W W W 0 +
W+ W W W W W 0 W
) W W W W
There
legato ed espress.
p
6 W W W 0 +
W+ W W W W W 0
+ W W W W W
There is sweet mu sic here that soft er falls Than pet
legato ed espress.
p
6 W W + W 0 W+ W W W W W 0 W )
W W W W
There
is
is
is
sweet
sweet
sweet
mu
mu
mu
sic
sic
sic
here
here
here
that
that
that
soft
soft
soft
er
er
er
falls
falls
falls
Than
Than
Than
pet
pet
pet
als
als
als
als
(for
rehearsal
only)
4
4
( + =44)
8 9 9
Andante
legato ed espress.
p
6 W WW +
WWW 000 WWW +
WWW WWW WW WWW WW
WW0000
WWW +
WWW WW W W WW W WW W
Copyright, 1908, by Novello & Co. Ltd.

:
<
- --
-
.
)
)
+
+
+
W
2
2
86 Elgar: There is sweet music
3
= : - - - - 9 9 9
S.
A.
T.
B.
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
pp
3
W W W
pp
3
W W W W W W
pp
W W W
3
W
from blown ro ses
pp
3
W W W W W W
9 9 9
9 9 9
9 9 9
for online perusal only
W W W
) W W
) W 0 W
from blown ro ses on
W W
) W 0 W
from blown ro ses on the grass,
/ W W + W W + W 0 W
on
the
the
W W )
grass,
grass,
from blown ro ses on the grass,
W 0
Or
Or
Or
W3 W W W W W W W W W
W3 W W W W W W W W
W3 W W W2 W W W W W
+ W3 W W W2 W W W W W
Or
night
night
night
night
dews
dews
on
on
still
still
wa ters be tween
dews on still wa ters be tween
wa
ters be tween
dews on still wa ters be tween
pp
WWW WW W 3
WWW
3
9 9 9
/ WW WW W WW W )
+ WW WW
) )
WWW WW
+ WW 00 00 WW
+ WWW3
WWW
3
WW W WWW2
2
WWWW W WW W WW W W WW W W

:
<
- --
-
.
W
)
W
)
)
WW
)
W
W
W
WW
W
W
)
)
S.
A.
T.
B.
6
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
W 0
walls
W 0
walls
W 0 W+
walls
. W 0 / W
walls
Of
Of
Of
Of
shad
shad
shad
shad
legato ed espress.
ppp
9 9 6 W
) W W W 0 W+
legato ed espress.
ppp
9 9 6 W
) W W W 0 W+
legato ed espress.
ppp
9 9 6 W ) W W W 0 W
legato ed espress.
ppp
9 9 6 W ) W W W 0 W
3
W W W W W W
owy
3
W W W W W W
owy
. W W W W W
owy
3
W W W W W W W
owy
gran
gran
gran
gran
ite,
ite,
ite,
ite,
in
in
3
W
in
in
a gleam
a
a
a
W W ! "
W W ! "
gleam
/ W ! "
gleam
ing
ing
ing
W ! "
gleam ing
molto dim.
molto dim.
molto dim.
molto dim.
There
There
There
for online perusal only
pass;
pass;
pass;
pass;
There
Elgar: There is sweet music
is
is
is
is
sweet
sweet
sweet
sweet
mu
mu
mu
mu
sic
sic
sic
sic
87
legato ed espress.
9 9 6 WWW WWW WWW WWW 000 WWW +
. WWWW 00 00 / WW+
W . WW W WWWW W W WW W WW W 3
WWW
3
molto dim.
/ WW WW! W ! " "
ppp

:
<
-
.
-
)
+
WW
W
+
6
S.
88
9
= : - - - -
: - - - -
: - - - -
Elgar: There is sweet music
3
W W W W W 0 W+ W W W W W W W W
here
3
W W W W W 0 W ) W W W W W W W
here
W W W W W 0 W ) 3
W W W W W W W
here
that
that
that
soft
soft
soft
er
er
er
falls
falls
falls
Than pet
Than
Than
pet
pet
als
als
als
from
from
from
blown
blown
blown
ro
ro
ro
ses
ses
ses
p
W W W
4
2
on the grass;
W W W W
4
2
on the grass;
Mu
) 6
W W 4 W W ) 6
2
on the grass;
5
4
5
4
5
4
A.
: - - - -
q .
3
W W W W W 0 W ) W W W W W W W
here that soft
er
falls
W W 4
W W ) 6
2
Than pet als from blown ro ses on the grass;
ppp
W 7 8 9 9
4
2
5
4
5
4
T.
q .
ppp
W 7 8 9 9
4
2
5
4
< .
for online perusal only
ppp
W 7 8 9 9
4
2
5
4
B.
< .
ppp
W 7 8 9 9
4
2
5
4
--
WWWW WW WWW WW
WW0000
W W W
W WW WW W WW W W WW W W WW W 3
WWW
3
WWW
W W
4 WW W p
WW
2
WW7 8 9 9
2
4
5
4
5
4

:
<
- -
.
2
2
2
2
2
/
X
W
S.
A.
T.
B.
12
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
mf
p dim.
ten.
W W W W W W W W2 W ! W W ) 6 7
p mf
p dim.
ten.
W W W W W W W W W ! W W ) 6 7
Mu
p
mf
p
ten.
W W W W W W W W W W 7 7 8
Mu
p
mf
p
ten.
W W W W W W W W / W W 7 7 8
Mu
sic
sic
sic
sic
that
that
that
that
gen
gen
gen
gen
tlier
tlier
tlier
tlier
on
on
on
on
the
the
the
the
spi
spi
spi
spi
rit
rit
rit
rit
lies,
lies,
lies,
for online perusal only
lies,
Elgar: There is sweet music
pp
9 W 0 /+ W W W W W W W
Mu
pp
9 W W W W W W W W
Mu
pp
9 W W W W W W W W
Mu
pp
9 W W W W W W W W
Mu
sic
sic
sic
sic
that
that
that
that
gen
gen
gen
gen
tlier
tlier
tlier
tlier
on
on
on
on
the
the
the
the
89
- -
5
4
5
4
WWWWWW W mf
W W
WW WWWW W W WW W WW W W WW W
ten.
W WW W ! W W ) 6 7
9 WWW W 0 / W ) W WWW WWW WW
WWWW W W W W W WWW W W W
pp

:
<
.
-
W
1)
1)
)
W
)
WWW
W
W
WWW
W
)
)
)
)
/
)
W
)
W
)
W
)
W
)
WW
6
S.
90
14
= : - - - -
: - - - -
: - - - -
Elgar: There is sweet music
6 W
ppp
6 W
ppp
W 0
Than tir’d
W 0
Than tir’d
+ W W W W W -!
W W + 6 7 6 W
eye lids up on tir’d eyes;
+ W W W W W -!
W W + 6 7 6 W
eye
lids up on tir’d
eyes;
9 9 6 W
pp
W 0
That gen
pp
W 0
That gen
pp
W 0
That gen
W / W W W
tlier lies, Than tir’d
W W / W W
tlier lies, Than tir’d
W W / W W
tlier lies, Than tir’d
10
4
10
4
10
4
A.
: - - - -
q .
9 9 6
pp
dim.
W 0 W + W 0 6 7 6 . W
ten.
W W + . W W . W2 W W 0 /+ W ! W + 6
pp
W 0
That gen
W W / W W
tlier lies, Than tir’d
10
4
10
4
for online perusal only
spi
rit lies,
Mu
sic that gen tlier on the
spi
rit
lies,
T.
B.
q .
< .
< .
dim.
pp
ten.
W 0 W + W 0 6 7 6 W . W W+ W W . W2 W W 0 /+ W ! W + 6
spi
dim.
pp
ten.
. 0 W + W 0 6 7 6 W W W + W W W2 W . W 0 + W ! W + 6
spi
W 0
rit lies,
rit lies,
pp
W 0 6 7 6 W ten.
W .+ W W W . W2 W W 0 W
dim.
Mu sic that gen tlier on the spi
Mu sic that gen tlier on the spi
spi rit lies,
Mu sic that gen tlier on the spi rit lies,
rit
rit
lies,
lies,
! W
) 6
10
4
10
4
10
4
- --
6 W1
ppp
. WWW 000 WWW +
W W W W W W W W -!
W W + 6 7 6 W
)
W
000 6 7 6
. WWW . WWW .+
WWW
pp
. WWW ..WW WWW
2 . WWW 000 //+
WWW
ten.
pp
WW0 0 W W
)
WWW -/WW WW W
!!! WWW +
10
4
10
4
- --
-

:
<
- --
-
-
3
3
3
"
S.
A.
T.
17
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
10
4
10
4
eye
10
4
eye
10
4
10
4
10
4
! W 0
+ W W W3 W "
eye
! W 0
+ W W W3 W "
dim.
! W 0 W ) W W W ! W W ) 6
dim.
! -W
0 W ) W / W W -!
W W ) 6
eye
p
6 W+
Than
p
W / W W W 7 8 6 W ) W W !
tir’d
lids
lids
lids
lids
eye
lids
up
up
up
up
p
9 8 6 W ) W W !
on
on
on
on
tir’d
tir’d
tir’d
tir’d
dim.
eyes;
dim.
eyes;
eyes;
eyes;
up
up
on
on
Elgar: There is sweet music
tir’d
tir’d
dim.
dim.
5
4
5
4
5
4
5
4
5
4
5
4
< .
10
4
p
8 6 W+
dim.
W W W + W 0 W 7 6 W ) W W
5
4
Than
tir’d
eye
lids
up
on
tir’d
B.
< .
10
4
for online perusal only
eyes;
eyes;
91
p
9 6 W
)
dim.
W / W ! 6 W ) W W
5
4
up
on
tir’d
eyes,
up
on
tir’d
10
4
!!W - W W 000 WWW
) WWW / WWW WW -!!
WW WW + 6
5
4
- --
10
4
6
8
W W W W 6 W
dim.
/ 7W W ! 6 W W W ! W W / W W ! 6 W / W W
5
4

:
<
-
-
W
W
3
3
W
W
W
2
/
WW
2
-
.
.
û
û
. . .
. .
.
.
) 2
) 2
.
W
)
W
)
S.
A.
T.
B.
92
18
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
Elgar: There is sweet music
5
4
5
4
5
4
5
4
5
4
5
4
5
4
mf
W+W - W W ) W W W W W
) 6 6 W
mf
W+W - W W ) W W W W W
) 6 6 W
W W 0 / W ) W W W
Mu
4
4
mf
- W 7 8
4
sweet
sleep,
mf
5
4 W W 0 W ) W W W 7 8
4
Mu sic that brings sweet
sleep,
W ) -W
W W + W W
W )
eyes;
eyes;
Mu
Mu
Mu
sic
- W W ) W W
Mu
sic
sic
sic
sic
mf
- -W
W
4
mf
- W
4
mf
- 4
W
that brings sweet sleep,
cantabile
p
. . W . W . W . W W W W
cantabile
p
. . W . W . W . W . W W W
cantabile
p
-W20 W
4
+ W / W W2 mf
W -W . W . W . W . W W W W W
Mu
- 0 W ) W / W W W
Mu
that brings sweet
that brings sweet
that
that
that
sic
sic
brings
brings
brings
sleep,
sleep,
for online perusal only
sweet
sweet
that brings sweet
-Wû
sleep,
sleep,
sleep,
that
that
that
brings
brings
brings
Mu
Mu
sweet
sweet
sweet
- K - W * W !
( !
W 0
W 0
sleep
sleep
sleep
that brings
down
down
down
from
from
from
sic
sic
the
the
the
- --
-
--
5
4
5
4
- WW 00 W )
WWW
+
WWW
WW -WW W W )
WWW 6 6 4 7 W
2) W 0 . W )
mf
p
W ) W
4
W W W W 20 0 W W WW ) W W W
+ W WW W W W " W ) . WWW . WWW . WWW . WWW . WWW WWW WWW
"
WWW )
3

:
<
.
.
/
.""
!!
I
W
W
. W
*
W
..
WWWW
*
!
2
S.
A.
T.
B.
20
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
p
6 IW
W -W
W W W W -W
K - W * !
p
6 IW
W -W
W W W W -W
K W * !
p
6 -W
IW
W IW
W W W IW
K
p
6 W -W
W
W K
bliss
W K
bliss
W K
bliss
- W * !
- W W W -W
K - W * !
Elgar: There is sweet music
., ! 6 W W W . W W W W
., ! 6 W W W . W W W W
! 6 W W W W W W W
p
--W W
0 0 W W W W W W --W ! ! W W W W W W W W W
sweet
that
that
that
that
brings
brings
brings
brings
sweet
sweet
sweet
sweet
sleep
sleep
sleep
sleep
ful skies,
ful skies,
ful skies,
sleep,
down
down
down
down
from
from
from
from
the
the
the
the
that brings sweet
bliss
bliss
bliss
for online perusal only
bliss
sleep
that
that
that
brings
brings
brings
sweet
sweet
sweet
ful skies.
ful skies.
ful skies.
ful skies.
sleep
sleep
sleep
down
down
down
down
from
from
from
from the bliss
the
the
the
ful
93
6 . WWW . WWW WWW . WWW WWW WW W WWW
. WWW KKK . W * W ! ! 6 ""
KKKKW
WWW WWW WWW . . WWW WW WWW WWW

:
<
.
.
.
.""
W
!!
3
3
3
. W
)
. W
)
. .
)
W
W
W
)
-
--
û
S.
A.
T.
B.
94
22
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
Elgar: There is sweet music
mf
dim.
6 -W3
W+ -W
W W W ! !
mf
dim.
6 W3 W+ -W
W W W ! !
mf
6 -W
W ) / W / W W W -W
/ W W -W
W W W W
mf
6 W / W ) W / W W W W -W
W W W W W W
W 0
bliss
W 0
W 0
W 0
)
.W -W
0
+ W W -W
W W
. 0 W ) W 0 W ) -W
0 W ) W -W
W W
bliss
bliss
.!
W W W 0 W
--W W W W W W W W W W --W ! ! W W W W W
0 0 W W
skies,
Here
Here
Here
Here
are
are
are
are
ful,
ful,
ful,
cool
cool
cool
cool
bliss
bliss
bliss
moss
moss
moss
moss
es
es
es
es
ful
ful
ful
down from the bliss ful
deep,
deep,
deep,
deep,
skies.
skies.
6 . . WWWW . W W WWW
W WWW W -- - - -WW ! -WW
WW W W! W W W
And
And
thro’
for online perusal only
skies,
skies,
thro’
the
the
Here
Here
moss
moss
the
the
are
are
the
the
i
i
cool
cool
bliss
bliss
vies
vies
ful
ful
. WWW 000
) WWW WWW 000 WWW ) " WW 00 WW )
- - WW WW WW
"

:
<
-
-
-
W
+
W
+
3
3
3
3
3
/
1
1
1
1
1
/
/
S.
A.
T.
B.
24
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
ppp
6 W W W W W W W W K W * !
ppp
6 W W W W W W W W K W * !
ppp
W 0 W ) W 0 W W W W K W * !
creep,
ppp
W 0 W ) W 0 W W W W K W * !
creep,
W 0
moss
And
And
in
in
pp
- ) W 0 6 6 / W1 W W W W W W
pp
- 0 - W ) W 0 6 6 W / W W W W W W
moss
the
the
And
And
es
es
stream
stream
deep,
deep,
/!
W W
skies.
in
in
the
the
Elgar: There is sweet music
) pp
6 6 W1 W W W W W W
!!W W W
) pp
W
6 7 6 W ) W W W W
skies.
long
long
)
leaved
leaved
the stream the
the stream the
flow
flow
flow
for online perusal only
flow
And
And
And
in
in
in
ers weep,
ers weep,
ers weep,
ers weep,
the stream the
the stream the
the stream the
long
long
long
The long leaved flow
leaved
leaved
leaved
ers
95
--
- --
6W0 WW WW WW W WW00 W W WW W WW WW W W K ppp
W * !
pp
W!!W00 W ) WW 0 W W W
6 6 / WWW
1 / WWW WWW / WWW WWW WWW WWW

:
<
-
- --
-
-
-
W
)
)
W
W
W
)
W
)
+
.
.
-WW
W
2
2
2
2
96
26
= : - - - -
Elgar: There is sweet music
poco rit.
p
6 W W W W W W W W +
W W + W+
And from the crag gy ledge the
pop py
hangs
a tempo
pp
- W + -!
W W + 6
in sleep.
S.
A.
T.
B.
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
p
6 W W W W W W W W +
W W + W+
p
6 W W W W W W W W
) W W
p
6 W W W W W W W W
) W W
W 0
W 0
pp
- W + -!
W W + 6
W 7 8
- 7 8
pp
W K W * ! 9 6 . W W W . W W . W W
flow
pp
W K W * ! 9 6 W . W W W W . W W
flow
pp
W K W * ! 9 6 W W W W W W W
flow
pp
" 9 6 W W . W W W . W W
weep,
And from the crag gy ledge the
And from the crag gy ledge the pop py hangs in sleep.
And from the
crag gy ledge the
ers weep,
pop py
pop py
hangs
hangs
in sleep.
for online perusal only
ers weep,
and in
in
pp
pp
sleep.
ers weep,
and in the stream the long leaved
and
in
the stream the long leaved
the stream the long leaved
and in the stream the long leaved
--
poco rit.
a tempo
p
6 WWW WWW
) ) ) )
WWW WWW WWW WWW WWW WWW - WW W )
+
WW00 -W
)
WWW - ! 7 W 8 W ) 6
" WW KKW * W ! ! 9 6 . WWW . WWW . WWW WWW WWW ..WW WWW
pp

:
<
.
.
WWW
1
//
)
)
)
)
)
.
.
S.
A.
T.
B.
29
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
pp
6 W W
pp
6 W W
pp
6 W W
pp
6 W W
ppp
W / W W W -"
W+ 6
5
4
ppp
W W W W -"
W+ 6
5
4
ppp
W W W W -"
W+ 6
5
4
ppp
W W W W -"
W+ 6
5
4
W1 0 / W1
! W + 6 5 6 . W1
4 + W1 W1 W2 W . W W . W W
flow
W1 0 / W1
! W + 6 6 W1
flow
. W1 0 W1 ! W + 6 6 W1
flow
W1 0 / W1
! W
flow
Mu
Mu
Mu
Mu
ers
ers
ers
ers
sic
sic
sic
sic
weep,
weep,
weep,
weep,
that brings sweet
that brings sweet
that brings sweet
that brings sweet
5
4
5
4
sleep
sleep
sleep
for online perusal only
sleep
And from
Elgar: There is sweet music
+ W1 . W1
W2 W W W . W W
And from
+ W1 W1 W2 W W W W W
And from
) 6 5 6 W1
4 + W1 W1 W2 W W W . W W
And from
the
the
the
the
crag
crag
crag
crag
gy
gy
gy
gy
ledge
ledge
ledge
ledge
the
the
the
the
pop
pop
pop
pop
py
py
py
py
97
pp
6 -W
W
W -/
WWW WWWW
. 1 000 WWW !!! WWW +
ppp
- W -"
W+ 6
5
4
6 6
5
4
. WWW1
+
WWW
1 . WWW
1 WWW
2 WWW WWW WWW ..WW WWW

:
<
.
.
W
W
W
)
)
)
)
)
W
W
W
W
W
W
)
W
S.
A.
T.
B.
98
31
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
Elgar: There is sweet music
7 W W
7 W W
7 W W
7 W W
W 0
hangs
W 0
hangs
/+
W W )
W W -"
"
4
/+ W W "
4
bliss ful skies.
W W "
4
bliss ful skies.
/ W "
4
- "
- "
- "
p mf
4 /+ ! 7 8 6 W W W30 + + W W W W W
p mf
4 /+ ! 7 8 6 W W W30 + + W W W W W
mf
p
. 0
4
W+ ! 7 8 6 W W W30 W + + W W W W
hangs
W 0
hangs
down
down
down
down
/ W
in
in
in
in
sleep.
sleep.
sleep.
p mf
! 7 4 8 6 W W ) W30
+ W W W W W
sleep.
from
from
from
from
the
the
the
the
bliss
bliss
ful
ful
skies.
for online perusal only
skies.
There
There
There
There
is
is
is
is
sweet
sweet
sweet
sweet
mu
mu
mu
mu
sic
sic
sic
sic
here that
here that
here that
here that
7 -W
W
)
W -/
WWW
) WWWW
-
4 WW " " " "
. WWW 000 //+
WWW
!!! 7 4 8 6 W W
WW +
p
WWW3000 WWW +
mf
WWW WWW WW WWW

:
<
.
.
W
)
)
)
W
W
)
- --
-
- --
-
""
"
"
S.
34
= : - - - -
: - - - -
: - - - -
Elgar: There is sweet music 99
ppp
" W 7 8 8 6 W
) W W
And in the
ppp
" W 7 8 8 6 W
) W W
And in the
ppp
" W 7 8 8 6 W ) W W
And in the
A.
T.
B.
: - - - -
q .
q .
< .
< .
ppp
" W 7 8 8 6 W ) W W
p
3
W 0 W + W W W W W W W
soft
W 0
soft
W 0
soft
W 0 W )
soft
er
p
3
) W W W W W W W
er
p
W+ W W W . W W W W
er
er
for online perusal only
falls Than pet
falls Than pet
falls Than pet
W W W W
falls Than pet
als
als
als
p
als
from blown ro
from blown ro
3
W W W W
3
W
from blown ro
from blown ro
W W W
) W W
ses
W W W
ses
) "
/ W W + W W + "
ses
W W
ses
on
on
on
W W )
on
the
the
the
the
dim. molto
grass.
dim. molto
grass.
dim. molto
grass.
dim. molto
grass.
And in the
""W W 7 8 8 6 WWW WWW WWW
WW00 WW+ W WWW WW
W W WW W WW W
. WW W WW W 3
WWW
p
3
/ WW WW W WW W ) WW
)
+ WW WWW
+
dim. molto
ppp

:
<
- -
- --
-
W
)
)
)
+
!!
+
+
-
+
+
+
)
)
S.
A.
T.
B.
100
37
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
Elgar: There is sweet music
dim.
poco
W 0 W+ W W W W W 0 W+ ! W W W W W 0 W
stream
dim.
poco
W 0 W+ W W W W W 0 W ) ! W W W W W 0 W
stream
W 0 W + + W W W
stream
W 0
stream
the
the
the
the
long
long
long
pp
! W ) 6 7 8 6 W
dim.
poco
W 0 W ) ! W W / W W W 0 W
dim.
poco
W W W W W 0 W ) ! W W / W W W 0 W
long
leaved
leaved
leaved
leaved
flow
flow
flow
flow
pp
! W ) 6 7 8 6 W
pp
! W ) 6 7 9 6 W
pp
! W ) 6 7 9 6 W
ers
ers
ers
ers
weep,
weep,
weep,
weep,
And in
And in
W / W ! W 7
the
W / W ! W 7
the
And
And
And
for online perusal only
stream
stream
And
the
the
from
from
from
from
) W W / !
flow
) W W / !
flow
the
the
the
the
ers
ers
crag
crag
crag
crag
weep,
weep,
gy
gy
gy
gy
- -
WWW 000 WWW+
WWW WWW WW WWW WW
WW0000
W W poco
dim.
W WWW W / WW WWW WWW 000 WWW
pp
!!W ) W 6 7 8 6 W W W !
9 6 W W W ! W 7

:
<
- - - -
- --
-
2
WW 00
2
2
2
W
2
2
2
2
-
-
-
S.
A.
T.
40
= : - - - - W W W W W20
: - - - -
: - - - -
: - - - -
q .
q .
ledge the pop py hangs
dim.
+ ! ! W W2 W !
dim.
W W W W W 0 W ) ! ! W W W !
dim.
W W W W -W
0 W ) ! ! W / W W !
dim.
W W W W W 0 W ) ! ! W / W W !
pp
9 6 W W / W + W 7 9
Elgar: There is sweet music 101
ledge the pop py hangs in sleep,
hangs in sleep,
ledge the pop
py hangs
in sleep,
in
sleep,
ledge the pop py hangs in sleep,
hangs in sleep,
And from the crag
pp
9 9 8 6 W ) W W
< .
for online perusal only
dim.
hangs in sleep,
dim.
dim.
hangs in sleep,
dim.
the pop py
pp
W 0 6 8 8 6 + W W W W 0 W ! 7
B.
< .
And from the
crag
pp
W 0 6 8 9 6 W
gy ledge
) W / W !
the
pop py hangs,
WWW WWW WW WWW -WW 00 W W )
W +
9 W 0 6 8
!!! ! ! WWW / WW WWW ! ! !
6
8
dim.
W W W W 6 W
/ 7W W ! 6 W W W ! W W / W W

:
<
- --
-
2
2
/ WW
2
2
2
2
2
2
2
2
2
2
2
2
/!!
2
!
2
2
2
//
Q
4
S.
A.
T.
B.
102
43
= : - - - -
: - - - -
: - - - -
: - - - -
q .
q .
< .
< .
Elgar: There is sweet music
rit. e dim.
pp
ppp
! 0 W2 7 W2 7 W 8 ! 94
sleep,
pp
ppp
! 0 W 7 W 7 W 8 ! 94
pp
ppp
! 0 W2 7 W 7 W 8 ! 94
pp
! 0 W 7 W 7 W 8
sleep,
pp
ppp
9 W2 7 W2 7 ! 8 "4
pp
ppp
W 0 W W 8 W 7 W 7 ! 8 "4
pp
ppp
6 W W W W 0 W ) W2 7 W2 7 ! 8 "4
the pop py hangs in
sleep,
sleep, sleep,
sleep.
sleep,
sleep, sleep,
sleep.
sleep,
sleep,
sleep,
sleep,
sleep,
sleep,
sleep,
for online perusal only
sleep,
hangs in sleep,
sleep, sleep,
sleep,
sleep.
sleep,
pp
ppp
6 W W W W 0 W ) W 7 W 7 ! 8 "
the pop py hangs in sleep, sleep,
sleep,
sleep.
ppp
sleep.
pppp
sleep,
sleep.
pppp
pppp
sleep.
pppp
sleep.
94
- - - -
rit. e dim.
!!! 000 WWWW2 7 WWWW2
7 WWW2
8 !!!2
pp
ppp
!6W / W W W
8
0 / 7 / WWWW 7 / W+
WW2
!! 8 """"
pppp
94
Rome, Dec. 1907

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103
17. Fair Phyllis I saw sitting all alone
Words: Anon.
JOHN FARMER
( fl. 1591–1601)
SOPRANO
ALTO
TENOR
BASS
Cantus
Altus
Tenor
Bassus
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Phyl lis I saw sit ting all a lone, Feed ing her flock
9 9 9 8 W 0 W W !
Feed ing her flock
9 9 9 8 W 0 W W !
Feed ing her flock
9 9 9 8 W 0 W+ W ! W
Fair
for online perusal only
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9 9 9 8 WW 00 WW +
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mf rep. p
Feed ing
near
near
near
her flock near
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to the moun tain side, Fair - side. The shep herds knew not, they knew not whi ther she
W W ! W " " 7 W W 0 W W W W W W
to the moun tain side, - side. The shep herds knew not whi ther she
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to the moun
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to
the
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- side.
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2.
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mp
W W W W "" "" 9 7 W W W
The
shep
The
was
was
herds
© Oxford University Press 2001. Photocopying copyright material is illegal.

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104
10
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Farmer: Fair Phyllis I saw sitting all alone
! 8 9 W W W W W W W W !
gone,
! 8 8 7 W W W W W W W W !
gone,
W W W W W W W W W ! 7 W W W W W W W !
knew not, they knew not
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shep
+ W W W W W W ! 8 W W W ! !
herds knew not
whi ther
whi ther
she was gone,
she was
gone,
But
!!8 8 7 W WW W WW
W WW WW WW W W W !!
WW 0 W W+W W W WW WW WW WW W W !! 7 8 W W W W W ! W W W !
2
But
af ter her
af ter her
But
lov
af ter her
But
lov
er,
af ter
lov
her
er, her
her
lov
lov
er, her lov
lov
for online perusal only
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er, but af ter her lov er
A myn tas hied.
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er,
but
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af
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but
but
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ter her
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er
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A
A
A
myn
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hied. Up and down
hied.
Up
he
and

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Up and down,
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he
Up and down
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wan
up and down
dered,
he wan dered,
he
he
up and down
Farmer: Fair Phyllis I saw sitting all alone
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+ WW WW
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wan
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dered,
he
up and
wan
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105
he
for online perusal only
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dered, up and down he wan dered, up and down he wan
! ! 7 ! W W 0 W
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wan
" " " "
up
up
dered,
and
down
and
up
he wan dered,
and
down
down
up and down he
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"!! 7 " ! W "W 0 W ) W W 7 " W W W W W W
he
wan
dered,
wan
he
dered,
up
up
and down
and down he wan dered,

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106
26
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Farmer: Fair Phyllis I saw sitting all alone
W ! W ! 8 7 W W / W W W ! ! !
he wan
dered
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dered,
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up
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wan
he
wan
and down he wan
dered
dered whilst she was miss ing;
dered whilst she was miss ing;
whilst she was miss
whilst she was miss
ing; When
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mp
mf
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ing;
When
When
When
he
he
found
he found
found
he found
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her,
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Farmer: Fair Phyllis I saw sitting all alone
W W 8
kiss
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ing.
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kiss
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ing.
for online perusal only
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8
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he
and
107
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wan
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dered, up and down,
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wan
up and down
dered,
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he
up and
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he
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he
up and
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wan
down
dered,
dered,
he
up and
wan
down
he

=
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108
42
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Farmer: Fair Phyllis I saw sitting all alone
7 ! W W 0 W
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! 7 W W W W 0 W
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up and down he wan dered, up and down he wan
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dered,
wan
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up
up
and
dered,
down
and
up
he wan
dered,
and
down
down
up and down
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WW WW W WW
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he
wan
he
dered,
wan
he
dered,
up
and down
up and down he wan dered,
for online perusal only
: -
46
: -
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< -
: -
< -
W ! W ! 8 7 W W / W W W !
he wan
dered
whilst she was miss ing; When
W W ! ! 8 7 W W W W W 7 W
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up
he
and down
he
wan
wan
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dered whilst
she
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wan
dered whilst she was miss ing;
When
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mp
mf
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was
miss
whilst
ing;
she
was
miss
ing;
When
When

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then
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they
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Farmer: Fair Phyllis I saw sitting all alone
fell
fell
a
a
kiss
kiss
kiss
ing,
ing,
ing,
O,
O,
O,
O,
109
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a
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110
Words by Robert Bridges
(1844–1930)
SOPRANO
ALTO
5
TENOR
BASS
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< .
= : .
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W
W
W
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4
4
( + =
) W W W W ! 5 ! ! W W
c. 144)
f
4
4 ! ! W W + W
Vivace
My
f
18. My spirit sang all day
5
4
4
+ 4
5 !
p
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spi rit sang all day O my joy.
No
thing my tongue could
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WW
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ly My
5
4
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f
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On
mf
On
ly My
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" !! WW
On
mf
ly
My
joy!
f
mp
My heart an
pp
e cho caught
6 7
No thing my
tongue
GERALD FINZI (1901–56)
Op. 17 no. 1
O
..WW . !!
WW . WW !
4
could
mf
say,
say,
my joy And spake,
mf
for online perusal only
Tell me thy thought,
pp
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2
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4 . WW ! ! . WW . "" ""
Hide not thy joy.
Tell
me thy thought, Hide not thy joy.
mp
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4
4
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6 6
" . W
) .
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W 6 W
) My eyes gan peer
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10
Tell me thy thought, Hide not thy joy.
pp
a
2
4
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2
4
) 6 7 9
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5
4
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mf
round,
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O
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my joy
4
mp
4
mp
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What
beau ty
..! . . WW . W W
hast thou found?
!8 . 0
Shew us thy joy.
7 WW
. !!
. WW !! W W . !! 00
W
pp
My
pp
© Copyright 1937 by Oxford University Press. © and renewal assigned 1969 to Boosey & Hawkes Music Publishers Ltd.
Reproduced by permission of Boosey & Hawkes Music Publishers Ltd.

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4
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jea lous ears grew whist; O my joy
Mu
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2 . W 7 5 !! .
4 4 W W
Mu
.!!
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4
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mf
Finzi: My spirit sang all day
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sic from hea ven is’t,
sic from
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hea ven
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W W )
Sent
111
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4 ! W W !! W W 6 WW
for our joy?
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5
4
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/ W 6 WW W +
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Sent
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for our
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al so came and heard; O my joy, What, said she, is this
2
4
2
4
for online perusal only
: .
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< .
2
4
2
4
rit.
What
!!" ! is thy joy?
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word?
4
What is thy joy?
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What
is
thy
joy?
a tempo
f
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4
2
And
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f
I re plied, O see,
2
4
5
4
5
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38
< .
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4
5
4
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4
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4
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O my joy, ’Tis thee, I cried, ’tis thee:
allargando
ff
!! ! ! W W ! ! W W "" WW 7 7 6
Thou art my joy.
!! ! ! W W ! ! WW " " W
ff
7 7 6

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Words: Anon.
SOPRANO
4
:
<
ALTO
TENOR
BASS
(for
rehearsal
only)
W W 0
) W W W W W W W W 0 W )
sun, whose beams most glo ous are, re ject eth no
W W 0 W ) W W W W W W W W 0 W ) W W
I ad mire or praise you too much, that fault you may
sun, whose beams most glo ri ous are, re ject eth no
W W 0 W ) W W W W W W W W W W W W
W W 0
or praise you too much, that
may
most glo ri ous are, re
no
W W W W W W W W 0 + W W W
4
W 0 W ) W W W 0 W
) W W W W W W W W 0 W )
nown
give
W W 0 W ) W W
hold er, And your sweet beau ty, past com pare, made my poor eyes the bold er.
! W W W 0 W ) W W W W W W W W 0 W ) W W ! W W
nown
give
me; Or, if my hands had strayed but a touch, then just ly might you
me.
hold er, And your sweet beau ty, past com pare, made my poor eyes the bold er.
W W W W W 0 W ) W W W W W W W W W W W W W W W W
nown
give
hold er, And your
! W W W 0 W
nown
give
hold
Cantus
Altus
Tenor
Bassus
ye.
me;
ye.
If
:
<
W
W
W
W
4
4
4
4
4
4
19. Since first I saw your face
1. Since first
2. If I
3. The
1. Since first
2. If
3. The
1. Since first I saw your
2. If I ad mire
3. The sun, whose beams
1. Since first
2. If I
3. The
Flowing
I
ad
I
saw
mire
saw
your
or
your
face,
praise
I saw your face,
ad mire or praise
beams
THOMAS FORD
(d. 1648)
sun, whose most glo
W W 00
)
+ WW WW WW W ri ous are, re ject eth no
WWW W WW WWW WW WW 00 )
WW WW WW
WWWW 00 WWW WW+ W W W W W WW W WW 0 W W + WW W W
ty, past com pare, my
the bold
W W W W W W W W 0 W+ W W ! !
W! 0 W + WW W W 00
)
+
WW
WW WW W WWW W WW WWW WW WW 00 )
WW
+
WW WW W! 0 W + WW W
!WW W W WW WW 00 WWW WW+ W W W W W WW W WW 0 W W W + W W W ! W W ! W ( )
W
May be sung a tone higher.
If now
Or, if
now
© Oxford University Press 2001. Photocopying copyright material is illegal.
I
be
dis
dain
face,
face,
ye. If now I be dis dain ed I wish
me; Or, if my hands had strayed but a touch,
sweet beau
I
you
ri
I be dis dain ed I wish my
my hands had strayed but a touch, then
ye. If now I be
me; Or, if my hands
er, And your sweet beau had
dis dain ed I wish my
strayed but a touch, then
ty, past com pare, made
ed
I
wish
I
I
re
too
re
re
solved
much,
solved
for online perusal only
solved
to
that
to
to
I re solved to
you too much, that
my
my
then
made
heart
just
heart
heart
just
heart
just
my
had ne
had
ly
poor
ho
fault
ho
ho
fault
ject
ho
fault
had ne ver
ly might you
ne
might
eyes
ver
ver
you
had ne ver
ly might you
poor eyes the
nour and
you may
nour and
nour
you
eth
and
nour and
you may
known
leave
known
leave
known
leave
known
leave
bold
ye.
me.
er.
re
for
be
re
for
be
re
for
be
re
for
be
ye. What,
me. I
Where
ye. What,
I
Where
ye. What,
me. I
er. Where

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lights, and
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Ford: Since first I saw your face
ness bind
W W W W !
ty moves, and Wit de lights, and
of kind ness bind
W 0 . W W W W W W W W ! !
I that loved and you that liked, shall we be gin to wran
you leave, you bade me love, is’t now a time to chide
ty moves, and Wit de lights, and signs of kind ness bind
7 W W 0 W )
W W W 0 W W W W W W W ! !
asked
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What,
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ty moves, and
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I
asked
you
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and you
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me
and
you
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me
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that
me
we
now
signs
we
now
signs
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of
be
a
liked, shall
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gin
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now
be
a
to
to
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time
to
to
wran
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gle?
me?
me,
gle?
me?
me,
gle?
me?
me,
gle?
me?
me,
113
for online perusal only
13
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8 W 0 W
) W 0 W ) W 0 W
) W W W 0 W )
W W ! !
No, no, no, I’ll love you still, what for tune e’er be tide
There, O there, wher e’er I
W W W W W W W 0 W
) go, I’ll leave my heart be hind
W W W 0 W W W W W W !
no, no, my heart is fast and can not dis en tan
no,
W 0 W+ W 0 W )
W 0 W 0 W )
W W W 0 W ) O
no, I’ll love you still, what for tune e’er be tide
there, wher e’er go, I’ll leave my heart be hind
W W W ! !
no, no, my heart is fast
no, no, I’ll love you still,
O there, wher e’er I go, I’ll
W 0 W+
W 0 W +
W 0 W
) W 0 what
and can not dis
en
for tune
leave my
W ) e’er
be
heart
be hind
W W W W W W W tide
tan
W ! !
No,
No,
There,
No,
No,
There,
No,
No,
There,
no,
no,
No,
no,
no,
no,
my
I’ll
no,
heart
love
my
heart
I
is fast
you still,
is
and
what
O there, wher e’er I go, I’ll leave my heart
be hind
8WWW W 0 W W
)
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WW00 W WW00 W W+ W +
WW00 W
+ W WW00 W W WW W W WW 0 )
W W WW WW W W W ! ! !!
fast
can
for
and
not
tune
can
dis
e’er
not
dis
en
en
be
tan
tan
tide
gle.
me.
me.
gle.
me.
me.
gle.
me.
me.
gle.
me.
me.
00
00

=
>
=
>
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>
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2
/
/
114
Words: Anon.
SOPRANO
ALTO
TENOR
BASS
SOPRANO
ALTO
TENOR
BASS
=
: - - - -
>
=
< - - - -
: - - - -
< - - - -
: - - - -
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W
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GIOVANNI GABRIELI
( c. 1555–1612)
9 !!
W W W W /!!
8 7 WW
W W WW !W W !! 7 WW
W W WW
Lie to go dea,
go dea se den
9 /!
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8 7
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7
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8 !! W W W W /!!
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lie to go dea,
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8 /!!
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Lie to go dea,
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W W W W /!!!
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/ WW
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W W W W W WW ! W W W ! !
W WW ! W W W ! !
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Brightly
mf
20. Lieto godea
dea se
do
for online perusal only
7
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!WWWW WW WW WW WW WW W W W W ! W 0 W W W!
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den
do L’au
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L’au
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8 7 WW W W W tre
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2
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cresc.
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Sitting in happy repose,
ra che tre mo lan
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W W !
! 0
ra che tre mo
ra che tre mo
lan do dol
WW!W W W ! ! !
mo
lan
! W !! WW WW " " " "
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W
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do dol
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! ! W ! l’a pri
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lan
ra che tre mo lan
do
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do
dol
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ce
ce
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spi
spi
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+
W W W! W ! / W " " "
WWW W W ! W dim.
W !!! ! !
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ra
ra
ra
l’a
l’a
l’a
pri
pri
pri
le.
le.
le.
le.
enjoying April’s sweetly trembling breezes.
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
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13
= : - - - -
>
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Gabrieli: Lieto godea
!!W W W W /!!
8 !! W W W W /!!
8 7 WW
W W WW !W / W !! 8 7 W
W
lie to go dea,
go dea se den
/ WW - WW !! 8 /!!
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W WW ! W do
W ! ! 8 7 WW
Lie to go dea,
9 !!
W W W W /!!
8 7 WW W W WW !W W !! 7 WW W W WW !W W WW WW
115
L’au
< - - - -
Lie to go dea,
go dea se den
9 /!
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8 7 WW W WW ! W do,
W ! ! go dea se den
7 WW W WW ! ! do
W W WW
L’au
for online perusal only
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!!W W W W /!!!
W W W W /!!!
W W W W / WW W W W W WW !W / WW WWW ! !W / WW !WW W !W / W WW WWWW
/ WW - WW /!!!
WW
- WW /!!!
WW -WW
W W W W W WW ! W W W ! !
W WW ! W W W ! !
W WW ! ! W W
WWW
mp
cresc.
: - - - -
20
< - - - -
: - - - -
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W
W
W
W
W
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ra che
W W tre
W WW
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ra
che
tre
mo
mo
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lan
do
do
dol
dol
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ce
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spi
spi
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l’a
l’a
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pri
pri
pri
le.
le.
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3
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dim.
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3
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=
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=
>
=
>
!
!
!
/
116
25
=
: - - - -
< - - - -
: - - - -
< - - - -
Gabrieli: Lieto godea
3
2
3
2
3
2
3
2
so spi ra, so spi ra
d’A
!!!! !! "! W W -!!
"" 8 8 8 !! ! ! 0
Ogn’
! 0 W ! W
! !! ! ! ! "
hor so spi
W W !
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"
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8 8 8
9 ! " ! ! !!
Ogn’
Ogn’
hor
hor
so
so
spi
spi
ra,
so
spi
ra
ra
Ogn’ hor so spi ra, so spi ra
9 9 !! !! !! "! W W -!!
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9 9 !
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Ogn’ hor so spi
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Ogn’
hor
so
spi
ra,
so
d’A
d’A
spi
mor
mor
mor
ra
ogn’
ogn’
ogn’
for online perusal only
: - - - -
< - - - -
[ ,. = , of preceding ]
3
2
mf
3
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!! ! 0 ! 0 W ! W
mp
mf
! ! ! W W ! ! !
! ! ! W W ! " ! ! !!
: - - - -
30
< - - - -
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Every creature sighed of love all the time
a
!!0 ! W !!
ogn’
ni
ma
le
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" " 8 9 9
a ni ma
!! 0 ! 0 W ! W
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35
= : - - - -
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< - - - -
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mor tal dar
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Con
do
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9 9 8 7 WW
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le
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With a mortal dart
[ , = ,. of preceding ]
WWW /!!
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7 WWWWW W 000 WWW
mp
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Love came flying and pierced my heart;
Gabrieli: Lieto godea
lan do venn’ e’l cor mi pun se;
/ WW WW !! / WW WWW
WWW W /!!
W
!
W
117
A
p
for online perusal only
: - - - -
41
< - - - -
: - - - -
< - - - -
: - - - -
< - - - -
WW 00 +
WW -WW 00
+
W / WW 00
WW
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mor vo
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lan
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WW !! W W W WW WW !! 8 7 WW W W W W ! !
mi pun se; E lass’
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WW!! / W WWW W oi
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mf
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cresc.
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Alas!
lass’ oi
mè,
B.
e
fug

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W
W
118
47
= : - - - -
< - - - -
: - - - -
< - - - -
: - - - -
< - - - -
Gabrieli: Lieto godea
fug
ge,
7 WW W WW W WW W "
! ! ! ! fug
ge,
7 ! W W !W W W W !
W W 8 ! 7 WW
fug ge me schi
7 WW WW WW WW WW
ge, fug
WWWWW W !
W W W W!
W W W
lass’
fug
WWWW !! 7 !
W W WW W WW
W !
ge
fug
oi
me
ge
mè
schi
me
schi
fug
no
no
no
WWWW WWWW WWWW W W W WW W!
W W W ! W W
WWWW WW WW 7 !
W W W!
W W W
fug
ge me schi
W W W W 7 W WW
WW W
WW
W W! W W W W no
W W me,
! 7 WW
me,
ge,
ge
me,
fug
W W " W ge me
W W W W W ! W schi no
! ! / W " "
fug
me,
me
ge,
fug
me
ge me
! W W W ! W W ! W " "
fug
schi
schi
schi
ge
me
no
no
W W W WW WW W WW
W !W W W / W W /!!!
7 WWW
WWW W WW W f
W
WWW
W ! W W W W W W W "" "
no
ge me schi no
schi
no
me,
me,
me,
me,
me,
me,
A
mp
for online perusal only
: - - - -
52
< - - - -
: - - - -
< - - - -
: - - - -
< - - - -
he took flight: woe is me!
WW 00 +
WW -WW 00
+
W / WW 00
+
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WW !! /!!
9 8 7 WW W W W W ! !
mor vo lan do venn’ e’l cor mi pun se;
E lass’ oi
WW 00
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W WW 00
) W
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WW! !
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+
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mè,
+
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WW !! W W W
e’l cor mi pun se;
)
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mf
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=
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8 7 WW W W W W ! ! fug
8 7 WW
W WW
W WW
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8 7 W
W W W W W !!
ge, fug
W W W W!
W W W
fug ge me schin’,
fug
8 7
WW
WW WW W! W 7 !
W W W!
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7 WW W WW W WW
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lass’ oi
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mè,
e lass’ oi mè
e lass’ oi mè
8 7 W
W W W W W W! W
fug
fug
fug
fug
W WW WW WW
Gabrieli: Lieto godea
" !
no me,
W W W W
8
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WWW W W W W W W W W W W W WW W WW
W WWWW W
WWWWWW W WW !W W W W !W
W W
mf
f
mf cresc.
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W W !W W W W
ge
ge
ge
me
me
e
me
schi
schi
lass’
ge
schi
no
oi
me
no
me,
mè
schi
me,
"
ge,
no
fug
fug
fug
W W
fug
119
for online perusal only
: - - - -
63
< - - - -
: - - - -
< - - - -
: - - - -
< - - - -
WWWW W W
me,
ge
ge me
!WW ! W !
no me:
! W /" " !!
W W W W /!!
8 !!
W W W W
ge me
! W W ! ! schi no
! me:
" " / ! ! WW
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ge,
fug
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W W W
ge
8 /!
WW
WW
ge,
W W
" 9 9 !!
W W W W /!!
8
W
7 W
W WW WW W WW W W! W W W W W W On de n’hav
ge me schi no me:
" " 9 /!!
WW
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W
W
me
fug
schi
me
me
schi
schi
schi
ge me
no
no
no
schi
no
me:
me:
me:
me:
W W W WW WW W WW
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! ! W W - W W /!!!
W W W W /!!!
W W W W
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W
WWW
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p
mp
W W W W "" " /!!
WW - WW /!!!
WW - WW /!!!
WW WW
On
de n’hav
rò,
on
rò,
de n’hav
Thus I shall have

=
>
=
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=
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W
W
120
69
=
: - - - -
< - - - -
: - - - -
< - - - -
: - - - -
< - - - -
Gabrieli: Lieto godea
/!!
8 7 WW W W WW !W W
rò,
/ !! 8 7 W
n’hav rò la
8 7 WW W WW ! W mor te
W ! ! S’in lie ta
8 7 WW W W W non
WW
W
si can
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7 WW
W W WW !W / W !! 7 WW W W WW !W / W WW
WW WW WW WW WW W W W W
n’hav rò la
7
WW
W WW ! W mor te,
W ! ! n’hav rò la mor
7 WW W WW ! ! te
W W WW
/ W W W W WW !W / WW WWW ! !W / WW !WW W !W / W WW WWWW
p
WWW W W WW ! W pp
W W ! !
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W cresc.
W ! !
W WW ! ! W W
WWW WW W
S’in
S’in
S’in
S’in
lie
lie
lie
lie
ta non
ta non si
can
si can
WWWW
ta non si can
ta non si can
WWW W W W W W W W W
WWWWWWW WWWW
WWW W W
gia
gia
gia
gia
for online perusal only
only death
unless my fate
: - - - -
74
< - - - -
: - - - -
< - - - -
: - - - -
< - - - -
la
W ! ! !
gia
W
" W 0 W W W 0 W
W W W !
la mia sor
!WW ! ! te,
W W la
W ! mia
W W W sor
" " @
la
la
mia
!W0 W W !! " ! sor
! "W W W /!
@@
la
la
mia
sor
!"! "" " " @Q
la
la
WWW 0 ! W W !!! W W! 0 W W W! 0 W W +
W W / WW / WW !! @ @ @
!WW ! ! mp
! W W dim.
W ! W W W " " @ 4 @
turns to happiness.
mia
mia
mia
mia
mia
sor
sor
sor
sor
/ /
@
@ 4
te.
te.
te.
te.
te.
te.
te.

:
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WW
W
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00
Words: Anon.
SOPRANO
2
ALTO
TENOR
BASS
Canto
=
1
: ý }
Quinto
Alto
ý }
; ý }
Tenore
Basso
; ý }
(for
rehearsal
only)
: - -
: - -
: - -
q - -
< - -
: --
< --
W
W
W
W
21. Amor vittorioso
Tutti venite armati
GIOVANNI GASTOLDI
( 1554–1609)
c.
W W W W W ! ! W W W W / W ! !
ti ve ni te ar ma ti O for ti miei sol da
bra no for ti he ro i Quei che son con tra vo
W W W W W ! ! W W W W W ! !
1. Tut
2. Sem
ti ve ni te ar ma ti O for ti miei sol da
bra no for ti he ro i Quei che son con tra vo
W W W W W ! ! W W W W W ! !
ti ve ni te ar ma ti O for ti miei sol da
bra no for ti he ro i Quei che son con tra vo
W W W W W ! ! W W W W W ! !
ti ve ni te ar ma ti O for ti miei sol da
bra no for ti he ro i Quei che son con tra vo
W W W W W ! ! W W W W W ! !
1. Tut
2. Sem
1. Tut
2. Sem
1. Tut
2. Sem
1. Tut ti ve
2. Sem bra no
Alla marcia
ni
for
te ar
ti he
ma
ro
ti
i
O for ti miei
Quei che son con
WWW WWW WWW WWW WWW !!! !! WWW WWW W WWW / W W ! ! ! ! ! !
fWWWW WW WW WW !! !! WW WW WW WW W !! !!
sol
tra
ti.
i.
ti.
i.
ti.
i.
ti.
i.
da ti.
vo i.
121
for online perusal only
S.
A.
T.
B.
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: --
< --
1. Everyone come armed,
2. They seem strong heroes
O my strong soldiers.
those who are against you.
W W W W W W ! 7 W W W W W "
la la la la la la,
fa la la la la
W W W W W W W W W W 7 W W W W "
Fa
la la la la la la, fa la la,
fa la la la la.
W W W W W W ! W W W W W W W "
la la la la la la
la, fa la la la la la la.
W W W W W W W W W ! 7 W W W W W W W W !
Fa
Fa
la la la la la la, fa la la,
fa la la la
W W W W W W ! 7 W W W W W W "
Fa
la la la la la la,
fa la la, fa la la
WWW WWW WWW WWW WWW WWW W! ! W 7W WW W W WWW W WWW W la.
W """
WWW W W W W W W W
WW ! W W W WW WW WW
W WW W WW
WW " W W W W !
Fa
la.
la
la la la la.
00
00
00
00
00
00
Both sections of each verse are repeated.
© Oxford University Press 2001. Photocopying copyright material is illegal.

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S.
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122
9
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: --
< -- 00
Gastoldi: Amor vittorioso
W W W W W W W W W W W W W W W W W / W ! !
son l’in vit t’A mo re Giu sto sa et ta to re. Non te me te pun
da chi sà fe ri re, Non si
W W W W W
sa pran scher mi re. Non te me te pun
W W W W W W W W W W W W W ! !
1. Io
2. Ma
1. Io son l’in vit
2. Ma
da chi sà
ri re, Non si sa pran scher mi re. Non te me te pun
W W W W W W W 8 9 W W W W ! !
son l’in vit t’A mo re
Non te me te pun
da chi sà fe ri re,
Non te me te pun
9 8 W W W W W W W W W W W ! !
Giu sto sa et ta to re. Non te me te pun
Non si sa pran scher mi re. Non te me te pun
W W W W W W W W W W W W W W W W W W ! !
1. Io
2. Ma
1. Io
2. Ma
WWW WWW WWW WWW WWW WWW WWW WWW WWW WWW WWW WWW WWW WWW WWW W W W WWW / WWW ! ! ! ! ! !
W W W W W W W W W W W W W W WW W W W !! !!
mf
son l’in vit
da chi sà
t’A
fe
t’A
fe
mo
mo
ri
re
Giu
re Giu
re, Non
sto sa
et
ta
sto sa et ta
si sa pran scher
to
to
mi
re.
re.
re.
Non
Non
Non
te
te
te
me
me
me
te
te
te
pun
pun
pun
to,
to,
to,
to,
to,
to,
to,
to,
to,
to,
for online perusal only
S.
A.
T.
B.
: - -
14
: - -
: - -
q - -
< - -
: --
< --
1. I am the invincible
2. Those who might hurt you
skilful archer.
do not know how.
Do not be afraid,
Do not be afraid,
W W W W W ! ! W W W W W ! ! W W W W W W
Ma in bel la schie
Ma
co ra ggio for ti, Siat’ a la pu gna ac cor ti.
Fa la la la la
W W W W W ! ! W W W W W ! ! W W W W W W
co ra ggio si e for ti, Siat’ a la pu gna ac cor ti.
W W W W W ! ! W W W W W ! ! W W W W W W
bel la schie ra u ni ti, Me se gui ta te ar di ti.
co ra ggio si e for ti, Siat’ a la pu gna ac cor ti.
Fa la la la la
W W W W W ! ! W W W W W ! ! 9
bel la schie ra u ni ti, Me se gui ta te ar di ti.
co ra ggio si e for ti, Siat’ a la pu gna ac cor ti.
W W W W W ! ! W W W W W ! ! W W W W W W
Ma in
Ma
Ma in
Ma
ra u
si e
Ma in bel la schie ra u
Ma
Ma in bel
Ma co ra
la schie ra u
ggio si e
ni
ni
ni
for
ti,
ti,
ti,
ti,
Me
Me
Me
Siat’
se
se
se
a
gui
gui
gui ta te ar
la pu gna ac
WWW WWW WWW WWW WWW !!! !!!
WWWW W W W WWW WWW !!! !!! WWW WWW WWW WWW WWW W W W
f
WWWW W WW W !! !! W W WW W W WW WW ! ! ! ! W W W W W W
ta
ta
te ar
te ar
di
di
di
cor
ti.
ti.
ti.
ti.
Fa
Fa
la
la
la
la
la
la
la
la
la
la
la
la
but joined in a perfect formation
be courageous and strong,
follow me boldly.
be smart in battle.

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00
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00
00
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00
S.
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B.
19
= : - -
: --
< --
Gastoldi: Amor vittorioso
" W W W W W W ! 7 W W ! 7 W W ! 7 W W "
la,
fa la la la la la la,
fa la la,
fa la la,
fa la la.
: - - " W W W W W W W W W ! 7 W W ! 7 W W W W W "
la,
fa la la la la la la, fa la la,
fa la la,
fa la la, fa la la.
: - - " W W W W W W W W W ! 7 W W ! 7 W W ! 7 W W !
la,
fa la la la la la la, fa la la,
fa la la,
fa la la,
fa la
q - - W W W W W W " 7 W W ! 7 W W ! 7 W W ! 7 W W !
Fa la la la la la la,
fa la la,
fa la la,
fa la la,
fa la
< - - " W W W W W W ! 7 W W ! 7 W W ! 7 W W "
la,
fa la la la la
la
la,
fa la
""W"WWWW W " W WW WWW WWW WWW WWW W W W !W W W W 7! ! W W ! 7
W W !!W 7 W ! 7
W W 7W WW WW ""
" W W W W W W 7 ! WW WW ! W W 7! WW WW ! W W ! 7 WW WW !! 7 7 7 W W 7"
la,
fa la
la,
fa
la
la.
WWW W ! !
la.
la.
123
00
00
00
00
for online perusal only
S.
A.
T.
B.
: - -
25
: - -
: - -
q - -
< - -
: --
< -- 00
3. Lie
4. Già
3. Lie
4. Già
3. Lie
4. Già
3. Lie
4. Già
W W W W W ! ! W W W W / W ! !
ti hor mo ve te il pie de Che vos tre sian le pre
mor to gia ce in ter ra Chi ci ha vea mos so guer
W W W W W ! ! W W W W W ! !
ti hor
mor to gia ce in ter ra Chi ci ha vea mos so
W W W W W ! ! W W W W W ! !
ti hor mo ve te il pie de Che vos tre sian le pre
mor to gia ce in ter ra Chi ci ha vea mos so guer
W W W W W ! ! W W W W W ! !
ti hor mo ve te il pie de Che vos tre sian le pre
mor to gia ce in ter ra Chi ci ha vea mos so guer
W W W W W ! ! W W W W W ! !
3. Lie ti hor
4. Già mor
mo
mo
to
ve
ve
gia
te il
te il
ce in
pie
pie
ter
de
de
ra
WWW WWW WWW WWW WWW !!! !! WWW WWW W WWW / W W ! ! ! ! ! !
fWWWW WW WW WW !! !! WW WW WW WW W !! !!
Che
Che
Chi
vos
vos
ci ha
tre
tre
vea
sian
sian
mos
le
le
so
pre
guer
pre
guer
de,
ra,
de,
ra,
de,
ra,
de,
ra,
de,
ra,
3. Happily now move your feet,
4. Already he lies dead on the ground
let the prizes be yours,
who had waged war against us,

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124
29
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: --
< --
Gastoldi: Amor vittorioso
W W W W W W ! 7 W W W W W " 0000 W W W W W
la la la la la la,
fa la la la la la.
3. Hor via fer iam
4. Hor gli al tri suoi
W W W W W W W W W W 7 W W W W " 0000 W W W W W
la la la la la la, fa la la,
fa la la la la.
3. Hor via fer iam
4. Hor gli al tri suoi
W W W W W W ! W W W W W W W " 0000 W W W W W
3. Hor via fer iam
la la la la la la la, fa la la la la la la.
4. Hor gli al tri suoi
W W W W W W W W W ! 7 W W W W W W W W ! 0000 9
la la la la la la, fa la la,
fa la la la la la la la la.
W W W W W W ! 7 W W W W W W " 0000 W W W W W
Fa
Fa
Fa
Fa
Fa la la la la
la
la,
fa
la
la,
fa
WWW WWW WWW WWW WWW WWW W! ! W 7W WW W W WWW W WWW W gli al tri
W """ WWW WWW WWW WWW WWW
WWW W W W W W W W
WW ! W W W WW
WW WW
W WW W WW
WW " W W W W !
mf
W W W W W
la
la
la.
3. Hor
4. Hor
0000
0000
via
fer
iam
suoi
lo
se
lo
se
lo
se
lo
se
for online perusal only
Now let us beat scorn away,
Now all his other followers
S.
A.
T.
B.
: - -
34
: - -
: - -
q - -
< - -
: --
< --
W W W W W W W W W
W W W / W ! ! W W W W W ! !
gno Ch’ei de la vi taèin de gno. Non te me te pun to, E ter na fia la glo
ci Tut ti af fa lia mo au da ci. Non te me te pun to, Ec co ch’i non es tin
W W W W W W W W W W W W W ! ! W W W W W ! !
sde
gua
sde
gua
Tut ti af fa lia mo au da ci. Non te me te pun to, Ec co ch’i es
W W 8 9 W W W W ! ! W W W W W ! !
gno
Non te me te pun to, E ter na fia la glo
ci
Non te me te pun to, Ec co ch’i non es tin
8 W W W W W W W W W W W ! ! W W W W W ! !
Ch’ei de la vi taèin de gno. Non te me te pun to, E ter na fia la glo
Tut ti af fa lia mo au da ci. Non te me te pun to, Ec co ch’i non es tin
W W W W W W W W W W W W W ! ! W W W W W ! !
sde
gua
sde
gua
gno
ci
gno
ci
Ch’ei de
la
Ch’ei de la
Tut ti af fa
vi taèin de gno. Non te
vi taèin
lia mo au
de
da
gno.
ci.
Non
Non
te
te
me
me
me
WWW WWW WWW WWW WWW WWW WWW WWW WWW WWW W W W WWW / WWW ! ! ! ! ! ! WWW WWW WWW WWW WWW !!! !!!
W W W W W W W W W WW W W W !! !! WW WW W WW W !! !!
te
te
te
pun
pun
pun
to,
to,
to,
E
E
Ec
ter na
ter
co
na
ch’i
fia
non
fia
non
la
la
es
glo
tin
glo
tin
ria
ti
ria
ti
ria
ti
ria
ti
ria
ti
for it does not deserve to live.
let us boldly crush.
Do not be afraid,
Do not be afraid,
the glory will be everlasting
look how those who aren’t dead

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A.
T.
B.
40
= : - -
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q - -
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: --
< --
Gastoldi: Amor vittorioso
W W W W W ! ! W W W W W W " W W W W W W
cer ta è la vit to ria,
Fa la la la la la la,
fa la la la la
gon già spar ti e vin ti,
W W W W W ! ! W W W W W W " W W W W W W
E
Fug
E
Fug
gon già spar ti e
Fa la la la la la la,
fa la la la la
W W W W W ! ! W W W W W W " W W W W W W
E cer ta è la vit to ria,
Fa la la la la la la,
fa la la la la
gon già spar ti e vin ti,
W W W W W ! ! 9 W W W W W W "
E cer ta è la vit to ria,
Fa la la la la la la,
gon già spar ti e vin ti,
W W W W W ! ! W W W W W W " W W W W W W
Fug
Fug
E
Fug
cer ta è la
cer ta è la
gon già spar
vit
vit
ti e
to
vin
to
vin
ria,
ti,
ria,
ti,
Fa
la
la
la
WWWW W W W WWW WWW !!! !!! WWW WWW WWW WWW WWW W W W W " "" W W W W W " W WW WWW WWW WWW WWW W W W
f
WWWW W W WW WW ! ! ! ! W W W W W W " W W W W W W
la
la
la,
fa
la
la
la
la
la
la
la
la
125
for online perusal only
and victory is assured.
are running away, already scattered and defeated.
S.
A.
T.
B.
: - -
45
: - -
: - -
q - -
< - -
: --
< --
! 7 W W ! 7 W W ! 7 W W "
la,
fa la la,
fa la la,
fa la
W W W ! 7 W W ! 7 W W W W W "
la,
W W W ! 7 W W ! 7 W W ! 7 W W !
la, fa la la,
fa la la,
fa la la,
fa la
7 W W ! 7 W W ! 7 W W ! 7 W W !
fa la la,
fa la la,
fa la la,
fa la
! 7 W W ! 7 W W ! 7 W W "
la,
fa
la
la,
fa
la
la,
fa
la
la,
!W W W W 7! ! W W ! 7
W W 7! ! W W ! 7
W W 7 W WW WW ""
7!WW WW ! W W 7! WW WW ! W W ! 7 WW WW !! 7 7 7 W W 7"
fa
la
la,
fa
la
la,
fa
fa
la
la
la.
la.
la.
WWW W ! !
la.
la.
00
00
00
00
00
00

<
;
-
-
-
-
- ý
ý
|
|
|
|
|
1
1
1
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>
W
W
W
W
W
W
W
/
)
-
126
S.
A.
T.
B.
=
Words: Anon.
SOPRANO
5
: -
: -
: -
q -
< -
: -
< -
1
ALTO
2
TENOR
BASS
(for
rehearsal
only)
: -
: -
: -
q -
< -
: -
< -
W
W
W
4
4
4
4
4
9 9 8 ! W W !
Ah,
dear heart,
8 ! W W ! W W W W ! 0 W W
Ah,
dear heart, why do you rise,
why
! 0 W ! 0 W W 0 W ) W W ! 0 W W
dear heart,
why do you
rise, dear
7 ! W ! 0 W ! ! ! 0 W
Ah, dear heart,
why do you rise, dear
9 9 9 9
8 ! W W ! 8 W W WW ! WW W!! 00 W ! WW WW
7!0 ! WW !! 00 WW W! 0 W + ! ! 0 W
Passionately
4
mf
4
Ah,
22. Ah, dear heart
ORLANDO GIBBONS
(1583–1625)
W W W W ! 0 W W W W W / W ! . W ! !
why do you rise? The light that shines comes from your
eyes, your
W ! W W . W ! W ! 7 W W W W 0 W W W W W
you
rise, do you rise?
The light that shines comes from your eyes,
! W W ! ! W W ! 9 9
why do you rise, you rise?
! ! ! ! ! 8 7 W W / W W W W W
why do you rise?
The light that shines comes from
9 8 ! /!
! ! ! ! !
do
heart,
heart,
Cantus
; ý
Quintus
; ý
Tenor
Altus
; ý
Bassus
-
for online perusal only
The
light
that
shines
comes
WWW WW WW W . W ! ! ! WW W W W WW WW W W W / WW W! W 0 . W W+ W ! W -W!
W
!!! ! ! ! !!
!!7 ! W ! W cresc.
/ W W!
W ! W W
from
your
the
your
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
W
W
)
`
+
S.
A.
T.
B.
10
= : -
: -
: -
q -
< -
: -
< -
Gibbons: Ah, dear heart
! 7 W W W W W W ! . W ! W 0 W
eyes,
W W W W W W W W W W W ! W ! W
that shines comes from your
eyes, the light
that shines
7 W W W W W W W W W W W W W W W W
The light that
shines comes from your eyes, your eyes, the light
. ! 9 9 9
eyes,
! ! ! ! ! ! ! !
light
eyes,
the
the
light
light
that
shines
that
comes
shines
WWWW W W W W WW WW W W W W W W W W! ! . W W! W / WW 0 W W )
!WW . !! !W W W !W W ! W W ! W W !W ! ! W
from
your
comes
eyes,
from
from
your
comes
that
127
your
for online perusal only
S.
A.
T.
B.
14
: - ! 8 9 W ! W W 0 W ) W W
eyes.
The day breaks not, it is
: - W W ! W W W ! 9 8 7 W
from your eyes,
comes from your eyes.
: - W W W 0 W W ! . W W W 0 W W W W ! W
shines comes from your eyes, your
eyes, from your eyes. The
q - 7 W W W W W W W W 7 8 9
the light that shines comes from your eyes.
< - W W W W W W ! W ! W W W ! W
: -
< -
eyes,
comes
from
your
eyes,
your
eyes.
WWWW! W 0 W W + WW W W! W W W !3
W 0 W W W W WW 0 ! W ) W WW W
dim.
W W W W W
mf
WW WW W! ! . W W !3 W W W ! W
The
day
breaks
not, it
is
my
The
day
my

=
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W
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û
.
.
x
x
+
18
= : - ! W W W W W W W W ! 9
heart, To think that you and I must part,
: - W W W 0 W )
W W W W W W W . W ! 9
day breaks not, it is my heart, my
heart,
: - W . W W 0 W ) ! 0 W W ! W W W W !
breaks not, it is
my heart, To think that you
q - 7 W W W ! W W W W W /!
W W 0 W W W
The day breaks not,
it is
my heart, To think that
< - W W W 0 W W W W W W W W W W W W W W 0 W+
S.
A.
T.
B.
128
: -
< -
Gibbons: Ah, dear heart
heart,
To
think
that
you
and
!
. WW WW 00 W+W
W WWW W W WW W W W W! W . WW WW
W W W !
7WW W WW 0 W W + W ! W W W WW WW W WW
W WW
/ W! W WW W W
dim.
0 W 0 W W WW
I
must
part,
to
think that
you
and
for online perusal only
S.
A.
T.
B.
22
: -
: -
: -
q -
< -
: -
< -
9 W ! W W W W W "
to think
that you and I must
8 W W W W ! W ! . W "
To think that you
and I
must
W ! W W W W W W W W W W W "
I
must part, that you
and I must
W W ! W ! 0 W W W W W W W "
and I
must part,
that you and I
must
W 0 W W W W 0 W )
W W W W W W W W "
and
you
I
must
part,
to think that
Wk! W W W W WWW WW ! ! W W W WW !W W . WW "
WW 0 W ! W + W W W W W! 0
0
W+ W W W W W WW W WWWW W W W WW""" W
you
and
I
must
part.
part.
part.
part.
part.

=
>
x
x
)
W
!
)
û
.
.
/
4
4
4
4
4
S.
A.
T.
B.
=
26
: -
: -
: -
q -
< -
: -
< -
Gibbons: Ah, dear heart
W ! W W 0 W ) W W ! W W W W W W W W !
O stay, or else my joys will die And per
ish in their in fan cy,
9 8 7 W W W W 0 W )
W W W W W W W . W !
O stay, or else my
joys will
die
W W 0 W W W W ! W W . W W 0 W ) ! 0 W W ! W W
O stay, or else my joys will die, or else my joys
will die And
W ! W W W ! W ! 0 W W W W W W W W !
O stay, or else my joys will die And per ish in their in fan cy,
9 W ! W W W W 0 W W W W W W W W W W W
WWW!330
W W W W WW 0 ! W ) W W W W W! . WW WWW W
00 W+W
W WWW W W WW W W W W! W . WW WW
W
W !3 W WW W !!
WW W ! 0
W W 0 W W + W W W W W
dim.
W WW WW W WW
W WW / W! W
mf
O
stay,
or
else my joys
will die And per ish in their
in
fan
129
per
cy, and
for online perusal only
S.
A.
T.
B.
31
: -
: -
: -
q -
< -
: -
< -
9 9 W ! W W W W W "
and per ish in their in fan
9 8 W W W W ! W ! . W "
And per ish in
their in
fan
W W ! W ! W W W W W W W W W W W W "
ish in
their in fan cy, and per ish in
their in fan
W W 0 W W W W W ! W ! 0 W W W W W W W "
O stay, or elsemy joys will die And per
ish in their in fan
W W W 0 W+ W 0 W W W W W 0 W )
W W W W W W W W "4
per
ish
in
their
in
fan
cy,
and per
W W ! Wk ! W W W W WWW WW ! ! W W W WW !W W . WW "
WWW W 0 W 0 W W WW
+ WW 0 W ! W + W W W W W 0 W+W W W W
p
W W W WW W WWW W WW W WWW """4
ish
in
their
in
fan
cy.
cy.
cy.
cy.
cy.

<
;
;
;
:
- ý }
-
- ý
- ý }
- ý
-
- ý
}
=
>
W
W
W
W
W
W
W
W
W
+
W
!
‰
+
W
W
)
)
130
=
Words: Anon.
SOPRANO
4
: -
: -
q -
< -
< -
: -
< -
ALTO
TENOR
BARITONE
BASS
(for
rehearsal
only)
: -
: -
q -
< -
< -
: -
< -
W
W
4
4
4
4
4
Andante
4
4
23. The silver swan
7 W W W ! 0 W W 0
+ W W W
The sil ver swan,
who liv ing had no
7 W W W W 0 W
) W W W 0 W )
The sil ver swan, who liv ing had no
7 W W / W ! 0 W W W W W
The sil ver swan,
who liv ing had no
7 W W W W W 0 + W W W W 0 W W W W W
The sil ver swan, who liv ing had no
7 W W W ! 0 W W 0 W
) W W
The
sil
ver
swan,
7 W W WW W W ! W 0
0 W+
mp
7 WWW WWW / W W W W ! ! W 0 0 0 W )
who
W W W liv
W W 0 0 W ) W
W WW WWW 00 W WW +
ORLANDO GIBBONS
(1583–1625)
WWW WWW
WW W WW
W
! 0 W W 0 W+
W W W W W 0 W
When death ap proached un locked her si
W W W W W W W W W W W W ! W
When death ap proached un
locked her si lent
! 0 W W 0 W+ W W W W W W
When death ap proached un locked her si lent
W W W W W W ! ! W W W W W
note,
note,
When
death ap proached un
locked her si
W 0 W ) W W W W W W W W W W W W
note,
When death ap proached un locked
!W! 00 W W W W WW WW 00 W W
her si lent, si lent
) W W WW W W ! W W 0 W W
WWW WWWW WW W W ! W W W W WW WWW W WW W WW W WW W
note,
Cantus
Quintus
Altus
Tenor
Bassus
}
}
for online perusal only
ing
had
note,
no
lent
lent
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
WW!
W
W
1
+ W
WW
W
)
!
/ WW
!
/
/
+
=
7
: -
: -
q -
< -
< -
: -
< -
! 8 7 W W W W ! 0 W / W W W 0 W
Lean ing her breast
a gainst the reed
W W W W W W W W W W W W 0 W ) W W W W ! 0 W
Lean ing her breast a
gainst the reed y shore,
! 7 W W W W W W W 0 W+
W W W W -W
W !
Lean ing her breast a gainst the
reed y shore,
! 0
W W 0 W W W ! 8 W ! W
A gainst the reed y shore,
Thus sung her
W W W W W ! 0 W W W ! W "
throat;
throat;
throat;
throat;
throat; Lean
ing her
breast
W ! ! W 8 W W W 7 W W W W W W WW
cresc.
W W W W WWW ! W 0 W WW W W W W W W
a
gainst the reed
y
Gibbons: The silver swan
shore,
Thus
W! 0
0 WW +
WWWW WWW WW - ! 0 W W W 0 W W )
WW0 W ! W " W ! W
131
y
for online perusal only
11
: -
: -
q -
< -
< -
: -
< -
! 7 W W W W W W W W W 0
+ W ! 8
Thus sung her first and last, and sung no more:
W W W 0 W ) W W W 0 W W ! W W W W W W
her first and last, and sung no more, no
more: Fare well,
W W W W W W W -W
W ! ! ! 7 W
sung her first
and last, and sung no more:
W -W
W W W W W W W W ! ! 7 W
and last, and sung no more, and sung no
more:
W ! W W W -W
W ! 0 W W W W W W
shore,
sung
Thus
first
Thus
sung
her
first
and
last,
and
/ W 7 W 0
W W +
WW W W W - W 0 W W W + / WW !W W W 0 W W )
WWW W W W W
WW!WW WW W W WWW W W -WW
W WW ! W 0 W !! W W W W W W WW W
dim.
p
sung
no
more: Fare
all
Fare
Fare
well, all

=
>
W
!W W
1
+ W
W
WW
)
W
!
/ WW
W
4
"""
4
4
!
/
/
+
=
132
15
: -
: -
q -
< -
< -
: -
< -
Gibbons: The silver swan
7 W W W W ! 0 W / W W W 0 W
Fare well, all joys;
O death, come close
W W W W W W W 0 W ) W W W W ! 0 W
joys; O
death, come close mine
eyes;
W W W W W W 0 W+
W W W W - W !
well, all joys; O death, come
close mine eyes;
W 0 W W W ! 8 W ! W
well, all joys; O death,
come close
! 0 W W W ! W "
joys;
7WWW W W W WW
! W 0 W WW W W W W W W
O
death, come close
mine
eyes;
More
mine
mine
W! 0
0 WW +
WWWW WWW WW - ! 0 W W W 0 W W )
WW0 W ! W " W ! W
for online perusal only
: -
18
: -
q -
< -
< -
: -
< -
! 7 W W W W W W W W W 0 W+ "4
eyes;
W W W 0 W ) W W W 0 W W ! W "
than swans now live, more fools than wise, than
W W W W W W W -W
W ! ! "4
geese than swans
now live, more fools than
W W -W
W W W W W W W W ! "4
geese
More
More geese than swans now live, more fools
than
W ! W W W -W
W ! 0 W "
eyes;
geese than swans now
/ W 7 W 0
W W +
WW W W live, more fools
than
W - W 0 W W W + / W W!
W W 0 W W )
WW!WW WW W W WWW W W -WW
W W W ! W 0 W !! W " 4 "
More
More
geese
than
swans
now
live,
more
fools
than
wise.
wise.
wise.
wise.
wise.

:
;
;
;
<
-
-
-
-
-
-
-
"
"
"
@
@
=
>
W
W
W
W
W
W
W
.
.
133
S.
A.
T.
B.
=
Words by Sir Walter Raleigh (?1552–1618)
SOPRANO
6
: -
: -
q -
q -
< -
: -
< -
ALTO
1
TENOR
2
BASS
(for
rehearsal
only)
: -
: -
q -
q -
< -
: -
< -
W
W
W
2
2
2
2
2
9 " W W ! W W W ! ! !
What
is our life, our life?
" W W ! W W W ! W W ! ! !
is our life? a play of pas
9 9 9 9 9
9 9 9 " "
What
9 9 9 9 9
" W " W ! WW W W W !!
WW WW W !! ! ! !!
9 9 9 " "
Sostenuto
2
2
What
mp
24. What is our life?
ORLANDO GIBBONS
(1583–1625)
! 0 W W " " 9 9
of pas
sion,
! 8 8 ! ! ! W W W ! ! !
on,
a
play
of pas
" W W ! W W W W W " .!
!
is our life? a play of pas
sion,
W W ! W W W ! .!
! " "
is our life?
a
play of pas
sion,
9 9 " " W W !
play
What
Cantus
Quintus
Altus
Tenor
Bassus
for online perusal only
What
! 0 W W ! !! "! ! "W W W ! .!!
!
W"W ! WW W W W !!
.!! W W W W!!
W "" ! W W !!
is
our
a
si
sion,
of
life?
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
`
"
.
/
S.
A.
T.
B.
=
134
11
: -
: -
q -
q -
< -
: -
< -
Gibbons: What is our life?
9 8 ! ! ! " " 9 "
what
is our
life,
what
8 ! ! ! . W ! W " " ! /!
"
what is our
life, what
is our
! / W / W " 8 ! ! ! . W ! W ! ! ! !
pas
! ! ! ! W W ! 8 ! ! ! " "
a play
of pas si on,
what is our life?
W W W W W .!
! " " " " ! !
a
si
on,
play
of
pas
what
! W! / W "! !! . W ! ! !! W " ! ! . W" ! W ! /!!
. !" " !
!WW W W! W .!!
!! "W W ! " ! ! " ! ! ! ""! !" !
is
our
sion,
life?
what
a
play
is
of
our
for online perusal only
S.
A.
T.
B.
18
: -
: -
q -
q -
< -
: -
< -
! /!
."
" " W W ! W W ! ! /!
is our life? our life? a play of pas
" 8 ! " ! ! " ! ! W W !
life,
what is
our life?
a play of
" " " 9 9 9 9
pas
si
on.
" " ! /!
."
! 0 W /!
! ! !
a
play
of pas sion, what is our life?
" ! ! " " ! ! " ! !
life,
our
life?
a
""! /!
.!
! "" " !" ! "W W ! ! W W ! ! W ! W !!
""! " ! "! /!
.""
!!
0 ! W /"!
! !! ! !
play
of
pas
si
pas
a
si

=
>
W
!
!
+
~
`
W
.
. W
.
W
)
+
)
)
S.
A.
T.
B.
=
25
: -
: -
q -
q -
< -
: -
< -
" 7 W W W W ! W W W W / W W W W W -W
W 0 W
on.
Our mirth the mu sic of di vi si on, of di vi
! ! " 8 7 W W W W W ! !
si on.
Our mirth the mu sic of di
7 W ! ! ! ! ! W W W W W W W W W W
Our mirth
the mu sic, the mu sic of di vi si on,
. ! " ! 8 9 8 7 W
of pas
sion.
Our
! 0 / W . W W W W W 0 /+ W / W W W W 0 W+ W W W ! W W
play
on.
Our
mirth
the
mu
sic
of
di vi si on,
!7 W !! "W W W W ! W ! ! W W W W WW / W WW
W W W W !W W - W W!
0
.!!0
! / W ."W
W W W W W 0 0 W + / W W W WW 0 W W + W W W ! W
mf
W WW W W
of
di vi si on,
Gibbons: What is our life?
our
mirth
the
135
si
for online perusal only
S.
A.
T.
B.
30
: -
: -
q -
q -
< -
: -
< -
! 8 9 9 9 7 W W W
on.
Our mo
. 0 W
) ! ! 7 W W W ! W W W W W W W !
vi si on,
our mirth the mu sic of di vi si on.
7 W W W ! W W W W W W W W W W W 0 W ) W W W 0 W
our mirth the mu sic of di vi si on, our mirth the mu sic of di vi
W W ! W W W W W W W W W W W W W W W W W ! W
the mu sic of di vi si on, our mirth the mu sic of di vi si
! ! W W W 0 W+ ! 8 9 9
mirth
mu
sic
of
di
vi
si
on.
. W!
0 W 8! !! W WW WW W WW W ! W W W W W W WW W WW WW W WW ! W W
!WWW !!W W
WWW W mp
WW 0 W W WW
+ !W W W W W W W W 0 + W 7W W! W 0 . W W
thers’
si

=
>
`
W
35
= : - ! W W W / W ! ! ! 9 9
wombs the tir ing hou ses be,
: - 9 9 9 8 7 W W W W 0 W )
Our mo thers’ wombs
q - ! 8 7 W W W ! W W W . W W W W W W W W W
on.
Our mo thers’ wombs, our mo thers’ wombs the tir ing, the
q - ! /!
W 0 W ) W W ! 7 W W W ! W ! W
on. Our mo thers’ wombs, our mo thers’ wombs the tir ing
< - 7 W W W ! W W W / W ! ! ! 9
S.
A.
T.
B.
136
: -
< -
Gibbons: What is our life?
Our
mo thers’ wombs
the
tir
ing
hou
! W W W 7 / W W! W ! ! WW W W k . W 7W
W W W W W W W WW 0 W W )
W!W W! W !W 0 W ) WW
WW W! / W 7 ! W ! W W
!!W ! WW
ses
be,
the
for online perusal only
S.
A.
T.
B.
40
: -
: -
q -
q -
< -
: -
< -
8 7 W W W ! ! ! ! ! ! !
Where we are dressed
for this short com e
W W W W ! 8 9 9 8 !
tir ing hou ses be.
W W W 0 W )
! 7 W W W ! ! ! ! !
tir ing hou ses be, Where we are dressed,
are dressed for
W W ! 9 8 ! W W ! W W W W
hou ses be,
Where we are dressed for this
9 7 W W W ! 0 W ! ! ! !
Where
we
are
dressed,
W W W W W !W W ! 7 W W ! W ! !! !! !! !!!
WWW W !W 0 W )
W W W W k! 0 ! W ! W W ! ! ! W W !W W
are
dressed
for
this
Heaven
short
short

=
>
.
!
!
WW
!
û
û
. W
W
W
!
)
W
û
+
+
S.
A.
T.
B.
=
45
: -
: -
q -
q -
< -
: -
< -
! ! ! W / W .!
! ! ! W W ! 9
dy. Heaven
the ju di cious sharp spec ta tor is,
! W / W .!
! ! ! ! . W W ! ! W W !
the ju di cious sharp spec ta tor is, heaven the ju
. 0 W ! W W " 8 ! ! W / W .!
!
short com e dy.
Heaven
the ju di
! ! W W ! ! ! .!
8 9 9
e
dy, short com e dy.
" ! ! ! ! ! W / W .!
! ! !
this
com
com
e
dy.
Heaven
!!!
0 / .!!
WWWW ! / .!!!
!!! ! ! ! ! !W W ! ! W W !
mf
"!! ! W W !! !! !! .! ! W / .!
W!
/ W .! ! ! !
the
ju
di
Gibbons: What is our life?
cious
sharp
di
cious
spec
137
for online perusal only
S.
A.
T.
B.
51
: - 9 9 8 7 W W W W 0 + W W W . W 0 W
That sits and marks still who doth act
: - ! .!
! ! W W W W W W / W W W -W
W !
cious sharp spec ta tor is, That sits and marks still who doth act
q - ! ! ! W W . W W W W W 8 7 W W W W W
sharp spec ta tor, spec ta tor is,
That sits and marks, that
q - 7 W ! ! ! ! 0 W W W ! 8 7 W
spec ta
tor is,
That sits and marks,
that
< - ! ! " " 8 7 W W W W 0 W
: -
< -
ta
tor
is,
That sits and marks
W W !! !! W! W W! 0 W W W W W W W W / WW WW 0 WW W -W
WW .!W 0 W )
!!!! . !"
! ."W
W W W W W W ! 8 7
W WW W W f
WW WW W
a
who

=
>
7
.
8
.
.
S.
A.
T.
B.
=
138
56
: -
: -
q -
q -
< -
: -
< -
Gibbons: What is our life?
! 8 9 8 7 W W W W 0 W )
W W W W
that sits and marks still who doth act a
W W ! W ! W W W W W W W W W
W
W !
a miss, that sits and marks still who doth act a miss, still who doth act
W W W W W W W W ! ! W 0 + W ! 7 ! W
and marks still who doth act a miss, that sits and marks, marks still
W / W W 0 -+ W W W W W W W W W W 0 W )
W W W W W 0 W )
and marks still who doth act a miss, still who doth act a miss, that sits and marks
W W ! 7 W W W W 0 + W W W W W W 7 8 7 W
miss,
sits
sits
doth
a
miss,
that
sits
and
marks still who doth act
WW! WW W! W WW ! W W WW W! W W! W W WW 0 W W +
WW WW W W W ! W W WW WW W
WWWW / ! W 0 - W )
W W W W W WW W W
W 0 W W + W WW WWW W 0 W W +
WW! W W 8 W W 0
7 W W )
a
miss,
still
still
for online perusal only
S.
A.
T.
B.
61
: -
: -
q -
q -
< -
: -
< -
! 8 8 ! " 9 ! ! ! /!
"
Our graves,
our graves that hide
7 ! . W " 8 ! " ! ! ! ! ! !
a
miss.
Our graves that hide us from
W W W W " 8 ! " ! ! ! ! "
miss.
doth act a miss.
Our graves that hide us from
W W W W ."
8 ! " ! ! ! ! ! !
doth act a miss.
Our graves that hide us from
W W W 0 W
) " 8 ! " ! -!
! ! ! !
who
who
who doth
act
a
miss.
Our
graves
W W! W WW " "! " k !! "" !!! !! ! !! ! /!!!
!" " !
WWW W pp
WW 0 W W .""
8 /!!
"" !! -!!
!! !! +
!! ! !
that
hide,
that
hide
the
the
us

=
>
`
W
/
S.
A.
T.
B.
=
68
: -
: -
q -
q -
< -
: -
< -
! ! " ! ! ! W W " ! !
us from
the search ing sun Are like
! ! W W ! ! ! W W ! ! ! ! !
ing sun, that hide
us from the search ing sun Are
! ! " " ! W W " 9
the search
ing
sun
! 0 W ! ! W W W W ! ! ! ! ! 0 W
from the search ing sun, the search ing sun
" ! 0 W ! ! " ! ! "
search
search ing sun,
from
the
search
ing
!!! ! ! W " W ! !! !! W ! W !! W W " !! !! !! !!
"!W W !!!! 0 ! W W" W WW W " ! cresc.
W W !" ! "! 0 W
sun
Gibbons: What is our life?
Are
like
139
Are
for online perusal only
S.
A.
T.
B.
74
: -
: -
q -
q -
< -
: -
< -
! ! " ! ! ! ! ! ! "
drawn cur tains when
the play is done,
! ! ! 0 W W W ! W W ! ! ! "
drawn cur tains when the play
is done,
are like
8 ! ! 0 W ! 0 W W W W W ! ! W W !
Are like drawn cur tains when the play is done, when the play
! ! ! ! ! ! " ! ! 9
drawn cur tains,
drawn cur
tains
! ! ! .!
! 0 / W /!
! " ! 0 W
like
like
drawn
cur
tains
when
the
play
!!! ! ! !!" 00 WW W ! W !! W! W !! ! ! !!! ""W! W
!!!! !! . ! ! !! 0
W
WW! W ! !! W W !! ! ! 0 W
is
done,
when
the

=
>
!
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/
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S.
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T.
B.
=
140
80
: -
: -
q -
q -
< -
: -
< -
Gibbons: What is our life?
" " 9 9 8 ! W W W !
when the
! ! W W ! ! ! ! 0 W W ! 8 9
cur tains when the play is done,
! W W " 8 ! W W W ! W W ! W W W !
drawn
is done,
when the play is done, is
" " " ! 0 W W ! 0 W W ! 0 W W
when
the play is done, the play is
" ! W W " 9 9 9
play
is
done.
! " W W W" W ! ! ! ! 0 W W ! !! WW WW WW ! !
dim.
""" ! W W k"" ! ! W 0 W W ! W W ! W 0 W W W ! 0 W W
play
for online perusal only
S.
A.
T.
B.
86
: -
: -
q -
q -
< -
: -
< -
W W W ! W W W ! W W ! W W W W W ! 0 W W
is done, the play is done, are like drawn cur
9 9 9 7 W W W W 0 W ) !
are like drawn cur tains when
! 0 W ! 0 W ! 0 W ! 0 W W W W W W
are like drawn cur tains when the play is done,
! 0 W W ! 0 W ! 0 W ! 0 W W ! 0 W
are like drawn cur tains when the play
9 9 9 9 9
done,
done,
! W 0 W W ! W ! W 0 W W ! W ! W 0 W ! W W W W W WW W! 0 W +
W ! W W
! 0 W W ! 0 W ! 0 W !! 00 WW WW ! W 0 W W WW
tains
the
is

=
>
W
û
.
)
.
.
W
S.
A.
T.
B.
91
= : -
: -
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< -
: -
< -
W W W W ! 8 8 7 W ! ! W 0 W ) !
the play is done.
Thus march we, play
W W W W W .!
8 9 8 ! W W !
the play is done.
Thus march we,
. ! W ! W W W W .!
! 8 8 !
when
is
done. Thus march we, play ing,
thus
" 8 W W W W ! " 8 7 W
Thus march we, play ing,
8 7 W ! / W W W - W ! " W W !
play
done.
Thus
march
we,
play
ing,
WWWW W WW . WW W .!!!
W W
8WW . 7 ! W !! ! ! W W 0 W W ) !!!
mf
. W!0 !
W ! / W W WW WW - WW !! " "
8W W 7 ! W
to
our
Gibbons: What is our life?
lat
est
ing,
play
rest,
thus
141
for online perusal only
S.
A.
T.
B.
96
: -
: -
q -
q -
< -
: -
< -
7 W W W .!
! 9 7 W W W W ! W
thus march we, play ing,
thus march we, play
! 8 7 W W W ! W W ! ! ! 0 W
ing,
thus march we, play ing, thus march we, play
W W W 0 W+
! 8 7 ! W W W W W 9
we, play ing,
thus march we, play ing,
W W ! ! 7 W W W ! ! 7 W W 0 W+ W W
play ing,
thus march we, play ing, thus march we, play
9 7 W W W ! ! ! ! W 0 W ) W W
march
march we,
thus
march we,
play
! W WW WW 0 W W +
!! 7 W W ! W 7 ! ! W WW ! W W !W W W ! W 0 ! WW
W W ! ! 7 W 7 W W W !W W
!!! ! 7 W W 0 ! W 0 +
WW W WW
ing,
to
our
lat
est
ing,
ing,
ing,
rest, our

=
>
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)
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W
W
W
+
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S.
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B.
=
142
101
: -
: -
q -
q -
< -
: -
< -
Gibbons: What is our life?
W W W W ! 7 W W 0
+ W W W W W W W / W W 0 W )
. W
to our lat est rest, thus march we, play ing, thus march we, play ing, to our
W W ! . W 0 / W ) W W ! 8 7 W W 0 W W !
to our lat est rest, our lat est rest,
thus march we, play
8 7 W W 0 W + W . W ! 7 W W 0
+ W W W . W W W 0 W
thus march we, play ing, thus march we, play ing, to our lat
W 0 W W ! 7 W W 0
+ W W W ! ! ! !
to our lat est rest, thus march we, play ing, to our lat est
W W ! 9 9 9 8 7 W
lat
est
rest,
WWW ! W W . W W W ! W 0 W W W W W 0
+ W W W W WW 0 W W +
WW 0 W / W
+ W . WW W 0 ! W )
. WW W W W W
WW0 W W W!
W ! W 0 W ) W . 7
W W 0 W + W W 7 ! W ! W W ! 8
! 7 W
thus
est
for online perusal only
S.
A.
T.
B.
106
: -
: -
q -
q -
< -
: -
< -
W 0 W ) / W W W . W ! W ! 8 7 W W 0 W+ W W W W
lat
est rest,
thus march we, play ing, to
W 7 8 9 7 W W 0 W )
. W W W W ! 0 W
ing,
thus march we, play ing, to our lat
W 0 W+ W 0 /+ / W W W 0
+ W . W 0 /+ W ! ! 8 8 7 W
thus march we, play ing, to our lat est rest,
! 7 W W 0
+ W . W / W ! 8 8 7 W W 0 W+ W W
thus march we, play ing,
thus march we, play
W 0 W
) W W W W ! 0 W W 0
+ W . W W W 0 W W W "
rest,
rest,
march we
play
ing,
thus
march we, play ing,
WW 00
)
+
WW 0 W W W . +
W 0 ! W +
W 0 W W W +
W W 0 W ) . 7 W WW
W W 0 W WW ! W 0 W W WWW
W! 0 W 7W W WW W /! 0 W . W WW . WW 00
WW
+ . W W W! 0 W 7
+ W W W "
W 0 W )
dim.
W W
to
our lat est
rest,
our
est
thus
ing,

=
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.
.
4
4
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: -
: -
q -
q -
< -
: -
< -
! ! ! 0 W W W ! ! ! W W !
lat
W W ! W W W W " ! ! ! !
On ly
we die in ear
nest, that’s
W 0 W+ W W . W W W W W 0 /+ W W W W W W W "
rest,
we, play ing, to our lat est rest, On ly we die in ear nest,
! 0 W W W ! ! ! W W ! "
to
our lat est rest,
On
ly we
" " " " "
march
W! 0 W +
!! . WW ! 0 WW WW WWW WW 0 W W + W ! W !! !! W ! W ! !
! W 0 W W W W "W W ! " ! ! "W W WW WW " "
cresc.
"
( )
est
rest,
On
On
ly
ly
we
die,
we
we
Gibbons: What is our life?
die
that’s
die,
in
ear
no
143
for online perusal only
S.
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T.
B.
116
: -
: -
q -
q -
< -
: -
< -
W W W W W W ! W W W W W W W ! "
nest, that’s no jest, we die
in ear nest, that’s no
" ! W W ! ! ! 0 W "4
jest,
in ear nest, that’s no
! ! ! 7 W W W W W ! ! "4
no jest,
we die in ear nest, that’s no
" ! 0 W W W ! ! .!
"4
die
in ear nest, that’s
no
! 0 W W W W W ! ! " "4
we
die
in
ear
nest,
that’s
no
"WWWW !W W W! W W ! W W W! ! W W W! 0 W .!!
W """
!!0 ! !! W W! 0 W W WW W WWWW ! W W " ! f
! " "4
jest,
no
jest.
jest.
jest.
jest.
jest.

)
+
<
;
:
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W
ý
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ý
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|
=
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W
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00
00
00
00
00
00
00
.
.
144
Words: Anon.
1
SOPRANO
2
ALTO
TENOR
BASS
3
3
; 3
; ý 3|
ý 3|
(for
rehearsal
only)
:
:
:
q
:
<
.W
W
W
W
W
W
W
3
4
3
4
25. Tanzen und springen
Gagliarda
W W W ! W W W W ! W W W W
zen und sprin gen, sin gen und klin gen,
fa la
ne Jung frau en In grü ner Au en,
W W W ! W W W W ! W W W W
zen und sprin gen, sin gen und klin gen,
ne Jung frau en In grü ner Au en,
fa la
W W W ! W W W W ! W W W W
zen und sprin gen, sin gen und klin gen,
fa la
ne Jung frau en In grü ner Au en,
W W W ! W W W W ! W W W W
zen und sprin gen, sin gen und klin gen,
fa la
ne Jung frau en In grü ner Au en,
W W W ! W W W W ! W W W W
1. Tan
2. Schö
1. Tan
2. Schö
3
4
1. Tan
2. Schö
3
4
1. Tan
2. Schö
3
4
1. Tan zen
2. Schö ne
3
4
3
4
WWW WWW WWW !!! WWW WWW WWW WWW !!! WWW WWW WWW WWW
WWWW WW ! ! W W W W WW WW ! ! W W
WW W W W
Allegro
und
Jung
sprin
frau
gen,
en
sin
In
gen
grü
und
ner
klin
Au
HANS LEO HASSLER
(1564–1612)
gen,
en,
fa
la
la
la
la
la
la
for online perusal only
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B.
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1. Dancing and leaping,
2. Beautiful maidens, in green meadows,
singing and playing;
W 0 W ) W W W W W ! 7 W W W ! W W W W ! W
1. Lau ten und Gei gen solln auch nicht schwei
la, fa la la la la, fa la.
2. Mit ihn’n spa zie ren Und con ver zie
W 0 W )
/ W W W ! 7 W W W ! W W W W .!
W
1. Lau ten und Gei gen solln auch nicht schwei
la, fa la la la, fa la.
2. Mit ihn’n spa zie ren Und con ver zie
W 0 W )
W W W W ! 7 W W W ! W W W W ! W
la, fa la la la, fa la.
1. Lau ten und Gei gen solln auch nicht schwei
2. Mit ihn’n spa zie ren Und con ver zie
W 0 W )
W W W W ! 7 W W W ! W W W W ! W
la, fa la la la, fa la. 1. Lau ten und Gei gen solln auch nicht schwei
2. Mit ihn’n spa zie ren Und con ver zie
W 0 W+
W W W W W ! 7 W W W ! W W W W ! W
la,
fa
la
la
la
la,
2. Mit ihn’n spa zie ren Und con ver zie
) WWW 000 WW / WWW
W W W W WWW WWW ! ! ! 7 W W WW W W !! WW WWW WWW WWW .!!!
WWW
WW 00 WW W W W W W W !! 7 WWW WWW WW !!! WWW WW WW WW ! WW
© Oxford University Press 2001. Photocopying copyright material is illegal.
fa
la.
1. Lau
ten
und
Gei
gen
solln auch nicht
1. lutes and violins should also not be silent,
2. strolling,
and chatting,
schwei
gen,
ren,
gen,
ren,
gen,
ren,
gen,
ren,
gen,
ren,

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W
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4
0
4
0
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19
:
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W W W ! W W W W . W 0 W ) W W W . W ! 7
mu si zie ren und ju bi lie ren steht mir all mein Sinn.
lich zu scher zen, Freut mich im Her zen für Sil ber und Gold.
W W W ! W W W W W W W W W W ! 7
mu si zie ren und ju bi lie ren steht mir all mein Sinn.
lich zu scher zen, Freut mich im Her zen für Sil ber und Gold.
W W W ! W W W W W W W W W W ! 7
mu si zie ren und ju bi lie ren steht mir all mein Sinn.
lich zu scher zen, Freut mich im Her zen für Sil ber und Gold.
W W W ! W W W W W W W W W W ! 7
mu si zie ren und ju bi lie ren steht mir all mein Sinn.
lich zu scher zen, Freut mich im Her zen für Sil ber und Gold.
W W . W ! W W W W W 0 + W . W W W W ! 7
zu
Freund
zu
Freund
zu
Freund
zu
Freund
zu mu
Freund lich
si
zu scher zen, Freut mich im Her zen für Sil ber und Gold.
WWW WWW WW !!! WWW WWW WWW WWW . WWW 0 W W )
WW WW WWW . WW !!! 7
WWWW . !! W WW WW WW WW 0 W W +
. W WW WW WW ! ! 7
music-making
joking with friends,
zie
W W W W 0 + W W W W W ! 7 W W W W 0 + W W W W W !40
Fa la la la, fa la la la, fa la.
Fa la la la, fa la la la, fa
W W W W 0 + W W W W W ! 7 W W W W 0 + W W W W W !
Fa la la la, fa la la la, fa la.
Fa la la la, fa la la la, fa
W W W W 0 W )
W W W W ! 7
W W W W 0 W )
W W W W !
Fa la la la, fa la la la, fa la.
Fa la la la, fa la la la, fa
- W W W 0 W + W W W W ! 7 -W
W W W 0 W + W W W W !
40
Fa la la la, fa la la la, fa la.
Fa la la la, fa la la la, fa
W W W W 0 W
) W W W W ! 7 W W W W 0 W
) W W W W !
Fa
la
la
la,
WWWWW / WWW WWW 000 WWW+
- WW WW W W
0 0 W W+
for online perusal only
fa
la
ren
la
und
ju
bi
and celebrating
warms my heart more
la,
fa
la.
WWW WWW WWW WWW ! ! ! 7 WW WWW / WWW WWW 000 WWW+
WWWW W W !! 7 -WW
WW WW W W
0 0 W W+
lie
Fa
la
ren
la
steht
mir
fills my mind.
than silver and gold.
la,
fa
Hassler: Tanzen und springen
all
la
mein
la
la,
Sinn.
fa
la.
la.
la.
la.
la.
WWW WWW WWW WWW ! ! !
4000
WWWW W W !!400
145

WWW
<
:
;
|
|
|
=
>
W
W
/
146
Words: Anon.
1
SOPRANO
2
ALTO
TENOR
BASS
ý -
3
-ý 3
; -ý 3|
; -ý 3|
-ý
3
(for
rehearsal
only)
: - -
: - -
: - -
q - -
< - -
: --
< --
W
W
W
W
WW
W
W
3
4
3
4
3
4
3
4
3
4
3
4
3
4
26. Ach, Weh des Leiden
HANS LEO HASSLER
(1564–1612)
W W W ! W W W W ! W ! W W W W ! W
Ach, Weh des
W W W .!
W W W W ! W .!
W W W W .!
W
Ach, Weh des
W W W ! W W W W ! W ! W W W W ! W
Weh des Lei den, Muss es dann sein ge schei den? Ach, weh des Lei
W W W ! W W W W ! W ! W W W W ! W
Weh des Lei den, Muss es dann sein ge schei den? Ach, weh des Lei
W W W ! W W W W ! W ! W W W W ! W
Ach,
Ach,
Ach, Weh des
WWW WWW WWW .!!!
WWW / WWW WWW WWW !!! WWW .!!
WWW WWW WWW WWW .!!!
WWW
W WW W !! WW WW WW WW !! WW
!!WW W WW W !! WW
Sadly
mp
Lei den, Muss es dann sein
Lei den, Muss es dann sein
Lei den, Muss es dann sein
ge
ge
ge
schei den? Ach, weh des
schei den? Ach, weh des
schei den? Ach, weh des
Lei
Lei
Lei
den,
den,
den,
den,
den,
for online perusal only
S.
A.
T.
B.
8
= : - -
: - -
: - -
q - -
< - -
: --
< --
Ah, woe and grief,
must we then part?
W W W ! W ! W W W W ! W W W W ! W ! W
es dann sein ge schei den? Ach, weh mir Ar men, Wen sollt’s doch nicht er bar
W W W ! W .!
W W W W ! W W W W ! W ! W
es dann sein ge schei den? Ach, weh mir Ar men, Wen sollt’s doch nicht er bar
W W W ! W ! W W W W ! W W W W ! W ! W
es dann sein ge schei den? Ach, weh mir Ar men, Wen sollt’s doch nicht er bar
W W W ! W ! W W W W ! W W W W ! W ! W
es dann sein ge schei den? Ach, weh mir Ar men, Wen sollt’s doch nicht er bar
W W W ! W ! W W W W ! W W W W ! W ! W
Muss
Muss
Muss
Muss
Muss es dann
sein
ge
schei
den?
Ach,
weh
mir
/ WWW WWW !!! WWW .!!
WWW WWW WWW WWW !!! WWW WWW WWW WWW !!! WWW !!! WWW
WWWW WW !! WW
!!WW W W W W W W
!! WW WW WW WW !! W W
!! W W
Ah, woe to poor me, who would not pity me?
© Oxford University Press 2001. Photocopying copyright material is illegal.
Ar
men, Wen sollt’s doch
nicht
er
bar
men?
men?
men?
men?
men?

=
>
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00
00
00
00
00
00
00
00
00
00
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+
00
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00
00
00
00
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/
/
S.
A.
T.
B.
16
= : - -
: - -
: - -
q - -
< - -
: --
< -- 00
Hassler: Ach, Weh des Leiden
1.
2.
W W W ! W W W W ! W ! W ! !
Ach, weh
W W W .!
W W W W ! W .!
W .!
!
Ach, weh
W W W ! W W W W ! W ! W ! !
weh der Schmer zen, So ich emp find im Her zen, Her
W W W ! W W W W ! W W W W ! !
weh der Schmer zen, So ich emp find im Her zen, Her
W W W ! W W W W ! W ! W ! !
Ach,
Ach,
Ach, weh
der
der
der
WWW WWW WWW .!!
WWW WWW WWW / WWW !!! WWW .!!!
WW .!!!
!!
WWWW WW
!!WW W WW WW ! ! WW ! W W WW ! ! !!
Ah, the woe of pain,
Schmer
Schmer
Schmer
zen,
zen,
zen,
So
So
So
ich
ich
ich
emp
emp
emp
find
find
find
which I feel in my heart.
im
im
im
Her
Her
Her
1.
zen,
zen,
zen,
Her
Her
Her
zen!
zen!
zen!
zen!
zen!
147
2.
[ , = ,. of preceding ]
for online perusal only
S.
A.
T.
B.
: - -
21
: - -
: - -
q - -
< - -
: --
< -- 00
8 ! ! W W W W W ! " 8 ! ! W W
Muss
8 -!
! 0 W W W ! ! .!
8 ! ! 0 W
Muss ich dich dann auf ge
ben,
muss ich
8 ! ! ! W W ! " 8 ! ! !
Muss ich dich dann auf ge ben,
muss ich dich
8 -!
! 0 W W W W 0 W ! ! 8 ! ! 0 W
Muss ich dich dann auf ge
ben,
muss ich
8 ! ! 0 W W W ! " " ! 0 W
Muss
ich
8 !! ! !! ! !W WW WWW W WWW !! ! ""! ! . 8 !! !! ! !W WW
f
8 ! !
!! 00 WW WW WW !W 0 W ) !"
! 8 "
!! !! 00 WW
[ , = ,. of preceding ]
ich
Must I then give you up?
dich
dich
dann
dann auf
auf
ge
ge
ben,
ben,
muss
muss
ich
ich
dich
dich
dich
dich

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148
27
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< --
Hassler: Ach, Weh des Leiden
W W W ! " ! ! " " ! ! "
dann auf ge ben, So kost’s mir,
so
kost’s mir,
W W ! ! .!
9 ! ! " " ! !
dann
W W ! ! ! ! W / W ! ! " ! 8 ! !
auf ge
ben, So
kost’s mir,
so
W W ! ! ! ! ! " " ! ! ! !
auf ge ben, So kost’s mir,
so
kost’s mir
W W ! " " ! ! ! ! " "
dann
dann
dann
auf
auf
ge
ge
ben,
ben,
So
So
kost’s
kost’s
WWW W WWW !! ! " !! .!!
!!
/ W! / W ! ! " !!
""! " ! "! ! !!
WWWW !! " ! ! "! ! !" ! ! " ! " !
mp cresc.
! "! !
mir,
mir,
mein
so
Le
ben,
kost’s
kost’s
mein
for online perusal only
It will cost me my life!
S.
A.
T.
B.
: - -
34
: - -
: - -
q - -
< - -
: --
< --
" ! ! ! ! ! W W W W ! " " /"4
so
kost’s mir mein Le
" " ! ! ! ! ! ! ! ! W . W / W ! "4
so
kost’s mir mein Le
" " " ! ! ! ! " " "
mir,
so
kost’s mir mein Le
! ! ! ! " ! ! ! ! ! 0 W W " "4
ben, so kost’s mir
mein Le
! ! ! ! " ! ! " " " "4
mir,
Le
so
kost’s
mir
mein
Le
ben, mein
""" " " ! "" ! ! !! !! ! ! ! ! W W !W W !! !" " ! W" " . W / W ! """
!!! ! ! !
! ! " ! ! " ! ! " ! 0
dim.
W W "" "4
Le
ben!
ben!
ben!
ben!
ben!
00
00
00
00

=
>
WW
W
>
ý
ý
!!
+
+
+
-
x
)
W
+
+WW
149
Words by Johann Nikolaus Götz (18th c.)
SOPRANO
5
: - -
: - -
q - -
< - -
: - -
< - -
ALTO
TENOR
BASS
PIANO
(ad lib.)
=
: - -
: - -
q - -
< - -
: - -
< - -
W
W
W
W
W
W
W
W
ý
ý
ý
ý
! W W W W W 0 W W W 7 ! W / W W W 0 W W W 7
O wun der ba re Har mo nie, was er will, will auch sie,
! W W W W W W W W 7 ! W 0 W ) W / W W 7
O wun der ba re Har mo nie, was er will, will auch sie,
! W W W W W W W W W 7 ! W 0
+ W W W W 6 W
O wun der ba re Har mo nie, was er will, will auch sie,
! W W W W W W W W 7 ! W 0 -+ W W W W 6 W +
Allegretto
O
!!! WW 0 W W W W
f
WW00 WW
Allegretto
27. Die Harmonie in der Ehe
wun der ba
Oh, wonderful harmony!
(Matrimonial harmony)
re
Har
mo
WW 0 W W W W W 7 !!!
WW 0 / W W W +
f
WWWW W W 7 ! !
WW 00 -+
WW
JOSEPH HAYDN
(1732–1809)
-W 0 W W W WW 7
WWWW / W W 6
7 6 + W W 7 7 6 + W W 7 9
sie auch,
sie auch,
7 6 /+ W W 7 7 6 W
) W 7 9
sie auch,
sie auch,
W W W 7 6 + W W W W 6 + W W W W W W W / W W W W
ert gern,
er lom bert gern, er hat den Beu tel gern, und spie let gern
/ W W 7 6 -+ W W W W 6 + W W W / W W W W W W W W
gern,
er lom bert gern, er hat den Beu tel gern, und spie let gern
7 6 / W
+ W WW+ 6 7 7 6 W W WW+ 6 7 6 W W W / W W W W
/ WW WW + 6 7 6 -+
WW WWWW WW + 6 6 WW + WW WW / WW W W W W W
bech
bech ert
for online perusal only
nie,
was
er
will,
will
auch
What he wants, she wants too,
sie,
er
er
den
den
he likes a drink, she too,
he likes playing l’hombre, she too,
he likes the purse, and likes to play the lord and master,
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
/
WWW
WW
W
W
+
W
WW
-
W
W
!
W
/
+
WW
+ WW
/
+
150
Haydn: Die Harmonie in der Ehe
=
8
: - -
: - -
q - -
< - -
: - -
< - -
7 / W W W W W W 7 8 7 6 W
) -W
W W W
auch das ist ihr Ge brauch.
O wun der ba
7 W W W W / W W 7 7 6 W
) -W
W W W !
auch das ist ihr Ge brauch.
O wun der ba re Har
W 7 8 7 6 W
) W W W W W 0 W W W W W W W
O wun der ba re Har mo nie, o wun der ba
/ 7 7 6 W
) W W W W W 0
+ W W 0 W+ -W
W W W
O wun der ba re Har
mo nie,
o wun der ba
/ / WW W W W W WW W W W 7 7 6 W
) -W W W W W W W W
-WWW
WWW WWW WWW
p
f
/ 7 7 6 W
) W 6
W W W W ) W W W W
! W 0 W )
--W W W W W W
Herrn.
Herrn.
that’s her custom, too.
re
re
re
for online perusal only
11
: - - / W 0 W W 6 -+ W W W W / W W 7 6 W /+ W W 7
Har
mo nie, was er will, will auch sie,
will auch sie,
: - - W 0 W -W
W W W 6 W ) W W W W W 7 6 W W + W 7
mo nie, was er will, will auch sie,
will auch sie,
q - - W 0
+ / W 6 W+ W W W W W
) W /+ W
+ W 6 7 6 W /+ W
Har
mo nie, was er will, will auch sie, was er will,
was
< - - - 0 W )
W 6 W
) / W W W W W W W + + + W 6 7 6 W W +
Har
mo nie, was er will, will auch sie, was er will,
was
: - - - W WW00 0 -W
W W / )
WW / WW
6 )
WW
+ WW WW W W / WW W
) W / ) ) W W WW 6 7
fz
fz
< - -
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00W ) W 6 W
) / W W W W W W W + + + W 6 7 6
WWWW
fz
er
er

=
>
W
W
.
/
+
+
+
W
/
+WW
+
+
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L
L
WW
+
+WW
)
W
L
WW
L
.
.
L
Haydn: Die Harmonie in der Ehe
151
14
= : - -
: - -
q - -
< - -
: - -
< - -
6 W /+ W W W W W W 7 7 6 W+ W 6 + W W W W
) 6
will auch sie, auch sie, auch sie,
sie auch, sie bech ert gern,
6 W W ) W W W W W 7 7 6 W
) W 6 W )
W W W
) 6
will auch sie, auch sie, auch sie,
sie auch, sie bech ert gern,
W+W W W W W W W W 6 W+ -W
W W + 6 6 + W W 7 6 W+
will auch sie, auch sie, auch sie. Er lom bert gern,
er auch,
W+W W + W W W W W 6 W + W W W + 6 6 W W 7 6 .+ W
will auch sie, auch sie, auch sie. Er lom bert gern,
er auch,
6 W W WW WWW W W W W W W W 7 7 6 W W + + 6 6 WW+
WWWW
)
WW 6
fz
WW+ W W + WW W W WW W W WW 6
- WW WW 6 WW+ 6 7 6 . W W +
will,
will,
er
er
for online perusal only
: - -
17
: - -
q - -
< - -
: - -
< - -
6 + W W W W W W W W 6 + W W W W W W 6 W+ W W W W
sie auch, sie auch, sie auch, sie auch, auch das ist ihr Ge brauch, auch das ist
6 W
) W W W W W W W 6 W ) W W W W W 6 W W W W W
sie auch, sie auch, sie auch, sie auch, auch das ist ihr Ge brauch, auch das ist ihr
6 W W W W W W 6 W W W W W W 6 W+
W W W W
er auch, er auch, er auch, auch das ist sein Ge brauch, auch das ist sein
6 W - / W W / W W 6 /+ W W W W W W 6 W+
- W W W
er auch, er auch, er auch, auch das ist sein Ge brauch, auch das ist sein
6 . W ) W WWWWW / W W W 6 W W WWW L W W W WL
W W W 6 W W WWW
+ W W W WL
W
WW)
+ 6 6 W+
W )
-WW
/ W WW / W WW 6 /+
WW WWWW WW WW WW 6 WW +
- WW WW WW
auch,
auch,
ihr Ge
Ge
Ge
Ge

=
>
WW
W
W
)
+
+
W
W
WW
+
W
152
Haydn: Die Harmonie in der Ehe
=
20
: - -
: - -
q - -
< - -
: - -
< - -
W 7 6 + W W W W 0
+ W W W W W W 0
+ W W 0 W+
Sie hat den Beu
tel gern und spie let gern
den Herrn,
W 7 6 W ) W W W 0 W )
W W W W W 0
+ W 0 W+
Sie hat den Beu
tel gern und spie let gern
den Herrn,
W W W W W 0 W W W W W 0 W )
W W W W W 0 W )
Er hat den Beu tel gern und spie let gern
den Herrn, auch das ist sein
W W W W W 0 W+ W W W W W 0 W+ W W W W W 0 W+
Er hat den Beu tel gern und spie let gern
den Herrn, auch das ist sein
WW7 6 W ) WW WW WW 00 WW WWWW WW WW WW 00 WW WW00 WW+
WWWW WW WW WW 00 WW+
WWWW WW WW WW 00 WW+
WWWW WW WW WW 00 WW+
brauch.
brauch.
brauch.
brauch.
auch
auch
Ge
Ge
for online perusal only
: - -
23
: - -
q - -
< - -
: - -
< - -
/ W W W W W -W
W W W 7 8 7 6 W W W W W+
das ist ihr Ge brauch, ist ihr Ge brauch.
O wun der ba
W W W W W W W W W 7 7 6 W ) -W
W W W !
das ist ihr Ge brauch, ist ihr Ge brauch.
O wun der ba re Har
W W W W W 7 7 6 W W W W W W 0 -+ W 0 W+
ist sein Ge brauch.
Owun der ba re Har mo nie,
W W W W W 6 W W W W W 0 W+ + W 0 W+ -W
W W W
ist sein Ge brauch. O wun der ba re Har mo nie, o wun der ba
/ WW W W W W W W -WW
WW WW WW 6 W
) W W W WW -W W WW W W WW W WW W WW W WW W WW
WWW W W W W W WW 6 W W+ W W W ! ! W 0 W ) f
--W W W W W W
brauch,
brauch,
p
re
was
re

=
>
/
W
W
WW
x
+
-
+
)
)
/
W
)
WW
Haydn: Die Harmonie in der Ehe
153
=
26
: - -
: - -
q - -
< - -
: - -
< - -
/ 0 W W 6 -+ W W W W W W 7 6 W W + W 7
Har
mo nie, was er will, will auch sie,
will auch sie,
W 0 W -W
W W W 6 W W W W W W 7 6 W W + W 7
mo nie, was er will, will auch sie,
will auch sie,
W W W W W 6 W+ W W W W W +
W W + W 7 6 W W
er will, will auch sie, was er will, will auch sie, was er will,
was
+
- 0 + W W 6 W+ W W W W W ) W W + W 7 6 W W +
Har
mo nie, was er will, will auch sie, was er will,
was
- WWW 0 )
W WW WW )
6 WW WW / WW W W WW W ) W 6 7 6 WW WW + + 6 7
fz
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WWWW / W W WW W WWWW W+ + WW+ 6 7 6
WWWW
fz
fz
+
er
er
for online perusal only
: - -
29
: - -
q - -
< - -
: - -
< - -
6 W W + W 7 6 + W W W W W 7 W 7 6 W+ W W
will auch sie.
Sie hat den Beu tel gern
und spie
6 W W + W 7 6 W W W W W 7 W 7 6 W W W
will auch sie.
Sie hat den Beu tel gern
und spie
W 7 6 + W W W W W 7 7 W 6 W+ W W W 7
Er hat den Beu tel
gern und spie let gern
W 7 6 + W W W W W 7 7 W 6 W+ W W W 7
Er hat den Beu tel
gern und spie let gern
6 WW WW +
WW+ 6 7 6 W W W W W W W W W W 7 W ) 6 7 6 W W W W W
fz
W
WW+ 6 7 6 W W W W W W W W 7 7 W W 6 W WWW W+ W W W+ 6 7
will.
will.
let
let

=
>
W
W
WW
)
W
)
+
W
+
)
W
-
+WW
WW
WW
+WW
-
-
154
Haydn: Die Harmonie in der Ehe
32
= : - -
: - -
q - -
< - -
: - -
< - -
6 + W W 6 W + W W W W W 6 + W W W W W W 74 ! W W W W
den Herrn, auch das ist ihr Ge brauch, auch das ist ihr Ge brauch. O wun der ba
6 W W 6 W W W W W W 6 W W W W W W 74
! W W W W
den Herrn, auch das ist ihr Ge brauch, auch das ist ihr Ge brauch. O wun der ba
6 + W W 7 6 + W W W W / W W 6 + W W W W W W 74 ! W W W W
den Herrn, auch das ist sein Ge brauch, auch das ist sein Ge brauch. O wun der ba
6 + W W 7 6 + W W W W W W 6 W
) W W W W W 74 ! W W W W
den Herrn, auch das ist sein Ge brauch, auch das ist sein Ge brauch. O wun der ba
) 6 6 WW
W W 6 6 W ) WW WW WW WW W W 6 WWW WWWWW WWWWW W W W 74 !!! WW 0 W W W W
f
f +
6 W W W W 6 7 6 WW +
WWWW W W / W W W W 6 W
) W W W W W 74 !!
WW00 +
WW
gern
gern
re
re
re
re
for online perusal only
: - -
36
: - -
q - -
< - -
: - -
< - -
W 0 W W W 7 ! W / W W W 0 W W W 7 7 6 + W W 7
mo nie, was er will, will auch sie,
sie auch,
W W W W 7 ! W 0 W ) W / W W 7 7 6 /+ W W 7
mo nie, was er will, will auch sie,
sie auch,
W W W W W 7 ! W 0
+ W W W W 6 W+ W W W 6 W+ W W
mo nie, was er will, will auch sie, er bech ert gern, er auch,
W W W W 7 ! W 0 -+ W W W W 6 W + / W W W 6 W+
W W
Har
Har
Har
Har
mo
nie,
was
WW 0 W W W WW
7 ! !! WW 0 / W W W
WWWW W W 7 ! !
WW 00 -+
WW
er
will,
will
auch
sie,
er
bech ert
gern,
er auch, er
-W 0 W W W WW
7 7 6 / W
+ W + 6 7
WWWW / W W 6 / WW WW + 6 6
WWWW
er

=
>
W
!
+
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+
)
-
!
W
+
+
WW
W
-
+
)
Haydn: Die Harmonie in der Ehe
155
=
40
: - -
: - -
q - -
< - -
: - -
< - -
7 6 W+ W 6 W W W / W W W 7 9
sie auch, auch das ist ihr Ge brauch.
7 6 W
) W 6 W W W W W W 7 8 7 6 W
sie auch, auch das ist ihr Ge brauch.
W W W 6 + W W W W W W W W 7 7 6 W+
W W W W
bert gern, er auch, auch das ist sein Ge brauch.
O wun der ba
W W W 6 W W W W W W W W 6 W+
- W W W W 0 W
gern, er auch, auch das ist sein Ge brauch. O wun der ba re Har
7 6 W W +
WW+ 6 6
) WW W W W W / WW WW W W 7 7 6 W
) W W W W
p
WWWW WW + 6 6 WWWW W WW
WW WW 6 W -W
W W W W 0
+ + W
lom
lom bert
O
re
mo
for online perusal only
: - - 7 6 W
) W W W W / W 0 W ) W 6 + W W W W W W 7
O wun der ba re Har mo nie, was er will, will auch sie,
: - - W W W W ! W W -W
W 6 W ) / W W W W W 7
wun der ba re Har
mo nie, was er will, will auch sie,
W 0 W W W W W W W W 0 W+
W 6 W W W W W W W +
W W
Har mo nie, o wun der ba re Har mo nie, was er will, will auch sie, was
+
- 0
+ W W W W W W W W W 6 W
) W W W W W ) W W +
nie,
o wun der ba re Har mo nie, was er will, will auch sie, was
WWWW WW WW WWW WWW WWW WWW / WW
0 W - W
) WWW
6 W W / -WW
W W WW W ) W 6 7
f
- - W W W W W W W W --W W W W W W W W 6
W
W
W WWWW W W WW W WWWW W+ fz
+
43
q - -
< - -
: - -
< - -
er
er

=
>
W
WW
+
+
)
156
Haydn: Die Harmonie in der Ehe
=
46
: - -
: - -
q - -
< - -
: - -
< - -
6 W W + W 7 6 W W + W 7 ! W W W W W 0 W W W 7 ! W W W
will auch sie,
will auch sie. O wun der ba re Har mo nie, was er
6 W W + W 7 6 W W + W 7 ! W W W W W W W W 7 ! W 0 W
will auch sie,
will auch sie. O wun der ba re Har mo nie, was er
W 7 6 W W + W 7 8 ! W W W W W W W W W 7 ! W 0 W
was er will,
O wun der ba re Har mo nie, was er
W 7 6 W W + W 7 8 ! W W W W W W W W 7 ! W 0 W +
will,
will,
was
6 WW WW + + 6 7 6 WW WW +
WW7 !!! WW 0 W W W W
fz
fz
WW+ 6 7 6
WWWW + WW+ 6 7 8 ! !
WW 00 WW+
fz
er
will,
O
wun der ba
re
Har
mo nie,
was
er
will,
will,
will,
will,
WW 0 W W W WW 7 !!W ! W 0 W W W +
WWWW W W 7 ! !
WW 00 +
WW
for online perusal only
: - -
51
: - -
q - -
< - -
: - -
< - -
W 0 W W W W W W W W W W W W W W W W W W W W W W 7 8
will
W W W W W W W W W W W W W W W W W W W W W W W 7 8
will
W W W W W 7 8 7 W W W W W W W W W W W W 7 8
will
auch
W W W 7 8 7 W W W W W W W W W W W W 7 8
will auch
auch sie, was
sie, was
auch sie,
sie,
X*
X*
er
er
W 0 W W W WW W W W W W W W W X*
W W W W W W W +
WWW WWW WWW W W 7 8
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f
X*
W W W
W W W W W W
X*
W W W W W W W + W W W W W W W W 7 8
X*
will, will auch sie, was
will, will auch sie, was
was
was
X*
X*
X*
X*
er
er
er
er
will, will auch sie, auch sie, auch sie.
will, will auch sie, auch sie, auch sie.
will, will auch sie, auch sie, auch sie.
will, will auch sie, auch sie, auch sie.

;
<
@
.
=
>
W
W
W
W
WW
W
W
/!
/
/!!
/
157
28. Innsbruck, ich muss dich lassen
Words: Anon.
SOPRANO
ALTO
TENOR
BASS
- "
Discantus
Altus
; -
Tenor
; - "
Bassus
- @
(for
rehearsal
only)
: .
: .
q .
< .
: .
< .
Cantus firmus
8 ! W W ! ! ! ! 7 W W 0 W+ !
" W W ! W ! W ! 7 W W W !
bruck,
Trost ob
8 ! W ich muss dich las
sen, Ich fahr da
al len Wei ben, Dein tu ich
W ! ! ! ! 7 W W 0 W+
1. Inns bruck,
3. Mein
" W W W W W Trost ob
ich muss dich las
al len
W W Wei
sen, Ich fahr da
ben, Dein tu ich
! ! 7 W W W !
1. Inns
3. Mein
1. Inns
3. Mein
Trost ob al len Wei
ben,
ich
8"! WWW WWW !!! W ! ! ! W !! 7 WW W W
0 0 W ) W
Andante
1. Inns
3. Mein
bruck,
Trost ob
ich muss
al
bruck, ich muss dich
dich
len
las
las
Wei
sen,
ben,
HEINRICH ISAAC
( c. 1450–1517)
! ! W W W W W ! W W !! !!
(
7 WW
) WW WW !!
sen,
Ich
Dein
Ich
Dein
fahr
tu
fahr
tu
da
ich
da
hin
e
hin
e
hin
e
hin
e
for online perusal only
6
= : .
: .
q .
< .
: .
< .
1. Innsbruck, I must leave you,
3. My comfort above all women,
I am going on my way,
I will be yours forever,
! ! ! 7 W W W W W ! 7 W W W ! ! !
mein
wig blei ben, Stet treu, der Eh ren fromm. Nun muss dich Gott
wah
W ! W W !
7 W W W W W ! 7 W W W ! W ! W
Stra ssen, In frem de Land da hin. Mein Freud ist mir
wig blei ben, Stet treu, der Eh ren fromm. Nun muss dich Gott
W ! W ! 7 W W W W W ! 7 W W W ! be
ge nom
! wah
!
mein
Stra ssen, In frem de Land da hin. Mein Freud ist mir ge
wig blei ben, Stet treu, der Eh ren fromm. Nun muss ich Gott be
! ! ! 7 W W W W W ! 7 W W W W W W W W !
mein
mein
wig
Stra
Stra
blei
ssen,
ssen,
ben,
In
In
Stet
frem
de
Land
da
frem de Land da
treu, der Eh ren
hin.
fromm,
W!! ! . W !! 7 WWW WWW WWW WWW WWW ! ! !
7 WWW WWW WWW !!! W ! ! ! W
( )
!W! ! W W !! 7 W W W W W ! 7 W W W W W W ! W W !!
hin.
Mein Freud ist
Mein
Nun
Freud
muss
ist
ich
mir
mir
Gott
ge
be
ge
be
nom
wah
nom
nom
wah
to a foreign land.
always true, preserve your honour.
My joy has been taken from me
Now God must protect you
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
!!
.
)
)
)
)
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158
12
= : .
: .
q .
< .
: .
< .
Isaac: Innsbruck, ich muss dich lassen
! 7 W W 0
+ W ! ! ! ! 7 W W W ! W 0 W )
W W W
Die ich nit weiss be kom men, Wo ich im E
In all er Tu gend spa ren, Bis dass ich wie
! 7 W W W ! W ! W W !
7 W W W ! W 0 W W W W
Die ich nit weiss be kom men, Wo ich im E
In all er Tu gend spa
ren, Bis dass ich wie
! 7 W W 0 + W /!
W ! W ! 7 W W W ! W W W W W W
men,
ren,
men,
ren,
men,
ren,
all er Tu gend spa
wie
! 7 W W W /!
! ! ! 7 W W W ! ! 7 W
men,
ren,
Die
In
Die
In
!!7 WW W W
0 0 W ) W / ! W ! ! . W !! 7 WWW W W WWW !!! W W W 00 WW WWWW WW
!!7 WW WW WW /!!
W ! ! ! W W !! 7 W W W ! ! W W W 7 W W W
( )
ich
ich
all
nit weiss
nit
er
weiss
Tu
be
be
gend
kom
kom
spa
men,
ren,
men,
ren,
Wo
Bis
Wo
Bis
ich
dass
im
ich
ich im
dass ich
E
E lend, im
wie
for online perusal only
: .
18
: .
q .
< .
: .
< .
which I cannot regain
and keep you in all virtue
W W ! W ! 7 W W W ! W 0 W )
since I am suffering.
until I return.
W W W W W ! W "
W W ! ! 7 W W W ! W 0 W W W W W W ! "
lend bin, wo ich im E
lend
der komm, bis dass ich wie
der
W W ! ! 7 W W W ! W W W W W W W W ! "
W W ! ! 7 W W W ! ! 7 W W W ! "
E
lend
der
lend
der
lend
der
bin,
komm,
bin,
komm,
bin,
komm,
wo
bis
wo
bis
wo
bis
ich im
dass ich
ich im
dass ich
ich
dass
im
ich
E
wie
E
wie
E lend, im E
wie
lend
der
lend
der
WWWW! ! W !! 7 WWW W W WWW !!! W W W 00 WW WWWW WW WW W W! ! W " "
WWWW !! ! ! 7 W W W ! ! W W W 7 WW W WW WW !! " "
lend
der
bin.
komm.
bin.
komm.
bin.
komm.
bin.
komm.
FINE

<
;
;
-
-
-
"
"
"
1
=
>
.
W
!
W
W
+
+
Discantus
Altus
; - "
Tenor
Bassus
ALTO
: . ! 0 W W ! ! W ! W W 0 W ) W W ! W W
24
2. Gross Leid muss ich jetzt tra
gen, Das ich al lein tu kla
TENOR 1
Cantus firmus I
q . 9 ! W W W W ! ! 8 7 W W 0 W+
2. Gross Leid muss ich jetzt tra gen,
Das ich
TENOR 2
Cantus firmus II
q . ! W W W W ! ! 7 W W 0
+ W W W ! !
2. Gross Leid muss ich jetzt tra gen,
Das ich al lein tu kla gen
BASS
< . ! W W ! ! ! ! ! W W ! W 0 W
: .
< .
2. Gross
Leid muss
ich
jetzt
tra
Isaac: Innsbruck, ich muss dich lassen
Soli or semichorus
! 0 W W W W !! W W! ! W WW 00
) WW W W WW !7 W W W 0 W W +
! WW WW !W !W W !! W W !! W W !! ! W 0 W +
gen,
Das
ich
al
lein
tu
159
al
for online perusal only
A.
1
T.
2
B.
29
= : .
q .
q .
< .
: .
< .
2. I must now bear great suffering,
that I alone shall bemoan
W W ! W " 7 W W W W W W ! ! 8
gen
W W ! ! 7 W W 0 W )
lein
tu
kla
8 7 W W 0 W )
Dem
W W ! 8 7 W W W
W W ! 8 7 W W W W W !
W W ! 7 W W 0 W + W W ! W W W W W W
kla
gen
lieb
gen
sten Buh
Dem
len
lieb
mein.
Dem
sten Buh
Dem lieb sten Buh len mein.
Ach Lieb, nun lass mich
W W ! . " 7 W W W W W W ! W WW !
WkW WW 7 ! ! W !!W 0 W )
7 W W
WW 00 WW kWWW W
7!! W WW WW W WW WW WW
to my dearest loved one.
Ah dear, let me, poor man,
lieb
len
sten Buh
mein.
Ach
len
Lieb, nun
mein.
lass
Ach
mich
Lieb, nun
Ar

=
>
+
4
4
4
4
.
.
A.
1
T.
2
B.
160
34
= : .
q .
q .
< .
: .
< .
: .
38
q .
q .
< .
: .
< .
Isaac: Innsbruck, ich muss dich lassen
7 W W W W 0 W ) W W ! W W W W ! W
W W ! ! 8 7 W W 0 W+ W W !
lass
! 7 W W 0
+ W W W ! ! 8 7 W
Im Herz en dein er bar men,
! ! 7 W W W ! W 0 W+
W W !
men
Ar
Ach
mich
Lieb,
Ar
men
nun
lass
men
Im
mich Ar
Herz
7!WW !W W WW 00
) WW W W WW !7 W W W 0 W W W +
W ! W
! W W ! 7 W kW W !! W! 0 W kWWWW 7 ! ! W
feel mercy for you in my heart,
men
! 7
W W W W W W W W W W W W W ! !
Dass ich muss
dan
nen
W W ! W W ! W W W W W W W !4
men,
men,
W W W W ! ! ! ! ! !
ich
W W W W W W W 0 W + W W W ! ! !
men,
Dass
Dass
ich
W W ! ! W W W! W W WW W WW W WW W WW !W W !!
WWW WW W W WW WW WW W ! W 0 W ! + W W W !! !! ! 4 !
for I must be away.
en
Im
dein
Im
Herz
Herz
for online perusal only
muss
ich
muss
dan
dan
muss
dan
en
en
dein er
dein
nen
nen
bar
er
er
nen
bar
bar
sein.
sein.
sein.
sein.
Dass
DA CAPO
for v.3

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161
Words: Anon.
SOPRANO
ALTO
TENOR
BASS
Cantus
Altus
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Tenor
Bassus
(for
rehearsal
only)
: -
: -
q -
< -
: -
< -
W
W
W
W
2
1. Fare
2. Fare
3. Ten
2
1. Fare
2. Fare
3. Ten
2
1. Fare
2. Fare
3. Ten
2
1. Fare
2. Fare
3. Ten
2
2
29. Farewell, dear love
! ! ! W W W W W W "
thou sand times fare well! Yet stay a
! ! .!
W W W W W W "
well, fare well, since this I find is
thou sand times fare well! Yet stay a
! ! ! W W W W W W "
well, fare well, since this I find is
thou sand times fare well! Yet stay a
! ! ! W W W W W W "
!!! !!! .!!!
WWW / WWW WWW WWW WWW WWW """
! ! ! W W W W W W "
Flowing
well,
well,
well,
well,
well,
well,
thou
dear
fare
dear
dear
dear
fare
sand
love,
well,
love,
love,
love,
well,
times
since
since
since
since
since
since
fare
thou
this
thou
thou
thou
this
well!
wilt
I
wilt
wilt
wilt
I
Yet
needs
find
needs
needs
needs
find
stay
ROBERT JONES
( fl. 1597–1615)
be
is
be
be
be
is
a
gone,
true,
while!
gone,
true,
while!
gone,
true,
while!
gone,
true,
while!
for online perusal only
5
= : -
: -
q -
< -
: -
< -
! W W ! 0 W W W W W " ! W W W W !
Mine
I
Sweet,
kiss me once, sweet kiss es time be guile. I have no to
! W W ! 0 W W W W W . W " ! W W W W !
eyes do show my life is al most done. Yet I will ne ver
I will not spend more time in woo ing you. But I will seek else
kiss me once, sweet kiss es time be guile. I have no power to
! W W ! 0 W W W W 0
+ W /"
! W W W W !
eyes do
I will not
kiss me once,
! W W ! 0 W W W W W " ! W W W 0 W )
spend
show my life is al most
more time in woo
sweet kiss es time
ing
done. Yet I will
be
you. But I will
guile. I have no power
seek
ne ver
else
to
Mine
Sweet,
Mine
Sweet,
Mine
I
Sweet,
eyes
will
eyes
will
kiss
do
not
do
not
me
show
spend
show
spend
once,
my
more
my
more
sweet
life
time
life
time
kiss
/ WWW WWW !! 00 W W W W WWW WWW WW 0 . WW W " " +
! W W
!!00 W W W W W "
is
in
is
in
es
al most
woo ing
al
woo most
ing
time be
done.
you.
done.
you.
guile.
Yet
But
Yet
But
I
I
I
I
will
will
will
will
ne
seek
power
ne
seek
ver
else
ver die
else where,
move.
I have no power to
!!WWW WW WWW WWW !!!
!!W W W 0 W+ .!
die
where,
move.
die
where,
move.
die
where,
move.
© Oxford University Press 2001. Photocopying copyright material is illegal.

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Jones: Farewell, dear love
W W . W W ! ! 8 W W W W ! W W W W
So long
If I
How
now, am I love?
thou needsbe
gone?
W W W W W W .!
W W W W ! W W W W !
So
If I may find her there. Shall I bid her go?
What and if I
now, am I in love? Wilt thou needs be gone?
Go then, all is
W W W W W . W ! W W W W ! W W W W !
How
So
If I may
there. Shall I bid her go?
What and if I
now, am
in love? Wilt thou needs be gone?
Go then, all is
W W W W W W ! W W W W ! W W W W !
How
long
long
as I
may find
as
as
So long as I
If I may find
How now, am I
I
I
find
I
can
her
in
can
can
her
in
can
her
spy.
there.
spy.
spy.
spy.
there.
love?
There be
There be
ma
ma
ny
There
Shall
Wilt
ny moe,
There be ma ny moe,
Shall I bid her go?
Wilt thou needs be gone?
WWW WWW . WWW WW W ! W . ! ! 8W W W W W W W W ! ! W W W W ! WW WW WW WW !! W W W W
W W W W W W W . WW ! ! W W W W ! W W W W !
moe,
be
I
ma
bid
ny moe,
her go?
Though that
What and
Go then,
Though that she do go,
do?
one.
Though that she do go,
do?
one.
Thoughthat
she do go,
What and if I do?
Go then, all is one.
she
if
all
do
I
is
for online perusal only
: -
15
: -
q -
< -
: -
< -
! W W W W W W . W W W W W W W W W W . W W ! "
go,
do?
one.
Wilt thou needsbe
gone? O hie thee! Nay, stay, and do no more de ny
W W W W W W W W ! 7 W W W W W W ! . W "
There be
Shall
Wilt
I bid her go, and spare not?
O no, no, no, no, I
thou needsbe
gone? O hie thee!
Nay, stay, and do no more de
W W W W W W ! ! W W W W W 7 W W W W "
There be
Shall
Wilt
ma
ma
There be
Shall I
ny moe,
ny moe,
I bid her go, and spare not?
thou needsbe
gone? O hie thee!
W W W W W W W W W 0 W
There be ma ny moe,
Shall I bid her go,
Wilt thou needsbe
gone?
ma
bid
I
I
I
and
O
ny moe, I fear
her go, and spare
fear
fear
fear,
spare,
hie,
I
and
O
not,
not,
fear
spare
hie
not, Why, then
not? O no,
O no, no, no, no,
stay, and do no more de ny
W W XW X W W W - W ! "
W!WWW WW W WWW W WWWW ! .!!W
W W W WW WWW WWW WWW WW WW . WW ! W ! . W " "
WWW W W W WW WW W W W W 0 W+
W W W W W W W W7
-WW
W !W W
Nay,
Why,
then
Why, then let
let her go,
no, no, no,
let her
her go,
go,
I
I
not, Why, then let her go, I
not? O no, no, no, no, I
thee! Nay, stay, and do no more de
I
I
I
care
dare
care
dare
care
dare
ny
care
dare
ny
not.
not.
me.
not.
not.
me.
not.
not.
me.
not.
not.
me.
00
00

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: -
< -
! ! ! W W W W W W !" ! ! W W ! 0 W
4. Once
5. What
! ! .!
W W W W W W .!"
! ! W W ! 0 W W
4. Once
5. What
shall I do? My love is now de part ed. She is as fair
! ! ! W W W W W W ! ! ! W W ! 0 W
4. Once
5. What
! ! ! W W W W W W !" ! ! W W ! 0 W
4. Once
5. What
more
shall
more
more
shall
more
shall
fare
I
fare
fare
I
fare
I
well! I
do? My
well!
I
well! I
do? My
well! I
do? My
see loth
love is
see
loth
see loth
love is
see loth
love is
to
now
to
to
now
to
now
Jones: Farewell, dear love
!!! !!! .!!!
WWW / WWW WWW WWW WWW WWW ."""
/!!!
WWW WWW !! 00 W W W W
! ! ! W W W W W W " ! W W
!!00 W
de
de
de
de
de
de
de
part
part
part
part
part
part
part
ed.
ed.
ed.
Bids
She
Bids
Bids
She
Bids
She
oft
is
oft
oft
is
oft
is
as
a a
a
as
a
as
dieu
fair
dieu
dieu
fair
dieu
fair
to
as
to
as
to
as
to
as
163
for online perusal only
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26
: -
q -
< -
: -
< -
W W W W !" ! ! W W W W ! X X W W . W W ! !
her
she
W W W . W !" ! ! W W W W X! X W W W W W W !
her
she
is cru el heart ed. She would not be en treat ed With prayers oft re peat
W W W 0
+ W /!"
! ! W W W W ! X X W W W W W . W !
that holds my heart. But see ing I must lose Thy love which I did
is cru el heart ed. She would not be en treat ed With prayers oft re peat
W W W W !" !
! W W W 0 W . X X W W W W W W !
her
she
her
she
that
is
holds
cru
my
el
that holds my
that holds
is cru
my
el
WWW WWW WW 0 . WW W " " +
W W W W "
heart.
heart ed.
heart.
heart.
heart ed.
But see ing
She would not
But
see
ing
But see ing
She would not
I must lose
be en treat
I
I
be
must lose
must
en
ed
treat lose
ed
Thy love which
With prayers oft
Thy
love
which
Thy love which
With prayers oft
!!WWW WW WWW WWW !!! WWW WWW . WWW WW W ! W ! !
!!W W W 0 W+ .!
W W W W W W W . WW ! !
I
re
I
I
re
did
peat
did
did
peat
choose.
ed.
choose.
ed.
choose.
ed.
choose.
ed.

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32
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< -
: - 00
< - 00
Jones: Farewell, dear love
8 W W W W ! W W W W ! W W W W
Go
If
W W W W ! W W W W ! W W W W W W
Go thy ways for me
If she come no more
Shall I die there fore?
If she come no more,
W W W W ! W W W W ! W W W W W W
Go thy ways for me
If she come no more
Shall I die there fore?
If she come no more,
W W W W ! W W W W ! W W W W W W
Go thy ways for me
If she come no more
thy ways for
she come no
me
more
Since it
Since it
Since it
Shall I
may not
may not
Since
Shall
may not be.
die there fore?
W8W W W W W W W ! ! W W W W WW! WW WW WW !! W W W W ! W W W W WW W WW
W W W W ! W W W W ! W W W W W W WW WW W
be.
be.
it
I
may not be.
die there fore?
Go
Go
Go
If
thy ways for me.
thy ways for me.
thy
she
Go thy ways for me.
If she come no more,
ways
come
But
what
But
what
But
what
for
no
for online perusal only
: -
35
: -
q -
< -
: -
< -
W W . W W W W W W W W W W . W W ! "
me.
more,
W W ! 7 W W W W W W ! . W "
whi
care
I?
Faith, let her go, or come, or
tar
! ! W W W W W W W W W W W "
whi
care
I?
W W W 0 W+
whi
care,
But
what
ther,
what
whi
care
ther?
ther?
whi
care
ther?
I?
Go,
Faith,
come, or tar
W W W W W W W - W ! "
ther?
I?
Go,
Faith,
Go,
go,
faith,
Go,
Faith,
O
let
O
O
let
O
let
but where I
her go, or
but where I
W!W WW .!!W
W W W WW WWW WWW WWW WW WW . WW ! W ! . W " "
W W W 0 W +
W W W W W W W W W W -WW
W !
but
her
where
go,
but where I
her go, or
may
come,
may
may
come,
I
or
come
or
come
may come thi
come
or
thi
tar
thi
tar
thi
ther.
ry.
ther.
ry.
ther.
ry.
ther.
ry.
00
00

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@
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1
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>
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W
W
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.
165
Words by Jean Lemaire de Belges ( c. 1473– after 1513)
SOPRANO
ALTO
TENOR
BASS
Superius
; @
Contratenor
Tenor
Bassus
(for
rehearsal
only)
q
<
:
<
W
W
W
W
W
2
2
2
2
2
2
JOSQUIN DES PREZ
( c. 1450/55–1521)
" ! ! ! 0 W W W 0 W ) ! W W W W W W !
Mil
" ! ! " 9 7 W W W ! !
le re grets
de vous a ban don
9 9 ! 0 W ! ! ! 7 W W W W W
Mil le re grets de vous a
" ! ! ! 0 W W W 0 W
) ! " 9
Mil
Mil
" ! ! !! "! 0 W W W 0 W ) ! W W W W W W W !W W !!
p
" ! ! !! 0 WW W W! 0 W ! +
! " ! 7 W W W W W
Andante
30. Mille regrets
le
le
re
re
grets
grets
de vous a
ban don ner
ban don
for online perusal only
=
7
q
<
A thousand regrets at leaving you
8 ! ! ! W W W ! 8 ! ! ! W W W ! W W W W
! ! ! ! " " ! ! ! ! ! 0 W
ner
Et
Et
d’é
d’é
loi
loi
gner,
gner,
et
et
" 9 9 " ! ! " 9
ner
Et
d’é loi gner
" ! ! " 9 9 8 ! ! 0 W
Et d’é loi gner
vo tre fa
! ! ! ! ! ! ! " W W . W ! 8 " ! ! ! ! ! ! W W . W !!
W! 0 W W WW
""! ! " " ! ! " 8 ! ! 0 W
d’é
d’é
loi
loi
gner
vo
gner vo tre fa
tre
fa
and putting your lovely face at a distance.
© Oxford University Press 2001. Photocopying copyright material is illegal.

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166
14
Josquin: Mille regrets
W W ! " 9 " ! ! ! ! ! 0 W
ce a mou reu se.
J’ai
si grand deuil et pei ne
W W ! W W W W W W ! ! ! ! ! ! 7 W ! 0 W
ce a
mou
reu
9 7 W W W W W ! ! ! ! ! " 9
W W ! W W W W W W ! ! ! ! ! " 9
ce a mou reu
se, vo
se,
vo tre fa ce a mou reu se. J’ai si grand deuil
vo
tre
tre
fa
fa
ce a
ce a
mou
mou
reu
reu
se.
se.
J’ai
J’ai
si
si
grand
grand
deuil
deuil
et
pei
ne
21
WWWW !! WW WW WW WW WW WW !! !! " !! ! ! !! !! ! 7 W ! ! 0 0 W W
W W ! W W W W W W ! ! ! !! !! "" 9
I suffer such deep sorrow and grievous pain
W W ! " 9 8 ! ! ! " 7 W W W
dou lou reu
W W ! "
9 9 ! ! ! ! "
lou reu se,
Qu’on me
ver ra
8 ! ! 0 W W W ! " " 8 ! ! !
dou
et
8 ! ! 0 W W W ! " 8 ! ! ! "
et
se,
pei
pei
for online perusal only
ne
ne
dou lou reu
dou lou reu
se,
se,
Qu’on
WWW W .! ! " "
9 8 ! !! ! "! ! 7 " W W W
!!! ! 00 W W W W W W .! ! " " " 8 ! k! !! " ! !
me
ver
Qu’on
ra
me
Qu’on
ver
me
ra
bref
mes jours
ver
that I will soon be seen to end my days.

=
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<
:
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.
.
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4
=
28
Josquin: Mille regrets 167
" ! ! 9 8 ! " ! !
dé
fi ner,
qu’on me
ver ra
7 W W W ! ! " 9 " ! !
" 8 ! W W W W W W ! W ! 7 W W W W W
ra
bref mes jours dé fi ner,
qu’on
me ver
bref
9 8 ! W W W W W W ! " 9
bref
mes jours dé
mes jours dé
fi
fi
ner,
ner,
bref
mes jours dé
fi
for online perusal only
:
<
"7W W W !! !! " W 8 ! " " !! !!
" 8 ! ! WW W
WWW W W W W W! ! . W " ! 7 W W W W W
34
7 W W W ! ! W W W W ! ! W W W W ! W 0 W
) "4
bref mes jours dé fi ner, bref mes jours
W W W W ! ! W W W W ! ! W W W W ! ! "
ra bref mes jours dé fi ner, bref mes jours dé fi ner, bref mes jours dé fi
W W W W ! W 0 W ) W W W W ! W 0 W ) W W W W ! ! "4
ner, bref mes jours
dé
fi
ner, bref mes jours
7 W W W ! ! W W W W ! ! W W W W ! ! "4
bref mes jours dé fi ner, bref mes jours dé fi ner, bref mes jours dé fi ner.
W WW WW WW !! !! WW WW WW WW !! !! WW WW W W WW ! ! !W 0 W
) " 4 "
W WW WW WW ! ! !W 0 W )
W WW WW WW ! ! pp
!W 0 W )
W W W WW W W !! ! ! ""4
dé
dé
fi
fi
ner, bref mes jours dé fi
ner, bref mes jours dé
fi
ner.
ner.
ner.

<
;
;
- ý
|
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|
|
1
1
1
=
>
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W
W
W
W
W
W
W
WW
168
S.
A.
T.
B.
=
Words: Anon.
SOPRANO
7
: .
: .
: .
q .
q .
< .
: .
< .
1
2
ALTO
1
TENOR
2
BASS
(for
rehearsal
only)
: .
: .
: .
q .
q .
< .
: .
< .
W
W
W
W
2
2
2
2
2
2
2
f
2
! W W " 9 9 8 ! W W !
chi li chi?
U scon
9 9 9 9 8 ! W W !
U scon
9 9 9 9 8 ! W W !
U scon
9 9 9 9 8 ! W W !
U scon
9 9 9 9 8 ! W W !
U scon
9 9 ! W W " 8 ! W W !
Chi
Solo
Tutti
! W W " 9 9 8 !!! WWW WWW !!!
Alla rustica
Who’s there?
31. Chi chi li chi
Cu cu ru cu!
Solo
9 9 ! W W " 8 ! ! W W W W ! !
Cuckoo!
W ! W ! W W W W ! W ! W ! ! 3 7 7 W W W W ! W
4
ta, u be schi na, U spro tu na ta, me Lu ci a!
Non sien ta Mar ti
W ! W ! W W W W ! W ! W ! ! 7 7 W W W W ! W
3
4
ta, u be schi na, U spro tu na ta, me Lu ci a!
Non sien ta Mar ti na
W ! W ! W W W W ! W ! W ! ! 7 7
4 W W W W ! W
3
ta, u be schi na, U spro tu na ta, me Lu ci a!
Non sien ta Mar ti na
W ! W ! W W W W ! W ! W ! ! 3 7 7
4 W W W W ! W
ta, u be schi na, U spro tu na ta, me Lu ci a!
Non sien ta Mar ti na
W ! W ! W W W W ! W ! W ! ! 7 7 W W W W ! W
4
3
ta, u be schi na, U spro tu na ta, me Lu ci a!
Non sien ta Mar ti na
W ! W ! W W W W ! W ! W ! ! 7 7 W W W W
4 ! W
3
ta,
Canto
u
- ý
Canto Secondo
Alto
; - ý
Tenore
; - ý
; - ý | 1
Tenore Secondo
Basso
- ý |
be
schi
for online perusal only
na,
U
spro tu
na
ta, me
[ ,. = , of preceding ]
WWW !!! WWW !!! WWW WWW WWW WWW !!! WWW !!! WWW !!! !!! 3 7 7
4
WWW WWW WWW WWW !!! WWW
WW!! W W
!! WW W W W W W W ! ! WW ! !
WW ! ! ! ! 7 7 WWW WWW WWW WWW !!!
Lu
ci a!
3
4
Non
ORLANDE DE LASSUS
(1532–94)
U
mf
Unhappy,
sien ta Mar
scon
ti
tien
tien
tien
tien
tien
tien
na
na
miserable, unlucky me, Lucia!
Don’t you hear, Martin,
© Oxford University Press 2001. Photocopying copyright material is illegal.

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: .
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< .
Lassus: Chi chi li chi
W . W W ! W ! W ! W W . W W ! W W W W ! W ! W
la can ta ra? Las sa can ta pos sa cle pa re! Por ca te pi scia sia
W W W ! W ! W ! W W W W ! W W W W ! W ! W
la can ta ra? Las sa can ta pos sa cle pa re! Por ca te pi scia sia
W W W ! W ! W ! W W W W ! W W W W ! W ! W
la can ta ra? Las sa can ta pos sa cle pa re! Por ca te pi scia sia
W W W ! W ! W ! W W W W ! W W W W ! W ! W
la can ta ra? Las sa can ta pos sa cle pa re! Por ca te pi scia sia
W W W ! W ! W ! W W W W ! W W W W ! W ! W
la can ta ra? Las sa can ta pos sa cle pa re! Por ca te pi scia sia
W W W ! W ! W ! W W W W ! W W W W ! W ! W
gal
gal
gal
gal
gal
gal
la
can
ta
ra?
Las
sa
can
ta
pos
sa
WWW . WWW WWW !!! WWW !!! WWW !!! WWW WWW . WWW WWW !!! WWW WWW WWW WWW !!! WWW !!! WWW
WWW W W
WWW ! ! W W
!!! WWW !!!
WWWW W W WW ! ! W W
WWW WWW WWW !!! W W
!!! WWW
cle
pa
re!
Por ca
te
pi
scia
sia
169
ci
ci
ci
ci
ci
ci
for online perusal only
S.
A.
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B.
24
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the cock crow?
Let him crow, he can die for all I care!
Let the pig piss on you!
! W 2 ! 0 W ! ! ! ! ! ! 9 9 9 9
ca ta, Ia dor mu ta, tu sci ta ta.
! W ! 0 W ! ! ! ! ! ! 9 9 9 9
May you be
blinded!
2
ca ta, Ia dor mu ta, tu sci ta ta.
! W ! 0 W ! ! ! ! ! ! ! 0 W ! ! ! ! ! !
2
ca ta, Ia dor mu ta, tu sci ta ta, ia dor mu ta, tu sci ta
! W 9 9 9 9 ! 0 W ! ! ! ! ! !
2
ca ta,
Ia dor mu ta, tu sci ta ta.
! W ! 0 W ! ! ! ! ! ! ! 0 W ! ! ! ! ! !
2
ca ta, Ia dor mu ta, tu sci ta ta, ia dor mu ta, tu sci ta ta.
! W 9 9 9 9 ! 0 W ! ! ! ! ! !
2
ca ta,
Ia dor mu ta, tu sci ta ta.
[ , = ,. of preceding ]
!!! WWW !!! 000 WWW !!! !!! !!! !!! !!! !!! !!! 000 WWW !!! !!! !!! !!! !!! !!!
2
mp
!!W ! 0 W ! W ! ! ! ! !
2
! 0 W ! ! ! ! ! !
I was asleep; you woke me up!
ta.

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Lassus: Chi chi li chi
W W W W W W W W . W W W W W W W W W W W W W W W W W W W
con di a, ba con di a, non bo più per na mo la ta, ba con di a, ba con di a, non bo più
W W W W W W W W W W W W W W W W W W W W W W W W . W W W W
con di a, ba con di a, non bo più per na mo la ta, ba con di a, ba con di a, non bo più
W W W W W W W W W W W W W W W W W W W W W W W W W W W W
con di a, ba con di a, non bo più per na mo la ta, ba con di a, ba con di a, non bo più
W W W W W W W W W W W W W W W W W W W W W W W W W W W W
con di a, ba con di a, non bo più per na mo la ta, ba con di a, ba con di a, non bo più
W W W W W W W W W W W W W W W W W W W W W W W W W W W W
con di a, ba con di a, non bo più per na mo la ta, ba con di a, ba con di a, non bo più
W W W W W W W W W W W W W W W W W W W W W W W W W W W W
Ba
Ba
Ba
Ba
Ba
Ba con di a,
ba con di a,
non bo più per
na mo la
WWW WWW WWW WWW WWW WWW WWW WWW . WWW WWWW WWWW WWWW WWW WWWW WWWW WWWW WWW WWW WWW WWWW WWW WWW WWW WWWW . WWW WWWW WWWW WWWW
f cresc.
WWWWW W WWW WW WWW W WWW W W WW W W W W WWW WW W W W W
WW WWW W WW WW WWW W WW W W WW W W W W
ta,
ba con di a,
ba con di a,
per
per
per
per
per
non bo più per
for online perusal only
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T.
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40
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: .
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Go to hell, I’m no longer in love.
W W W W 3 ! W ! W ! W ! W ! W ! 0 ! W ! W
4
mo la ta. Tut ta not te tu dor mu ta, Mai a me tu ba scia
W W W W ! W ! W ! W ! W ! W ! 0 ! W ! W
na
3
4
na mo la ta. Tut ta not te tu dor mu ta, Mai a me tu ba scia ta.
W W W W 4 ! W ! W ! W ! W ! W ! 0 ! W ! W
3
na mo la ta. Tut ta not te tu dor mu ta, Mai a me tu ba scia ta.
W W W W ! W ! W
4 ! W ! W ! W ! 0 ! W ! W
3
na mo la ta. Tut ta not te tu dor mu ta, Mai a me tu ba scia ta.
W W W W ! W
4 ! W ! W ! W ! W ! 0 ! W ! W
3
na mo la ta. Tut ta not te tu dor mu ta, Mai a me tu ba scia ta.
W W W W ! W
4 ! W ! W ! W ! W ! 0 ! W ! W
3
na mo la ta. Tut ta not te tu dor mu ta, Mai a me tu ba scia ta.
WWW 3 WWWW WWWW WWWW 4
!!!! WWWW !!!! WWWW !!! WWWW !!!! WWWW !!!! WWWW !!!! !!! WWWW !!!! WWWW
p
WWW WW W W W W
3
!! WW !
4 ! W W !!! WW ! ! W W
!! WW ! ! 0 0 !!! WW ! ! W W
ta.
2
2
2
2
2
2
2
2
You slept all night,
You never kissed me.

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2
2
2
2
2
2
2
2
Lassus: Chi chi li chi
9 W W W ! 9 W W W ! 9 8 W W
Cu cu ru cu!
cu cu ru cu!
Met
9 W W W ! 9 W W W ! 9 8 W W
Cu cu ru cu!
cu cu ru cu!
Met
9 W W W 8
! W W W ! W W W W W W W W W W W W
Cu cu ru cu!
cu cu ru cu! cu cu ru cu! Che pa pa la sa gna, Met
W W W ! 9 W W W ! W W W ! ! W W W W W W W
cu ru cu!
cu cu ru cu! cu cu ru cu! Che pa pa la sa gna, Met
W W W ! 9 W W W ! W W W ! ! W W W W W W W
cu ru cu!
cu cu ru cu! cu cu ru cu! Che pa pa la sa gna, Met
W W W ! 9 W W W ! W W W ! ! W W W W W W W
Cu
Cu
Cu cu ru cu!
cu
cu ru cu!
cu
cu ru cu!
9 WWW WWW WWW ! ! ! 8 !!W W W WWWW ! WW W!! W W !W W WW WW WW WW WW WWW WWW
f
WWW WWW WWW ! ! ! 9 WWW WWW WWW 8 !
WWW WWW WWW !
!!WW WW WW W W . WW WWW WWW
Che
pa pa la
sa
171
ter’u
ter’ u
ter’ u
ter’ u
ter’ u
gna, Met ter’ u
for online perusal only
S.
A.
T.
B.
55
: .
: .
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q .
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: .
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What a pasta head
To put
W W W W W W W W W ! W W W ! 8 8 W W W " ! W W
cell’ entr’ a ga io la, Cu cu ru cu! cu cu ru cu!
cu cu ru cu! Le va
W W W W W W W W W ! W W W ! 8 8 W W W " ! W W
cell’ entr’ a ga io la, Cu cu ru cu! cu cu ru cu!
cu cu ru cu! Le va
W W W W W W W W W ! W W W ! W W W ! W W W " ! W W
cell’ entr’ a ga io la, Cu cu ru cu! cu cu ru cu! cu cu ru cu! cu cu ru cu! Le va
W W W W W W W W W ! W W W ! W W W ! W W W " 9
cell’ entr’ a ga io la, Cu cu ru cu! cu cu ru cu! cu cu ru cu! cu cu ru cu!
W W W W W W W W W ! 8 8 W W W ! W W W " 9
cell’ entr’ a ga io la, Cu cu ru cu!
cu cu ru cu! cu cu ru cu!
W W W W W W W W W ! 8 8 W W W ! W W W " 9
cell’ entr’ a
ga
io
la, Cu cu ru
cu!
WWW WWW WWW WWWW WWWW WWWW WWWW WWWW WWWW !!! WWW WWW WWW !!! W W W !! WWW WWW WWW """ ! ! ! W W W W W W
mf
WWW W WWW WW W W W W
WW WW WW ! W W W ! ! WWW WWW WWW ! !
WWW WWW WWW " " 9
cu
cu ru
cu!
cu
cu ru
cu!
da
da
da
birds in a cage!
Leave this place!

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Lassus: Chi chi li chi
! ! 9 ! W W ! ! 9 ! 0 W ! W W .!
W W
lo co,
Pi glia zam po gna,
Va so nan do per chis
! ! 9 ! W W ! ! 9 ! 0 W ! W W ! W W
lo co,
Pi glia zam po gna,
Va so nan do per chis sa
! ! 9 ! W W " ! ! .!
0 W .!
W W ! W W
lo co,
Pi glia zam po
gna, Va so nan do per chis sa
! W W ! ! 9 ! W W ! ! ! 0 W ! W W ! W W
Le va da lo co,
Pi glia zam po gna, Va so nan do per chis sa
! W W ! ! 9 ! W W ! ! ! 0 W ! W W ! W W
Le va da lo co,
Pi glia zam po gna, Va so nan do per chis sa
! W W ! ! 9 ! W W ! ! ! 0 W ! W W ! W W
Le
va
da
lo
co,
Pi
glia zam
!!! !!! 9 ! ! ! W W W W W W " ! ! !! ! 9 ! .!!!
000 WWW .!!!
WWW WWW .!!!!
WWWW WWWW
ff
f
!!! WWW WWW !!! !!! 9 !!! WWW WWW !!! !!! 000 WWW !!! WWW WWW ! ! WW WW
po
gna,
Va
so
nan
do per
chis
sa can
can
can
can
can
sa can
for online perusal only
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A.
T.
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70
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Take your bagpipes!
Go and play wherever you like!
! ! ! ! ! ! ! ! ! ! ! ! "4 9
tu na. Li rum, li rum, li rum, li rum, li rum li.
! ! ! ! ! ! ! ! ! ! ! ! "4 9
tu na. Li rum, li rum, li rum, li rum, li rum li.
! ! ! ! ! ! ! ! ! ! ! ! "4 9
tu na. Li rum, li rum, li rum, li rum, li rum li.
! ! ! ! ! ! ! ! ! ! ! ! "4 9
tu na. Li rum, li rum, li rum, li rum, li rum li.
! ! ! ! ! ! ! ! ! ! ! ! "4 9
tu na. Li rum, li rum, li rum, li rum, li rum li.
! ! ! ! ! ! ! ! ! ! ! ! "
4 9
tu na. Li rum, li rum, li rum, li rum, li rum li.
!!!!!!!! !!! !!!! !!!! !!!! !!! !!!! !!!! !!!! !!! 4 !!!! """" 9
mp cresc.
!!! ! !!! !! ! ! ! ! !!! !! ! ! ! ! !!! !! " 4 " 9
* See commentary
Sona, se voi sonare
Sona, se voi sonare
Sona, se voi sonare
Sona, se voi sonare
Sona, se voi sonare
Sona, se voi sonare
Play if you want to play!*

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Lassus: Chi chi li chi
9 ! W W ! W W ! ! 9 8 ! W W !
Las sa, ca rum pa ca nel la,
Las sa Lu
9 ! W W ! W W ! ! 9 8 ! W W !
Las sa, ca rum pa ca nel la,
Las sa Lu
9 ! W W ! W W ! W W W W ! ! ! W W !
Las sa, ca rum pa ca nel la, Las sa Mar ti na, Las sa Lu
! W W ! W W ! ! 8 ! W W .!
! 0 W W W !
sa, ca rum pa ca nel la,
Las sa Mar ti na, Las sa Lu
! W W ! W W ! ! 8 ! W W ! " 9
sa, ca rum pa ca nel la,
Las sa Mar ti na,
! W W ! W W ! ! 8 ! W W ! " 9
Las
Las
Las
sa,
ca
rum
pa
ca
nel
la,
9 !!! WWW WWW !!! WWW WWW !!! W!! W WW WW .!!
! !!! WWW WWW !!!
!!! WWW WWW !!! WWW WWW !!! !!! 8 !!! W W WW ! ! "" ! 0 W f
W W !
Las
sa
Mar
ti
na,
ci
ci
ci
ci
173
for online perusal only
S.
A.
T.
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84
: .
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Stop – you’re bursting my ears!
Stop, Martin!
Stop, Lucia!
" 9 ! 0 W ! ! 9 7 W W W ! W W
a,
U ma don na,
a ti ci lum bar
" 9 ! 0 W ! ! 9 7 W W W ! W W
a,
U ma don na,
a ti ci lum bar
! ! W W ! W ! W ! ! 9 7 W W W ! W W
a, Las sa Lu ci a, U ma don na,
a ti ci lum bar
! ! W W ! " 8 7 W W W ! " 9
a, Las sa Lu ci a,
U ma don na,
8 ! W W ! " 8 7 W W W ! " 9
Las sa Lu ci a,
U ma don na,
8 ! W W ! " 8 7 W W W ! " 9
Las
sa
Lu
ci
a,
!!" !! WW W !! W!! 00 ! WWW ! ! ! !!! 9 7 WWW WWW WWW !!! WWW WWW
! !! W W WWW !! " " 8 7 WWW WWW WWW ! ! mp
f
! """ 9
U
ma
don
na,
bu
bu
bu
Oh, my lady,
may you grow a beard,

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Lassus: Chi chi li chi
" 9 ! 0 W 8 ! ! ! 8 ! ! !
ni,
So na,
so
na,
so na, so
" 9 ! 0 W 7 W W W W ! W 8 W W ! !
ni,
So na, so n’e non gli da re,
So na, so na,
" 9 ! 0 W ! 0 W ! 0 W W W ! "
ni,
So na, so na, so n’e non gli da re,
! W W W W W W " ! 0 W W W W W ! ! ! 0 W
U ma ce ra ca tu tu ni.
So na, so n’e non gli da re, So
! W W W W W W " ! 0 W 7 W ! W W ! "
U ma ce ra ca tu tu ni.
So na, so n’e non gli da re,
! W W W W W W " ! 0 W ! 0 W W W ! "
U
ma
ce
ra
ca
""" 9 !!! 000 WWW
mf
!!! WWW WWW WWW WWW WWW . WWW """
tu
tu
ni.
So
na,
so
n’e
non gli
87WW! WW !! 0W ! ! WW !W W W! ! W !!!!! 0 W
0000WWW ! W 0 WW W WW WW W W !!! " "
da
re,
na,
for online perusal only
S.
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98
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< .
May you come to a sticky end! Play, and don’t give up.
W W ! " 9 ! ! ! ! " ! !
na, so na,
Li rum, li rum, li,
li rum,
7 W W W W ! W 9 ! ! ! ! " ! !
so n’e non gli da re,
Li rum, li rum, li,
li rum,
! 0 W ! 0 W W W ! ! ! W W W W ! ! W W W W
So na, so n’e non gli da re, Li
rum, li rum, li, Li rum,
! 0 W W W W W ! ! ! W W ! W W " ! !
so na, so n’e non gli da re,
Li rum li, li rum li,
li rum,
! 0 W 7 W ! W W ! " ! ! " ! !
So na, so n’e non gli da re,
Li rum, li,
li rum,
! 0 W ! 0 W W W ! " ! ! " ! !
So
na,
so
n’e
non gli da
re,
W7WW W! WW W !" 0 ! WW !W W !! ! ! !! W ! !! W W ! ! W WW ! ! WW !"" " ! W ! ! W W!!! W
0000WWW ! W 0 WW W WW WW W W !! " " !!! !! " " !!! !!
Li
rum,
li,
li
li rum,
rum,

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" 3
4 ! W W W W ! W ! W 9 9 9 9
li.
La mo glie re del pe co ra ro
" 3 ! W W W W !
4 W ! W 9 9 9 9
li.
La mo glie re del pe co ra ro
" 4
3
! W W W W ! W 9 9 9 9
! W
li.
La mo glie re del pe co ra ro
" 9 9 9 9 ! W W W W ! W ! W
3
4
li.
Set te pe co r’a no da na
" 9 9 9 9
4
! W W W W 3
! W ! W
li.
Set te pe co r’a no da na
" 9 9 9 9 ! W W W W
4
! W 3
! W
li.
[ ,. = , of preceding ]
""""!! 3
4
WW WW WW WW ! ! WW !! WW 9 9 9 9
mp
""! W W W W ! W ! W !!! WWW WWW WWW WWW ! ! ! WWW ! ! ! W W W
3
4
Set
te
pe
co
r’a
Lassus: Chi chi li chi 175
no
da
na
ro,
ro,
ro,
for online perusal only
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114
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The shepherd’s wife,
seven sheep for a penny,
! W W W W ! W ! W 9 9 9 9
ce fus se ca ro so mi o,
! W W W W ! W ! W 9 9 9 9
ce fus se ca ro so mi o,
! W W W W ! W ! W 9 9 9 9
ce fus se ca ro so mi o,
9 9 9 9 ! W W W W ! W ! W
Cin co pe co r’a no car li
9 9 9 9 ! W W W W ! W ! W
Cin co pe co r’a no car li
9 9 9 9 ! W W W W ! W ! W
Se
Se
Se
!!! WWW WWW WWW WWW ! ! ! W W W !!! WWW 9 9 9 9
9 9 9 9 !
!!W W W W W W W W W W W W ! ! ! WWW ! ! ! W W W
Cin
co
pe
co
r’a
no
car
li
no,
no,
no,
if my dear were here,
five sheep for a groat!

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122
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Lassus: Chi chi li chi
W W W W W W W W W ! W W W W W W W ! W
za la gam ba, ma don na Lu ci a, Stien di la ma no, pi glia
W W W W W W W W W ! W W W W W W W ! W
Au
za la gam ba, ma don na Lu ci a, Stien di la ma no, pi glia
W W W W W W W W W ! W W W W W W W ! W
za la gam ba, ma don na Lu ci a, Stien di la ma no, pi glia
W W W W W W W W W ! W W W W W W W ! W
za la gam ba, ma don na Lu ci a, Stien di la ma no, pi glia
W W W W W W W W W ! W W W W W W W ! W
za la gam ba, ma don na Lu ci a, Stien di la ma no, pi glia
W W W W W W W W W ! W W W W W W W ! W
Au
Au
Au
Au
Au
WWW WWW WWW WWW WWW WWW WWW WWW WWW !!! WWW WWWW WWWW WWWW WWWW WWWW WWWW !!! WWW
f
WWW WWW WWW WWW WWW WW WWW WWW WWW
!!WWW W W W W W W W W W W W W !!!
mf
za
la
gam
ba,
ma
don
na
Lu
ci a,
Stien
di
la
ma
no,
pi
glia
zam
zam
zam
zam
zam
zam
for online perusal only
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129
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Lift your leg, Lady Lucia,
! W W W W W W W W W W ! W W
2 W W W
po gna, Sau ta ’no po co con ma stro Mar ti no, Li rum, li
! W W W W W W W W W W ! W W W W W
2
po gna, Sau ta ’no po co con ma stro Mar ti no, Li rum, li rum,
! W W W W W W W W W W ! W W W W W
2
po gna, Sau ta ’no po co con ma stro Mar ti no, Li rum, li rum,
! W W W W W W W W W W ! W W W W W
2
po gna, Sau ta ’no po co con ma stro Mar ti no, Li rum, li rum,
! W W W W W W W W W W ! W W W W W
2
po gna, Sau ta ’no po co con ma stro Mar ti no, Li rum, li rum,
! W W W W W W W W W W ! W W W W W
2
po gna, Sau ta ’no po co con ma stro Mar ti no, Li rum, li rum,
!!!!WWWW WWWW WWWW WWWW
hold out your hand,
WWW WWWW WWWW WWW WWW WWWW !!!! WWWW
dim. al fine
!!W W
WW WW WW WWW WW WW WW WWW WW ! ! W W
2
WWW WW W W W W
2
take the bagpipes,
WWW WWWW WWW WWW
rum,
[ , = ,. of preceding ]
dance a little with master Martin.

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Lassus: Chi chi li chi 177
W W ! W W W W W W W W W W W W " W W W W
li rum, li, li rum, li rum, li rum, li rum, li rum, li rum, li,
li rum, li
W W ! W W ! W W W W W W W W " W W W W
li rum, li, li rum, li, li rum, li rum, li rum, li rum, li,
li rum, li
W W W W W W W W ! W W ! W W " W W W W
li rum, li rum, li rum, li rum, li, li rum, li, li rum, li,
li rum, li
W W ! W W ! W W W W W W W W " W W W W
li rum, li, li rum, li, li rum, li rum, li rum, li rum, li,
li rum, li
W W ! W W ! W W ! W W W W " W W W W
li rum, li, li rum, li, li rum, li, li rum, li rum, li,
li rum, li
W W ! W W ! W W W W W W W W " W W W W
li rum, li, li rum, li, li rum, li rum, li rum, li rum, li,
WWW WWWW W!! W WWW WWWW WW! WW ! W W WW W W W WWW ! W W WW W W W W W W """ WWW WWWW WWW WWW
WWW WW ! ! WWW WW ! ! WW W W W! W WW W W WW WW " " WWW WW W W W W
li
rum,
li
rum,
rum,
rum,
rum,
rum,
rum,
for online perusal only
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141
: .
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q .
q .
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: .
< .
W W ! W W W W W W W W W W W W "4
li rum, li,
li rum, li rum, li rum, li rum, li rum, li rum,
W W ! W W ! W W W W W W W W "4
li rum, li,
li rum, li,
li rum, li rum, li rum, li rum,
W W W W W W W W ! W W ! W W "4
li rum, li rum, li rum, li rum, li,
li rum, li,
li rum,
W W ! W W ! W W W W W W W W "4
li rum, li,
li rum, li,
li rum, li rum, li rum, li rum,
W W ! W W ! W W ! W W W W "4
li rum, li,
li rum, li,
li rum, li,
li rum, li rum,
W W ! W W ! W W W W W W W W "
li rum, li,
li
rum,
li,
li
WWW WWWW W!! W WWW WWWW WW! WW ! W W WW W W W WWW ! W W WW W W W W W W """4
WWW WW ! ! WWW WW ! ! WW W W W! W WW W W WW WW " 4 "
rum,
li
rum,
li
rum,
li
rum,
li.
li.
li.
li.
li.
li.

:
:
:
<
<
;
.
@
@
=
>
7
`
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WW
W
W
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7
7
`
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-
-
--
.
.
178
=
Words by Joachim du Bellay (1522–60)
SOPRANO
6
q
<
ALTO
TENOR
BASS
(for
rehearsal
only)
:
:
:
<
W
W
32. La nuit froide et sombre
4
4
4
4
4
4
" W ! W ! ! ! 7 W W . W W W
La
" ! ! ! -!
" ! W W
nuit froide et som bre
Cou vrant
" ! 7 -W
W W ! ."
! W W
nuit froide et som bre
Cou vrant
" ! -!
! ! " ! W W
La
La
La
""!W ! ! W !! -!!
"! W ! . WW WW
p
""!! - 7 ! W W W
!!"" . ! ! W W WW
Sustained
nuit froide
nuit
Night cold and sombre,
froide
et
ORLANDE DE LASSUS
(1532–94)
! .!
7 ! W ! ! W 0 W ) ! ! ! ! !
re om bre La ter re et les
cieux, Aus si doux,
W W ! ! W W W 0 W
) ! ! ! .!
7 W W W !
scu re om bre La ter
re et les cieux, Aus si doux
W W .!
W ! W W 0 W ) W W W W W W W . W W W ! ! ! W W
scu re om bre La ter re et
les
cieux, Aus si doux,
W W ! ! ! W W W W W W - W ! 8 ! ! !
scu
Superius
; @
Contratenor
; @
Tenor
Bassus
re om
bre
( )
La
ter re et
W!W!! ! ! W WW W! 0 W +
!! !W 0 W )
!! .!!
! W W! W W! W
WWW W .!!
!W ! ! W W W 0 W W ) WW
W WW W WW - WW W!
. W / W W ! 8 !! ! ! ! !
som
et
les
bre
for online perusal only
som
cieux,
bre
Cou
Cou
vrant d’ob scu
vrant d’ob
covering with dark shade
Aus
si
doux
d’ob
d’ob
aus
earth and heaven,
May be sung a tone higher.
© Oxford University Press 2001. Photocopying copyright material is illegal.
pours from the sky

=
>
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:
:
:
<
:
<
7
W
!
WW
W!
.
)
)
)
=
12
Lassus: La nuit froide et sombre 179
7 W W W W . W ! 8 W W W W W ! W W ! W
aus si doux que miel,
Fait cou ler du ciel Le som meil aux
! ! ! 7 W W W W W 8 ! 0 W ! 0 W
que miel, Fait cou ler du ciel
Le som meil
aux
W W ! W W ! W W W W ! ! ! -W
W W 0 W )
si doux que miel, Fait cou ler du ciel
Le som meil aux
! ! " 7 W W W W W ! ! ! !
que
miel,
Fait cou ler du ciel Le som meil aux
W WW W W !W . W ! 7 W W W W W W W W W W ! 0 ! WW W ! 0 ! WW
!!!!! " W mp
W ! W W WW WW W! W W !! ! ! - ! W W ! W 0 W )
for online perusal only
sleep, as sweet as honey, on the eyes.
17
q
<
W W ! W W 6 + W W W W W 6 W )
W W W W W W W W
yeux. Puis le jour sui vant, Au la beur dui sant, au la beur dui
- W W !
7 W W 0 W ) W W 7 6 W W W W W W W W
Puis le jour sui vant,
Au la beur dui sant, au
W W W ! ! 8 6 W+ W W W W W W . W W W W
yeux.
Puis le jour sui vant, Au la beur dui sant,
- ! 7 W W . W W W W W W W W W W W . W W
yeux.
yeux.
Puis
le jour sui vant, Au la beur dui sant, au la beur dui
- W W! W ! . W
6WW W7 WW 0 W W W W +
W 6 W W )
W7W W 6 W + WW W WW WW W WW W
mf
- W W !! ! W W . W W 6 7 W W WW W WW WW WW WW . W WW W / WW . WW WW
la beur
Then day, following
and leading men to toil,

=
>
:
:
:
:
q
<
:
<
:
<
W
W
WW
+
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)
)
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W
‰ W
W
)
W
`
6
)
+
WW
)
)
)
WW
W
)
.
)
+
=
180
21
q
<
Lassus: La nuit froide et sombre
sant,
. W W ) W W ) W )
W W ) W W W 0 W
W W W W W W W W
. W W W W W ! W
6 W ) W W W W W W W W W W W
dui sant, Sa lu eur ex po
se, Et d’un teint di vers, et d’un teint di vers,
6 W W
) W -W
W 0 W W W ! 8 7 W W 0 W W W W
Sa lu eur ex po
se,
Et d’un teint di vers,
W W W W - W ! ! 8 7 6 W W W W W W
sant,
Sa
Sa
lu
. .
)
WW W WW / WW
W W ) W )
!
6WW W W ) WW
W - -!W W W 0 W W W
spreads its light,
eur
lu eur
ex
ex
po
po
se, Et
se,
d’un
teint
W )
WW W 6 W + WW 0 W W W WW W WW WW W WW W W WW W
!!8 7 W
6 + W WW 0 W W W ) WW
W WW
and with varying colours
di vers,
Et
et d’un teint
d’un teint
di
di
vers,
vers,
Ce
for online perusal only
25
W 0 W - W ! 7 6 W W . W W W W W
grand u ni vers
Ta pis se et com po se,
! W 0 W ! W 0 W
) W W W W W W W W W
u ni vers
Ta
pis se et com po
se,
W 0 W+ W W W 6 + W W W W W W W W W W W 7
grand u ni vers Ta pis se et
com po se,
6 W
) W W -W
W 6 + W W . W W W W W 7 6 W+
Ce
grand
Ce
Ce grand
!W0 W W 0
f
W 0
6 W W W )
WW
u ni vers Ta pis se et com
weaves and ordains this great universe.
po se,
ta
- W+ !! 7 W 0 . WW
WW W W . W W W W + W 6
mf dim. al fine
)
- WW 6 W+W W W . WW WW W WW W W W W WW
W
)
7 6 WW
ta

=
>
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:
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:
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<
W
W
W
W
.
WW
W
W
+
.
+
)
)
W
W
WW
.
W
+
.
.
4
4
4
4
=
28
q
<
Lassus: La nuit froide et sombre
7 W W
) W W
) W W W W W W .+ W W W + + W W W
ta pis se et com po se, ta
pis se et com po
se, ta
+
W W W W W W W W ) W W
) W W W W W W W W !
pis se et
com po se, ta pis se et com po se, ta pis se et com po
W 0 .+
W W W W 7 6 W . W ) W W W !
ta pis se et com po se,
ta pis se et com po se,
W . W W W W W 6 W W +
W W W ! 7 W
pis
se et
com
po
se,
ta
pis se et com
7
W 0 W .+ W .
)
WW W W
)
WW
WW W .+ W WWW W W W W
. ) W W ! W )
W W )
WWWW . WW WW W WW W WW W 6 W 7 W W6
W W W . W ) W ! WW W W ! W 7
po
se,
ta
181
pis
for online perusal only
31
q
<
W W W W
) W . W ) W W ! W W W W W W "
se et com
po
se,
ta
pis
se et com
W 6 W ) *
W W W W W W ) W W W W ! "
se,
ta pis se et com po se, ta pis se et com po
6 W ) W W 0 W W W W W 6 W . W ) W W ! "
ta pis se et com po se, ta pis se et com po
. W W W ! W W . W W ! "4
pis se et com po se, ta pis se et com po
se.
WW W )
W6 W+ W W W . W )
WW WW W!
+ W W + WW WW !W . W W W "
6WWW . ) WW WW 0 W WW W !W W 6 W W W . W . W WW !! ""4
po
( )
se.
se.
se.
* Upper note is an editorial alternative.

<
;
:
"
"
"
=
>
W
W
.
.
.
.
182
Words by Pierre de Ronsard (1524–85)
SOPRANO
6
= : .
: .
q .
< .
: .
< .
ALTO
TENOR
BASS
(for
rehearsal
only)
: .
: .
q .
< .
: .
< .
.W
W
W
W
W
W
2
2
2
2
2
2
! ! ! ! 7 W W W ! W W W W W W !
! ! ! ! 7 W W W ! 0 W ! !
jour mon cœur, bon jour ma dou
ce vi
! ! ! ! 7 W ! ! W W ! !
! ! ! ! 7 W W W W W W W W W ! !
!!! !!! !!! !!!
7 W W W !WW WW !!! WWW WWW !W . W W W ! !
f
mf
! ! ! ! 7 W W W W W W W W W !! ! !
Allegro
33. Bonjour mon cœur
Bon
Bon
Bon
Bon
jour
jour
jour
mon
mon
mon
Good-day, my heart,
cœur,
cœur,
cœur,
bon jour ma
bon jour
bon jour ma
good-day, my sweet life,
ORLANDE DE LASSUS
(1532–94)
! ! ! ! 7 W W W ! W W W W W W ! 7 W W W W
Bon
! ! ! ! 7 W W W ! 0 W ! .!
7 W W W W
jour mon œil, bon jour ma chè
re a mi e. Hé, bon jour
W W ! ! ! 7 W ! ! W W ! ! 7 W W W W
Bon
! ! ! ! 7 W W W W W W W W W ! ! 7 W W W W
Bon
Superius
Contratenor
; "
Tenor
Bassus
jour
Bon jour
jour
mon
mon
mon
œil,
œil,
œil,
bon jour ma
bon jour
bon jour
ma
chè
ma
chè
!!!!! !!! !!!
7 W W W !WW WW !!! WWW WWW !W . W W W .! ! 7 WW WW WW WWW
f
mf
mp
!WW ! ! ! 7 W W W W W W W W W !! ! ! 7 WW WW WW W
re a
chè
mi
re a
re a
mi
mi
dou
for online perusal only
ma
dou
e.
e.
e.
ce
dou
vi
ce
ce
vi
vi
Hé, bon
e,
e,
e,
e,
jour ma
ma
Hé, bon jour ma
Hé, bon jour ma
good-day, my eye,
good-day, my dear love.
Ah, good-day
© Oxford University Press 2001. Photocopying this copyright material is illegal.

=
>
)
)
)
)
+
)
+
+
WW
+
)
.
.
12
= : .
: .
q .
< .
: .
< .
: .
17
: .
q .
< .
: .
< .
W W W W 6 W
tou
W W . W W W W W . W 0 W ) W W W W .!
7 W
W W . W W 6 W ) W W W W W W W W 0 W ) W W W W ! 7 W
te bel le, Ma mi gnar di se bon jour, Mes dé li ces, mon a mour,
W W W W 6 + W W W W W W W W W 0 W W W W W ! 7 W
tou
tou
te
te
W W W W 6 W
tou te
bel
bel
bel
WWW WWW . WWW WWW
6 / WWW
W W W W 6 W
my beauty,
le,
le,
le,
Ma
Ma
Ma
mi
mi
W W W W W
mi
gnar
gnar
gnar
di
di
di
W W W 0 W
Lassus: Bonjour mon cœur
W . W W / W ! 7 W
WWW WWW . WWW WWW / WWW WWW WWW . ) WWW 000 WWW WWW WW WWW WW .!!!
7 WWW
W W W W W W W W 0 W W . WW W +
/ WW ! 7 W
my precious, good-day,
se
se
se
bon
bon
bon
jour, Mes
jour, Mes
jour, Mes
my joy, my love,
W W W W . W 0 W
) W W W ! 0 W W W W W W W / W W W
doux prin temps, ma
W W W W W 0 W W W W ! ! / W W W W . W W W W W
prin temps, ma dou ce fleur nou vel le, Mon doux plai sir, ma dou ce co lom
W W . W W W 0 W
) W W W ! ! W W W W W 0 W W W W
prin temps, ma dou ce fleur nou vel le, Mon doux plai sir, ma dou ce co lom
W W W W W 0 W ) W W W ! ! / W W W W W 0 W
) W W W
doux
doux
doux prin temps, ma
dou
dou
WWW WWW . WWW WWW . WW 00
)
WW WW WW / WW !! ! 0 !! W / WWW WWW . WW WWW . WW WW / WW WW
WW
W W W W WW 00 WW WWW W WW ! ! / W W WW W
00W W WWWW WW
my sweet springtime, my sweet new flower,
ce fleur nou vel
ce fleur nou vel
le,
le,
Mon
Mon
dé
dé
dé
my sweet pleasure,
li
li
li
doux plai
doux plai
ces,
ces,
for online perusal only
ces,
sir,
sir,
ma
ma
mon
mon
mon
a
a
a
dou
dou
ce
mour,
mour,
mour,
my sweet little dove,
183
Mon
Mon
Mon
Mon
co lom bel
bel
bel
ce co lom bel

=
>
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!!
+
.
)
`
`
‰
/
)
.
4
4
4
.
184
22
= : .
: .
q .
< .
: .
< .
Lassus: Bonjour mon cœur
! 7 W W 0 W )
W W W W W W ! ! 7 W W W W W
le, Mon pas se reau, ma gen te tour te rel
le, Bon jour ma dou
. 7 W W W W W W 0 W )
W W W ! 7 W W W W W
le, Mon pas se reau, ma gen te tour te rel le, Bon jour ma dou
! 7 W W W W 6 W
) W W W W .+ W W W +
! 7 W W W W W W
le, Mon pas se reau,
! 7 W W W W W W W W W W ! 7 W W W W W
le,
Mon
pas
se
ma
gen
te
tour
. 7 WWW / WWW 0 WW W WW
WW WW 0 W W
+ WW W! W W !! 7 W W W W W W W W W WWW . W W W W
) !!7 W W W
6WWWW WW W W W . )
WW WW W W ) mf
! ! 7 W W W W W
te
rel
le,
Bon
jour
ma dou ce
reau, ma gen te tour te rel le, Bon jour ma dou
for online perusal only
: .
27
: .
q .
< .
: .
< .
my sparrow,
my gentle turtle-dove,
good-day, my sweet wild bird.
W W W ! ! ! ! 0 W W W ! "
ce re bel le, bon jour
ma
W W W .!
W 0 W )
W W W W W W W 0 W W ! W "
ce re bel le, bon jour
ma dou ce re bel
W+W . W ) W W W W W 0 W+ W W W W W W W ! "4
re bel le, bon
W W W ! ! W W W W W W W W W W ! "4
ce
re
bel
jour
ma
le, bon jour ma
dou ce re bel le.
WWW WW W W !! W! 0 W +
WW ! 0 W W W W! 0 W W 0 W /+ W WW .!W
! . W ""
W W W f
W . W ) W!
W !W W
W W WW WW WW
W W W W W W W WW ! ! ""4
dou
dou
ce
ce
re
re
bel
bel
le.
le.
le.

<
;
-ý
|
|
=
>
W
W
W
W
W
W
`
`
185
Words: Anon.
SOPRANO
ALTO
TENOR
BASS
Canto
Alto
; -ý |
; -ý |
Tenore
Basso
--ý
(for
rehearsal
only)
: -
: -
q -
< -
: -
< -
W
W
2
2
2
2
2
2
! W W ! ! ! ! ! W W W ! W "
Ma
! W W -!
! ! ! ! W W ! ! "
to na, mi a ca ra, Mi fol le re can
! W W ! ! ! ! ! W W ! ! "
to na, mi a ca ra, Mi fol le re can
! W W -!
! ! ! ! W W ! ! "
Ma
Ma
Ma
!!WW WW -!!
!! !! !! !! WWW WWW !W ! ! W """
!!WW WW -!!
!! !! !! ! ! W W
!!!! "
With humour
mf
34. Matona, mia cara
to
to
na,
na,
mi
mi
a
a
ca
ca
ra,
ra,
Mi
Mi
fol
fol
le
le
ORLANDE DE LASSUS
(1532–1594)
re
re
can
can
zon,
zon,
zon,
zon,
for online perusal only
My dear Lady,
I’d love to sing
7
= : -
: -
q -
< -
: -
< -
! W W ! ! ! ! ! W W W ! W ! 7 W W W W W
Ma
! W W ! ! ! ! ! W W ! ! ! 7 W W W W W
to na, mi a ca ra, Mi fol le re can zon Can tar sot to
! W W -!
! ! ! ! 0 W ! W W ! 7 W W W W W
to na, mi a ca ra, Mi fol le re can zon Can tar sot to
! W W -!
! ! ! ! W W ! ! ! 7 W W W W W
Ma
Ma
Ma
to
to
na,
na,
mi
mi
a
a
ca
ca
ra,
ra,
Mi
Mi
fol
fol
!!WW WW !! !! !! !! !!WW ! 0 W W W !W ! ! W !!!
7 WWW WWW WWW WWW WWW
!!WW WW --!! ! ! ! ! ! ! ! W W ! ! ! W W
! 7 W W W W W
le
le
re
re
can
can
zon
zon
Can
Can
tar sot
tar
to
sot to
fi
fi
fi
fi
a song below your window
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
!
!!
!
`
7
186
14
= : -
: -
q -
< -
: -
< -
Lassus: Matona, mia cara
. ! ! ! / W ! W ! W W ! W W W W
ne
! W W W W W W " ! W W ! W W W W
stra, Lan tze buon com pa
gnon. Don don don, di ri di
! ! /!
! W - W ! ! W W ! W W W W
ne
ne
stra,
stra,
! ! ! W W ! ! ! W W ! W W W W
ne stra,
Lan
Lan
Lan
tze
tze
tze
buon
buon
com
buon com
. ! W W W! W W! W /"W
! W ! ! WW WW !! WW WW WW WW
!!!! /!!
! W W !W - W !! ! ! WW WW !! W W WW WW WW
pa
pa
gnon.
gnon.
Don don
Don don
don,
don,
com pa gnon. Don don don, di ri di ri
di
di
ri
ri
di
di
ri
ri
ri
for online perusal only
: -
19
: -
q -
< -
: -
< -
I’m a lancer, and a good lad.
W ! W ! W W ! W W W W W ! W ! 7
don
W W ! ! W W ! W W W W W W ! !
don don don, don don don, di ri di ri don don don don.
W W W W ! W W ! W W W W W W W W ! 7
don
don
don
don
don
don
don
don,
don
don
don,
don, don don don, di ri di
! ! ! W W ! W W W W ! ! ! 7
don don don, don don don, di ri di ri don don don.
WWW! ! W !!! WW WW !! WW WW WW WW WW W! ! W ! !
7
!WW! W p
W WWWW !! W W WW WW WW W!
W ! W W ! ! 7
di
ri
di
ri
ri
don
don
don
don
don
don don.
don
don.

=
>
00
00
00
00
00
7
x
-
00
00
00
00
23
= : -
: -
q -
< -
: -
< - 00
: -
28
: -
q -
< -
: -
< -
Lassus: Matona, mia cara
W W W W W ! ! 7 W W W ! 0 W ! 7
Ti
W W W W W /!
W W ! -!
! ! ! 7
pre go m’a scol ta re, Che mi can tar de bon,
W W W W W ! W W ! ! ! ! ! 7
Ti
Ti
W W W W W ! ! 7 W W W ! ! ! 7
Ti
pre
pre
pre
go
go
go
WWWW WW WW WW /!!
W! W ! W -!W
W !! 0 ! W !! 7
f
WWWW WW W W WW ! ! !W W ! 7 W -W!
W ! ! !! ! ! 7
Please listen to me,
m’a
m’a
m’a
scol
scol
scol
ta
ta
ta
re,
re,
re,
Che
for I sing well,
W W W W W ! 0 W ! W W ! ! ! W W
E
W W W W W ! ! ! ! W W ! ! W W
E
W W W W W /!
W W W W ! / W ! W ! W W
E
W W W W W ! ! ! W W ! ! ! W W
E
mi
mi
mi
mi
ti
ti
ti
ti
WWWW WW WW WW !! 0 ! W !! !W W W! W !! !! WW WW
WWW W W W WW WW /!!
! W W mp
!W W W! W /!W
! ! W ! ! WW WW
mi
Che
Che
mi
can
mi
can
for online perusal only
fol
fol
fol
fol
ler
ler
ler
ler
be
be
be
be
ne,
ne,
ne,
ne,
Co
Co
Co
Co
me
me
me
gre
me
gre
gre
can
co e
gre
co e
co e
tar
tar
tar
co e
ca
ca
ca
ca
de
de
de
pon.
pon.
pon.
pon.
bon,
bon,
bon,
Don don
Don don
Don don
Don don
187
00
00
and I love you greatly,
as a Greek does his capon.

=
>
00
00
00
00
00
!
WW
WW
`
7
00
00
00
00
188
34
= : -
: -
q -
< -
: -
< -
: -
39
: -
q -
< -
: -
< - 00
Lassus: Matona, mia cara
! W W W W W ! W ! W W ! W W W W W ! W ! 7
don,
! W W W W W W ! ! W W ! W W W W W W ! !
di ri di ri don don don don, don don don, di ri di ri don don don don.
! W W W W W W W W ! W W ! W W W W W W W W ! 7
don,
don,
! W W W W ! ! ! W W ! W W W W ! ! ! 7
don,
di
di
ri
di ri
ri di
di
ri
ri
di ri
don don
don don don don
don
don
don
don,
don,
don,
don don
don don
don don
!!WW WW WW WW WW W! ! W !!! WW WW !! WW WW WW WW WW W! ! W ! !
7
!!W W WW WW WW W!
W ! W p
W WWWW !! W W WW WW WW W!
W ! W W ! ! 7
W W W W W ! W W ! 7 W ! ! ! ! ! 7
Com’
W W W W W ! W W ! 7 W ! ! W ! W ! 7
an dar al le caz ze, Caz zar, caz zar con le fal con,
W W W W W ! ! 7 - W ! 7 -W
W W ! ! ! 7
Com’
Com’
W W W W W ! ! 7 - W ! 7 -W
W W ! ! ! 7
Com’
an
an
dar
dar
an dar
al
al
al
WWWW WW WW WWW !! WW WW !! 7 WW !! !! W ! ! ! W !! 7
f
WWWW W W WW W
!!!! 7
--!! 7
--WW WW !! !! !! 7
When I go hunting,
le
le
le
caz
caz
caz
ze, Caz
ze,
ze,
hunting with a falcon,
don,
don,
don,
di
di
ri
di ri
ri di
for online perusal only
zar,
Caz zar,
Caz zar,
caz
zar
caz
di
ri
ri
di ri
con
zar con
caz zar con
don don
don don don don
don
le
le
le
don
fal
fal
fal
don
don.
don.
don.
con,
con,
con,
00
00

=
>
!
`
`
7
45
= : -
: -
q -
< -
: -
< -
: -
52
: -
q -
< -
: -
< -
Lassus: Matona, mia cara 189
W W W W W ! ! ! W W ! /!
! W W ! W W W W
Mi
W W W W W -!
! ! W W ! ! ! W W ! W W W W
Mi
W W W W W -!
! ! W W ! ! ! W W ! W W W W
Mi
ti por tar bec caz ze Gras se co me ro gnon. Don don
ti
ti
por
tar
por tar
bec
bec
caz
caz
ze
ze
7 9 9 ! W W ! ! ! W W ! W W W W
WWWW W W W W WW -!!
!! !! WW WW !!! /!!
! ! WW WW !! WW WW WW WW
mp
W W W W W -!
! !! WW WW ! !! ! ! WW WW !! W W WW WW WW
I’ll bring you woodcocks as fat as a kidney.
Gras
Gras
se
se
co
co
W ! W ! W W ! W W W W W ! W ! 7
don
W W ! ! W W ! W W W W W W ! !
don don don, don don don, di ri di ri don don don don.
W W W W ! W W ! W W W W W W W W ! 7
don
don
don
don
don
for online perusal only
don
don
don,
don
! ! ! W W ! W W W W ! ! ! 7
WWW! ! W !!! WW WW !! WW WW WW WW WW W! ! W ! !
7
!WW! W p
W WWWW !! W W WW WW WW W!
W ! W W ! ! 7
me
me
ro
ro
gnon. Don don
gnon. Don don
don,
don,
don,
Gras se co me ro gnon. Don don don, di ri di ri
don
don,
don, don don don, di ri di
don don don, don don don, di ri di ri don don don.
di
ri
di
ri
ri
don
don
don
don
don
di
di
di
don don.
don
don.
ri di
ri
ri
di
di
ri
ri
ri

=
>
00
00
00
00
00
W
WW
W
W
.
‰
.
`
`
00
00
00
00
190
56
= : -
: -
q -
< -
: -
< - 00
: -
61
: -
q -
< -
: -
< -
Lassus: Matona, mia cara
W W W W W ! ! ! W W W ! W ! 7
Si
W W -W
W ! ! ! W W W W ! /!
7
Si mi non sa per di re Tan te bel le ra son,
W W W W W ! ! ! W W ! ! ! 7
Si
Si mi
W W -W
W ! ! ! W W ! ! ! 7
WWWW WW -WW
WW !! !! ! ! WWW WWW WW W! ! . W / ! ! 7
WWWW WW -WW
WW !! !! ! ! W W
!!!! ! ! 7
mf
mi
mi
non
non
non
sa
sa
sa
per
per
per
Though I do not know so many elegant phrases,
di
di
di
re
re
Tan te bel le ra
Tan
. ! W W W W ! .!
7 W ! !
Pe
W ! W W W W ! ! ! W W !
Pe
W ! W W W W ! ! ! ! !
Pe
trar
trar
trar
for online perusal only
cha
cha
cha
mi
mi
mi
W ! W W W W -!
! ! ! !
. .!!
WW / WW WW WW !! . 7
!! ! W W! W !!
WW!! W W WW WW WW -!!
!! ! ! ! !
! !
te
bel
re Tan te bel le ra son,
non
non
non
sa
sa
sa
Pe trar cha mi non sa per, Ne
fon te
per,
per,
per,
le
Ne
Ne
Ne
ra
fon
fon
son,
son,
fon
te
te
te
00
00
and know nothing of Petrarch,
or the fountain of Helicon,

=
>
!
/
7
66
= : -
: -
q -
< -
! 0 W ! W W ! W W W W W ! W
d’He
! ! ! W W ! W W W W W W !
d’He
! ! ! W W ! W W W W W W W W
d’He
li
li
! ! ! W W ! W W W W ! !
d’He li
li
con.
con.
con.
con.
Don
Don
Don
Don
don
don
don
don,
don,
don,
Lassus: Matona, mia cara 191
: - !!0 /!
W !! WW WW !! WW WW WW WW WW W! ! W
mp
< - !!!! !! WW WW !! W W WW WW WW W!
W ! W W
di
di
di
ri
ri
ri
don don, di ri di ri don don
di
di
di
ri
ri
ri
don
don
don
don
don
don
don
don don don
for online perusal only
: -
70
: -
q -
< -
: -
< -
! W W ! W W W W W ! W ! 7
don,
! W W ! W W W W W W ! !
don don don, di ri di ri don don don
don.
! W W ! W W W W W W W W ! 7
don,
don, don don don, di ri di ri don don don don don.
! W W ! W W W W ! ! ! 7
don,
don
don
don
don
don, di ri di ri don don don don.
don,
di ri di ri don don
don.
!!! WW WW !! WW WW WW WW WW W! ! W ! !
7
p
WWWW !! W W WW WW WW W!
W ! W W ! ! 7

=
>
W
00
00
00
00
00
-
W
-
7
-
-
`
/
/
00
00
00
00
192
73
= : -
: -
q -
< -
: -
< - 00
: -
79
: -
q -
< -
: -
< -
Lassus: Matona, mia cara
Mi
W ! 0 W W W ! " 7 W W W ! ! ! 7
Se
W ! 0 W W W ! ! 0 W ! ! /!
! ! 7
ti mi fol ler be ne, Mi non es ser pol tron,
W ! W W W ! W ! 0 W ! 0 W W ! W ! 7
Se
Se
W ! ! W W ! ! ! ! ! ! ! ! 7
Se
WW!! 00 WW WW WW !! !" 0 W ! 0 W W W /!!
!! !! 7
WW!! !W W WW W ! ! W ! ! 0 ! W !! !! W !W ! ! W !! 7
mf
ti
ti
ti
mi
mi
If you’ll have me,
mi
fol
fol
ler
fol
ler
be
ler
be
be
ne,
ne,
ne,
Mi
Mi
I’m no laggard,
- W W W ! .!
7 W ! 7 W ! W ! W
W W W ! W W W W -!
7 W ! 7 W W W W W
fic car tut ta not te, Ur tar, ur tar, ur tar, co me
W W W W W ! W W ! 7 W -!
7 W W W W W
Mi
Mi
W W W W W ! ! 7 W ! 7 - W ! ! W W
Mi
fic
fic
fic
car
car
car
tut
tut
tut
ta
ta
ta
not
WWWW - WW !W W W ! W . 7
W! W -!
W !7 W
7!W! 7 W WW W! W WW
WWWW - WW WW WW -!!
W!
W ! 7 W
7!W !
7 W
7!W ! W W / W W
f
WW
I’ll make love to you all night long,
not
not
te,
te,
te,
Ur
tar,
Ur
Ur
thrusting like a ram.
non
non
tar,
tar,
Mi non es
for online perusal only
ur
es
tar,
ser
es ser pol
ur
ur
ser
tar,
tar,
ur
pol
pol
co
tar,
co
tron,
tron,
tron,
me
co
me
mon
mon
00
00
me mon
mon

=
>
!
"
4
4
4
4
4
85
= : -
: -
q -
< -
: -
< -
: -
90
: -
q -
< -
: -
< -
Lassus: Matona, mia cara 193
! W W ! W W W W W ! W ! W W ! W W W W
ton. Don don don, di ri di ri don don don don, don don don,
! W W ! W W W W W W ! ! W W ! W W W W
ton.
Don don
! W W ! W W W W W W W W ! W W ! W W W W
ton. Don don don,
! W W ! W W W W ! ! ! W W ! W W W W
ton. Don don
don,
don,
di
di
di
ri
ri
ri
di
di
di
ri
ri
don
don
don
don
!!WW WW !! WW WW WW WW WW W! ! W !!! WW WW !! WW WW WW WW
mp
!!WW WW !! W W WW WW WW W!
W ! W p
W WWWW !! W W WW WW WW
W ! W ! ! ! ! ! ! "
don
W W ! ! ! ! ! ! ! "
don
W W W W " " " "
don
don
don
don
don
don
! ! ! W W ! W W W W W W ! "
don don
WWW! ! W ! ! !! !! !! !! !! ""
!WW! W W
!"W W ! " dim.
W W W W W " W ! "Q
don
don
don
don,
don,
don
don
for online perusal only
don
don
don,
don,
don,
don,
don
don
don
don
don
don,
don,
ri don don don, don don don, di ri di ri
don
don
don
don
don,
don
don
dondondon don
don
don
don
don
don
don
don
don
di
di
di
ri
ri
ri
don.
don.
don.
don.
di
di
di
ri
ri
ri

!!!
<
:
;
=
>
W
W
W
W
W
W
W
W
194
Words by Jean-Antoine de Baïf (1532–89)
SOPRANO
1
ALTO
2
TENOR
BASS
Dessus
- ý }
- ý }
Cinquième
; - ý }
Haute-contre
; - ý }
Taille
- ý }
Basse-contre
(for
rehearsal
only)
: -
: -
: -
q -
< -
: -
< -
35. Revoici venir du printemps
W
W
3 6
2 4
3 6
2 4
3 6
2 4
3 6
2 4
3 6
2 4
Re
Allegro
Rechant à 5
W W ! W ! W ! ! W W
voi ci ve nir du prin temps, L’a mou
W W ! W ! W ! ! W W W
voi ci ve nir du prin temps, L’a mou
W W ! W ! W ! ! W W
voi ci ve nir du prin temps, L’a mou
W W ! W ! W W W W W ! W W
voi ci ve nir du prin temps, L’a mou
W W ! W ! W ! ! W W
WWW WWW !!! WWW !!! WWW !!! !!! WWW WWW W
( )
WWW W !! W W !! WW W !W W W !! W WW
3 6
2 4
mf rep. f
3 6
2 4
Re
Re
Re
Re
voi
ci
ve
nir
du
prin
CLAUDE LE JEUNE
(1528/30–1600)
temps,
L’a
mou
for online perusal only
S.
A.
T.
B.
=
3
: -
: -
: -
q -
< -
: -
< -
Here comes the spring again,
! W ! W ! !
reu
se et bel
le sai
! W ! W ! !
reu
se et
bel
le sai
! W ! W ! !
reu
se et
bel
le sai
W W W W W W W W W W W W W W !
reu
se et
bel
le sai
! W ! W ! !
reu
WWW !!! WWW !!! !!!
! W W W W WW W !W W W W W W !W W W ! !
season of love.
se et
The rechants may be sung by choir, alternating with soloists or semichorus singing the
© Oxford University Press 2001. Photocopying copyright material is illegal.
bel
le
chants.
sai
the beautiful
son.
son.
son.
son.
son.
00
00
00
00
00
00
00

=
>
=
>
=
>
«
«
«
«
«
4
S.
A.2
4
= : -
: -
Le Jeune: Revoici venir du printemps
W W ! W ! W ! W W W W W W ! W ! W ! ! W W
Chant à 2
1. Le cou rant des eaux re cher chant Le ca nal d’é té s’é clair cît:
W W ! W W W W W W W W W ! W W ! W W W W W W W W W ! W W
Et la
1. Le cou rant des eaux re cher chant Le ca nal d’é té s’é clair cît: Et la
195
The flow of the water seeking its summer channel becomes clear,
and the
9
: -
: -
! ! W W W ! ! W W ! W ! W ! ! W W
mer cal me de ces flots A mol lit
le tris te cour
! W W W W W ! W W W W W W W W W W W W ! W / W W W ! W W
mer cal me de ces flots A mol lit le tris te cour roux: Le ca
calm sea with its waves
mollifies its grim danger;
the duck
roux:
«
Le ca
for online perusal only
: -
13
: -
! W ! W W W W ! W W ! W ! W ! ! W W
nard s’é gaie se plon geant, Et se la ve coint de dans l’eau;
! W W W W W W ! W 0 W
) W W W ! W W W W W W ! ! W W
nard s’é gaie se plon geant, Et se la ve coint de dans
l’eau;
Et la
Et
la
enjoys diving
and bathes himself in the water;
and the
: -
17
: -
W W W W W ! W W ! ! W W ! W W W W W W W W W !4
grue qui four che son vol Re tra ver se l’air et s’en
W W W W W W W W ! ! W W W ! W W ! W W ! !
grue qui four che son vol Re tra ver se l’air et s’en va.
va.
crane, which forks its wing,
criss-crosses the sky and goes away.

=
>
=
>
+
«
«
4
S.
A.
T.
B.
196
20
= : -
: -
: -
q -
< -
: -
< -
Le Jeune: Revoici venir du printemps
Rechant à 5
W W ! W ! W ! ! W W ! W ! W ! !4
Re
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W W ! W ! W ! !4
Re
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W ! W ! W ! !
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W W W W W ! W W W W W W W W W W W W W W W W !4
Re
Re
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W ! W ! W ! !4
Re
WWW WWW !!! WWW !!! WWW !!! !!! WWW WWW W !! ! WWW !!! WWW !!! !!!4
WWW W !! W W !! WW W !W W W !! W WW ! W W W W WW W W!
W W W W W !W W W ! 4 !
mf
voi
ci
ve
nir
du
prin
temps,
L’a mou
reu
se et
bel
le
sai
son.
son.
son.
son.
son.
for online perusal only
S.
A.1
T.
: -
24
q -
Chant
WWW W à 3
!! WW !! WW W! W W W! W W W WW W W !! WW W! W W W W! W W ! WW WW
leil é clai re lui sant D’u ne plus se rei ne clar té: Du
W W ! W ! W ! ! W W ! W W W W W ! ! W W
2. Le so
2. Le so leil é clai re lui sant D’u ne plus se rei ne clar té: Du nu
nu
The sun shines
with brightness more serene;
it chases
: -
29
q -
!!WW ! ! WW W ! W WW 0 W W W
a
WW
W WW !! WW W !! WW W !! .!!
WW
W W W !! WW !! WW
! W ! W ! W 0 W+ W W ! W ! W ! ! W W ! W ! W
a
ge l’om
ge l’om
bre
bre
s’en
s’en
fuit,
fuit,
Qui
Qui
se
se
joue
joue
et
et
court
et
court et
noir
noir
cit
cit
Et
Et
fo
fo
rêts
rêts
et champs et
et champs et
shadows from the clouds
which play and run and darken
the forests and fields and hills.

=
>
!!
«
«
`
4
4
Le Jeune: Revoici venir du printemps
34
= : - / ! W W W - WW !!
W W ! ! WW W !!
!! WW W W W WW 0 W W W W
+
W W WW 0 W W W +
W W W ! W W W ! ! 4
cou teaux. Le la beur hu main re ver dit, Et la pré dé cou vre ses
q - ! ! W W W ! W ! W ! W 0
+ W W W W 0
+ W W W 0
+ W W ! !
cou teaux. Le
la
beur
hu main re
ver
dit,
Et
la
pré
dé
cou
vre
ses
197
fleurs.
fleurs.
The fields that men work become green
and the meadow reveals its flowers.
S.
A.
T.
B.
: -
38
: -
: -
q -
< -
Rechant à 5
W W ! W ! W ! ! W W ! W ! W ! !4
Re voi ci ve nir du prin temps, L’a mou reu se et bel le sai son.
W W ! W ! W ! ! W W W ! W ! W ! !4
Re voi ci ve nir du prin temps, L’a mou
W W ! W ! W ! ! W W ! W ! W ! !
Re
voi ci ve nir du
for online perusal only
prin
temps, L’a mou
W W ! W ! W W W W W ! W W W W W W W W W W W W W W W W !4
Re voi ci ve nir du prin temps, L’a mou
reu se et bel le sai
W W ! W ! W ! ! W W ! W ! W ! !4
Re voi ci ve nir du prin temps, L’a mou reu se et bel le sai son.
reu
se et
reu se et
bel
bel
le
sai
son.
son.
le sai son.
: -
< -
WWW WWW !!! WWW !!! WWW !!! !!! WWW WWW W !! ! WWW !!! WWW !!! !!!4
WWW W !! W W !! WW W !W W W !! W WW ! W W W W WW W !W W W W W W !W W W ! 4 !
mf

=
>
)
`
`
x
x
`
`
«
«
«
«
/
/
S.
A.2
T.
B.
198 Le Jeune: Revoici venir du printemps
42
= : -
: -
q -
< -
Chant à 4
W W ! W ! W ! ! W W ! W ! W ! ! W W
3. De Vé
3. De
3. De
nus
le
W W ! W ! W W W W W W W W W W ! - W ! W ! ! W W
Vé nus le fils Cu pi don L’u ni vers se mant de ses traits, De
W W ! W ! W ! W W W W W ! W ! W ! ! W W
Vé nus le fils Cu pi don L’u ni vers se mant de ses traits, De
W W ! W ! W ! ! W W ! - W ! W ! ! W W
3. De Vé nus le
fils
fils
Cu pi don L’u ni vers se mant de ses traits,
De sa
Cu pi don L’u ni vers se mant de ses traits, De sa
sa
sa
for online perusal only
: -
< -
WWW WWW !!! WWW !!! WWW W! W W W! W W W W WW !! - WW !! WW !!! !!! WWW WW
W W ! W ! W !! !W W W WW WW ! ! - WW ! ! WW ! ! W W
mp
Venus’ son, Cupid,
sowing the world with his arrows,
: -
47
: -
q -
< -
: -
< -
! W ! W W W W ! W W ! W ! W ! .!
W W
flam
me
va
ré
chauf
fer,
A
ni
maux,
! W W ! W W 0 / W ) ! W W ! W ! W W W W ! W W
flam me va ré chauf fer, A ni maux, qui vo lent en l’air, A
W 0 W+ W .!
W ! ! W W W 0
+ W W ! W ! ! W W
flam me va ré chauf fer, A ni maux, qui vo lent en l’air, A
! W ! W ! ! W W ! W W W W W ! ! W W
flam me va ré chauf fer, A ni maux, qui vo lent en l’air, A ni
!!WW W !! WW WW 0 W W / W+ !! WWW WWW !!W W 0 +
WW!!! W WW W! W W .!!
WWW WWW
!W0 W W W .!!
WW !! !! W W ! W W W W W !! !! W W
qui
vo
lent
en
l’air,
A
ni
ni
ni
will inflame with his fire
creatures that fly in the air,
creatures

=
>
«
«
«
«
4
4
-
51
= : -
: -
q -
< -
: -
< -
Le Jeune: Revoici venir du printemps
! W ! W ! ! W W ! W ! W ! ! W W
maux,
! W ! W ! .!
W / W ! W ! W /!
! W W W
maux,
! W ! W ! ! W W ! W W 0 W ) W ! ! W W
maux,
W W W W ! W ! ! W W ! W W W W W W ! ! W W
maux,
qui ram
qui
qui
qui
ram
ram
ram
pent
pent
pent
pent
aux
aux
aux
aux
champs,
champs,
champs,
champs,
A
A
A
A
ni
ni
ni
ni
maux, qui
maux,
maux, qui
maux, qui
!!! WWW !! WW !!! .!!!
WWW / WWW !! W W !! W /!!!
!!! WW WW W
W W W W !! W ! ! W W !! W WW 0 )
W W WW WW ! ! WW WW
qui
na
na
na
na
gent
gent
gent
gent
aux
aux
aux
aux
eaux.
eaux.
eaux.
eaux.
Ce
Ce
Ce
Ce
qui
qui
qui
qui
199
for online perusal only
that crawl in the fields,
creatures that swim in water.
Even the being
: -
55
: -
q -
< -
: -
< -
! W ! W W ! ! W W ! W ! W W W W !4
mê
! W ! W ! ! W W ! W W ! W ! !
me ment ne sent pas, A mou reux se fond de plai
! W ! W ! ! W W ! W W W W W ! !4
mê
me ment ne sent pas, A mou reux se fond de plai
! W ! W ! ! W W ! W ! W ! !4
mê
me
ment
ne
sent
pas,
A
mou
mê me ment ne sent pas, A mou reux se fond de plai sir.
!!! WWW ! ! ! WW W !! !! WW WWW !! W W W W ! ! W W W W W !! W W W ! ! !
! W ! W W !! ! ! WW W
!!WW ! W ! !4
reux
se
fond
de
plai
sir.
sir.
sir.
with no sensation
will feel love and drown in pleasure.

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200
58
= : -
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< -
: -
< -
Le Jeune: Revoici venir du printemps
Rechant à 5
W W ! W ! W ! ! W W ! W ! W ! !4
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W W ! W ! W ! !4
Re
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W ! W ! W ! !
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W W W W W ! W W W W W W W W W W W W W W W W !4
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W ! W ! W ! !4
Re
Re
Re
Re
WWW WWW !!! WWW !!! WWW !!! !!! WWW WWW W !! ! WWW !!! WWW !!! !!!4
WWW W !! W W !! WW W !W W W !! W WW ! W W W W WW
W !W W W W W W !W W W ! 4 !
mf
voi
ci
ve
nir
du
prin
temps, L’a mou
reu
se et
bel
le
sai
son.
son.
son.
son.
son.
for online perusal only
S.
A.
T.
B.
Chant à 5
62
: - W W ! W ! W ! ! W W ! W ! W ! ! W W
4. Ri ons aus si nous: et cher chons Les é bats et jeux du prin temps: Tou
: - W W ! W ! W ! ! W W W W / W W -W
W W W W ! ! W W
4. Ri ons aus si nous: et cher chons Les é bats et jeux du prin temps: Tou
: - W W ! W W ! W ! ! W / W W Wx
W W W W W W W W ! ! W W
4. Ri ons aus si nous: et cher chons Les é bats et jeux du prin temps: Tou
q - W W ! W W W W W W / W . W W .!
W W W W W W W W W W W W /!
! -W
W
4. Ri ons aus si nous: et cher chons Les é bats et jeux du prin temps: Tou
< - W W ! W ! W ! ! W W ! W ! W ! ! W W
: -
< -
4. Ri ons
WWW WW ! ! ! W W W W !!! WWW !!! !! WWW W / WW W WW! W / WW W WWW W - WW! W WW WW W !!! !!! WWW WWW
WWW W !! W !W W W WW !W / W . W W !!! W W WW W W!
W W
WW!W W W W WW /!!
! ! -WW
WW
mf
aus
si
nous:
et
cher
chons Les
é
bats
x
et
jeux
du
te
te
te
te
prin temps: Tou te
Let us laugh too,
and let us seek the revels and games of spring:
everything

=
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67
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< -
: -
< -
Le Jeune: Revoici venir du printemps
! W ! W ! ! W W ! W ! W ! !
cho
- W ! W ! .!
W W ! W ! W ! !
cho
se rit
de plai sir: Cé lé brons la gai e sai
! W ! W ! ! W W W ! W ! W / W ! !
cho
se rit
de plai sir: Cé lé brons la gai e sai
W W W W W W W W W W W W W ! W W W W W W W W ! W ! !
cho
se rit
de plai sir: Cé lé brons la gai e sai
- W ! W ! ! W W ! W ! W ! !
cho
se
se
rit
rit
de
de
plai
plai
sir:
sir:
Cé
Cé
-!!!
/ WWW !!! WWW !!! .!!!
W W W W / W W W !!! WWW !!! W W ( )
W W !!! !!!
-W!
W W W WW !W W W W W W !W W W !! W WW W W!
W W W W W !! WW !! ! 4 !
lé
lé
brons
brons
la
la
gai
gai
e
e
sai
sai
son.
son.
son.
son.
son.
201
for online perusal only
laughs with pleasure:
let us celebrate the merry season.
S.
A.
T.
B.
: -
70
: -
: -
q -
< -
: -
< - 00
00
00
00
00
W W ! W ! W ! ! W W ! W ! W ! !4
Rechant à 5
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W W ! W ! W ! !4
Re
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W ! W ! W ! !
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W W W W W ! W W W W W W W W W W W W W W W W !4
voi ci ve nir du prin temps, L’a mou reu se et bel le sai
W W ! W ! W ! ! W W ! W ! W ! !4
Re
Re
Re
Re voi
WWW WWW !!! WWW !!! WWW !!! !!! WWW WWW W !! ! WWW !!! WWW !!! !!!4
( f )
WWW W !! W W !! WW W !W W W !! W WW ! W W W W WW
W !W W W W W W !W W W ! 4 !
mf rep.
ci
ve nir
du
prin
temps, L’a mou
reu
se et
bel
le
sai
son.
son.
son.
son.
son.
00
00
00
00
00
00

:
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}
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W
W
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7
202
Words by G. B. Guarini (1538–1612)
English text by Thomas Watson (1557–92)
1
SOPRANO
2
ALTO
1
TENOR
2
BASS
Superius
: "
Sextus
Medius
Contratenor
; "
Tenor
Bassus
: - - - -
: - - - -
: - - - -
q - - - -
q - - - -
< - - - -
W
/W
36. Crudel perche mi fuggi
2
2
2
2
2
2
(Unkind, oh stay thy flying)
LUCA MARENZIO
(1553/4–99)
" " 7 W ! W W ! ! 7 W W W !
Cru
Un
" " 7 W ! W W ! ! 7 W W W !
Cru
Un
8 ! ! /!
7 W ! 9 8 7 W W W !
9 9 9 9 9 9
" " 7 W W W W W W W ! ! 7 W W W !
Cru
Un
Cru
Un
del
kind,
del
kind,
del
kind,
del
kind,
per
oh
per
oh
che
stay
che
stay
per che
oh stay,
per che mi
oh stay thy
fug
fly
mi
thy
mi
thy
fug
fly
fug
fly
for online perusal only
gi
ing,
gi
ing,
gi
ing,
S’hai
And
S’hai
And
S’hai
And
S’hai
And
9 9 9 9 9 9
de
if
de
if
de
if
de
if
la
I
la
I
la
I
la
I
(for
rehearsal
only)
: -- - -
< -- - -
2
2
""k ! ""! ! / 7 WW!!! W WW WW !! !! 7 WW WW WW !!
f
mp
" " 7 W W W W W W W ! ! WWWW WW !!
Scornfully
Ah, cruel!
why do you flee from me
If you desire my death
so much?
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
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S.
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B.
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A.
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B.
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! ! " 7 W W W W " /"
9 X! X ! 8 7 W X
te mia
tan to de si
o
Tu sei,
tu
must die
pit y me dy
ing;
But in thee,
but
! ! ! /!
7 W W W W " " X! X ! 9 X! X !
mor
needs
mor
needs
pit y me dy
ing; But in thee,
but in thee
! ! " W 0 W ) ! ! /!
" X! X ! 9 X! X !
te mia tan to de
si o Tu sei,
tu sei
must die
pit y me
dy ing; But in thee,
but in thee
9 9 9 9 9 ! X X ! W W W W ! W W X
Tu sei pur il cor mi o, tu
But in thee, my heart is ly ing, but
! ! " W 0 + W ! " " 9 X! X ! 9
te mia tan to de si
o
Tu sei
must die
pit y me dy
ing;
But in thee,
9 9 9 9 9 ! X X ! 9 ! X X !
mor
needs
mor
needs
te
must
mia
die
tan
to de
si
But
!!!! " ! /!
7 WW WW -WW
WW "" /""
-! ! in thee,
! ! ! ! W W WW W ! but
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mp
!!!! " " WW 00 WW !!"! +
/!
" " ! ! W W ! W W !
You alone are my heart
! 0 / W W W ! " 9 8 7 W ! 7 W
pur il cor mi o
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my heart is ly
ing,
A las,
W W ! W ! W ! 8 9 7 W ! 7 W !
sei
thee
my heart is ly
ing,
! W W W W W W W W W W W W W W W ! " "
pur il cor mi
o Cre di tu per fug gi re
my heart is ly
ing, And no death can as sail me,
W W W W " W W W W W W W ! /"
"
pur il cor mi
o Cre di tu per fug gi re
my heart is ly
ing, And no death can as sail me,
9 9 7 W W W W W / W ! " "
Cre di tu per fug gi re
And no death can as sail me,
W W W W " W W W W W W W -!
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sei
thee
pur
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for online perusal only
cor
mi
o
pur il cor mi
o Cre di tu per fug gi re
my heart is ly
ing,
W!0 W ! / W WW !W ! W WWW " And no death can as sail me,
WWW WWW WWW WWW WWW / WWW !!
k7W
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W WW WWW WW W " " W W W W W W
W W W W W W W -!
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""""
o
Do you think by fleeing,
Tu
Tu
sei,
sei,
Marenzio: Crudel perche mi fuggi
Cru del,
A las,
tu
tu
cru
a
sei
sei
thee
del
las,
7!W
203
in
in
cru
a

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21
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! 0 W W W ! ! 7 W ! 0 W W W / W W W W ! "
far
W W W W mi
! mo ri re, cru del far
! 7 W ! 7 W ! mi
till life
W mo ri
do fail thee, a las, till life do fail
W W W / W ! W "
Marenzio: Crudel perche mi fuggi
del
las,
far mi mo ri re, cru del, cru del far mi mo ri
re
till life do fail thee,
a las;
a las,
till life do fail
thee.
/ ! ! -!
! -!
-"
8 ! " ! !
del, cru del
far mi
mo ri
A las, a las,
till life
do fail
! ! ! ! ! ! ! 8 " " "
del,
cru del far mi
mo
ri
re
A las,
a las, till life
do
fail
thee.
9 " W W ! W W W W / W W W W W W ! "
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del, cru del far mi mo ri
re
A
las, a las, till life do fail
thee.
! ! W W -W
W " " " " "
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del,
far mi mo
ri
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W ! 0 W W WW !! W till life
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7 W ! W WW WW / WW WW
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!!!! W !! W -W!
W "W W !! " W dim.
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Cruel one, that you will make me die?
8 ! ! W 0 W ) W W ! 8 ! ! W 0 W ) W W / W W W W W !
Ah’ non si può mo rir,
ah’ non si può mo rir sen za do
Oh
there fore, if the fates,
oh
there fore, if the fates bid thee be
8 ! ! W 0 W ) W W /!
8 ! ! W 0 W ) W W W W W W W !
Ah’ non si può mo rir,
ah’ non si può mo rir sen za do
Oh
there fore, if the fates,
oh
there fore, if the fates bid thee be
8 ! ! 8 9 8 ! ! W 0 W ) W W W W W W W !
Ah’
ah’ non si può mo rir sen za do
Oh,
oh
there fore, if the fates bid thee be
8 ! ! W 0 + W W W ! 8 ! ! 8 9 9
Ah’ non si può mo rir,
ah’
Oh
there fore, if the fates,
oh
8 ! ! 8 9 8 ! ! W 0 W ) W W W W W W !
Ah’
for online perusal only
Oh,
oh
there fore, if the fates
be
8 ! ! 8 9 8 ! ! W 0 W+ W W W W W W W !
ah’
Ah’
ah’ non si può mo rir sen za do
Oh,
oh
there fore, if the fates bid thee be
8 ) !!!! !!!! WWW 000 WWW WWW WW /!!!
8 -!! ! !! ) ! WWW 000 WWW WWW WWW / WWW WWW WWW WWW WWW ! ! !!
mf
mp
8 ! ! ! ! 8 9 8 ! ! ! !
WW 00 +
WW WW W WW W WW W WW !
non
si
può mo rir
sen
bid
za
thee
re
thee.
re
thee.
do
re
thee.
lo
fleet
lo
fleet
lo
fleet
lo
fleet
lo
fleet
sost.
Ah, one cannot die
without pain

=
>
!
"
3
3
- 3
3
S.
A.
T.
B.
S.
A.
T.
B.
35
= : - - - -
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: - - - -
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q - - - -
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44
q - - - -
< - - - -
: -- - -
< -- - -
" " 9 " ! ! " " ! ! ! !
re
E
do ler non
si può
ing
Stay
for me,
whose
poor heart
! ! 9 " ! ! " " ! ! ! ! ! !
re
ing
Stay
for me,
poor heart thou hast
! ! " " " ! ! ! ! " " "
re E
do ler non si può chi
ing Stay
for
me, whose poor heart
thou
" ! ! " " ! ! " 9 " ! !
E
do ler,
e do ler,
non
Stay
for me,
stay for me,
whose
! ! ! ! " " ! ! ! ! " " "
re E do ler
non
si può chi non ha co
ing Stay for me,
whose
poor heart thou hast
in
keep
! ! " ! ! " " ! ! ! ! ! ! "
re
ing
E
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E
do
for
ler
me,
do
!!!" ! ! ! "" " " ! " " ! ! ! ! ! " " ! ! " " ! "" ! ! !! " ! !! !!!
cresc.
f
dim.
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and one who has no heart can feel no pain.
: - - - - ! ! ! ! ! /!
" 8 ! ! W 0 W ) W W ! 8 !
non ha
co
re,
Ah’ non si può mo rir,
hast in
keep
ing,
Oh there fore, if the fates,
: - - - - " " " " 8 ! ! W 0 W ) W W /!
8 !
co
re,
Ah’ non si può mo rir,
keep
ing,
Oh there fore, if the fates,
: - - - - " ! ! " /"
8 ! ! 8 9 8 !
non
ha co
re,
Ah’,
hast
in keep ing,
Oh,
q - - - - ! ! ! 0 W " " 8 ! ! 8 9 8 !
può chi non ha co
re,
Ah’,
heart thou hast in keep ing,
Oh,
! 7 W ! 0 W " " 8 ! ! W 0 + W W W ! 8 !
re, chi non ha co
re,
Ah’ non si può mo rir,
ing, thou hast in keep ing,
Oh, there fore, if the fates,
" " " " 8 ! ! 8 9 8 !
re,
ler
non
whose
non
whose
for online perusal only
!" " ! !! " ing,
Oh,
! ""! ! / /""""
8 !! ! !! ) ! WWW 000 WWW WWW WW /!!!
8 !! !
!"! 7 W " ! f
! 00 WW """ " " 8 ! ! ! ! 8 9 8 ! !
Ah’,
si
poor
Marenzio: Crudel perche mi fuggi
si
può chi
heart thou
può
non
hast
chi
ha
in
non
co
keep
chi
thou
ha
in
si
poor
ah’
oh
ah’
oh
ah’
oh
ah’
oh
ah’
oh
ah’
oh
205

=
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4
S.
A.
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S.
A.
T.
B.
206
52
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Marenzio: Crudel perche mi fuggi
! W 0 W ) W W / W W W W W ! " " 9 " ! !
non si può mo rir sen za do lo re
E
there fore, if the fates bid thee be fleet ing
Stay
! W 0 W ) W W W W W W W ! ! ! 9 " ! ! "
non
si può mo rir sen
za do
lo
there fore, if the fates bid thee be fleet ing
Stay
me,
! W 0 W ) W W W W W W W ! ! ! " " " ! !
non si può mo rir sen za do lo re E
do ler
there fore,
! W 0 W ) if the fates bid thee be fleet ing Stay
for
me,
W W W W W W ! ! ! ! ! " " ! !
non si può mo rir sen za do lo re E do ler
non
there fore, if the fates bid thee be fleet ing Stay for me,
whose
! 8 9 9 " ! ! " " ! !
E
do ler,
e
Stay
for me,
stay
! W 0 W + W W W W W W W ! ! ! " ! ! " "
non si può mo rir sen za do lo re E
do ler
non
there fore, if the fates bid thee be fleet ing Stay
for me,
whose
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mf
sost. cresc.
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60
: - - - - " " ! ! ! ! ! ! ! ! ! /!
"
ler
non
si può chi non ha
co
me,
whose
poor heart thou hast in
keep
: - - - - " ! ! ! ! ! ! " " " "4
non
si può chi non ha co
whose
poor heart thou hast in keep
: - - - - ! ! " " " " ! ! " "4
si può
chi
non
ha co
poor heart
thou
hast
in keep
q - - - - ! ! " " " ! 7 W ! 0 W " "4
può che non
ha
co
re, chi non ha co
heart thou hast
in
keep ing, thou hast in keep
q - - - - " 9 " ! ! ! ! ! 0 W " "
ler
non
si può chi non ha co
me,
whose
poor heart thou hast in keep
< - - - - ! ! ! ! ! ! " " " " "
si
for online perusal only
può
chi
non
ha
co
keep
poor heart thou hast
"!" ! ! " " ! "" ! in
! !! " ! !! !!! !" " ! !! " ! ""! ! / """"
f
!!" !! !" ! !" ! "" "! ! 7 W " !
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p
! 00 WW """ " 4 "
re
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do
for
ler
re.
ing.
re.
ing.
re.
ing.
re.
ing.
re.
ing.
re.
ing.
do
for
non
whose
si
poor
do
for

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207
S.
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T.
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=
Words by Luigi Alamanni (1495–1556)
SOPRANO
5
: .
: .
: .
q .
< .
: .
< .
1
2
ALTO
TENOR
BASS
(for
rehearsal
only)
: .
: .
: .
q .
< .
: .
< .
W
W
W
W
W
ý
ý
ý
9 7 W W 0 W " 7 W W W
Scal da va il sol,
scal da va il
7 W W 0 W ! 8 7 W W 0 W +
! !
Scal da va il sol,
scal da va il sol di
! W W " 7 W W 0 W
) ! 7 W
da va il sol,
scal da va il sol, scal
9 ! W W W 0 W W ! 7 W W 0 W
Scal da va il sol,
scal da
9 9 9 ! W W
Scal
Scal da va il
7!WWW 0 W W ) W"
W W 0 W "7WW WW 00 WW !!W!W
7
WW
9 ! W W W 0 W W ! 7 ! W WW 0 W W )
Lazily, but not dragging
mp
37. Scaldava il sol
As the midday sun was scorching
LUCA MARENZIO
(1553/4–99)
! 7 W W W ! W . W W ! " W W W W W W
di mez zo gior
no
l’ar
co,
W W ! " 9 8 W W W W W W W W W W
zo gior no
l’ar
co, l’ar
W 0 W ) W W ! ! ! ! W W W W W W 9
da va il sol di mez zo gior no l’ar
co,
! 8 7 W W W W W W ! " ! W W W W
di mez zo gior
no
l’ar
! ! W W ! " W W W W W W W W W W W W
sol
mez
sol
sol
Canto
Quinto
Alto
; ý
Tenore
; ý
Basso
-
di
for online perusal only
mez
zo
gior
no
WW 0 W W ! +
W WW !W W ! ! !W W . W W W W !!!
W ! W W W W W W WW
W W W WW W WW
W WW W
!! k! 7 W WW !W W " W " W W W W W W! W W W WW W WW
W
l’ar
co,
the arch of the lion’s back,
l’ar
co,
va il
© Oxford University Press 2001. Photocopying copyright material is illegal.

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>
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W
W!
+
!!!
)
!
WW
)
S.
A.
T.
B.
=
208
10
: .
: .
: .
q .
< .
: .
< .
Marenzio: Scaldava il sol
W W W W ! ! 7 W W 0
+ W W W ! 7 W W 0
+ W W W
l’ar
co Nel dor so del Le on,
nel dor so del
" " 8 7 W W 0
+ W W W ! 8
co
Nel dor so del Le on
W W W W ! ! 7 W W 0 W )
W W W W W W ! W W
l’ar
co Nel dor so del Le on suo al ber go ca ro,
! ! 8 ! W 0 + W W W ! 8 7 W W W
co
Nel dor so del Le on
suo al ber
W W W W ! " 9 7 W W W ! !
l’ar
co,
suo al
WWWWW W !! "! !
7 W W W W 0 0 WW WWWWW W W 0 W W )
WWW !! W 0 W WW
WW
W ! W W W !! 8 " ! W 0 W + W W ! 7 W kW W 7 ! W ! W W
ber
go
ca
ro,
Le
suo al
go
for online perusal only
in his favourite resting-place,
S.
A.
T.
B.
15
: .
: .
: .
q .
< .
: .
< .
W W W W ! ! 7 . W W W ! ! W W W W W W
on suo al ber go ca ro, Sot to’l bos chet to più di fron di car co,
! . W W ! ! 7 W W W ! ! 8 W W W W
ber go ca ro, Sot to’l bos chet to
più di
. 0 W ) W W .!
! 9 9 W W W W W W
ber go ca ro,
più di fron di car co,
" " ! W W " "
ca
ro,
Sot to’l bos chet
to
9 9 ! W W W W W W W W ! !
suo al
Sot
to’l bos
. W 0 W W WWW WWW . !!!
7!WW . WWW / WWW " ! ! !! W W W W W W WW WWW W W W W
dim.
" " ! W W W W W W W W ! !
chet
to
più
di
fron di
under the bush
laden with most branches,

=
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.
.
S.
A.
T.
B.
=
20
: .
: .
: .
q .
< .
: .
< .
Marenzio: Scaldava il sol
W W W W ! " " 8 ! " " "
di fron di car
co
Dor mia’l pa
W W W W W W . W ! W " 8 ! ."
."
"
co, più di fron di car
co
Dor mia’l pa
W W W W W 0 W ) W W W ! " 8 ! " " "
di fron di car
co
Dor mia’l pa
8 W W W W " ! ! " " " "
più di fron di car
co Dor mia’l
pa
! ! " " " " " "
più
car
più
fron
di
car
WWW WW WWW WW W! W 0 W W WW . WW W! W ! W """ 8 ! ! ! ."""
."""
"""
pp
k!!W W W W "" "! ! "" "" "" ""
co
Dor
mia’l
pa
stor
stor
stor
stor
stor
209
for online perusal only
S.
A.
T.
B.
27
: . W ! W W W ! ! ! " ! 8 W W W W W W W
con le sue greg gi a pa ro; Gia ce va
il vil la nel,
: .
W ! W W W ! ! ! " ! 8 W W W W W W W
con le sue greg gi a pa ro; Gia ce va
il vil la nel,
: .
W ! W W W ! ! 7 W " W W W W W W W "
con le sue greg gi a pa ro; Gia ce va il vil la nel,
q . 9 9 8 ! " W W W W W W W "
Gia ce va il vil la nel,
< . W ! W W W ! ! ! " ! ! "
: .
< .
con
le
sue
greg gi a
pa
ro;
Gia
ce
the shepherd was sleeping there
WWW !!! WWW WWW W W W !!! !!! !!7 W """ !! 8 WW WW WW WW WW WW WW
W ! W W W ! k! !! "" W mp
W! WW WW WWWW ! WW WW """
va,
gia
ce
with his sheep nearby;
the peasant was stretched out,

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210
33
: .
: .
: .
q .
< .
: .
< .
Marenzio: Scaldava il sol
W W W W W W W W W W W W W ! W ! ! W ! W "
il vil la nel
dell’ o pra scar co, Vie più di
! W W W W W W W ! W ! W .!
! W ! W "
il
W W W W W W W W W W W ! W ! W ! ! W ! W "
il vil la nel
dell’ o pra scar co, Vie più di po
W W W W W W W " W ! W ! ! W ! W "
il vil la nel
dell’ o pra scar co, Vie più di po
! ! 9 9 9 9 9
va,
vil
la
nel
dell’
!WWW WWW W WWW WW WW WW WW WWW !! W W WWW !!! WWW .!!!
!!! WWW !!! WWW """
W!W WW WW ! " W ! W ! ! W ! W "
o
pra
scar
co,
Vie più
di
po
po
for online perusal only
released from his toil,
greedier for rest
S.
A.
T.
B.
: .
39
: .
: .
q .
< .
: .
< .
" 9 9 8 ! W 0 W W W W
sa,
Gl’au gei,
W ! W W 0 + W W 0 W + . W ! W ! ! W 0 W W W W
sa che di spi
ghe a va ro; Gl’au gei,
! 8 W W W W W W W W ! ! ! ! 7 W
sa
che di spi ghe a va
ro; Gl’au gei,
! W W W 0 W + W 0 W + W W ! ! 7 W W W W W !
sa che di spi
ghe a va ro; Gl’au gei,
7 ! W W 0 W W 0 W+
W W ! " 8 7 W
che
!W!7WW W W W 00 W W W WWW00 W W W . W W W ! W ! W !!! !!! !WW 00 WW WW WW WWW
! ! W W W 0
7
W +
W 0 W +
W WW !! " 7 W W 8
W W W ! 7 W
than for corn;
di
spi
ghe a
va
ro;
the birds,
gl’au
gl’au
gl’au
Gl’au

=
>
""
‰
"
!!
S.
A.
T.
B.
=
44
: .
: .
: .
q .
< .
: .
< .
Marenzio: Scaldava il sol 211
W 0 W W W W ! ! 7 W W W " W W W W
gei,
le fe re, ogn’ huom s’a scon
de, ogn’ huom
W 0 W W W W " ! 7 W ! 7 W ! 7 W
gei,
" ! ! ! ! 7 W W W "
gei,
le fe re,
ogn’ huom s’a scon
8 7 W W W W W W W " ! 7 W ! 7 W
W W W W W W " " " 7 W W W
gei,
le
gl’au
le
fe
gei,
fe
le
re,
fe
re,
W"W 00 WW WW WW WW !! " !
7 ! ! ! W ! W W W ! 7 W
7 W W W W ! ! W 7W W W W
8WWWW W7
W W " W W W W W W " " " ! 7 W " 7 W W W
ogn’
huom,
re,
ogn’
ogn’
huom,
huom,
s’a
ogn’
ogn’
ogn’ huom s’a
for online perusal only
S.
A.
T.
B.
49
: .
: .
: .
q .
< .
: .
< .
wild beasts,
every human being sought the shade
W 0 W ) ! " 7 W .!
! 8 9 " ! !
scon
de
e ta ce,
Sol
la
W W ! " 9 7 W .!
! ! 8 ! ! !
huom s’a
" " ! W W ! ! 9 " ! !
de e ta ce, e ta ce,
Sol
la
W W ! " ! ! 9 9 " 9
s’a scon de e ta ce,
Sol
" " ! ! 9 9 " 9
huom
scon
WWW 0 W ) ! "" 7 W .!
7!!
W .!!
! ! 8 " " ! !!! !
WW! ! """ !!! !! W W
pp
p
9 9 " " 9
and fell silent;
scon
de
de e
ta
ce,
e
ta
ce,
Sol,
Sol
only the cicada
sol
la
ci
ci
ci

=
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7
)
)
)
+
)
)
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7 WW
S.
A.
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B.
=
212
56
: .
: .
: .
q .
< .
: .
< .
Marenzio: Scaldava il sol
W 0 W
) W 0 W
) W W W W W W W W ! ! W 0 W W W ! W 7
ca
la non si sen te in pa ce,
W 0 W W 0 W W W W W W W W W " ! 8 W 0
+ W W W
ca
la
non si sen
" " " W 0 W W W ! 0 W
ca
la
non si sen te in pa
9 9 9 W 0
+ W W W ! W 7
non si sen te in pa ce,
9 9 9 9 W 0
+ W W W
W"W 00 ) WW WW 00 ) WW " WW WW WW WW WW WW WW WW ""! ! WW! 00 WW 8WWWW !W 0 W )
! 0 WW
9 9 9 W 0 W + W W W! 0 W W + W 7 W
non
te in
ce,
si sen te in
for online perusal only
S.
A.
T.
B.
: .
61
: .
: .
q .
< .
: .
< .
did not feel at peace.
W 0 W W W ! W 7 W 0 W W W " "4
si sen te in pa ce, non si sen te in pa
! ! W 0
+ W W W " " "4
pa ce, non si sen te in pa
W 0 W W W ! 0 W W 0 W W W W W W ! "4
si sen te in pa
ce, non si sen te in pa
W 0
+ W W W ! W 7 W 0 W W W " "4
si sen te in pa ce, non si sen te in pa
! W 7 W 0
+ W W W " " "
non
non
non
pa
ce,
non
si
sen
te in
pa
WW00 ! WW +
WW! WW !W 0 W )
! 0 WW
"
WWWW 00 WW +
WW WW ""W W W ! """4
! W 7 W! 0 W W + W 7 W "W 0 W ) W W "" " 4 "
ce.
ce.
ce.
ce.
ce.

;
;
-
-
|
|
|
|
1
1
1
=
>
q
<
W
W
W
W
ý
ý
ý
!
!
!
!!
3
3
!!
W
)
.
)
.
)
`
`
213
S.
A.
T.
B.
=
Words by G. B. Guarini
(1538–1612)
SOPRANO
6
:
:
q
q
<
:
<
ALTO
1
TENOR
2
BASS
< |
(for
rehearsal
only)
38. O Mirtillo, Mirtillo, anima mia
:
:
q
:
<
W
W
W
W
W
W
! 0 W ! ! 7 W W W W W W ! ! 8
O Mir til lo, Mir til l’a ni ma mi a,
- W W W W ! 7 W W W W W W .!
! 8
O Mir til lo, Mir til l’a ni ma mi a,
! 0 W ! ! 7 W W W W W W ! ! 8
O Mir til lo, Mir til l’a ni ma mi a,
- 0 W ! ! 7 W W W W W W ! ! 7 W W
O Mir til lo, Mir til l’a ni ma mi a,
- 0 W ! ! 7 W W W W W W ! ! 7 W W
-!30
W WW !! W !!!
7 WWW WW WWW WWW WWW WWW .!!!
!!! 8
f
f
p
--0 0 W !! ! 7 WW WWW W W W W W W W !! ! 7 WW WW
7 W W W W W W .!
. W 0 W W W W W W ! ! 7 W W
Se ve des si qui den tro Co me sta il cor di que sta,
7 W W ! W W ! W 0 W W W W W W ! ! 7 W W
Se ve des si qui den tro Co me sta il cor di que sta,
se
9 9 9 9 7 W W !
Se ve des
! 0 W ! ! W 0 + W W W W W W ! ! 8
si qui den tro Co me sta il cor di que sta,
" W W ! W 0
+ W W W W W W ! ! 8
des
des
7 WW
WW !W W WW W .!!
. WW 00 WW
"!0 W W! W ! ! WW 00 W W+
mf
Canto
Quinto
Alto
; 1
Tenore
; 1
Basso
-
si
ý
ý
ý
ý
for online perusal only
O
Flexibly
mf
Mir
til
O Mirtillo, Mirtillo my love,
qui
den
tro
lo,
Co me sta il cor
Mir til
l’a
di
que
ni
CLAUDIO MONTEVERDI
(1567–1643)
ma mi
sta,
WWWW WW WW / WW !!! !!! 7 WW WW
mf
p
WWW W W W W W WW ! 7 ! W W !
a,
Se ve
Se ve
se ve
ve
if you see here within me
how stands the heart of her
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
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214
:
:
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q
<
11
:
<
Monteverdi: O Mirtillo, Mirtillo, anima mia
W ! W ! W 0 W ) W W ! W ! W W "
si qui den tro Co me sta il cor di que sta Che chia
! W W .!
W 0 W ) . W W ! W ! ! 9
des si qui den tro Co me sta il cor di que sta
! -W
W ! W 0 W W W ! W ! W W "
si qui den tro Co me sta il cor di que sta Che chia
9 9 9 9 9
9 9 9 8 7 W "
des
!W!WW .!!
WW 00
) WW . WW WW !! W !! WW WW ""
cresc.
mf p
mf
p cresc.
! -W
W ! W 0 W+ W W ! W /!
W W "
Che
chia
for online perusal only
whom you call
S.
A.
T.
B.
:
:
q
q
<
16
:
<
! ! ! ! ! .!
. W W ! ! !
cru
de lis si ma A ma ril
9 9 8 7 W " ! !
Che chia
! ! ! ! ! ! ! ! ! !
mi
cru de lis si ma A
ma ril li,
9 9 9 9 8 7 W
! ! ! ! ! ! ! ! "
mi
mi cru de lis si ma A ma
!!!! !! !! ! . 7 ! W . W " W ! !! !!
mf
! ! ! ! ! ! !! !! !! !! 0 ! W
ril
mi
Che
the most cruel Amarilli,

=
>
!
"
"!
S.
A.
T.
B.
=
:
:
q
q
<
21
:
<
Monteverdi: O Mirtillo, Mirtillo, anima mia
" 8 7 W " ! ! ! !
li,
che chia
mi
cru
! ! ! ! ! ! " "
cru de lis si ma A ma ril
li,
7 W ! ! ! ! ! ! 0 W /"
che chia
mi
cru de lis
si ma A
" ! ! ! -!
-!
! ! !
chia
mi
cru de lis si
" ! ! -"
" ! !
li,
che
chia
!!!! !! !W W !! " ! !! 0 ! " ! !
p cresc.
"W! 0 !! !! - ! !! -"!
W W / ! !
mi
cru
de
ma A
de
215
for online perusal only
S.
A.
T.
B.
:
:
q
q
<
26
:
<
! ! ! ! " W W ! W ! W
lis si ma A ma ril
li, So ben che tu
" .!
! ! .!
! 7 W W 0 W ) W W
A
ma ril
li,
So ben che tu
" " " " 9
ma
ril
li.
! ! " " ! 7 W W 0 + W W W
ma ril
li,
So ben che tu
! 0 W ! ! " " 9
lis si ma A ma ril
li.
""! ! ."!!
! ! "" .!
W W W W WW 0 ! W + W WW
!! 0 ! W ! " f
p
! "" " ! 0 mp
W W 0 W + W W
I am sure that you would
di
di
di
( )

=
>
!
W
!
!!
.
`
)
.
.
.
S.
A.
T.
B.
=
216
:
:
q
q
<
31
:
<
Monteverdi: O Mirtillo, Mirtillo, anima mia
! W W W W -!
W W W W W W W ! ! !
le i Quel la pie tà
che da lei chie di a vre sti.
. W W W . W ! W W W W W W W .!
! !
le i Quel la pie tà
che da lei chie di a vre
9 9 9 9 9
! W W W W ! W W W W W W W ! ! !
le i Quel la pie tà
che da lei chie di a vre
9 9 9 9 9
! W W WW . WW -!!
WW / WW WW WW WW3 WW W ! ! !
mf
. WW W W W ! W W W W W3 W W .!!
!! !!
O
sti.
sti.
p
for online perusal only
feel for her
that pity which instead you ask from her.
S.
A.
T.
B.
:
:
q
q
<
36
:
<
W W W ! W W W ! W W W W W W 0 W ) W ! .!
a ni me in a mor trop po in fe li
. 0 W W " W W W W W W 0 W )
W "
O
a ni me in a mor trop po in fe li
" " W W W W W W 0
+ W W ! !
O
a ni me in a mor trop po in fe li
9 9 9 9 9
! 0 W W " W W W W W W 0 + W W "
O
.! 0 W W ! W W "W W W ! WW3 WW WW WW WWW WW300 WW
cresc.
f
!" 0 W . W "" WW3 WW WW WW W WW300 WW +
a
ni me in
a
mor trop
po in
fe
li
W "! !
WW!! !
ci!
O souls too unhappy in love!

=
>
!
!!
W
+
)
+
W
W
+
)
.
.
.
S.
A.
T.
B.
=
:
:
q
q
<
41
:
<
. 7 W W W ! W W 0 W
) ! W W 0
+ W W "
ci!
Che gio
va a te, cor mio, l’es ser a ma
! 7 . W ! W W W . W ! W W 0 W )
W "
ci!
Che gio va a te, cor mio, l’es ser a ma
7 W ! W W ! W W ! W W 0 W W "
Che gio
va a te,
cor mio, l’es ser a ma
9 9 9 9 9
! 0 W ! ! W 0
+ W ! W W 0 W ) W "
ci!
Che
gio
va a
. 7 WW !W W ! ! WW WW W 0 . WW W
) !!! WWW
p
cresc.
mf
7!0 W ! W !W W
! W 0
+ W ! W
What use is it to you, my heart, to be loved?
te,
cor
mio,
Monteverdi: O Mirtillo, Mirtillo, anima mia
l’es
ser
a ma
WW00 WW W WWW """
00W ) W "
217
for online perusal only
S.
A.
T.
B.
:
:
q
q
<
46
:
<
! 7 W ! ! ! 0 W W 0
+ W W W "
to?
Che gio va a me l’a ver si ca ro a man
! 7 W ! ! ! 0 W W 0 W
) W W "
to?
Che gio va a me l’a ver si ca ro a man
! 7 W ! ! ! 0 W W 0 W W W "
to?
Che gio va a me l’a ver si ca ro a man
8 7 W ! ! ! 0 W W 0 W W W "
Che gio va a me l’a ver si ca ro a man
! 8 9 9 9 9
to?
!!7 WWW !!! !!! !! 00 W W W W W 0 0 W W WWW WWW ."""
p
mf
! 7 W ! ! ! 0 W W W 0 0 W W+ W W "
What use is it to me to have so dear a lover?

=
>
W
+
.
)
)
W
W
S.
A.
T.
B.
=
218
:
:
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<
51
:
<
Monteverdi: O Mirtillo, Mirtillo, anima mia
W W W -!
W W W W W W W W W W W "
te? Per chè, cru
do de sti no, Ne di su ni sci tu,
W . W W ! W W W . W W W . W W W W W W 0 W
te? Per chè, cru
do de sti no, Ne di su ni sci tu,
. W W ! W W W W W W W W W W W "
W W
te? Per chè, cru
do de sti no, Ne di su ni sci tu,
! 8 9 9 9
te?
7 W W ! W W W W W W W W W W W W 0 W+ W W
Per chè,
cru
do
de
sti
no,
. WW WWW WWW -!!!3
WWW . WWW WW WWW3 WWW WWW . WW WW WW WW3 WW ""W 0 W
W W W !3 W W / WW W3 W W W W W W W W W3 W WW W 0 W+ W W
Ne
di
su
ni
sci
tu,
s’A mor
s’A mor
ne
ne
for online perusal only
Why, cruel fate, do you separate us
when love
S.
A.
T.
B.
:
:
q
q
<
55
:
<
7 W W 0 W ! W W ! 0 W W W ! W W W W W W
s’A mor ne strin ge? E tu per chè ne strin gi, Se ne par
" ! W W ! 0 W W W ! W W W W W W
strin
ge? E tu per chè ne strin gi, Se ne par te il
7 W W W ! ! 9 9 9
s’A mor ne strin ge?
9 8 7 W ! 0 W W W ! W -W
W W W W
E tu per chè ne strin gi, Se ne par te il
" " 9 9 9
strin
ge?
te il de
W W W 0 W +
W !!! WWW WW !! 00 WW WW WW !!3 WW W W W W W W 3
WWW W
7"WWW ! 0 W ! 0 W W W !3 W -W
W W3 W W
de
de
has united us?
And you, why do you unite us
if fate separates us,

=
>
!!
!
.
.
4
4
.
4
3
S.
A.
T.
B.
=
:
:
q
q
<
60
:
<
Monteverdi: O Mirtillo, Mirtillo, anima mia
! ! W W ! ! W W ! 0 W W W !
per
fi do A mo re? E tu
per chè ne
! ! W W ! .!
W W ! 0 . W W W !
per
fi do A mo re? E tu
per chè ne
9 9 7 W ! W W ! W W !
stin,
stin,
E tu
per chè
ne
! ! W W ! ! W W ! 0 W W W !
per
fi do A mo re? E tu
per chè ne
9 9 8 7 W ! 0 W W W !
stin,
E tu
per chè ne
/ !! WW WW !! .!!
WWW WWW W ! ! 00 7 ! . WW WWW / WWW !!!
mf
f
! ! W W !
7!WWW ! W 0 ! . WW WW / WW !!3
strin
strin
strin
strin
strin
219
for online perusal only
perfidious love?
S.
A.
T.
B.
:
:
q
q
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gi, Se ne par te il de stin, per
fi do A mo
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gi, Se ne par te il de stin, per
fi do A mo
W W W W W W ! ! W W ! ! .!
"4
gi, Se ne par te il de stin, per fi do A mo
W W W W W W ! ! W W ! " "4
gi, Se ne par te il de stin, per
fi do A mo
W W W W W W ! ! W W .!
" "4
gi,
Se
ne
par
te il
de
stin,
per
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!!!3 WWW WWW !!! ""! ! . ""
mf
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fi
do A
mo
re?
re?
re?
re?
re?
mp

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220
S.
A.
T.
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=
Words by G. B. Guarini
(1538–1612)
SOPRANO
5
: -
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< -
: -
< -
1
2
ALTO
TENOR
BASS
Canto
Quinto
- ý }
; - ý }
Alto
; - ý }
Tenore
Basso
- ý
.
(for
rehearsal
only)
: -
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W
W
W
W
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4
4
4
4
4
4
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39. Ohimè se tanto amate
9 7 W ! 9 7 W !
Ohi mè,
Ohi
9 7 W .!
9 7 W !
Ohi mè,
Ohi
7 W ! 9 7 W ! 9
Ohi mè,
Ohi mè,
7 W ! 9 7 W ! 9
Ohi mè,
Ohi mè,
" ! ! " ! !
for online perusal only
Ohi
mè, Ohi
7 7 WW3
WW3 !! .!!
7 / WW3 !! 7 / WW3 !!
" ! ! " ! !
Passionately
mf
Alas,
CLAUDIO MONTEVERDI
(1567–1643)
6 W+ W W W W W W ! -W
W -!
7 W ! !
se tan to a ma te Di sen tir dir ohi mè,
ohi mè,
6 W W W W W W W /!
W - W ! 0 W "
se tan to a ma te Di sen tir dir ohi mè,
ohi mè,
9 9 9 6 W W W W W
se tan to a
9 8 6 W ) W W W W W W ! W W !
se tan to a ma te Di sen tir dir ohi mè,
6 W+ W W W W W W ! ! ! ! "
se tan to a ma te Di sen ti re
ohi mè,
6 WW+
WWWW WW WW WW WW /!!
-WW
WW3 -! 0 7 W3
W 6
+ W W W W ! W W W
mp cresc.
6 W+ W W W W W W k ! 6 ! W ) W W W!
W W W ! (
! "W W ) !
if you love so much to hear me say,‘alas’,
© Oxford University Press 2001. Photocopying copyright material is illegal.
deh,
mè,
mè,
mè,
ma te Di sen

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S.
A.
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9
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Monteverdi: Ohimè se tanto amate
W W W ! ! 8 9 7 ! / W W ! ! ! 0 W W
per chè fa te,
deh, per chè fa te, deh, per
9 ! 0 W W ! ! 9 9 7 ! W W
! W W ! 0 W " ! 0 W W ! ! ! W W
dir ohi mè, ohi mè, deh, per chè fa te, deh, per chè
W W W W ! 0 W ."
/!
W W ! ! ! 0 W W
ohi mè, ohi mè, ohi mè, deh, per chè fa te, deh,
! ! ! W W ! ! ! W W ! ! ! W W
tir
ohi
mè
WWW W! WW !! ! ! 000 7 WWW W ."" ! ! 7 ! 0 ! / W W WW ! ! ! 7 ! !! 0 0 ! WW WW
f
f dim.
!W!W ! W W
/
! ! WW WW !! !!
!!WW WWW W
why do you make
deh
deh,
per chè
per chè
fa
fa
te,
te,
deh,
per chè
fa
te,
deh,
deh
per
per chè
221
chè
chè
per chè
for online perusal only
S.
A.
T.
B.
15
: -
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< -
! W 0 W " W / W ! . W ! W " 7 W ! ! 7 W
fa te chi di
ce ohi mè mo ri re? S’io mo ro,
! W 0 + W ! .!
W W W W " ."
9 9
fa te chi di
ce ohi mè mo ri
re?
! W 0 W ! ! .!
0 W W W ! "
7 W ! ! 7
fa te chi di ce ohi mè
ohi mè mo ri re? S’io mo ro,
! W 0 W ! 0 / W W W ! " " 7 W ! ! 7 W
fa te chi di ce ohi mè mo ri
re? S’io mo ro,
! W 0 W+ W W ! ! 0 W " " 9 9
fa te chi di ce ohi
)
!!! WWW 000 WWW "!! . mè
mo ri
re?
! ! ! 0 / W WW . WW" ! W .""
7 / WW !! !! 7 WW
p
!!WW 00
+
WW ! W 0 W !
/ W W! 0 W ! W "" W ! ( "" 7 W
)
! ! 7 W
the one who says it die?
If I die
un
un
un

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S.
A.
T.
B.
=
222
22
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Monteverdi: Ohimè se tanto amate
W 0 W ) W W W 0 W ) ! ! 7 W W W ! ! W . W W W W W
po tre te Lan gui do
e do lo ro
so, e do lo
9 9 9 9 9 9
sol
W 0 W
W 0 W
sol
sol
po
po
ro so ohi
W / W . W 0 W ) ! ! 7 . W W W ! ! W W / W . W W W
tre te Lan gui do
e do lo ro
so, e do lo ro
W W W 0 W W W / . W ! ! W W W W ! ! !
tre te Lan gui do e do lo ro so, e do lo ro
so ohi
9 9 9 9 9 9
WW00
) WW WW / WW . WW 00
) WW !! !! 7 . WW WW WW !! !! WW . WW / WW . WW WW WW
W 0 W+ W W W 0 W+ W W / W . W ! ! W W W W ! ! !
so ohi
for online perusal only
you will be able to hear only one weary and sad ‘alas!’
S.
A.
T.
B.
28
: -
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< -
: -
< -
W 0 W ) .!
.!
7 W ! ! 7 W W 0 W W W W 0 W " 9
mè sen ti re, S’io mo ro, un sol po tre te lan gui do
9 8 7 . W ! ! 7 W W 0 W W W . W 0 W . 9
S’io mo ro, un sol po tre te lan gui do
. 0 W ) ! ! 7 W ! ! 7 W W 0 W W / W W 0 W " W . W W W
mè sen ti re, S’io mo ro, un sol po tre te lan gui do
e do
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mè sen ti re, S’io mo ro, un sol po tre te lan gui do e do lo ro so e do
9 8 7 W ! ! 7 W W 0 W ) W W W 0 W+ W W W . W "
S’io
mo
. 00
) WW .!!
.!!
7 WWW !!! /!!!
7 WW WWW 000 WWW
p
W 0
+ W ! ! 7 WW ! ! ! ! 7 W W WW 00 WW
ro,
un sol
po
tre te
lan
gui
do
e
do
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WWW W W 0
+ W W . WW WW WW "W . WW WW WW
lo
ro
lo
lo

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9
S.
A.
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B.
=
35
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< -
9 7 W W W W -W
W 0 + W /!
! 7 W -W
W W W
e do lo ro so ohi mè sen ti re,
Ma se, cor
9 7 . W W W W W W 0 W ! ! 7 W W W W W
" ! ! ! 0 . W ! !
ro
so ohi mè
sen ti re,
" " ! W 0 W
) ! ! 7 W -W
W
ro
so ohi mè sen ti re,
Ma se,
W W W W ! ! ! 0 W ! ! 8 7 W
so,
7"WW . WW WW WW -WW
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cresc.
e do lo
ro
e
do
so ohi
lo
ro
mè
so ohi mè
sen
sen
ti
ti
Monteverdi: Ohimè se tanto amate
re,
re,
Ma
se, cor mio, vo
semplice
/ !!! 7 WW -WW
WW WW WW
mp
!!! !
7 W 8 -7W
WW
But if, my love,
mio, vo
cor
Ma
223
for online perusal only
S.
A.
T.
B.
40
: -
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< -
: -
< -
le
W W + W W W W " 8 W 0 W W
te che vi ta hab bia da voi
e
W W + W W W W " 8 W 0 W W
le te che vi ta hab bia da voi
e
7 W W W W W W W W W W W W W W
Ma se, cor mio, vo le te che vi ta hab bia da voi e
W W W W W W W W W W W W 0
+ W W W W W W
vo le te che vi ta hab bia da voi, e voi
W W W W W W W W W W W W W
mio,
se,
cor
WWWW
mio,
WWWW WW WW "" W W 0 W ) WW 00 WW WW
WWW W W WW W WWW W WWW W W W WW WW WWW W WW W W
you want to give me life,
vo
le
te
che
vi
ta hab
bia
da
( )
voi,
W WWW W W W W W
e

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/
x
S.
A.
T.
B.
=
224
43
: -
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< -
: -
< -
Monteverdi: Ohimè se tanto amate
W 0 + W ! 7 W ! ! ! -!
! 8 7 W W W W W W W W W
da me, a vre te a vre te
a vre te Mil l’e mil le dol
W 0 W
) ! 7 . W ! .!
0 / W ! /!
W W W W W W W W W W / W W
da me, a vre te a vre te a vre te Mil l’e mil le dol ci ohi mè,
W 0 W ! 7 W ! ! 0 W ! ! 9 9 9
da me, a vre te a vre te
W 0 + W ! 7 W ! ! 0 W ! ! 9 9 9
da me, a vre te a vre te
W 0 W+ ! 7 W ! ! 0 W ! ! 7 W W W W W W W W W W W
voi
voi
voi
voi
da me, a vre te a vre te a vre te Mil l’e mil le dol ci ohi mè,
WWW 000 WWW !!! 7 . WWW !!! .!! 00 ! / W W
-!! ! /!!!
8W W 7W WW WW WW WW WW WW WW / WW WW2
cresc.
WW00 WW + ! 7 WW ! !
!! 00 W ! !
!! 7 -W
W W W W W W W W W W
ci ohi
ohi
ohi
dim.
for online perusal only
then you shall have
thousands and thousands of sweet sighs.
S.
A.
T.
B.
50
: -
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: -
q -
< -
: -
< -
W -W
W W W W W / W " 9 9 9
mè, ohi mè, ohi mè, ohi mè, ohi mè,
W W W W W W W . W " 9 9 9
mè, ohi mè, ohi mè, ohi mè, ohi mè,
9 9 7 W W W W W W W W W W W W W W W
a vre te Mil l’e mil le dol ci ohi mè, ohi mè, ohi mè,
9 9 7 W W W W W W W W W W W . W W W W
a vre te Mil l’e mil le dol ci ohi mè, ohi mè, ohi mè,
. W W / W W -W
W W " ! ! " "
mè,
ohi mè, ohi mè, ohi mè, ohi mè,
a vre
sim.
WWWW2 - WW WW WW WW WW . WW " 7 WW WW WW WW WW WW WW WW WW2
p cresc.
dim.
. W W / W W -W
W W " ! ! "
2
WWWW
sim.
."
WW WW WW WW
ohi
ohi

=
>
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!
2
!
2
2
2
k
/
‰/
/
4
4
4
`
`
S.
A.
T.
B.
=
56
: -
: -
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q -
< -
: -
< -
Monteverdi: Ohimè se tanto amate
7 W ! ! 8 9 9 9 8 7 W
a vre te,
7 W ! ! 8 9 9 9 8 7 W
. W /!
! 7 W W W W W W W W W W W W W W W W W
mè, a vre te, a vre te Mil l’e mil le dol ci ohi mè, ohi mè, ohi mè, ohi mè,
W W ! ! 7 W W W W W W W W W W W W W W W . W W
mè, a vre te, a vre te Mil l’e mil le dol ci ohi mè, ohi mè, ohi mè, ohi mè,
W W ! ! 7 W W W W W W W W W W W W W -W
W !
te,
a
a
vre
vre
te,
te,
a
vre
te
Mil l’e
mil
7 / WW /!!!
!! 7 W W W W W W W WW WW WW WW 8 7 WW
mf
mp cresc.
. WWW WW!! W
W !!7 W W W W W W W W W W W W W W W W W WWW W W
dim.
sim.
W -WWW
WWW .!WW
WW
le
dol
ci ohi
mè, ohi mè, ohi
mè, ohi
mè,
a
a
a
a
225
for online perusal only
S.
A.
T.
B.
62
: -
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< -
: -
< -
W W W W W W W W W -W
W W ! 7 W ! 7 / W "4
te Mil l’e mil le dol ci ohi mè, ohi mè, ohi mè, ohi mè, ohi
W W W W W W W W W W W W ! ! W ! . W "4
vre
vre
W W W W W W ! ! ! ! ! W W ! "
te Mil l’e mil le dol
ci
ohi
me, ohi
W W W W ! W W W ! W ! ! ! 7 W "4
te Mil l’e mil le dol ci ohi mè, ohi mè, ohi
" " " " 8 ! "
vre
vre
te
Mil
l’e
mil
le
dol
ci ohi mè, ohi mè, ohi
sim.
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f
cresc.
W"W WW WW WW " W W f dim.
W W " W ! W " ! ! !
W 7 !! W " 4 "
mè,
ohi
mè,
ohi
ohi
mè.
mè.
mè.
mè.
mè.

W
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SOPRANO
5
:
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ALTO
TENOR
BASS
HARPSICHORD
(ad lib.)
S.
A.
T.
B.
226
Words by
Ottavio Rinuccini (1562–1621)
:
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40. Lamento d’Arianna
I. Lasciatemi morire
CLAUDIO MONTEVERDI
(1567–1643)
7 W -!
W W W 0 W ) ! ! ! 7 W
La scia
te mi mo ri re,
7 . W ! W W W 0 W . ! ! 8
La scia
te mi mo ri re,
9 9 8 7 W . W W !
La scia te mi,
9 9 9 7 W . W W
! 0 W W W W W ! ! ! 7 W
La
scia
te
7 . XX -!!
XX / XX XX00 X)
X . XX X . X XX XX
mf
p
! 0 W W W W W ! ! ! 7 WX
Leave me to die;
. ! ! 7 W " .!
8
te mi
mo ri
re;
7 W W W -!
! . W ! W "
la scia te mi
mo
ri
re;
W W W . W ! 7 W " "
la scia te mi
mo ri
re;
! 0 W -W
W ! W W ! ! 6 W+ W W
la scia te mi
mo ri
re;
W W ! " " "
te
X7XX . X
mi
XX ! . XX --7 X ! mo
ri
re;
! ! / X . X" ! X .!!
6 X X X
W!0 W ! X X !
" X p
mp
X ! "
scia
mi,
scia
1
2
Canto
Quinto
Alto
Tenore
Basso
Partitura
for online perusal only
© Oxford University Press 2001. Photocopying copyright material is illegal.
b
#
mi
mo
ri
re,
#
la
La scia te
la
E chi vo
whom do you

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S.
A.
T.
B.
S.
A.
T.
B.
=
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9 9 9 9 9
9 9 9 9 9
) W -W
W 0 W W - W ! ! 6
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E chi vo le te voi che mi con for te
In co sì du ra
- ! 0 .!
7 W . W W ! W W W W ! ! !
le te
voi che mi con for te In co sì du
ra
6 + W W W -W
0 W + W 0
+ W ! W W ! ! 6 W + W W W 0 + W !
E
- X X X0 X XXXX . - X !! X! X X X ! X X X X0 X
6 W W W -W
0 W + W 0
+ W ! W W ! ! 6 W W W ! W 0 W + !
b
chi
vo
le
te
voi
che mi
wish to comfort me
con
9 9 8 7 W -!
0 W W 0 W ) !
La scia te mi mo
9 9 8 7 . W ! 0 W W 0 W
La scia te mi mo
W W W W ! W W ! ! 8 9 9
te, In co sì gran
mar ti re?
! 6 W W W W W .!
.!
8 9 9
te,
In co sì gran mar ti re?
! W . W W W W W ! ! ! W ! W W W !
te,
In
co
X X X X ! 6 X X X XX XX .!!
!!
- 00 / XX XX00 X
f
!X) 6 7 W . W W W W W ! ! ! W ! W W W !
in such great suffering?
for online perusal only
sì
gran
mar
ti
#
re?
#
for
La
te
7 . XX !!
b
in such a hard fate,
Monteverdi: Lamento d’Arianna
scia
b
In co sì
te
b
mi
b
du
mo
b
ra sor
X)
) !
sor
sor
ri
ri
ri
p
#
227

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A.
T.
B.
S.
A.
T.
B.
=
228
19
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Monteverdi: Lamento d’Arianna
! 6 W
) W W W 0 W
) ! 7 W W W ! ! 6 W ) W W W 0 . W )
re;
E
chi vo
le
te voi
. 6 W W W W 0 W . 7 . W W W ! W W W W ! !
re;
E chi vo le te voi che mi con for te In co sì du ra
8 6
W W W W ! W W W ! ! 6 W ) W W W W
E chi vo le te voi che mi con for te
In co sì du ra
6 W W W W W ! ! 7 W W W ! ! 6 W ) W W . W W
E chi vo le te
voi che mi con for te
In co sì du ra
! 6 W ) W W -W
0 W )
W 0 W ! 0 W ! ! 6 W W W W 0 W )
re;
E chi vo le te voi che mi con for te
In co sì du ra
6 X XX XX XX
00 X) !!
7
. XXX XXX XXX
!!! !!XX X X
6!XX XX XX !X0 X
mf
6!XXXX 6 WX WX WX -W 0 X W
! 7
+ W 0 W+ ! 0 X X W ! ! 6 WX WX WX . W 0 X W
#
+
#
#
#
che
mi con
for online perusal only
! W W W W ! 0 W ! ! 7 W -!
W W W 0 W ) ! !
sor te, In co sì gran
mar ti re? La scia te mi mo ri re,
! ! 6 W ) W W . W W .!
! 7 . W ! W W W 0 . W ) .!
!
sor te,
In co sì gran mar ti re? La scia te mi mo ri re,
. ! 6 W W W . W W ! ! 9 9 8 7 W
sor te,
In co sì gran mar ti re?
! ! 6 W ) W W W W ! ! 9 9 9
sor te,
In co sì gran mar ti re?
! ! W . W W W W 0 W
) ! ! ! 0 W W W W W ! !
sor
. .!! X
te,
In co sì gran
X X X !0 6 XX XX XX . XX XX X mar ti re? La scia te mi mo ri re,
.!!!
!!! 7 . XX -!!
XX / XX XX00 XX . XX X
!!
! ! 6 W . W X WX W X f
p
WX 0 X W ! ! ! 0 W W W W W ! !
+
#
#
for
b
te
b
b
b
In co sì du
ra
La

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A.
T.
B.
=
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30
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! 7 W W . W ! ! 7 W " "
la scia te mi
mo ri
! 8 7 W W W -!
! . W ! W "
la scia te mi mo ri
. W ! W W W . W ! 0 W " "
te mi,
la scia te mi
mo ri
7 W . W W ! 7 W -W
W ! W W ! "
La scia te mi,
la scia te mi
mo ri
! 7 W W W ! " " "4
scia
la scia te
. XX XX
X X 7 . XX X
mi
XX ! XX
f
! 7 WX W! W 7! X
mo
. --7 X ! !
b
ri
Monteverdi: Lamento d’Arianna
! / X . X" ! X ""
X !
" X p
X ! "4
re.
re.
re.
re.
re.
pp
#
#
229
SOPRANO
ALTO
TENOR
BASS
HARPSICHORD
(ad lib.)
:
:
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for online perusal only
II. O Teseo, Teseo mio
9 7 W ! " 9
O Te seo,
9 9 9 8 7 W
O
9 7 W ! !
7 W W W W !
O Te seo,
o
Te seo mi
9 7 W ! W ! W W .!
!
O Te seo, o Te seo mi o,
7 W ! " " 7 ! . W W
O Te seo,
o
Te
9 7 XX 7 !! !! X X X X
7!X
mf
7 W ! 7" X ! "X ! X X .! 0 . W W
O Theseus, O my Theseus,
#
seo

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Monteverdi: Lamento d’Arianna
7 ! . W W .!
! W W . W W ! W 0 W
o Te seo mi o, Te seo mi o, Si, si
W W W ! " . W W W W ! W 0 W
Te seo
mi
o,
W W W !
W W W ! !
" " W W W W .!
W 0 W W W W ! 0
o,
Te seo mi o, Si, si che mio ti vo’ dir,
9 9 9 9 9
. " 9 9 9
mi
o,
X X! X ! . X X ."!
! . XX X XX XX !!
XX00 ) XX XX / XX XX ! !X X
. ""
W W W W .!
W 0 W + W W W ! 0 W
#
Te
seo
mi
W W .!
.!
W W . W W ! 8 9 9
pur se i, Te seo mi o, Si,
W W ! ! W W W W ! 8 9 9
pur se i, Te seo mi o, Si,
- 0 W ! ! W W W W ! W 0 W )
W W W ! W ! W
pur se i, Te seo mi o, Si, si che mio ti vo’ dir, che mio
9 8 W W . W W ! W 0 W+ W W W ! ! W W
Te seo mi o, Si, si che mio ti vo’ dir, che mio
9 8 W W W W .!
W 0 W+ W W W ! ! W W
mio
mio
Te
XXX .!!
.!!
XX XX . XX XX !! ! XX00 )
XX XX / XX XX ! !X ! X X
- 0 + W ! ! . WX XW
WX X W .!
W 0 W+ W W W ! ! W W
#
seo
#
mi
#
o,
#
Si,
si
#
o,
Si,
si
#
che mio
for online perusal only
#
Yes, I will call you mine, for you are truly mine,
che
#
mio
#
ti
ti
vo’
che mio ti vo’
vo’
#
dir,
che
dir,
dir,
W W
che
che
mio
mio
che
pur
pur
pur

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!
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-!
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9 9 9 8 W W W "
Ben chè t’in vo
9 8 W W W W W ! .!
! 9
Ben chè t’in vo li, ahi cru do!
. ! W W W ! " ! !
8 W W W
se i, Ben chè t’in vo li, ahi
cru do!
Ben
! ! W W W ! ! .!
! ! W W W !
se i, Ben chè t’in vo
li, ahi cru do! Ben chè t’in vo
! ! W W W ! " ! ! W W W !
se i,
Ben
. !! XX XX XX !!X X X "X X ! .!
!X X X ! X X X
! ! W W W ! "! .!
! ! ! ! / W X WX X W !
# #
#
# #
although you vanish (ah, cruel!) from my eyes,
" ! W W ! 0 W " " 8 7 W
cru do! a gl’oc
chi mie
i.
Vol
9 8 7 . W . W 0 W ) ! ! .!
" 9
a gl’oc chi mie
i.
W W ! .!
! 7 - 0 W " "
8 7
vo li, ahi cru do!
a gl’oc chi mie
i.
Vol
" ! ! 7 W W W " ."
7 ! W W
li, ahi
cru do!
a gl’oc chi mie
i.
Vol gi
! .!
! ! 7 W W 0 W ) " " 7 ! W W
li, ahi
li, ahi
. XX XX . X0 !0 X + X0 X X !
. ! ! +
7 WXX WX 0
X W +
"
X"X! !!
" !
for online perusal only
chè t’in
cru
#
do!
vo
li, ahi
a
gl’oc
chi
cru
mie
do!
Monteverdi: Lamento d’Arianna 231
Ben chè t’in
" !
"""" . 7 !!
#
b
vo
chè t’in
i.
Vol gi ti,
. " 8 7 X
mf
X
/ / WX WX
#
turn back,
ti,

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Monteverdi: Lamento d’Arianna
W W W ! W . W ! ! 8 9 7 ! . W W
gi ti, Te seo mi o,
vol
9 9 9 8 7 W W W W !
Vol gi ti, Te
W W W .!
! ! !
7 W W W W ! "
gi ti, Te seo mi o,
vol gi ti Te
" ! ! W ! . W W .!
! 9
Te
seo mi o, vol gi ti Te seo,
" ! ! ! 8 7 ! . W W "
Te
seo mi o,
vol gi ti, Te
XXX X ! X . X
7 !! !! X X X X
7!X X 7 X ! X ! . X X
" X X .!
! /!
!X X W . W W . W ! .!
. W W " "
my Theseus,
#
. ! W W 0 W+
W .!
! 9
Te seo,
O
Di o!
" W 0 W ) ! ! W W W W W !
seo,
O
Di o! Vol
gi ti in die
8 ! ! ! 9
seo,
O
Di o!
8 7 W " ! .!
W W W W 0 W W W
O Di
o! Vol gi ti in die tro a ri
" ! 7 W ! ! W W W W 0 W W W
seo,
. ! X0 X X0 X .!!
X) X .!!
X! X X / X X !
"!0 X ! " f
mf
7 W ! .!!
WX WX XW
WX 00 WX WX W
#
for online perusal only
(O God!)
#
O
#
Di
#
o!
#
Vol
gi
ti in
turn back to gaze again at her
die tro a ri
gi ti,
mi
mi

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Monteverdi: Lamento d’Arianna 233
9 8 7 W W W W ! W W W W W 0 W
Vol
gi
W W W W W 0 W ! ! W W W W 0 W W W W 0 W
tro a ri mi rar co le i, vol gi ti in die tro a ri mi rar co le
9 9 8 . W W W . W 0 W W W W 0 W )
Vol gi ti in die tro a ri mi rar
! 0 . W ! .!
W W W W 0 W W W W 0 W W W
rar
co le i, vol gi ti in die tro a ri mi rar co le i
W 0 W+ ! " . W W W W 0 W W W . W 0 W+ !
rar co le i,
vol gi ti in die tro a ri mi rar
X X X X X0 8 7
X) ! !
X XX XX XX . X00 X XX XX XX . X0 X X X X co
X X X le
X0 0 X)
f
X
!0 ! . X "! .!
. WX WX WX WX 00 WX WX WX . WX 00
)
WX
+ !!
ti in
die
tro a
ri
mi
rar
co
co
for online perusal only
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! W W W W W W W 0 W W 0 W . W W 6 W ) W W
le
i Che la scia to ha per te la pa tria e’l re gno, E’n que
! .!
9 9
i
! W W W W W W W 0 W W 0 W W W 6 W ) W W
le
i Che la scia to ha per te la pa tria e’l re gno, E’n que
7 W W W . W W W . W W W W W 8 6 W+ W W
Che la scia to ha per te la pa tria e’l re gno,
E’n que
W W W W W W W 0 W )
. W ! !
i
Che
la
. X X X X X X X X XX00 XX . X X 00 X X . X X X X
6 )
XXX XXX XXX
mf
W W W . W WXX WXX WX 0 . X X
+ WX . W X W ! !
!!! !X
scia
to ha
per
te
la
pa
tria e’l
who left for you her homeland and kingdom,
and now on these sands,
re
gno,
st’a
st’a
st’a

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Monteverdi: Lamento d’Arianna
. 0 W W W 6 + W W W W 0 + W W W 8
re na an co ra,
e’n que sta a re na an co ra,
8 7 W W W W W W W W W . W W 6 + W W W
Che la scia to ha per te la pa tria e’l re gno, E’n que
W 0 W )
W W 9 9
re na an co ra,
W 0 W . W 9 W W . W . W W W W
re na an co ra,
Ci bo di fe re di
8 W W . W . W W W W W 0 W W W 6 + W W W
Ci bo di fe re di spie ta
te e cru de, E’n que
.
) 7
00 XX X XX X 6X X) XX
XX XX0 X X X)
X . XX XX 6 X + X X
W 0 W . W WXX . W . W W W W W 0 W XW
WX . W . 6 )
W WX WX WX
W W . W W W W W W 0 W
) ! ! 8 9
Ci bo di fe re di spie ta te e cru de,
W 0 W+ W W W W . W . W W W W W . W W W W W 0 W
) W W
re na an co ra, Ci bo di fe re, ci bo di fe re di spie ta te e cru de,
8 6 W W W W 0 W W W W W W W W W W 0 W ) W W
E’n que st’a re n’an co ra, Ci bo di fe re di spie ta te e cru de,
W W 6 W+ W W W 0 W+ W W . W W W W W W W W W W . W W
ta te, E’n que st’a re n’an co ra, Ci bo di fe re di spie ta te, ci bo
W 0 W+ . W W 9 9 8 W W W
re
XX0 X XX
W 0 W+
)
. XX
na an co
for online perusal only
food for pitiless and cruel beasts,
ra,
. X XX X
)
XX0 X . XX . X!
X !X X X .
)
XX XX XX XX XX00
)
XX XX XX
. XX XXW
XX WX 00 ) f
WX +
XW
WX . WX WX XW
W W W W W W . WX WX WX
Ci
bo
st’a
spie
st’a
di
di

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Monteverdi: Lamento d’Arianna 235
. W W W W W W ! 0 W ! W W W ! 0 W
ci bo di fe re di spie ta
te e cru de, La scie rà
W . W . W W W W ! 0 W .!
W W W "
ci bo di fe re di spie ta
te e cru de, La scie rà
8 W W W W 0 W W W W 0 W ! ! W W W !
ci bo di fe re di spie ta te e cru de,
La scie rà
W 0 W ) W W ! 0 W ! ! W W W W
fe re di spie ta
te e cru de,
La scie rà
. W W W W . W W W W W 0 W+
! ! W W W !
fe re, ci bo di fe re di spie ta te e cru de,
La scie rà
. XX . XX XXX XX XXX XXX X0 !!00 X X X X0 XX
X .!!
+
XX XX XX .!!
700
X X ! X
. WX0 W X) XW
WX W . W ! mp
0 W W W W 0 X W !
+
! ! WX WX W !X X
W W ! . ! 0 W ! ! 9 9
sa i gnu
de. O Te seo,
W 0 W ) ! " 9 9 8 7 W
sa i gnu de.
O
W 0 ! .!
0 W ! !
8 7 W W W W !
sa i gnu de. O Te seo,
o
Te seo mi
W W ! ! 0 W .!
! 7 ! . W W .!
!
sa i gnu de. O Te seo, o Te seo mi o,
. 0 W
) ! ! 0 . W ! ! 9 7 ! . W W
sa i gnu de.
X0 X X ! X + ! . X ."! ! 0 0
O Te seo,
o
Te
XX !! !! .!!
7 !! XX X X
X
. W 0 X W +
!!
! 00 . W .!
! ! 0 . W W . W ! .!!
. W W
l’os
l’os
l’os
for online perusal only
#
O Theseus, O my Theseus,
#
#
will leave her bare bones.
# # #
l’os
l’os
seo

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Monteverdi: Lamento d’Arianna
7 ! . W W .!
! 6 W
o
Te seo mi o,
W W W ! " 6 W
Te seo
mi
W W W W 0 W "
W W ! ! !
" ! W W W W " ! !
o, Se tu sa pes
si, o
9 9 9 6 W W W W W
Se tu sa pes
. " ! 6 W ) W W ! !
mi
X X! X ! . X X "!
. !"
X X X X !
o,
o,
. ! 6 XX
#
if you knew, O God!
) XX XX !X X0 X "!!
!!
6 + W W W 6! W ) W W !W W
. ! 6 W+ W W ! ! . W W W . W 0 W !
Di o!
Se tu sa pes
si, ohi mè! co me s’af
! W W W W ! ! ! 0 W W W 0 W !
Di o! Se tu sa pes
si, ohi
mè!
co me s’af
! ! 8 6 W W W W W ! 9
Di o!
Se tu sa pes si, ohi mè!
! .!
8 6 W+ W W W . W W W W W W !
Di o!
Se tu sa pes si, ohi mè! co me s’af
! ! 9 9 9
Di o!
. X! X X X 6 ! X) X X !! !0 !
. X XX XX . XX00 XX !!
! .!
! 6W . )
WX WX WX XW
. WX W W W W W !
Se
Se
tu
tu
sa pes
sa
pes
si, o
for online perusal only
Se tu sa
pes
si, o
si, o
fan
fan
fan
si, o
if you knew (alas!) how troubled is
#
#
#
#
b

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Monteverdi: Lamento d’Arianna 237
W W W 0 W ) W W -!
-!
7 W W . W W W W .!
!
na La po ve ra A ri an na, For se, for se pen ti to
- W W 0 W ) -W
W ! ! 7 -W
W W W W W ! !
na La po ve ra A ri an na, For se, for se pen ti to
9 9 8 7
W W W W W W ! W W W W
For se, for se pen ti to Ri vol
W W W 0 W ) W . W ! ! 8 9 9
na La po ve ra A ri an na,
9 9 9 9 9
- XX XX00
)
XX -XX
X !! -!!
7 XX XX . XX XX
X X .!!
!!
W W W 0 W+ W . W ! ! 7 W W W W W W ! W W W W
b b b
poor Ariadne,
b
# # # #
perhaps repentant
you would turn back
W . W W W W 0 W ) W 0 W W 0 W ) " "
Ri vol ge re sti an cor la pro ra al li
to.
W W W W W 0 W ) -W
0 W W 0 W W . W W ! "
Ri vol ge re sti an cor la pro ra al li
to.
! 0 W W 0 W W 0 W " "
re
sti an cor la pro ra al li
to.
9 9 9 8 7 W W
Ma,
9 9 9 9
) XXXX . XX XX XX00 XX -XX00 )
XX XX00 X " . X X ! "
mp
! 0 W W 0 + W W 0 + W " ! 0 W W
your prow to the shore.
for online perusal only
b b b b #
#
ge
con

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Monteverdi: Lamento d’Arianna
7 W W W W W W W ! W W W 0 W ) W W 8 7 W
Ma, con l’au re se re ne Tu
te ne vai fe li ce
7 W W W W W W W ! W W W W . W W 8 7 W
Ma, con l’au re se re ne Tu
te ne vai fe li ce
8 7 W W W W W W W W W W W W W W 7 W W W
Ma, con l’au re se re ne Tu te ne vai fe li ce ed i
W W W W W W W W W W W W W W W W 8 7 W
re se re ne Tu
te ne vai, te ne vai fe li ce
7 W W W W W W W ! W W W 0 + W W W 9
l’au
Ma, con l’au
re
se
re ne Tu
7 XX XX XXX X XXX XXX X X X XX !! X X X X X XX XXX X XX XX . XXX 8 7 XXX XX
W WX WX W W W W W !XX XX X W W WX 0 X W + W W 7 W W W X
But with gentle breezes you happily depart
! W W .!
! 8 6 W ) W W W W W W W W W
i o qui pian go;
A te pre pa ra A te ne Lie te
! W W ! ! 8 6 W ) W W W W W W W W W
i
o
qui
for online perusal only
pian
W W ! " 8 6 W ) W W W W W W W W W
ri man go;
A te pre pa ra A te ne Lie te pom
! W W ! ! 6 W ) W W W W W W W W ! W W
i o qui pian go; A te pre pa ra A te ne Lie te pom
9 9 8 6 W W W W W W W W W W
A te pre pa ra A te ne Lie te pom
!!XX X X .!!
!! 8 6 )
XXX XXX XXX XXX XXX XXX XXX XX X X X
XXX
!XXW ! W ! " mf
! 6 + W W W W WX)
W W W W W! W W W WX X
#
go;
#
te
ne
A
vai
for you Athens prepares joyful, proud pomp,
te
pre
pa
fe
li
ra A
ce
te
ne
Lie
ed
ed
o
ed
and I lament here;
pom
te pom

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Monteverdi: Lamento d’Arianna
W W W W W 9 9 9 9
pe su per be,
W W W . W 9 9 9 9
pe su per be,
*
W W W W W 7 W W W W W ! ! 0 W W W W -W
0 W
pe su per be, ed i o ri man go
Ci bo di fe
W W W W W 8 7 W ! W W .!
W W W . W W W 0 W )
pe su per be,
ed i o ri man go Ci bo di fe
W W W W W 8 7 W ! W W W W W W . W ! 0 W
pe su per be,
ed i o ri man go Ci bo di fe
re in
XXX XX X X X . XXX 8 7 XXX X X X ! !0 X X
p
WXWX W WX X X 7 WX ! WX WX . W! W WX WX . W ! X 0 . XX XX -XX00 . W XX
and I remain,
9 9 W W W W W W W W W W 0 W W
Te l’u n’e l’al tro tuo vec chio pa ren te
9 9 W W W W W W W W W W W
Te l’u n’e l’al tro tuo vec chio pa ren
W W ! W .!
! W W W W W W W W W W W
so li ta rie a re ne; Te l’u n’e l’al tro tuo vec chio pa ren
W W -!
W ! ! W W W W W W W W W W W
so li ta rie a re ne; Te l’u n’e l’al tro tuo vec chio pa ren
. W W 0 W
) ! ! W W W W W W W W W W W
so li ta rie a re ne; Te l’u n’e l’al tro tuo vec chio pa
9 9 XX XXX XXX XXX XXX XXX XX XX XX XX X0 ren
X X
. XXW / XX -W ! f
! W 0 XX W . +
!! ! WXX WX WX WX WX WX WX WX WX WX WX
on lonely sands;
for online perusal only
#
#
#
you one and the other of your aged parents
# # #
food for the beasts,
te
te
te
te
239
re in
re in
Strin
* If sung chorally, Tenors should divide for bars 84–89 and the Alto part be sung by 1st Tenors.

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Monteverdi: Lamento d’Arianna
W W W W W 9 9 9 9
Strin
W W . W W 7 W -W
W W W W 0 W ) W W 7 W W ! W
W W W W W 7 -W
W W ! W 0 W W W W W W W !
ge rà lie to, ed i o Più non ve dro vi, ed i o
W W W W W 7 W W W ! -W
0 W )
W W 7 W W W !
ge rà lie to, ed i o Più non ve dro vi, ed i o
W W W W W 9 9 9 9
Strin
Strin
Strin
ge
ge
rà
rà
ge rà
lie
lie
lie
XXX XXX XXX . XXX XX 7 X -X
X X X X0 X) X X 7 / X X ! X
p
WXW X W WX -
WX7 W WX WX ! -WX 00
)
WX X
+ W WX X X 7
W WX WX !
will joyfully embrace,
to,
to,
to,
ed
i
o
Più
b b b
and I shall never see you again,
9 9 9 9 8 7 W
W 0 W
) ! .!
W 0 W ) " W W 0 W ! !
7 W
ve dro vi, o ma dre, o
pa dre mi o,
W 0 W W . W ! ! ! ! W ! . W !
7 W
ve dro vi, o ma dr’, o
pa dre mi
o,
W 0 W ! W W ! ! ! W 0 W ) ! ! 7 W
ve dro
vi, o ma
dr’, o pa dre mi o,
9 9 9 9 8 7 W
non
non
non
X0 X) ! .!!
!X0 X
)
!" ! X X0 X
7
! !
XXX
WX 00 )
WX X
+ ! . X W W ! ! ! X W 0 ! W + ! . X ! 7 WX
O mother, O my father.
non
ve
dro
for online perusal only
vi,
ed
i
o
più
più
più
ed
ed
ed
ed
ed

W
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Monteverdi: Lamento d’Arianna
- ! W W 0 W ) ! ! W 0 + W " W W 0 W ! "
i o Più non ve dro vi, o ma dre, o
pa dre mi
W W ! W 0 W
) W . W ! ! ! ! W ! . W "
i o Più non ve dro vi, o ma dr’, o pa dre mi
W W 7 - 0 W
) ! W W W W ! ! ! 7
W 0 W ! "
i o Più non ve dro vi, o ma
dr’, o pa dre mi
W W ! W W ! ! ! ! ! W 0 W
) ! "
i o Più non ve dro vi, o ma
dr’, o pa dre mi
W W ! - 0 W )
! W W ! ! ! W W ! "4
i
- XX ! o Più non ve dro
!! X )
-XXX000 XXX X! ! . X X ! vi, o ma
dr’, o pa
! / X X X !!X0 X )
!!" !! X X dre mi
!X0 X ! . X ""
WXWX 7 ! X -W 0 X W
!
+ ! W ! W !
! ! " ! W X W X
f
p
0 XX !!"4
!
#
#
o.
o.
o.
o.
o.
#
241
SOPRANO
ALTO
TENOR
BASS
HARPSICHORD
(ad lib.)
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ý
ý
for online perusal only
III. Dove, dove è la fede
! ! 7 ! W W -W
W W W 0 W ) W . W !
Do ve, do ve è la fe de, Che tan to mi giu ra
. ! 7 ! W W W W W -W
0 W ) -W
W W W W
Do ve, do ve è la fe de, Che tan to mi giu ra vi,
! ! 7 .!
W W W W W W 0 W W W !
Do ve, do ve è la fe de, Che tan to mi giu ra
9 ! ! 8 7 W W W W -W
W W
Do ve,
do ve è la fe de,
! ! 7 ! . W W W W W W 0 + W
Do ve, do ve è la fe de, Che tan to mi
W
giu
W !
ra
. ! ! ! 7 .!!!
XX XX -
)
XXX XXX XXX XXX000 XX -XX
. XXX X!
X X
! ! ! 7 ! ! . W W kW W W 7 mf
W 0 X W + W
X X - X X
# #
#
b
b
b
b
che
Che
Where, where is the faith
you swore so often to me?

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Monteverdi: Lamento d’Arianna
" " 7 W W 0 W
vi?
Co sì
- 0 W W W ! ."
7 . W W 0 W
tan
W 0 W ) ! W ! W W
l’al ta se de Tu
. 0 W ) ! . W ! W W
" " 7 W W 0 W W W ! W ! W W
vi?
Co sì ne l’al ta se de Tu mi
W 0 W W W -!
! 7 W ! 8 7 W W 0 W W 0 W ) W W
to mi giu ra vi? Co sì,
co sì ne l’al ta se de
" " 7 W W 0 W+ W W ! W ! . W W
vi?
Co sì ne l’al ta se de Tu mi
-""X0
X X X ! ."""
7 ) )
. XX XXX000 XXX . XX00 X X XX !!! . XXX
!! ! XX XX
"X0 X X X -!
" ! 7 X ! 7 W 8W 0 W 7
+ W W !X0 X) X0 W ! X) X . WX W
tan
to
mi giu
ra
- 0 . W " " 7 W W 0 W W 0 W
pon
de gl’a
vi?
Son que ste le
! 0 W " ."
7 W W 0 W W W
pon
! 0 W " " 7 W W 0 W W 0 W
de gl’a
vi?
Son que ste le
7 ! W W -W
W ! W 0 W
) W 0 W W 0 . W W W 8
Tu mi ri pon de gl’a vi? Son que ste le co ro ne,
! ! " " 7 W W 0 W W W
pon
pon
de
de
- 000 XXX
7!! X X
vi?
for online perusal only
#
. "" """
of your forefathers?
gl’a
gl’a
Co
sì
#
ne
ne
l’al
Is it thus that you seat me on the high throne
vi?
vi?
. 7 XX XXX000 XXX XX X0 0 X X
f
X
- X ! "X0 X) X0 X X0 . X X 7 WX 8W 0 W W W
Are these the crowns
#
ta
se
Son
Son
de
#
que
que
Tu
#
ste
ste
le
le
mi ri
mi
co
co
ri
ri
ri
co
co

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7
X
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`
7
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)
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W W W W W W 0 . W W W 7 W W W W 0 . W
ro
ne, On de m’a dor ni il cri ne?
Que sti li sce
W W W W W W 0 W W W 7 W W W W 0 W
ro
W W W W W W 0 W W W 7 W W W W 0 W
ro
ne, On de m’a dor ni il cri ne?
Que sti li sce
W W W 0 . W W W 7 W W W W 0 . W W W 7
dor ni il cri ne?
Que sti li sce tri so no,
W W W W W W 0 W W W 7 W W W W 0 W
On de m’a
ne,
ro
ne, On de m’a dor ni il cri ne?
Que sti li sce
XXX XXX XXX XXX XXX XXX000 . XXX XXX XXX 7 XXX XXX XXX XXX000 XXX
WXX X X0 W
. X W X XW
W 7 W 0 W W X WX X X0 .
W X WX W 7 W 0 W
with which you adorn my hair?
On
de m’a
W W 7 W W W W 0 . W W W W ! W W W 0 W+ ! W W
so no,
Que ste le gem me e gl’o ri? La sciar mi in a ban
W W 7 W W W W 0 W W W W ! W W W 0 W . W 8
so no,
Que ste le gem me e gl’o ri? La sciar mi in a ban do no,
W W 7 W W W W 0 W W W 8 9 9
so no,
Que ste le gem me e gl’o ri?
W W W W 0 . W W W 7 9 9 7 W !
ste le gem me e gl’o ri?
W W 7 W W W W 0 W W ! . W . W 0 W
Que
so
no,
dor
ni il
Are these the sceptres,
Monteverdi: Lamento d’Arianna
W W "
XXX XXX 7 XXX XXX XXX XXX000 . XXX X X X X X X XX !! 8
XX / XX XX00 XX
. X X X 8 X
WXW X X X0 .
W X WX W 7 W 0 W W ! . W . W 0 W W W 7 " X !
these the gems and jewels?
Que
ste
le
gem
m’e
gl’o
ri?
cri
ne?
for online perusal only
La
sciar
Do you leave me abandoned
Que
mi in a
ban
sti
li
#
sce
A
tri
tri
tri
tri
do no A
do
fe
243

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Monteverdi: Lamento d’Arianna
W 0 . W ) W W W W W W 0 W ) W W 8 7 W ! W W W 0 W
fe ra che mi strac ci e mi di vo ri?
La sciar
mi in a
7 W ! W W W 0
+ W ! W W W 0 . W ) W W W W W W 0 W )
la sciar
mi in a ban do no A fe ra che mi strac ci e mi di
9 9 7 W ! W W W W W W W W 0 W
A fe
ra che mi strac ci e mi di
W W W W W W W W 0 W . W 8 9 9
ra che mi strac ci e mi di vo ri?
" ! ! W W ! ! ! ! !
no
7X0 X .+ X X ! A
X X X X X X fe
ra che
X0 XX
+ X! X ! X mi
X 7 X0 X .+ X X ! strac
X X X X ci e
X X X X 00 XX
"XXX X X !X X !X0 X) . WX
WX 8! ! X X !X X X !X X !X0 X)
#
for beasts to tear and devour me?
W W W W 0
do
no
A
fe
for online perusal only
#
. ) . W W W . W W 0 W ) W W 8 8 ! W W W W
ra
che
mi strac ci e mi
di
! W W W ! 0 W W 0 W W W 8 ! ! 0 W
vo ri, che mi strac
ci e mi di vo ri? Ah Te
8 9 9 8
. W
! -!
!
vo ri?
Ah Te seo
7 W W 0 W+ W W ! W W 0 . W ) W W 8 ! ! !
A fe ra che mi strac ci e mi di vo ri? Ah Te seo
! ! ! ! ! ! " -!
!
mi
di
vo
ri? Ah
Te seo
XXXX X XX0 X .
)
X .!0
X X X . X X0 X X) X0 X X X+ X X !!! !! !0 X X X X X
. X ! X 0 X ) X!
X ! ! X !X0 . X) ! X X 8 mp
" !! --! ! ! ! ! !
vo
ri?
#
Ah
Te
#
seo,
ban
ah
seo
f
#
#
#
Ah Theseus,

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Monteverdi: Lamento d’Arianna 245
W W 0 W W W 9 9 9
Te seo mi o,
! .!
8 7 W W W ! W . W W W W 0 W )
mi
o,
! ! W W ! ! W W W W 6 W ) W 0 W
mi
o, La scie rai
tu mo ri re, In van
! ! W W ! ! -W
W W W 6 W W 0 W
mi
o, La scie rai
tu mo ri re, In van
! ! 9 9 9
mi o,
La
scie
!XX0 X .!X
X 8 7 X X X ! X . X X X X0 X)
p
WX WX ! ! -WX
WX WX WX 6W . X) WX !!! 00 WX
rai
tu
mo
ri
re,
In van
pian
pian
pian
for online perusal only
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B.
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my Theseus, will you leave me to die
in vain weeping,
9 9 9 9
W W . W W ! . W W W W 7 W . W 0 W W W W 0 W )
gen do, in van gri dan do a i ta,
La mi se ra A ri an
W W 6 W W 0 W ! 0 W W W 7 W W 0 W W W !
gen do, in van gri dan do a i ta,
La mi se ra A ri an
W W 6 + W W 0 W ! ! W W W . W 0 W ) W W !
gen do, in van gri dan do a i ta, La mi se ra A ri an
9 9 9 9
X X . X X !0 . X X X X X X
7 XX . XX00 XX XX X X0
W W 6W . X) WX 00 WX ! ! W W W . W 0 W W W !
! X
b b # #
#
in vain crying for help,
your wretched Ariadne
# # #
! X +

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Monteverdi: Lamento d’Arianna
9 9 9 9 9
W W ! W W W W W W 0 W
) W W 7 W ! "
Ch’a te
fi dos si e ti diè glo ria e vi ta?
! W W W W . W W W W W W W W 0 W
Ch’a te fi dos si
e ti diè glo ria e vi ta?
! 0 . W . W 0 W ) W W 6 W ) W W ! ! ! "
Ch’a te fi dos si
e ti diè glo ria e vi ta?
9 9 9 9 9
na
na
na
X!XX ! 7
X XX XX X X X X0 X) XX X XX ! X0 .+ X
! 0 . W . W 0 W
) . XW
WX 6 WX
+ ) W X WX ! ! ! "
who trusted in you
8 7 W W W ! W . W W 6 W
La scie rai tu mo ri re,
W W ! ! W 0 W ) W W 6 W
La
#
#
and gave you honour and life?
W 0 W -W
W 6 / W ) W 0 W
W 0 W W W 6 . W ) W 0 W
W W ! ! W -W
W W 6 W W 0 W W W 6 W ) W 0 W
scie rai
tu mo ri re, In van pian gen do, in van
W W ! W W W W 6 W W W W W 6 W ) W 0 W !
scie rai
tu mo ri re, In van pian gen do,
in van gri dan
W W ! ! -W
W W W 6 W + W 0 W W W 6 W + W 0 W
La
La
scie rai
tu mo ri re, In van pian gen do, in van
8XX7 ! ! X X !!X ! X0 X X + . XXX XXX 6 ) XXX XXX000 XXX -XXX
XXX 6
)
XXX XXX000 XXX
cresc.
WXWX ! !X X -WX
WX 6W X) XW
X X 6 W + WX 0 W 6W X) W X0 X ! 6 W + W 0 W
La
mf
scie
rai
for online perusal only
tu
mo
ri
#
re,
#
In van pian
In van pian
gen
gen
b
do,
do,
b
#
#
in van gri
in van gri
#
gri
gri
#

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W
)
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)
+
+
W
W
6
W
6
.
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)
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)
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4
4
.
4
4
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S.
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! . W W W W 7 W . W 0 W W W W 0 W
) W W !
dan do a i ta,
La mi se ra A ri an na Ch’a
! 0 W W W 7 W W 0 W W - W ! ! !
dan
! 0 W W W 7 W W 0 W W W ! ! 0 W
dan do a i ta,
La mi se ra A ri an na
Ch’a
! ! ! 7 W W 0 W W W ! W W W 0 W
do a i
ta,
La mi se ra A ri an na Ch’a te
! ! W W W . W 0 W
) W W ! ! 0 W
dan
! X
do a
do a
i
i
ta,
ta,
La
!!00 . XX X XXX XXX 7 XXX . XXX000 XXX XXX XXX
! ! ! W ! W W . 7 W 0 X W X0 +
W X XW
X !
mi
#
#
#
#
La
se
- ! ! X)
Monteverdi: Lamento d’Arianna 247
X!0
X !
dim.
X X
!
X0
0
W W W W 6 W ) W W W W 8 7 W " "
fi dos si
e ti diè glo ria
e vi
W 0 . W 6 . W ) W W ! W W ! W . W W ! "
te
fi
dos
si
W 0 W W ! " " "
te fi dos si
e ti diè glo
ria e
vi
W W 6 W ) W W . W W 6 W W W ! ! 7 W ! "
dos si e ti diè glo ria, e ti diè glo ria
e vi
. 0 W
) W W 6 W W W ! " " "4
te fi dos si
e ti diè glo
ria e
vi
XX00 X X XX .
6 )
XXX XXX XXX XXX XXX !!X X "X X X XX ""X X . X ! """
p
. W 0 X W W X) XW
X .6X
6 X)
W+ WX W X X !
! ! 7 " X ! "4
# #
e
ti
diè
mi
ra A
se
ra A
for online perusal only
glo
ri
ria e
ri
vi
an
an
X0
#
na
na
te
Ch’a
#
Ch’a
ta?
ta?
ta?
ta?
ta?
fi
X)

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>
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.
X
248
Monteverdi: Lamento d’Arianna
SOPRANO
ALTO
TENOR
BASS
HARPSICHORD
(ad lib.)
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ý
ý
ý
ý
ý
ý
ý
IV. Ahi, che non pur risponde!
8 7 W W W W W 0 W
)
. W W 8 .!
0 W W
Ahi, che non pur ri spon de! Ahi,
che
7 ! W W ! 0 W W W 7 . W W . W W W 0 W W 0 W
Ahi, che non pur
ri spon de! Ahi, che più d’a sp’è sor
9 9 9 9
7 ! W W .!
0 W W W 7 W W W W W 0 W W 0 W
Ahi, che non pur
ri spon de! Ahi, che più d’a sp’è sor
9 9 9 9
8 7 X X X X X0 X) X X 8 .!
0 X X
mp
7 !! WX WX . ! 00
XW
WX WX 7
. W WX . WX WX WX 00 WX WX 00 WX
più
d’a’
d’a’
for online perusal only
S.
A.
T.
B.
5
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Ah, he still does not answer!
Ah, he is deafer than an asp
. 0 W W 0 W W 0 W ) . W W 7 W W 0 . W W 0 W W W W W W W W
d’a sp’è sor d’a’ miei la men ti! O nem bi, o tur bi, o ven ti, Som mer ge te
! 0 W . W W 7 W . W 0 W W 0 W W W W W W W W
miei
la men ti! O nem bi, o tur bi, o ven ti, Som mer ge te
9 9 9
. 0 W . W W 7 . W W 0 . W W 0 W W W W W W W W
miei
la men ti! O nem bi, o tur bi, o ven ti, Som mer ge te
9 9 9
) X
. 0 X X0 X X0 X . X 7 X . XX00 X XX00 X XX XX XX XX XX XX XX
f
. ! 00
WX . WX WX .
7 W 0 . W W 0 W W W W W W W W
lo
lo
lo
to my laments!
O storms, O tempests, O winds, submerge him

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Monteverdi: Lamento d’Arianna
! W W W W W 6 . W ) W W W W W W
den tro a quel l’on de!
Cor re te, Or chi e Ba le
! W W W . W W W ! . W W W W W
den tro a quel l’on de! Cor re
te, Or chi e Ba le
9 9 9
! . W W W W W 6 W+ W W W . W W W
voi
voi
den tro a quel l’on de!
Cor re te, Or chi e Ba le
9 9 9
! X X X . XX XX X 6 ! . X
) XX . XX XX X XX XX
! . W W W W W W W W . W W W
voi
ne,
ne,
ne,
249
for online perusal only
[all of] you beneath
these waves!
Hurry, sea monsters and whales,
S.
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T.
B.
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5 W W W W 0 W W W W W W W W W 0 W W 0 W W W 8 7 W
E de le mem br’im mon de Em pie te le vo ra gi ni pro fun de.
Ahi,
5 . W W W W 0 W W W W . W W W W W 0 W W 0 W . W W 7 ! W W
E de le mem br’im mon de Em pie te le vo ra gi ni pro fun de. Ahi, che
9 9 7 ! W W
Ahi, che
5 W W W W 0 W . W W W W W W W . W 0 W W 0 W W W 7 ! W W
E de le mem br’im
mon de Em pie te le vo ra gi ni pro fun de. Ahi, che
9 9 7 ! W W
5 . XX XX XX XX00 XX X X X X X X X X0 X X0 X XX
W W W W 0 W . W W W W W W W . W 0 W W 0 W W W
# #
and with his unclean limbs fill the deep whirlpools.
Ahi,
. XX
8 7 7 !
che non
XXX
7 ! !! W X W X
p
non
non
non

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Monteverdi: Lamento d’Arianna
W W W W 0 W ) W W 8 7 ! W W W 0 W W 0 W W 0 W
! 0 W W W 7 . W W . W W W 0 W W 0 W ! 0 W
ri spon de! Ahi, che più d’a sp’è sor d’a’ miei
la
! 0 W . W W 7 W W W W W 0 W W 0 W .!
0 W
ri spon de! Ahi, che più d’a sp’è sor d’a’ miei
la
! 0 W W W 7 W W W W W 0 W W 0 W ! 0 W
ri spon de! Ahi, che più d’a sp’è sor d’a’ miei
la
! 0 W W W 7 W W W W W 0 W W 0 W .!
0 W
ri spon de! Ahi, che più d’a sp’è sor d’a’ miei
la
!0 X X X X0 X X) . XXX XXX 7 X 7X . X! X X0 X X0 X X X !0 X0 X X0 X X0 X X
!!0! 00 WX X W X W X 7 X XW W X X W X X WXX WXX000
WXX WX 00 W X
mp
cresc.
..WX !!!0 0 0 X
pur
pur
pur
pur
che non pur
ri
spon
de!
Ahi,
che più
d’a sp’è sord’ a’ miei
la
. )
for online perusal only
S.
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#
#
W W 7 W W 0 W W 0 W W W W W W W W ! W W W
men ti! O nem bi, o tur bi, o ven ti, Som mer ge te lo voi den tro a
. W 7 W W 0 W W 0 W W W W W W W W W ! . W W
men ti! O nem bi, o tur bi, o ven ti, Som mer ge te lo voi den tro a
. W 7 W W 0 W W 0 W W W W W W W W W W . W W
men ti! O nem bi, o tur bi, o ven ti, Som mer ge te lo voi den tro a quel
W W 7 W W 0 W W 0 W W W W W W W W ! W W W
men ti! O nem bi, o tur bi, o ven ti, Som mer ge te lo voi den tro a
W W 7 W W 0 W W 0 W W W W W W W W ! W W W
men ti! O nem bi, o tur bi, o ven ti, Som mer ge te lo voi den
. . XXX XXX 7 XXX XXX000 XX X XXX000 XX X XXX XXX XXX XXX XXX XXX XXX X! XX . XX X
tro
. X X a
X XX
WXW X f
7 WX WX 00 WX WX 00 WX WX WX WX WX WX WX WX ! WX W W
#
#
quel
quel
quel
quel

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. W W ! . W W W W W
de! Cor re
W W 6 W
l’on
l’on
Monteverdi: Lamento d’Arianna
te, Or chi e Ba le
W W W . W W W
W W 6 W ) W W W W W W
de!
Cor re te, Or chi e Ba le
W W 6 W+ . W W . W W W W
de!
Cor re te, Or chi e Ba le
W W 6 W+ W W W W W W
l’on
l’on
l’on
de!
de!
Cor
Cor
. XX X X ! 6 XX +
XXXXX . XXX . XXX XXX XXX
W W 6 W . W W . WX W WX WX
#
#
re
re
te, Or
te, Or
chi e
chi e
Ba
Ba
le
le
ne,
ne,
ne,
ne,
ne,
251
for online perusal only
S.
A.
T.
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23
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5 . W W W W 0 W W W W W W W W W 0 W W 0 . W W W 9
E de le mem bra im mon de Em pie te le vo ra gi ni pro fun de.
5 W W W W 0 . W W W W W W W W W 0 W W 0 W . W W 9
E de le mem bra im mon de Em pie te le vo ra gi ni pro fun de.
5 W W W W 0 W . W W W W W W W . W 0 W W 0 W W W 9
E de le mem bra im mon de Em pie te le vo ra gi ni pro fun de.
5 W W W W 0 W W W W W W W W W 0 W W 0 W W W 7 W !
E de le mem bra im mon de Em pie te le vo ra gi ni pro fun de.
5 W W W W 0 W W W W W W W W W 0 W W 0 W W W 9
E de le mem bra im mon de Em pie te le vo ra gi ni pro fun de.
5 . XXX XXX XXX XXX000 XXX . XXX XXX XXX XXX XXX XXX XXX . XXX000 XXX XXX000 . XX XXXX XXXX 9
mp
5 W W W W 0 W W X XW
WX WX XW
XW
WX 00 WX W 0 W W W
Che par
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Monteverdi: Lamento d’Arianna
7 W ! ! 8 7 ! . W W ! W . W W . W !
Che par lo,
ahi! che va neg gio? Mi se ra,
7 W ! ! 8 7 W W W ! W W W W W W
Che par lo,
ahi! che va neg gio? Mi se ra,
7 W -!
-!
8 ! W W ! W W W W !
Che par lo,
ahi! che va neg gio? Mi se ra,
! 8 7 ! W W W W 8 9 8 7 W
lo,
ahi! che va neg gio
7 W -!
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8 -!
W W ! W W W W !
Che par lo,
ahi!
7 XXX
8 7
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!!! X XX ! che va neg gio? Mi se ra,
XX . X X X X !!! XXX . XXX XXX . XXX X! !
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!7W8
mp
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7 mf
mf
! 8 X X -!
X 8 W W ! W W W W 7 ! X
What am I saying,
(alas!) what am I raving about?
Wretched, alas,
7 W ! W W ! ! 7 W ! ! 9
ohi mè!
che chieg gio? O Te seo,
. 0 W ) ! " ! 7 . W ! ! 9
mè! che chieg gio?
O Te seo,
9 7
W W 0 W ! W W
7
.!
! ! W W
ohi mè! che chieg gio? O Te seo,
o
! 0 W W . W ! ! W W W W 7 W W . W W !
mè!
ohi mè! che chieg gio? O Te seo, o Te seo mi
7 W . W 0 W . .!
0 W ! ! 9
ohi mè! che
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.!!!
0 XX W X !X X 7 ! X W . W W !
what am I asking?
for online perusal only
chieg
gio?
O
Te
#
O Theseus,
seo,
#
O my Theseus,
#
#
ohi
ohi
Te seo

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9 7 ! . W 0 W .!
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o Te seo mi o,
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7 ! W W " " 9 9
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o,
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non son, non son quel
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for online perusal only
mi
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o,
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it was not I
Monteverdi: Lamento d’Arianna 253
. 6 W ) W W W W W ! W W W 0 W ) ! W W
o,
non son quel l’i o che i fe
ri det ti sciol
9 9 9 9
! 6 . W ) W W . W W W ! W W W 0 W . !
o,
non son quel l’i o che i fe
ri det ti sciol
W W W W W W W ! 0 W ! 0 W ! !
o, non son quel l’i o che i fe
ri det
ti sciol
9 9 9 9
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X . XX X
W W W W W W W ! 0 W ! 0 W ! !
quel
se:
se:
l’i
l’i
l’i
se: Par
who uttered such fierce words:

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lò
l’af fan no mi o, par lò il do lo re;
9 9 9 9
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Par lò l’af fan no mi o, par lò il do lo re; Par lò la lin
7 . W W 0 W . W W W W . W 0 W ) ! W W W W W 0 W
Par lò l’af fan no mi o, par lò il do lo re; Par lò la lin
9 9 9 9
!0 X X0 X) X X X X X !
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Monteverdi: Lamento d’Arianna
my distress spoke,
Par
for online perusal only
my pain spoke;
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. X X X X0 X)
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lò la lin gua sì, par lò la lin gua sì, ma non già il co
9 9 9 9
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sì,
ma
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9 9 9 9
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#
#
#
#
my tongue did speak, yes,
#
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gua
gua
but certainly not my heart.

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non son
8 7 W W 0 W W - W ! ! W W
re.
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non son
W W ! 7 W W 0 W
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re. Non son,
non son, non son quel l’i o,
non son
8 7 W ! 0 W W 0 W ) ! W W W W W W W
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l’i o che i fe
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fe
o che i fe
for online perusal only
ri
det
ri
det
ti
ti
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sciol
sciol
sciol
quel
se:
se:
Monteverdi: Lamento d’Arianna
. XXX XXX
!!! XXX -XXX
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# #
l’i
Par
Par
o,
lò
lò
non son quel
l’af
l’af
fan
fan
l’i
no
no
mi
255
quel
quel
quel
quel
o che i
par
o, par
par
par
mi o, par

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Monteverdi: Lamento d’Arianna
W W .!
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lò il do lo re;
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par lò la lin
W W ! " 6 W W W W 0 W
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lò il do lo re;
Par lò la lin gua sì,
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lò il do lo re; Par lò la lin gua sì,
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lò il do lo re;
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par lò la lin gua sì, ma non il co
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par lò la lin gua sì, ma non il co
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for online perusal only
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Words: Anon.
SOPRANO
5
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< -
ALTO
1
TENOR
2
BASS
(for
rehearsal
only)
W W W W W ! ! W W W W W ! !
she
O my
W W W W W ! ! W W W W W ! !
bon
W W ny
W lass
W she smil
W ! eth, When
! W she my
W W heart be guil
she her sweet eye turn eth, O how my heart it burn
W W /!
!
bon ny lass she smil eth, When she my heart be guil
she her sweet eye
W W W W W ! ! W W W W W ! !
turn eth, O how my heart it burn
bon ny lass she smil eth, When she my heart be guil
she her sweet eye
W W W W W ! ! W W W W W ! turn eth, O how my heart it burn
!
WWW WWW WWW WWW WWW !!! !!! WWW WWW WWW W W W W !!! !!!
WWWW WW WW W W
!! !! WW WW WW WWW W W /!!
! !
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Fa la la la la la la, fa la la la
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Fa la la la la la la
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) W W W W W W !
la la la la la la, fa la la la, fa la la la
W W W W W W / W ! W 0 W+ W W W W !
la la la
la la,
fa la la la la la la
W 0
+ W 0 + W W W W W W W W W W - W !
Fa
Fa
Fa
Cantus
Altus
ý }
; ý }
Quintus
; ý }
Tenor
Bassus
ý }
la
la
W W W W
WW00 WW WW 00
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41. My bonny lass she smileth
W
W
W
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2
1. My bon
2. When
2
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2. When
2
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2
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2
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ny
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sweet
1. My bon ny lass
2. When she her sweet
la
la
la
la,
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eye
she
eye
fa
smil
turn
smil
turn
la
eth,
eth,
eth,
eth,
la
When
she
how
for online perusal only
Allegretto
When she my
O how my
THOMAS MORLEY
(1557/8–1602)
W 0 W+ W 0 W+ WWW 00 W WW + WWWWWW W W WWWW WWW WWW W W
WWW / WW W WW00 W W W ) W W W W W W W - W !!
la,
fa
my
heart
heart
heart
heart
la
be
it
be
it
la
guil
burn
guil
burn
la
eth.
eth!
eth.
eth!
eth.
eth!
eth.
eth!
eth.
eth!
la
la
© Oxford University Press 1999 and 2001. Photocopying copyright material is illegal.

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Morley: My bonny lass she smileth
1.
2.
! 0 W ! ! W W ! ! ! " ! 7 W
la, fa la la
la la
la la. la.
! 0 W ! ! ! ! ! 0 W " !
7 W
la, fa la la la la la
la la. la.
! 0 W ! ! ! ! " " ! 7 W
la, fa la la
la la
la. la.
! ! ! ! ! ! ! ! " ! 7 W
la la, fa la la la la la la. la.
! 0 W ! ! " " " "
la,
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la
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7 WWW
!! 0 ! (
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la.
la.
Smile
Dear
Smile
Dear
Smile
Dear
Smile
Dear
for online perusal only
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: -
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W W W / W ! 7 W W W W W
/ ! 7
dear love, there fore, And you shall love me more.
call in their light, Or else you burn me quite!
W W W W ! 7 W W W W W ! 7
less,
love,
less,
love,
their light, Or else you burn me
W W W
3
W ! 7 W W W W W ! 7
4
dear love, there fore, And you shall love me more.
call in their light, Or else you burn me quite!
W W W W ! 7 W / W W W W ! 7
less,
love,
less,
love,
dear
call
dear
call
love,
in
love,
in
there
there
fore,
fore,
light,
And
And
Or
their
9 8 7 W W W W W ! 7
And
Or
3
WWW WWW WW / WWW !!! 7 W W WW WW WW / W W !
4 ! 7
W W W W ! 7 WWW / WW WWW WWW W !!! 7
you
you
else
you
else
shall
shall
you
shall
you
love
love
burn
love
burn
me
me
me
me
me
3
4
3
4
3
4
3
4
[ ,. = , of preceding ]
3
4
more.
quite!
more.
quite!
more.
quite!

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Morley: My bonny lass she smileth
W 0 W+
W ! W ! W ! / W ! W
la la la la la, fa la la la,
9 W 0 W ) W ! W ! W ! W
Fa la la la la la la la,
! W ! W ! W W W W W W W W
la la, fa la la la, fa la la, fa la
7 W W ! W W 0 W+
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Fa la la la la la la la la la la,
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W ! W
Fa
Fa
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la
la
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la
la
la
la
la,
fa
fa
la
fa
259
for online perusal only
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la
la la
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Dear
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la la la la la la la la la la. Smile la.
Dear
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la la la la la la la la la la la la. Smile la.
Dear
7 7 W ! W W W W ! 7 W "
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fa la
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Dear
W W W W W W W W W " "
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la la la la la la la la la la.
la.
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Words: Anon.
SOPRANO
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1
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2
BASS
; ý
(for
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42. Now is the month of maying
W
W
W
W
W
W
2
1. Now
2. The
3. Fie
2
1. Now
2. The
3. Fie
2
1. Now
2. The
3. Fie
2
2
W W W W ! W W W 0 W
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is the month of may ing, When mer ry lads
Spring, clad all in glad ness, Doth laugh at Win
then! why sit we mus ing, Youth’s sweet de light
W W W W . W ! W W W 0 W
) W W
is the month of may ing, When mer ry lads
Spring, clad all in glad ness, Doth laugh at Win
then! why sit we mus ing, Youth’s sweet de light
W W W W W ! W W W 0
+ W W W
is the month of may ing, When mer ry lads
Spring, clad all in glad ness, Doth laugh at Win
then! why sit we mus ing, Youth’s sweet de light
W W W W W ! W W W 0 + W W W
1. Now is
2. The
3. Fie
2
1. Now is
2. The
3. Fie
Gioioso
2
the
Spring, clad all in glad ness, Doth laugh
then! why sit we mus ing, Youth’s sweet
W W W W W ! W W W 0 W
the
month
month
THOMAS MORLEY
(1557/8–1602)
Spring, clad all in glad ness, Doth laugh at Win
then! why sit we mus ing, Youth’s sweet de light
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)
. !!! WWW WW WWW 000 WWW WWW WWW
WWWW WW WW WW ! ! W W W W W 0 W WWWW
! W W W W W W W W . W W W W W W W W ! 7
ing, Fa la la la la la la la la, fa la la la la la la,
ness,
ing?
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ing, Fa la la la la la la la la la, fa la la la la la la,
fus ing?
! ness,
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play
sad
fus
play
sad
play
sad
fus
ing?
! W W W W W W W ! 0 W W W W W W ! 7
play
sad
fus
! ness,
ing?
W W W W W W W ! 0 W W W W W W ! 7
play
sad
fus
Cantus
Altus
; ý
; ý }
Quintus
; ý
Tenor
Bassus
ing,
ness,
ing,
ý {
ing,
ness,
ing?
Fa
Fa
Fa
for online perusal only
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la,
la,
la,
. W W W / WWW WWW W 0 W .+ W WWWW W . WW WW W WW W W W WWW WWW W W W WW 0 . WW W +
!!! 7
!!WW WW WW WWW W W WW WW !!! 000 WW WW WW WW WW W ! 7
of
of
may
may
fa
fa
fa
la
la
la
ing,
ing,
la
la
la
When
When
la
la
la
mer
mer
la
la
la
la
la
la
ry
at
de
ry
lads
Win
light
lads
la,
la,
la,
are
ter’s
re
are
ter’s
re
are
ter’s
re
are
ter’s
re
are
ter’s
re
(Each verse twice)
(Each verse twice)
© Oxford University Press 1999 and 2001. Photocopying copyright material is illegal.

=
>
:
:
q
:
:
q
00
00
00
00
00
W
W
W
W
!
!!!
W
`
)
/
.
00
00
00
00
00
00
00
S.
A.
T.
B.
=
8
q
<
8
: 00
< 00
Morley: Now is the month of maying
W W W W . W ! 7 W W W W W ! 7 W W
with his bon ny lass Up on the green y grass.
to the bag pipe’s sound The nymphs tread out their ground.
dain ty nymphs, and speak, Shall we play bar ley break?
W W W W 0 W )
. 7 W W W W W ! W W W
with his bon ny lass Up on the green y grass. Fa la la
to the bag pipe’s sound The nymphs tread out their ground.
dain ty nymphs, and speak, Shall we play bar ley break?
W W W W W ! 7 W W W W W . W W W W W
Each
And
Say,
Each
And
Say,
Each
And
Say,
to the bag pipe’s sound The nymphs tread out ground.
dain ty nymphs, and speak, Shall we play bar ley break?
W W W W W ! 7 W W W W . W ! 8
with
to
dain ty
W W the
his bon
bag
nymphs, and
W W pipe’s
ny
speak,
W sound
lass
Shall
! 7 The
Up on
nymphs
we
W W tread
the green y grass.
out their ground.
play bar ley break?
W W W W W W . W W
Each
And
Say,
Each
And
Say,
with
with
to
dain
his
his
the
ty
bon
ny
bon ny
bag pipe’s
nymphs, and
lass
lass
sound
speak,
Up
on
Up on the green
The nymphs tread out
Shall we play bar
WWW WW WW W W 0 . W+ . 7 / WW W W W W WW WW !! 7 W W . W W W
W WWW W W
WW WW !! 7 WWW WWW W W W WW . WWW . WW / W
WW WW . WW WW
the
green
y
their
y
their
ley
grass.
Fa
grass. Fa
ground.
break?
la
la
la
la
Fa la
la
la
261
for online perusal only
S.
A.
T.
B.
13
q
<
:
<
W W ! W W . W W W W W W 0 W + W W ! 7
la
la
la,
fa
W ! W W . W W W 7 W W W W W . W ! 7
la la,
fa la la la la,
fa la la la la la la.
W 0
) W W W W W . W W W W W 0
+ W ! 7
la,
fa la la la, fa la la la la, fa la la la.
W W W W W W W W . W W W ! 7 W ! 7
Fa la la la la,
fa la la la la la,
fa la.
W W W W W W ! 0 W W W W W ! 7
la la, fa la la la la,
fa la la
la
la
la
la
WWW W W W ! W W . WW WW . W W 7 W W WW
W WW 0 W W WW . WW !!! 7
W W W W W W W W WW WW WW . W W WWW WW W WW W W W W W
! 7
la
la
la,
fa
la
la
la la la.
(Each verse twice)
la.
(Each verse twice)

=
>
>
W
W
W
!
+
W
W
W
)
W
y
y
W
)
)
WW
)
W
)
W
)
. W
)
W
W
/
W
)
)
W
)
262
Words by P. B. Shelley
(1792–1822)
SOPRANO
4
ALTO
TENOR
BASS
(for
rehearsal
only)
: . . . .
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
= : . . . .
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
W
W
W
W
W
W
W
W
Lento espressivo
4
4
p
4
4
p
4
4
4
4
4
4
p
p
W W W W W W W W W ) . W W
) ! W . W W W
. W W W
W W W W W W W / W W W W W W W W W W W W W W
Mu sic, when soft voi ces die,
Vi brates, vi
W W W W W W W W W W W W W . W . W W W W W 0 W
Mu sic, when soft voi ces die,
Vi brates, vi
W 0 W+ ! W / W W W ! W W W W
p
43. Music, when soft voices die
Mu
Mu
sic,
WWW W W W WW WW W W W W / W W
)
WW . WW
)
W WW /!
WW . WW . W W WW W WW . W W WW . W W W W
+ W W W +
WW 0 W W WW
+ !W W W W WW / WW W W ! WW WW WW 0 / W W )
Lento espressivo
sic, when
when
p
W W W W 0 W W W 0 + W W W W W W 0 W W W 7
the mem
o ry — O dours, when sweet vio lets sick en,
p
W W W W W 0 W W W W W W W ) W 0
brates in the mem o ry — O dours, when sweet vio lets sick
p
W W W W 0 W W W W W W W )
W W + W+ . W W+
W+ W 0
in
the mem o ry — O dours, when sweet vio lets sick en,
p
W 0 W ) ! W 0 W
) W W W W . W W
mem
o ry —
WWWW / W W WW 00 W W WW W W 0 )
W W WW WW
W
+ W W W W + WW 00
p
W 0 +
WW W 0 W W WW 0 W W W W W )
W W W )
WW )
soft
O
voi
soft voi
ces die,
for online perusal only
ces die,
dours, when
sweet
Vi
Vi
vio
C. HUBERT H. PARRY
(1848–1918)
brates
lets
brates in
in
sick
the
+ + W WW
7
. W W ) W W 0 W
brates
en,
en,
W +
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
W
!
W
W
3
3
3
WW
W
W
J
.
)
+
W )
+
)
W
W
.
)
+
W
/
/
)
W
.
W
+
7
= : . . . .
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
: . . . .
11
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
W . W W W W 0 W ) W ) W W
Live
) . W
pp
W 6 W . W W W W W W W / W 0 W+ W W W
pp
W W W W W W W . W JW
W W
) W 6 W 0 W ) W 0 W ) W )
W . W ) W W W
Live with in the sense they quick en. Rose leaves, when the rose is dead,
pp
W W W W W . W W W W W W + W 6 W W W W W W W / W W 0 W +
/ W W W
Live
W W W W W W 0
+ W W+
Live
with
with
in
in
with in the
the
the
sense
sense
sense
they quick en.
they quick en.
they quick en.
WWW . WW W WW 0 W W
)
WW WW )
. WW
JW
)
WW WW
WWW W W WWW WW . W WW 0 W W WW + W
f
p cresc.
W W / W W W30 W . W W W W W W 0 W ) W . W W W !
heaped,
f
W 0 6 W 0 W W W W JW
. W W
heaped,
Parry: Music, when soft voices die
pp
W 6 W 0 W+ W 0 W+ . W W W W W 0 W+
W 6 W W 0 . W W WW + W W 0 W W WW W
+ W 0
+ W .+ W W WW WW W
pp
W 6 WW 0 W W W+W W W 0 W W WW W
+ . W 0 W W W )
W / WW
0 W WW
p cresc.
W W ) W W W W
f
p
cresc.
W W W W W30
W W W . W W . W W +
W W + W 0 + W W W W W
heaped, are heaped for the be lov ed’s bed; And so thy thoughts,
f
p
cresc.
! W30 W W W W 0 + W W 0 W
) W W . W W
heaped,
are
heaped
heaped
heaped
for
for
for
the
the
the
be
be
be
lov
lov
lov
ed’s
W 0 W / W W 6
WW 00
W W . W WW W W JW
. W W W W W+ 0 )
W WW + WW . W WW
W W! W
f
W W W W WW 0
0 WWWW W W 0 . W W WW W )
+ W 0 W W W ) p
cresc.
W 0 W W )
. WW
W W
Rose
Rose
Rose
ed’s bed;
bed;
ed’s bed;
leaves, when
leaves, when
for online perusal only
leaves, when
And
And
And
so
so
so
the
the
the
thy
thy
thy
rose
rose
rose
is
is
thoughts,
thoughts,
thoughts,
dead, Are
dead, Are
is dead, Are
when
. W
263
Are
when

=
>
W
W
W
W
)
W
)
.!
!
)
)
)
)
)
)
)
)
W
W
W+
)
W
W
W
)
/
/
W
W
WW
W
W
+W
)
4
4
4
4
3
W
/
/
)
)
264
14
= : . . . .
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
: . . . .
18
: . . . .
q . . . .
< . . . .
: . . . .
< . . . .
Parry: Music, when soft voices die
p
pp
W W W W .!
. W W W W W 0 W
) W 0 W )
W W W W W
when thou
W+W W
thou
dim.
W W W 0 W
W W
W W
p
pp
W W ! W 0 W
thou
whenthou
art gone,
art
art
p
gone,
p
art gone,
gone,
Love it self
W 0
W ) . W W W W + W3 W W
W 0 W ) W W W W 0 W )
W 0 W ) W 0 W W / W W W
it self shall slum ber, slum ber, love it self
W 0 W ) W 0 + W W / W W W W W W W W W W W
pp
Love
pp
Love
Love
it self
it
. W W W W W W . W W W 0 W
) W W
W WW WW W W + W W W . + W 0
W W W W 0
)
W WW WW 00 WW WW00
) 3)
WW . WW 0 W W WW
+ / WW / W W WW
W )
p
pp
W W ) W )
W W WW 00 ) )
+ WW . WW 0 W W W W / W WW W W . W W WW
W 0 WW W W W
W
slum
rit.
W W W W W W W W / W W "
dim.
W W W / W . W W W W W W W W W ! 0 W "
slum
ber on, love
it self shall slum
ber
dim.
pp
W W W W 0 W W W W W W W W W W ) W W ) W / W W W "4
dim.
W W W W ! 0 W W! 0 W W WW W ""4
slum
ber
ber
slum
ber
on,
on,
WWWW WW 0 / W . W W WW
W WW W W W WW W WW ! W 0 W W
dim.
WWW W pp
W W 0 W W W! 0 W W W W W WW W )
WW W W W )
! 0 WW W
self
shall slum
shall slum ber,
shall slum ber,
ber, slum
slum
for online perusal only
on,
love
love
it
it
self shall
self
shall
shall
slum
slum
slum
rit.
slum
ber, love it self shall
ber,
ber,
love
love
ber
ber
ber
it
it
WW""
W " " "
self
self
on.
on.
on.
on.
shall
shall
shall

;
;
<
{
{
{
=
>
W
W
W
W
W
W
)
)
.
.
265
44. Il est bel et bon
Words: Anon.
SOPRANO
ALTO
TENOR
BASS
; {
(for
rehearsal
only)
: .
: .
q .
< .
: .
< .
W
.W
2
2
2
2
2
2
PIERRE PASSEREAU
( fl. 1509–47)
W W W W W W W W W W W W 8
Il est bel et bon, bon, bon, bon, bon, com mè re,
9 W . W W W W W W W W W
Il est bel et bon, bon, bon, bon, bon,
8 W W W W W W W W . W W !
for online perusal only
Il est bel et bon, bon, bon, bon, bon, com mè
9 8 W . W W W W W W W
W W W W W W W W . W W W W WWW WWW . WWW WW ! W W
p
8 W W W W W W W . W W W W W W W
Lightly
Il
est bel et
bon,
bon,
com
bon, com
4
= : .
W W W W W W W W W W W W W W W W W W W W
il est bel et bon, bon, bon, bon, bon, com mè re, com mè re, com mè re, mon
: . ! ! W . W W W W W W W . W W W W W W W
mè
re,
il est bel et bon, bon, bon, bon, bon, bon, com mè re, mon
q . ! W W W W W W W W .!
W W W 0 W W W
re,
il est bel et bon, bon, bon, bon, bon,
bon, com mè re, mon
< . ! ! ! W . W W W W W W W W W W W
: .
< .
mè
re,
My husband’s a handsome good fellow, dear.
il
est bel et
bon, bon,
bon, com
!!W W W W !W W W W . W W W W WWW WWW WW W W . W W WW WW WW WW WW WW
! ! W W W W !W W W . W W W . W! W WW WW WW 0 W W WW
WW
mè
re,
mon
ma
ma
ma
ma
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
!!
)
W
)
)
W
)
W
+
266
8
= : .
: .
q .
< .
: .
< .
Passereau: Il est bel et bon
! W 0 W+ . W W W W W 0 .+ W W W " 9 9
ri. Il é tait deux fem mes tou tes du pays,
! 8 W 0 W )
W W W W W 0 W W W ! 9 9
ri.
Il é tait deux fem mes tou tes du pays,
" 9 9 8 W 0
+ W . W W W W W 0 .+ W W W
ri.
" 9 9 9 W 0 W+ W W W W W 0 W
ri.
8W 0 W . W 0 W W +
WW
WW W W 0 W . W WW 0 W W " + W W ! 9 9
mf
" 9 9 8
W 0 W+ . WW
0 W W +
WW
WW W W 0 W . W WW 0 W W +
..di
sant l’une à
l’au
tre:
..di sant l’une à l’au tre: a
a
vez bon ma
vez
for online perusal only
: .
14
: .
q .
< .
: .
< .
There were two country women,
and one said to the other:
W W W W W W W W W W W W 8 W W W W W W
Il est bel et bon,
9 W . W W W W W W W W W ! !
! W W W W W W W W . W W ! ! W W W W
ri.
W W ! ! W . W W W W W W W ! !
bon
ma
Il
ri.
bon,
est bel et
bon,
Il
bon,
bon,
est bel et bon,
bon,
bon,
bon,
Il
com
bon,
bon,
est bel et
bon, bon, bon, com
bon, com
bon, bon, bon, com
‘you have a good
husband.’
W W W W W W W W . W W W W WWW WWW . WWW WW ! W W ! ! W W W W !
p
W! W ! W W W W !W W W . W W W W W W W ! ! W W W W
mè
re,
mè
il est bel et bon,
mè
re,
mè
re,
il
re,
bon,
est bel et

=
>
!
)
)
W W
)
18
= : .
: .
q .
< .
: .
< .
Passereau: Il est bel et bon
W W W W W W W W W W W W W W ! W 0 W ) W W W W
bon,
W . W W W W W W W . W W W W W W W ! 8 W 0 W
) W W
il est bel et bon, bon, bon, bon, bon, bon, com mè re, mon ma ri.
Il ne me
W W W W .!
W W W 0 W W W " 9
bon,
bon,
bon,
bon,
bon,
com
bon,
! W . W W W W W W W W W W W " ! 8
il est bel et
mè
bon,
bon, bon,
re, com mè
bon, com
bon,
re, com mè
com
WWW . W W W WWW WWW WW W W . W W WW WW WW WW WW . WW !! W 0 W ) WW 0 W W WW WW
mf +
W W W . W W W . W! W WW WW WW 0 W W WW WW " ! 8
mè
mè
re,
re,
mon
re, mon ma
mon
.
ma
ma
ri.
ri.
ri.
Il
ne
267
me cour rou ce,
cour
for online perusal only
: .
23
: .
q .
< .
: .
< .
He doesn’t annoy me, he doesn’t
! 0 W . W W ! ! 8 9 8 W 0 W ) W W W W
ne
W W ! W W W W " 9 9 8 W 0 W
rou ce,
ne
me
bat aus
si.
me bat aus
9 8 W 0 W ) W W W W ! 0 W . W W ! W 0 W+ W W
Il
si.
ne me cour rou ce,
9 9 W 0 W ) W W W W ! W W ! ! !
Il
ne me cour
W!0 W ! W . W W WW W! W "! 8 9 8 W 0 W ) W8 W W W 0 W W +
9 8
9 W 0 W )
WW 0
W W WW WW W ! 0
W ! W . WW !! !W 0 W )
! W W
+
ne
rou ce,
ne
me
bat aus
Il
si.
me bat
fait
le
Il
aus
mé
na
Il
fait le
si.
ge,
mé
fait
beat me either.
He does the cleaning,

=
>
. W
8
W
/
.
+
.
8
W
+
û
+
)
W )
)
W
W
W
WW
268
29
= : .
: .
q .
< .
: .
< .
: .
34
: .
q .
< .
: .
< .
Passereau: Il est bel et bon
. W 0 W W W +
W W 8 . W 0 W W W +
W W 7 W W 0 W
il
W W W W 8 W 0 W ) W W W W 7 W . W W W . W W !
le mé na ge,
il fait le mé na ge
et je prends
mon
. W 8 W 0 W W W . W 8 7 W W 0
+ W W 0 .+ W W W
na
don ne
ge,
8 W 0 W +
W W W W 8 W 0 W+
Il
aux
W W ! W W W ! W W W 0 .+ W
W W
W W W W 7 W W W
. WW0 W W )
WW W W W 8 W 8 W 0 . W+
WW 0 W W )
WW W W W 7 W W 7 W 0 W W + W W 0 . W W W !
W 8W 0 + W WW
0 W W )
WW W W W W 8W 0 W W7
WW . WW WW
W 0
7 W
. W
He feeds the chickens,
fait
pou lets,
il
le
mé
fait le
na
mé
ge,
il
na
don ne
! ! ! 7 W ! 0 W
W W ! " 7 W ! W W W 0 W ) ! ! ! 7 W
plai
sir.
Com mè re, est ce pour ri re,
W W W W ! ! 7 W ! 0 W W 0 .+ W ! ! 8 7 W !
W W ! " ! 7 W W ! W W 0 W +
! "
mon
mon
plai
plai
plai
sir.
ge
WWWW! ! . W "W W ! W 7 W W !W 0 . W )
W! W ! W 0 W +
!!
7 ! W ! ! 0 7 W W
WWWWW / W !! " ! 7 W !! 0
7 WW W W 0 ! . W ) ! W W! 0 W k! 7 " W !
il
aux
fait
pou lets,
for online perusal only
sir. Com mè
sir.
Com
re, est
mè
ce
Doesn’t it make you laugh, dear,
pour
re, est
Com
ri
ce
pour ri
mè
le
re,
et
mé
re, est
je
na
et
ge
je
and I take my pleasure.
re,
ce pour ri
prends
quand
la
when the
et
re,
je
quand la
prends
mon
prends
pou
quand

=
>
W
W
+
+
)
W
7
7
40
= : .
: .
q .
< .
: .
< .
: .
45
: .
q .
< .
: .
< .
W 0 .+ W
lail
! ! 7 W . W W W 0 W
)
W W ! 7 W W W W
! 0 W W 0 W ) ! " 8 W W W W W W W
la
W W W 0 .+ W
! ! 7 W W W ! W W ! 7 W
7 ! W W W W 0 W +
! ! ! 7 W W W W W W W W
quand
W! 00
W7!
chickens cluck:
le cri e,
pou
pou lail le
la
lail
pou
le
cri e,
lail
quand
cri e:
le
la
cri
pou
quand la
Passereau: Il est bel et bon
. ) ! W W! 0 W 7! W . " W W W 0 W k W W! W W WW W W WW WW
W 0 W . W )
W! W ! W 0 W 7! W !W W !! W 7
WW
W! W W W W WW W
W W W W W W W W W W W W W W W W W W W W W W W
quet
W W W W W W W W W W W W W W W W W W W W W W W W W
co
W W W W W W W W W W W W W W W W W W W W W W W
ti
W W W W W W W W W W W W W W W W W W W W W W W W
da
co
te, pe ti
co
te
co
co
co
co
co
quet
co
WWWW W WW W W WW WW WW W WW
WW W W WW W WW W WW
WW W W WW W WW WW W WW W WW
WWWW WW W W WW WW WW WW WW W W WW WW WW WW WW W WW W WW WW WW WW WW
lail
e:
pou
for online perusal only
co
te
co
co
co
co
te, pe
co
quet
co
ti
da
co
te, pe ti
co
te
co
co
co
co
co
quet
co
co
co
te
da
co
co
te, pe
co
quet
ti
da
le
lail
cri
e:
co
le
te, pe ti
co co co co da
te
co
cri
co
co quet te, pe
co co da
te
pe
pe
co
co
e:
Pe
co
ti
co
co co co co da
quet
ti
ti
ti
‘little flirt!’
te,
te
te
te
co
co
co
quet
quet
quet
te
co
co co
Pe
co co
qu’est
te,
te,
te,
269

=
>
.
)
)
.
4
4
4
4
270
49
= : .
: .
q .
< .
: .
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Passereau: Il est bel et bon
W W ! W W W W W W W W W W W W 8
W W ! " W . W W W W W W W W W
ce ci?
Il est bel et bon, bon, bon, bon,
W W ! ! W W W W W W W W . W W !
qu’est
qu’est
W W ! " ! W . W W W W W W W
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Il est bel et bon,
Il
bon,
est bel
et
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Il
bon,
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et
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re,
bon, com
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for online perusal only
: .
53
: .
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W W W W W W W W W W W W W W W W W W W W "
il est bel et bon,
! ! W . W W W W W W W . W W W W W W W "
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il est bel et bon, bon, bon, bon, bon, bon, com mè re, mon ma
! W W W W W W W W .!
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" 1
!
271
Words from Beaumont and Fletcher
1
= : - - -
W
W
With solemnity
45. Lay a garland
ROBERT PEARSALL
(1795–1856)
9 9 ! 0 W " ! ! ! W W
Lay
a
gar
land
on
her
SOPRANO
2
1
ALTO
2
1
TENOR
2
1
BASS
2
(for
rehearsal
only)
: - - -
: - - -
: - - -
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< - - -
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< -- -
W
W
W
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W
W
W
W
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W
W
W
W
8 ! " W W ! ! W W ! ! ! 8
! 0 W ! ! " ! W W ! ! W W !
Lay a gar land on
her hearse
" ! ! ! ! ! 8 9 9
! 0 W " ! ! ! 8 9 9
Lay a gar
land
9 8 ! ! ! ! ! ! ! ! W W
" ! 0 W ! ! ! ! ! ! ! 0 W
9 ! 0 W ! ! ! 0 W " 8 !
8!! W ! !" !! WW ! 0 W !! W " !! WW WW !!! !!! W ! ! W !W W W W
"!0 W !!! 00 ! W W ! !
!! ! !
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With solemnity
p
Lay
Lay
a gar
land on her hearse
for online perusal only
a
Lay
gar
land
a
Lay
a gar land on
her
gar
land
Lay a gar land on her hearse,
a
on
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
"
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W
W
"
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""
"
!
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A.
T.
B.
7
= : - - - ! 0 W " " ! ! " 9 8 7 W
hearse Of dis
mal yew;
: - - - 9 8 ! ! ! ! W W ! 8 9 9
Of
dis
mal yew;
: - - - ! W W ! W W " 9 9 9 9
Of dis mal yew;
: - - - 8 ! ! ! ! ! ! ! ! 8 9 9
Of dis
mal yew;
q - - - 8 ! ! W W ! W W " 8 7 W W W / W W "
Of dis
mal yew;
Maid ens, wil low bran
q - - - ! 0 W " 9 9 9 8 7 W W W W W
her hearse,
Maid ens, wil
< - - - " 9 8 ! W W W W /!
! " "
hearse
Of dis
mal yew;
< - - - ! ! ! W W ! ! " ! ! " ! 0 W
gar
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Maid ens, wil low bran
ches wear;
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ches wear;
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Maid ens, wil low bran
ches wear;
q - - - " " 9 9 9 8 7 W
ches
wear,
q - - - ! 0 W " 8 -!
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bran ches wear,
maid ens, wil low bran
< - - - " " 9 " W W W W "
Maid
ens, wil low bran
< - - - " 9 9 9 9 8 7 W
yew;
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+ W !!! W!!
W W / W! 0 W W ! WW
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/ / W W WW
?
14
S.
A.
T.
B.
272
Pearsall: Lay a garland
for online perusal only
"!0 W "" ! ! W W W W " " W W W W ! W W! W "W W
Maid
low
mal
maid
Maid

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27
S.
A.
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: -- -
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: - - -
: - - -
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q - - -
< - - -
< - - -
: -- -
< -- -
Pearsall: Lay a garland
" ! ! ! ! ! 8 7 ! W W W ! W ! W
bran
ches wear;
Say, say she di
! ! 7 ! W ! ! W W ! ! ! W W ! W /!
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Say she di
ed true,
say she di
9 9 9 9 7 ! W .!
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9 8 ! " ! ! ! ! " 9
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she di ed true,
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ens, wil low bran
ches wear;
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! ! ! 8 ! W W ! ! " 7 ! W .!
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ches wear;
Say she di ed true,
say she di ed
! 0 W W " ! ! ! ! ! ! " ! !
ches wear; Say
she di
ed
W W / W W " W W ! 7 ! W ! ! " "
ens, wil low bran
ches wear; Say she di ed
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!!! ! W W .! W
true,
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W "! ! !!W W !! W ! !! W !! ! 0 !! W / W !
cresc.
f
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dim.
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!!
/ 8 9 9 8 W W " ! -!
! ! "
Her love
. 8 9 8 ! " ! ! " ! ! ! !
Her love
! 8 8 .!
" ! .!
" ! ! ! ! "
Her love
was false,
8 ! " " " W W W W ! -W
W ! ! ! !
Her love
" ! ! ! ! -"
" ! ! ! ! ! 0 W
Her love
" 9 9 9 8 ! " ! ! ! !
Her love
" 9 9 9 9 8 ! " -!
!
Her love
" 9 9 9 9 9 8 ! -!
0 W
true,
true,
true,
true,
for online perusal only
. 8 8 .!
! ! !! .!W
W W !" " ! ! ! W ! Her love
--W ! !! ! ! ! ! !!" !!
p
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W"
W W W "!! ! ! "!! ! ! -! 0 WW W W
cresc.
f
W
273
ed
ed
was
was

=
>
"
!
!!!
!
k
"
!
/
/
S.
A.
T.
B.
Pearsall: Lay a garland
35
= : - - - / ! " ! 8 8 7 W ! ! " 9
was false,
but she was firm.
: - - - ! ! " 9 7 W ! ! /!
" 9
was false,
but she
was firm.
: - - - 9 8 ! ! 0 W ! ! ! 0 W " 8 !
her love was false, but she was firm.
Up
: - - - ! ! ! /!
! 8 9 9 8 7 W ! W W
was false,
but she was
q - - - ! 8 8 ! W - W ! ! 0 W ! 0 W " 9
false,
her love was false, but she was firm.
q - - - ! ! " " " 9 7 W ! ! !
was false,
but she
was
< - - - ! W W " ! W W " 9 7 W ! ! !
was false,
but she
was
< - - - " " 9 9 9 7 W ! ! !
false,
but she
was
: -- - / ! ! ! ! !" /!!
W! ! 0 - W ! W 7 ! W !W W ! ! /!!
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cresc.
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7 WW !! W ! ! ! !
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on
her,
her bu
: - - - 7 W W W ! 0 W ! ! ! W W " ! 0 W
Up on her bu
ried bo
: - - - " W W ! ! W W ! ! ! ! ! 8
on
her bu
ried bo dy lie,
: - - - " 9 8 ! ! W W " ! W W
firm.
Up on her bu
ried
q - - - 7 W W W ! ! ! W W ! ! ! 8 9
Up on her bu
ried bo dy lie,
q - - - " " ! 0 W ! ! W W W W ! 8
firm.
Up on
her bo dy lie,
< - - - ! 8 8 ! " " " W W W W
firm.
Up on
her bu
< - - - " " ! 0 W ! ! W W W W ! W W
firm.
: -- - W W W W W W W W! 0 W !! W !!! W ! Up on
!! WW !!
!!WW! WW ! ! her bu
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cresc.
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?
42
S.
A.
T.
B.
274
for online perusal only
ried
ried

=
>
!
!
S.
A.
T.
B.
48
= : - - - ! 0 W " W W ! " ! !
bo
dy lie
light ly, thou
gen
tle
: - - - W W ! " " 8 ! ! 0 W
dy lie
light
ly,
thou gen
: - - - 9 8 ! W W ! ! ! ! W W
lie light ly, thou
gen
tle
: - - - ! W W ! ! W W ! W W ! ! 0 W
bo dy
lie light
ly, thou
gen
q - - - 8 ! W W ! ! ! ! ! ! !
lie light ly, thou gen
tle, gen tle
q - - - 9 9 8 ! ! W W W W W W
thou
gen
< - - - ! ! ! ! ! 0 W " ! !
bo
dy lie,
thou gen
tle
< - - - ! ! ! ! W W ! " ! !
dy
: -- - W ! 0 W W W W W " lie light ly, thou
gen
tle
" W !W W ! ! ! W ! ! W !!! !! ! 0 W W ! WW
< -- - !!! !!! !! !! ! W W! WW ! ! W " ! ! W W !! W ! W W
: - - - ! ! " " ! ! ! ! "
earth, thou gen
tle earth.
: - - - ! 0 W W W ! W W ! ! W W ! ! "
earth, thou gen
tle earth.
: - - - ! 8 8 ! " ! ! ! 0 W "
earth,
thou gen
tle, gen tle earth.
: - - - 8 8 ! W W ! ! ! ! 0 W "
earth,
thou gen
tle, gen tle earth.
q - - - ! 8 8 W W ! ! " " "
earth,
thou gen tle
earth.
q - - - ! ! " ! ! W W ! ! ! "
earth, thou gen
tle earth, thou gen
tle earth.
< - - - ! 8 8 ! ! 0 W " ! 0 W "
earth,
thou gen
tle, gen
tle earth.
< - - - ! 8 8 ! ! ! " ! ! "
?
53
S.
A.
T.
B.
: -- -
< -- -
Pearsall: Lay a garland
!!W! W W " thou gen tle, gen
W W W W W " W W !! !! ! tle
!
W! ! W !!!!! 0 W """
!!!!! " 8 ! !
! ! ! 0 !! ! W " W
p
W W ! ! ! ! W W """
earth,
for online perusal only
earth.
tle
tle
tle
275

;
;
<
- ý
-
{
=
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W
W
W
W
ý
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276
46. Rest, sweet nymphs
Words: Anon.
SOPRANO
ALTO
TENOR
BASS
Canto
Alto
- ý { -
; ý {
Tenore
Basso
-
ý {
: -
: -
q -
< -
W
W
W
W
W W ! ! W W ! !
1. Rest, sweet
2. Dream, fair
3. Thus, dear
1. Rest, sweet
2. Dream, fair
3. Thus, dear
FRANCIS PILKINGTON
( c. 1570–1638)
. W ! W W W W .!
/ W W
W W ! W W W W W ! W W
1. Rest, sweet
2. Dream, fair
3. Thus, dear
W W ! ! W W ! W W
1. Rest, sweet
2. Dream, fair
3. Thus, dear
nymphs,
vir
dam
nymphs,
vir
dam
nymphs,
vir
dam
nymphs,
vir
dam
let
gins,
sels,
let
gins,
sels,
let
gins,
sels,
let
gins,
sels,
gol
of
I
gol
of
I
gol
of
I
gol
of
I
den
de
do
den
de
do
den
de
do
den
de
do
sleep
light
give
sleep
light
give
sleep
light
give
sleep
light
give
Charm
And
‘Good
Charm
And
‘Good
Charm
And
‘Good
Charm
And
‘Good
your
blest
night’,
your
blest
night’,
for online perusal only
(for
rehearsal
only)
: -
< -
WWW . WW !! W! W W WW WW .!!!
/ WW WW
WW! ! ! W WW WW W ! W W
Simply
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
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W
WWW
W
W
W
W
W
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)
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t
00
00
00
00
00
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+
!
+
W
+
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!!!
.
. W
4
= : -
: -
q -
< -
: -
< -
W W W - W ! 8 W 0 -+ W W W W W W W
your
blest
night’,
E ly sian groves,
the wand’ ring
of
and so am gone:
With your hearts’
! W W W W ! 8 W 0 W
) W W de sires long
W 0 W )
star
E
ly
sian groves,
so
am gone: With
- W W ! 8 W 0 -+ W
and
star
E
ly sian groves,
so am gone:
With
- W W W ! 8 W 0 W
and
your
blest
night’,
star
star
E
and
bright
bright
bright
bright
ly
so
er
er
er
sian
am
er
eyes,
eyes,
eyes,
eyes,
groves,
gone:
While
While
While
While
While
While
While
While
With
-W!!
W WWWWW W - W !! ! 8 W W 0 0 WWW
-W
W W W W ! 8 W W 0 0 W
my
lute
the
my lute the
the wand’
your hearts’
Pilkington: Rest, sweet nymphs
. W
ring
of night
de sires long live,
W W W 0 W+ W W
my lute the
the wand’ ring
your hearts’
de sires long live,
W W W W W W
my lute the
the wand’ ring
your hearts’ de
watch
shades
watch
shades
watch
shades
doth
watch doth
shades of
sires long
keep
night
live,
doth keep
doth keep
of night
keep
night
live,
WWW WWW WWW 00 W WW . WWW WWW
W W W W W W
With
Re
Still
With
Re
Still
With
Re
Still
With
Re
Still
277
for online perusal only
8
: -
: -
q -
< -
: -
< -
W W W 0 W
pleas
! W W W 0 W ) ! 8 W W -W
0 W
sem ble your true loves. Lul la, lul la by,
lul la, lul la by,
joy, and nev er moan. Lul la, lul la by,
lul la, lul la
W W W . W ! W W W 0 W ) .!
W 0 W )
. W 0 W
) by,
3
! W
pleas ing sym pa thies. Lul la, lul la by, lul la by, lul la by,
sem ble your true loves. Lul la, lul la by, lul la by, lul la by,
joy, and nev er moan. Lul la, lul la by, lul la by, lul la by,
- W W 0
+ W /!
W W W 0 W ) ! W 0 W )
3
! W 0 + W ! W
pleas
sem
joy,
pleas
sem
joy,
ing
ing
3
! W
ble your true loves. la,
by,
by,
la by,
and nev er moan. Lul la, lul la by, lul la by, lul la by,
3
- W W " 8 W W . W 0 W+ ! W W ! W
ing
ble
sym
sym
sym
your
pa
true
pa
pa
thies.
thies.
thies.
loves.
Lul
Lul
Lul
la,
la,
and nev er moan.
lul la by,
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) W / -WWW
WWW W W 0 ) 0 WW .!!!
WW 00 W ) W W .!
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- W W " W 0 + W W W . W 0 W !!W W 0
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lul
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lul
la
la
la
by,
by,
Lul
Lul
Lul
la,
la,
la,
lul
lul
lul
lul
la
la
lul
by,
la by,
la by,
la,
lul
lul
lul
lul
lul
lul
la
la
la
la
la
by,
by,
by,
by,
by,
Sleep
Your
Hath
Sleep
Your
Hath
Sleep
Your
Hath
3
/ WW
3
! W
Sleep
Your
Hath

=
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4
4
278
13
= : -
: -
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< -
: -
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Pilkington: Rest, sweet nymphs
W 0
sweet
kis
pleased
3
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you
3
W W W W
sweet
kis
you
3
W W W W
pleased
sweet
kis
3
W W W
pleased
sweet
kis
pleased
ly,
ses,
ly,
ses,
you
ly,
ses,
you
ly,
ses,
sleep
your
and
sleep
your
and
sleep
your
and
3
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3
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and
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3
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sweet
blis
eased
3
W W W
sweet
blis
ly,
ses,
ly,
ses,
you,
ly,
ses,
ly,
ses,
let
send
and
let
send
and
let
send
and
eased you,
3
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3
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and
3
0 W+ W
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3
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no
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sweet
3
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3
W W 7
fright
wish
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3
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wish
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you,
3W 7
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3
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seized
ye,
es,
ye,
es,
ye,
es,
you,
ye,
es,
you,
3
. WWW 7
3
W W 7
for online perusal only
: -
15
: -
q -
< -
: -
< -
D.S.
1.
2.
8 ! ! 0 W ! ! ! W W "4
In
Al though
they be
not nigh. Lul la
And now
to bed
I
hie. Lul la
8 ! W W ! W . W W ! ! W W "4
In
Al though they be
not nigh. Lul la
And now to bed
I
hie. Lul la
8 ! -!
0 W ! 0 W /!
W W "4
In
Al
And now
to bed
hie. Lul la
8 ! ! 0 W ! ! " "
In
Al
calm
calm
calm
though
calm
though
con
tent
con
con
they
con
they
tent
tent
be
tent
be
ments
ments
ments
not
ments
not
I
lie.
nigh.
lie.
nigh.
And now
8 !!! -W! ! 0 0
to bed
I
hie.
D.S.
1.
2.
W ! W W ! W . W W !! /!!!
-WWW
WWW " 4 "
8 ! ! 0 W ! ! 0 ! W
" "
lie.
lie.
Lul
Lul
Lul
Lul
la
la
la
la
lie.
nigh.
hie.
lie.
nigh.
hie.
lie.
nigh.
hie.
lie.
nigh.
hie.

:
<
8
;
<
"
|
=
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:
:
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W
W
W
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W
7
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)
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+
279
=
Words attrib. Alfonso d’Avalos
(1502–46)
SOPRANO
4
:
:
q
<
ALTO
TENOR
BASS
(for
rehearsal
only)
:
<
W
W
47. Ancor che col partire
4
4
4
4
4
4
4
4
4
4
7 ! W W W W W W W W 8
CIPRIANO DE RORE
( c. 1515–65)
! W 0 W
) W W ! ! 8
cor che col par ti
re
9 8 ! W 0 + W W W
An
cor che col
9 8 7 W W 0 W W W
An
! ! W 0 W W +
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9 8 7 W WW 00 WW W +
W WW
mp
An
cor
che col
Although in leaving
8 ! W ! W W ! W 7 W W 0 W )
. W W W
Io mi sen ta mo ri re, Par tir vor rei ogn’ hor, o
7 ! W ! W W ! ! 7 W W 0 W )
W W W W
Io mi sen ta mo ri
re,
Par tir vor rei ogn’ hor,
! W W W W ! W W ! W W 8 7 W W 0 W
ti re Io mi sen ta mo ri
re,
Par tir
! ! ! W W W W . W ! ! 8 7 W W 0 W
ti
; "
; "
re
7 ! ! W !W ! W WW ! W ! ! W 7 WW
WW 00 WW
+
. W WW WW WW
!!!W W !W W W ! W W W . WW !! ! W W 8 7 WW WW 00 )
WW
I feel myself dying,
Io
© Oxford University Press 2001. Photocopying copyright material is illegal.
mi
sen
ta mo
ri
re,
par
for online perusal only
Tenderly
ti
An
cor
re
che col
Par
tir
I would like to leave every moment,
par
par
ogn’
vor
vor

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gni mo men to, Tant’ èil pia cer ch’io sen to,
W 0
) W W W W W W W W W W W 8
hor, o gni mo men to, Tant’ è il pia cer ch’io sen to,
W W W W W W W W 8 W W W W W W
rei ogn’ hor, o gni mo men to,
Tant’ èil pia cer ch’io sen
. W W / W W W W W 8 7 W W W W W
rei ogn’ hor, o
gni
mo
men
to,
Tant’ èil pia cer ch’io
WW 0 W W +
WW W W WW WW W W W W WW WW WW W WW
W8
. WW W W mf
/ WW WW WW WW WW 8 W W 7
W W WW WW
WW W
for online perusal only
every moment,
such is the pleasure I feel
12
q
<
7 W W W W W W W 8 7 W W W W W W W W W
tant’
W W W W W W W 7 8 7 W W W W W W W
tant’ èil pia cer ch’io sen to
De la vi
ta ch’ac
W 7 7 W W W W W W W 7 ! W ! W W
to,
tant’ èil pia cer ch’io sen to De la vi
ta
! W 7 W W W W W W W ! W ! W W
sen
èil
to,
pia
cer ch’io sen
tant’
to
èil
pia
cer ch’io sen
7WW W W W W WW WW W WW
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W W WW W W W W W WW 7 W ! ! W W !! W W
to
De
De
la
vi
la
vi
ta
ta
ch’ac
qui
ch’ac
ch’ac
of a life gained in returning;

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281
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qui
sto
W W W W W W W W ! ! 8 W W W
sì
W W )
sto nel
ri tor
no;
E co sì mil
W W ! W W W W W W W 7 W W W W 0 W W W
qui sto nel
ri tor
no, E co sì mil l’e mil
! W W W W ! ! 7 W W W 8
qui
sto
nel
nel
ri
tor
ri
tor
WW W W ! W W W W W WW WW WW . WW W WW W W" W 8
7WWW WW
+ W W W +
7!WW ! mp
W WW WW !! !! 7 WW
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no;
no;
E
E co sì,
co
thus, a thousand times each day
l’e
le
for online perusal only
20
W 0 W W W W W W W W 0 W W W W W W W 7 W W W W W
mil
W W W W W
mil
7 W W W W W W W W W W W W W W W W
W W W W W 0 W W W W W W W W 0 W W W W W W W 6 W W W W W
t’il gior no, mil l’e mil le volt’ il gior no, mil l’e mil le vol t’il gior no, Par tir da
7 6 W
) W W W 0 W W W W W W 0 W W W W W W W W W W
vol
l’e mil
le
le
vol t’il gior
e
vol t’il gior
co
no,
sì
no,
mil
mil
E
l’e mil le
l’e mil le
co
vol
vol
sì mil
te,
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W WW
t’il
gior
mil
l’e mil
no
le
vol
Par
t’il gior
l’e mil le vol t’il gior
tir
no
no,
da
Par
voi
tir
Par tir
vor
da
da
I would love to leave you,
voi

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re
i,
W W W W W W W W W W W W 7 8 W W W W W
vor re i, Tan to son dol ci,
tan to son dol
W+W W ) W W W W ) ! 8 W W W W W 9
vor re
i,
Tan to son dol ci
W W ! W W W W W W 7 7 W . W W W W W
voi
voi vor re
i,
Tan
to
son
W!WW ! W W W W! W W W W WW . WW W W WW WW W WW W / WW W W
WW)
W W W ) mp
W!
W W . W )
W! W kW W W WW 7 7 W . W W W W W
dol
Tan
ci,
to son dol
ci
tan
gli
to son dol
ri
tor
ci
ci gli
for online perusal only
so sweet are my returns.
28
:
<
W W W W W W W W ! 7 W W W W 0 W W W W W W
ni mie i,
E co sì mil l’e mil le vol t’il gior
7 W W W W W ! W 6 W ) W W W W )
W W W W W
gli ri tor ni mie i, E co sì mil l’e mil le vol t’il gior no,
W 0 W ) W W W W 7 W W W W 0 W W W W W W W W 0 W
ri tor ni mie i, E co sì mil l’e mil le vol t’il gior no,
W W W W ! ! ! 8 7 6 W
) W W
gli
ri
tor
ni
mie i,
W7W W WW W W WW WW .!W
! W 6 W +
WW WW + W W W + W W 0 W W WW W WW W WW 0 W
WW 0 . W W ) WW WW ! W W 7 ! W ! W W W 0 W W W W 7 W W 6 W WW +
WW
E
co
mil l’e
sì

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8
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7
7
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4
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Rore: Ancor che col partire
283
=
32
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W W 0 W W W W W W W 7 W W W W W ! !
mil l’e mil le vol t’il gior no
Par tir da voi vor re
i,
7 W W W W W W W W W W W W W W W W W W W W W W
e co sì mil l’e mil le vol t’il gior no Par tir da voi vor re
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no,
mil le
vol
W 0 W W W W W W 0 W W W W W W W W W W W W !
mil l’e mil le
t’il gior no, mil
vol
te,
l’e
mil
mil
le
vol
t’il gior
l’e mil le vol t’il gior
W7W W 0 W WW W WW WW WW W W WW W W W W W W W W W WW WW W ! W W ! W W W
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WW W 6
WW W W W W ) WW
W
)
WW WW W W W )
! W W W . W )
no
Par
tir
da
voi
vor
re
no Par tir da voi vor re
for online perusal only
36
! 8 W . W W W W 7 W W W W W W W W W . W W ! "4
Tan to son dol ci
gli
W W W W W W 7 8 W W W W W W W W W " "
i, Tan to son dol ci,
tan to son dol ci gli ri tor ni mie
! 8 W W W W W 6 W W W W W ! 0 W W W ! "4
i,
Tan to son dol ci, tan to son dol ci gli
ri tor ni mie
W W W W W W 7 7 W . W W W W W W W W W ! ! "4
i, Tan to son dol ci,
tan to son dol ci gli ri tor ni mie
i.
W!W W W W WW . WW W W WW WW W WW W / WW WW ! W 0 W W W WW "W . W W W ! ! ""
! W kW W W WW 7 7 W . 6W WW W W W WW WW W . WW WW
W W ! W
p
dim.
!
""4
ri
tor
ni
mie
i.
i.
i.

!!
;
<
@
@
=
>
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7
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+
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.
.
284
Words by François I (1494–1547)
SOPRANO
6
= : .
: .
q .
< .
: .
< .
ALTO
TENOR
BASS
(for
rehearsal
only)
: .
: .
q .
< .
: .
< .
W
W
W
W
W
W
2
2
2
c.
" W W ! ! 7 W W 0 W
) W W W ! W
" W W ! " 8 ! W 0 W ) W W
ce mé moi re
en plai sir con
" W W ! ! ! ! 0 W W . W W !
ce mé moi re en plai sir con som mé
" W W ! ! 8 ! W 0 W W W !
2
Dou
2
2
Dou
Dou
Dou
""WW WW !! "! W Wk 0 W
) W!
W WW 0 ! W +
W WW
""WW WW !! !! ! ! ! 0 W 0 W W W +
W . WW W !
mp
48. Douce mémoire
ce mé
ce
mé
moi
moi
Sweet memory, consummated in pleasure,
! ! W W ! ! ! ! 8 ! W W
e,
! W W W W W W W W ! W ! ! W W !
e, en plai sir con som mé
e. O siècle heu
! 7 W W W W W W W ! ! ! ! W W !
mé
PIERRE SANDRIN
( 1490 – after 1561)
e, en plai sir con
som mé e. O siècle heu reux
! ! W W W W W W W W ! " ! W W
e,
; @
; @
en
en
plai
plai
sir
sir
con
con
som
!!W! W WW WW WW WW W ! W ! ! 8
. W !! ! W! W !W W
cresc.
dim.
mf
7!W WW WW WW WW WW WW W! W !! "! ! !W W W! W
re
re
som
mé
mé
en
plai
for online perusal only
Doucement
e.
e.
en
sir con som
plai
sir
O
O
mé
con som
O happy age,
siècle
reux
siècle
mé
som
heu
heu
© Oxford University Press 2001. Photocopying copyright material is illegal.

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>
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7
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11
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! 0 W 3 W W . W ! W "
2
" W W ! ! 7 W
2
reux
qui cau se tel sa
voir, La fer me té e de
! ! 2 W W ! ! 3
" " W W 2
! "
qui cau
se tel sa voir, La fer me té e
! W . W 3 ! W W .!
" " W W
2
! ! !
2
qui cau se tel sa
voir, La fer me té e de
W W W W W W W W ! ! " " W W ! ! 8
reux
qui
3
2
!!0 3
! . W
2 WW W W .!W
! ! . W " 2
" "" WW WW !! "!
mf
W!WWWWW . WW W! W !W W .!!
" " "" WW WW !! !! !
3
2
cau
se
tel
sa
2
2
voir,
Sandrin: Douce mémoire 285
La fer me té e
for online perusal only
: .
17
: .
q .
< .
: .
< .
which brings such understanding,
W 0
nous
) W W W ! W ! ! W W ! ! !
8 ! W 0 W ) W W ! W W W W W W W W ! W
de nous deux tant ai mé e, de nous deux tant ai mé
! 0 W W . W W ! ! 7 W W W W W W W ! !
nous
! W 0 W+
de
deux tant
nous
ai
deux
deux
mé
the constancy of us two so loving.
ai mé e, de nous deux tant
ai
W W ! ! ! W W W W W W W W !
tant
tant
e,
ai mé e, de nous deux tant
ai mé
Wk 0 W
)
! W W WW 0 ! W +
W . WW !!
W! W WW WW WW WW W ! W ! ! W
dim.
!!0 W 0 W W +
WW . WW W !! ! !
7 ! W WW WW WW WW WW WW W! W !!
de
nous deux
tant
ai mé
mé

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`
.
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286
22
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< .
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Sandrin: Douce mémoire
! 8 ! W W ! 0 W W W W
2
3
e.
Qui à nos maux
a su si bien pou
! ! W W ! ! ! 2 W W ! ! 3
"
2
e. Qui à nos maux a
su
si bien pou voir,
e. Qui à nos maux a
su si bien pou
voir,
" ! W W W W W W W W W
2 W ! ! 3
"
2
3
2
3
2
. ! W "
! ! W W ! ! W . W ! W W .!
"
e.
Qui
à nos maux
a su si bien pou voir,
3
!!8 ! W! W !W W !! 0 ! . W
2 WW W W .!W
! ! W
mp
"!! !W W W! W W ! W W W WW . WW W! W !W W !!
2
2
. " 2
"
. "
2
"
voir,
for online perusal only
: .
27
: .
q .
< .
: .
< .
Which knew so well how to overpower our ills,
! W W ! 0 W W W W W ! ! ! W W
Or
! W W W 0 W . W W W . W W W W " ! W W
Or
! W W ! ! W W W W ! ! ! W W
Or
main te nant
a per
main
main
te
te
nant
nant
a
! W W ! 0 W W W . W W " ! W W
Or main te nant
a per du son pou voir,
a
per
per
!!WWW / WWW W! 00 W . W W WW . WW WW WW . WW .!!
/!!
!! W W WW
cresc.
f
!!W W !! 0 ! W WW W W . WW WW "! 8 !! W W WW
du
du
du
son
son
son
pou voir, Rom
pant le
pou
pou
voir,
voir,
Rom
Rom
pant
pant
le
le
Rom pant le
has now lost its power,
breaking the

=
>
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.
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.
00
00
00
00
00
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32
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Sandrin: Douce mémoire 287
W W W . W W W ! W ! 7 W W W ! W W W W
but de ma seule e spé ran ce, Ser vant d’ex em ple à
. W W W W W ! ! 7 W W W W W W 0 W W W
but de ma seule e spé ran ce, Ser vant d’ex em ple à tous
W . W W W W W .!
! 7 W W ! W W W . W W
but
de
ma seule
W W W W W W ! ! 7 W W W ! W W W W
but de ma seule
e
e
spé
spé
ran
ran
ce,
ce,
. WW WW . WW WW
W W! ! . W ! ! 7 WW
WW WW W! W W W 0 W W +
WW
WW
WWWW . WW WW WW W W .!!
! ! 7 WW WW W !
dim.
! . W W W / WW . WW WW
Ser
vant
d’ex
em
ple
Ser vant d’ex em ple à tous pi
à
tous pi
tous
pi
pi
for online perusal only
: .
37
: .
q .
< .
: .
< .
object of my only hope,
making an example piteous for all to see.
W W ! 7 W W W W . W W ! W ! 7 W W 0 W ) W W
teux à voir. Fi ni
le bien,
le mal sou dain com
W . W ! ! ! ! 0 W W W W W W 0 W )
W W W . W
teux à voir.
Fi
ni
le bien, le mal sou dain
W W ! " ! ! W W W W ! 0 W
teux
W W ! ! ! W W W W W " 7 W W W
teux
à
à
voir.
voir.
Fi
Fi
ni
ni
le
WWWW . !!
7"WW W W . W W !! 0 ! ! . WW W! W 7 W W W WW 00
+ W ) WW
W WWW W
WWWW !! !! !! W W W W W " W
cresc.
mf
W W W ! 0
7 W W W
le
bien,
bien,
le
mal
sou
dain
le
mal
com
sou
Good is finished,
the bad suddenly begins.

=
>
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)
W
.
.
.
00
00
00
00
00
00
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W
.
.
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4
4
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Q
Q
4
4
.
288
42
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< .
: .
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Sandrin: Douce mémoire
1.
W W ! W W W W . W W W W W W W . W W W W . W ! 7 W W W W W
men
ce, com
men ce, fi ni
W W ! W 0 . W )
W W W ! W / W ! ! ! !
com men ce,
com men ce, com men ce,
fi
W 0 W+ . W W W W W W 0 .+ W W W W W 0 W )
! ! "
men
W W ! ! 7 W W W W W ! ! 8 !
dain com
men
ce, com
ce,
men
le
mal
sou
WWWW! ! . W W 0 .+ W WW 0 . W W W W + W W W W 1.
WW W . WW W / WW !W . W !!
7"WW W W . W
dim.
WW0
W W .!
W W
!WW W 7
W
WW W ! W WW W W cresc.
W !! ! ! 8 !!
dain
com
men
ce,
ce,
fi
fi
for online perusal only
: .
47
: .
q .
< .
: .
< .
2.
W ! W W W ! " " "
le
! 0 W ! ! 7 W W W W W ! ! !
ni
le men ce,
le mal sou dain com men
! ! ! ! 7 W W W W W ! W W W !
ni
le
ce,
le mal sou dain com men
W W W W W ! ! 7 W W W W W ! ! !4
ni le
men
ce.
- men ce,
le mal sou dain com men
2.
! W 0 ! WW
!WW . !! " 7 W / W W W" W /!
!"
f
p
W W W! W !! ! 7 . WW W W W W . WW WW ! ! ! W . W W !!4
ce.
ce.
ce.

=
>
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>
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W
W
+
)
WWW
W
W
WWW
WWW
WWW
WWW
WWW
WWW
WWW
WWW
WWW
WWW
WWW
W
W
W
)
+
.
.
)
)
W
W
WWW
WWW
W
W
WWW
W
W
WWW
W
W
1
WWW
WWW
W
1
WWW
W
W
WWW
WWW
289
Words: Kolumban Schnitzer von Meerau
SOPRANO
ALTO
TENOR
BASS
PIANO
=
:
<
W
W
W
.W
W
W
Allegro giusto
6
8
6
8
6
8
6
8
WWW WWW WWW WWW WWW
f
WWW WW W
Allegro giusto
49. Der Tanz
9 9 9
9 9 9
WWW WW W WWW W W
W
0 0
WWW W W W W
W W W W
0 0
WW W
W W W W W W W W W W W W W W W WW
FRANZ SCHUBERT
(1797–1828)
WWW W W
W W
W W
W W
for online perusal only
4
:
<
p
7 0 6 6 )
WW W
7 0 6 6 W W +
1. Es re det
2. Jungst wähnt’
p
WWWW W W WW W WW
-WW
. W WW WW W +
WW W W WW W W W -WW
W
und träu met die
W W W auch ein
W W Fräu
W W lein
W W mit
W W trü
W W bem
W W Ge fühl,
. WW W W W W
- W
WWW WWW WWW WWW W
) W1
W W W W W W WW -WW
. W WW WW W W W
W . W W W W W W -W
W1
p
W W
W W W W W W
WWW +
WWW WWW WWW WWW WWW WWW W W W W . WW W W W W W W WWW WWW WWW -WWW
WW W
1. Youth talks and dreams so much
2. Recently a girl thought, in her sadness,
Ju
gend so
viel
von Tan
schon hät
zen,
te
Gal
ihr
of dances, galops, and parties;
that her last hour had come.
lop pen,
Stünd lein
Ge
ge
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
=
>
:
<
:
<
:
<
:
<
W
W
W
WW
WWW
W
W
W
W
W
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W
W
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W
W
W
+
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)
+
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W
W
W
WW
W
6
W
W
W
W
W
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W
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W
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W
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6
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)
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)
+
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)
+
W
W
+
+
W
=
290
8
:
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11
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Schubert: Der Tanz
WW0 . W W W W
) 6 ) W W +
WW W
W
WWWWW W W W W W W W W W W W W WW
la
gen, auf ein mal er reicht sie ein trüg li ches Ziel, da
schla
gen. Doch stand noch
WW 0
0 WW W W W das
W W Räd chen der Par
WW WW WW W W W W ze nicht
W W still,
WW W W )
WW0 . W W W W W W W W W W W W W W W W1
W W W W W W W1
00WW
+ 6 6 WWW WWW WWW W WW
W WW
W WW WWW WWW WWW WW WW WW
. WW W W / WW WW . W W WW WW 0 W W W WW 6 9 7 0 6 6 WW
hört
schö
man
ner
WWWW W
sie
die
seuf
Freu
zen und
den
ihr
WWWW WW 00
suddenly it reaches a false goal,
But the wheel of fate did not stand still,
kla
ta
W 6 9 7 0 6 6 W
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W W W W +
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)
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we hear it sigh and complain.
joys are dawning for her more beautifully.
for online perusal only
gen.
gen.
nun
then
now
Bald
Drum
W W WW WW
W
W
Soon
So
15
WWWW WW . WW WW WW WW WW WW . WW W W
schmer
Freun
zet
de,
der
er
Hals,
he
und
bet
bald
den
schmer zet
fro hen
/ W W W
f
)
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Brust,
W W W ver
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sang, es le be die teu re
WW + WW WW
WW WW WW WW
die
Ge
f
WWWW . WW WW WW WW WW WW . WW WW WW WWWW +
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f
W / W W W
W W W W W W W W
die
I
the throat hurts, and soon the chest hurts,
friends raise the joyous song:
lost is the heavenly delight.
‘May dear Irene live long, to be sure,

=
>
=
>
:
<
:
<
:
<
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21
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WWW W W W W W W W
himm
re
li
ne
sche
noch
Lust.
lang!
WWWW WW W W W
W . WW WW
W WW WW
WW . W WW W W W W W WW WW W W WW WW W W
W WW WW
. W W W W
“Nur
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f
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W
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WW
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p
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. W -W
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p
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WWW
fle
trü
het
be
vom
sich
Him
nim
mel
mer
W . W WW W W W W W W WWW WWW WW W WWW1
W 0 W W W W W W ) + W
pleads from heaven the hopeful glance.
may her cheerful gaze never grow sad.’
p
dies
den
mal
ke
noch
zwar
kehr’
oft
WWWW
+
‘Just this time, health, come back to me!’
may she often think of false Fate,
der
ihr
hof
fen
de
rer
Blick,
Blick,
W . WW W
- WW WW
W W W W . W -W
W W W W
-WWW
+
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Schubert: Der Tanz
f
W W W
WWWW
W . WW WW W W WW WW
sie den ke
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W W oft
WW WW WW
p
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W W W W
W W W
p
6 WWW - +
WWW WWWW
+
WW
W W W W W W W W WW WW WW WW W 6
sund heit zu rück!” so
- WW WW WW W W
fle het vom Him
WW W W
W W W W mel der hof
W
W W W fen de Blick.
fal sche Ge schick, doch trü be sich nim mer ihr hei te rer Blick.
W
f
. W -W
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W W W W WW
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W W
mir
an
p
“nur
Ge
das
dies
sund
fal
for online perusal only
mal
heit
sche
noch
zu
Ge
rück!”
schick,
kehr’
mir
an
so
doch
f
f
thus
but
Ge
das
291

<
;
!
!
!
!
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-
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W
292
Words: Anon.
SOPRANO
6
= : -
: -
q -
< -
: -
< -
ALTO
TENOR
BASS
3"
(for
rehearsal
only)
: -
: -
q -
< -
: -
< -
W
W
W
W
W
W
50. Ach Elslein, liebes Elselein
3
4
1. Ach
3
4
3
4
1. Ach
LUDWIG SENFL
( c. 1486 – c. 1543)
W ! W ! W W 0 W ) W ! W ! W
Els
2. Das bringt
3. Hoff’,
Zeit werd’ es wohl en
den, Hoff’, Glück
W ! W ! W W W W ! W ! W
Els lein, lie bes El se lein mein, Wie gern
bringt mir gro ssen Schmer
zen, Herz al
Zeit werd’ es wohl
W ! W ! W W 0 W
) W W ! W ! W
en
den, Hoff’, Glück
1. Ach
2. Das
3. Hoff’,
Els
2. Das
3. Hoff’,
bringt mir gro ssen Schmer
zen, Herz al
Zeit werd’ es wohl en
den, Hoff’, Glück
W ! W ! W W W W ! W ! W
3
4
1. Ach Els
2. Das
3. Hoff’,
Simply
3
4
3
4
lein,
mir
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gro
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lie
bringt mir gro ssen Schmer
zen, Herz al
Zeit werd’ es wohl en
WW!! W W !! WW W W 0 W W )
WW den, Hoff’, Glück
! ! W W ! ! WW
W !! WW !! W W WW 0 W W )
WW W ! ! WW !! WW
1. Oh Elsie,
my dear little Elsie,
how happy
2. That causes me great pain
my dearest
3. I hope time
will end it,
I hope luck
W ! 0 7 7 W ! W ! W W 0 W
) W
ich
lieb ster G’sell;
Red’ ich von gan zem
kom men drein,
Sich in all’s Güts ver
W ! W W W W W 0 W )
W ! W ! W
ich bei dir; So sein zwei tie fe Was
ser
lieb ster G’sell; Red’ ich von gan zem Her
zen,
kom men drein, Sich in all’s Güts ver
W ! W ! W ! W W 0 W
) W ! W
wen
den,
ich
lieb
kom
ster
W ! W ! W ! W men
G’sell; Red’ ich von gan
Her
zen,
drein, Sich in all’s Güts
wen
! 0 den,
! W
ich
lieb
kom
; 3" -
; - 3"
-
-
bei
bei
bei
3"
ster G’sell; Red’
von gan
zem
Her
men drein, Sich
all’s Güts
ver
WW!! 0 W W W WW W! 0 W W + W ! ! W W !W 0 W
) WWW
WW!! WW !! W W
!! WW W! 00 W ) W ! ! W
I’d be with you;
darling;
will return,
dir;
dir;
© Oxford University Press 2001. Photocopying copyright material is illegal.
So
sein
ich
in
So
zwei
bes
ssen
bes
there are two deep rivers
I speak with all my heart,
and everything will turn out well,
El
Schmer
El
se lein
for online perusal only
dir;
So
sein
zwei
se
lein
bes El se lein
sein
tie
tie
zwei
fe
zem
ver
tie
Was
fe
mein,
zen,
mein,
mein,
fe
Wie
Herz
Wie
Wie
Was
Her
wen
ser
Was
gern
al
gern
gern
wär’
ler
werd’
wär’
ler
werd’
wär’
ler
werd’
wär’
ler
werd’
Wohl
Hab’s
Herz
Wohl
Hab’s
Herz
wen

=
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.
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4
4
4
4
12
= : -
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! W W ! W 0 W
ser
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den,
W W ! 0 7 7 W ! W
Hab’s für gross Un ge fäll,
Red’ ich
Herz lieb stes El se lein,
Sich in
W W W W ) W W ) W ! W ! W 0 W ) W W ! W W 0 W
) W
zwi
schen dir und
mir,
So sein
für
gross Un ge
fäll,
Red’ ich
lieb
stes El se
lein,
Sich in
W W W ! W W ! W 0 W
) W W W W ! W
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ge
fäll,
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stes El
se
lein,
Sich in
! W ! W W ! ! W W ! ! W
ser
zen,
den,
Wohl
schen
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Herz
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stes
dir
dir
Un
El
und
und
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se
Senfl: Ach Elslein, liebes Elselein
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WW !! WW 0 ! W W W W! 00 W +
W W ! WW W! 0 W +
WW
WWWWW !! W W W W !! ! W 0 W ) WW WW WW W !! WW
und
mir,
mir,
mir,
fäll,
lein,
So
Red’
Sich
sein
ich
in
zwei
von
all’s
So
So
sein
sein
tie
gan
Güts
293
zwei
von
all’s
zwei
von
all’s
zwei
von
all’s
for online perusal only
: -
18
: -
q -
< -
: -
< -
between you and me.
that it’s a great misfortune.
dearest little Elsie.
! W W 0 W
) W ! W W ! W 0 W
tie
gan
Güts
W 0 W )
tie
W W !
den, Herz lieb stes
El se
W W ) W W W ) ! W W 0 W ) W W ! !
gan zem Her
zen, Hab’s für gross Un ge
Güts ver wen
den, Herz lieb
! W W W + W W +
! W W ! stes El se
W ! !
tie
gan
Güts
fe
zem
ver
fe
fe
zem Her
zen, Hab’s für gross Un ge
ver wen
den, Herz lieb stes
El se
! W W W W W ! W W ! - W ! !4
fe
zem
Was
Her
wen
Was
Was
Was
Her
wen
ver
den, Herz lieb stes
El se
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)
WW W W +
!! WW WW 0 ! W +
W WW 0 ! W W / W !!
!!WW WW WW WW W W ) !! W W WW ! ! - WW !! !4
( )
ser
zen,
ser
ser
ser
zen,
Wohl
Hab’s
Wohl
Wohl
Wohl
Hab’s
zwi
für
zwi
zwi
zwi
für
schen
gross
schen
schen
gross
schen
dir
Un
dir
dir
dir
Un
und
und
und
ge
und
ge
mir.
fäll.
lein.
mir.
fäll.
lein.
mir.
fäll.
lein.
mir.
fäll.
lein.

<
;
"
"
=
>
W
)
)
W
.
.
.
294
Words: Anon.
SOPRANO
ALTO
TENOR
BASS
Superius
; "
Contratenor
; "
Tenor
Bassus
(for
rehearsal
only)
: .
: .
q .
< .
: .
< .
W
W
W
W
W
W
W
2
2
2
2
! W W ! 0 W . W 0 W )
jo li bois en l’om
! W W ! 0 W W 0 W )
W W "
W W W W !
jo li bois en l’om bre d’un sou
! W W ! 0 W W 0 + W . W W W W ! W
jo li bois en l’om bre d’un sou
! W W W 0 W+
W W ! 0 W W W !
!!WW WW !! 00 WW . WW 00 WW
!!W W W W W! 00 W+
W WW ! W 00 W )
2
mf
2
Au
Au
Au
Au
jo
51. Au joli bois
li
With long phrases
bois
en
l’om
bre d’un sou
bre
CLAUDIN DE SERMISY
( c. 1490–1562)
ci,
d’un
sou
WWWW W" W !
(
. WW
WW W W ! )
! W
for online perusal only
5
= : . ! W W ! 0 W W W W 0 W )
W ! W " ! W W
M’y faut al ler
pour pas ser ma tris tes
se. Rem pli
: . W W W W W W . W W W ! W W W W W ! " ! W W
ci, M’y faut al ler pour pas ser ma tris tes
se. Rem pli
q . W W W W W 0 W
) W W W W W W 0 W+ W W ! " ! W W
ci, M’y faut al ler
pour pas ser ma tris tes se. Rem pli
< . W W W W ! 0 W ! ! W W ! " ! W W
: .
< .
ci,
M’y
faut
al
ler
To the pretty wood
pour
pas
overshadowed by care,
W!WWW WW W ! 0 W . W WW W W !W W 0 W W WW
W W! W ! . W "" !! WW WW
WWW W WW W W ! W 00 W ) W W W W ( )
!W W !
W mp
dim.
0 W )
WWWW !! " ! ! W W W W
ser
ma
tris
tes
se.
Rem
pli
de
de
de
de
I must go
to endure my sadness.
Full of
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
+
)
)
W
.
W
W
)
W
.
.
W
11
= : .
: .
q .
< .
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< .
! 0 W . W 0 W )
W W " ! W W ! 0 W
d’un sou ve nir tran si,
Man ger m’y faut
! 0 W W 0 W )
W W W W ! W W W W W W . W W
d’un sou ve nir tran
si, Man ger m’y faut main tes
! 0 W W 0 W+ . W W W W ! . W W W W W W 0 W
) W W W
deuil
deuil
deuil
W 0 W
deuil
d’un
W W ! 0 W W W ! W W W W ! 0 W
d’un
sou
sou
!!00 WW . WW 00 WW
dim.
W! 00 W+
W WW ! W 00 W )
ve nir
tran
ve
nir
de Sermisy: Au joli bois
WWWW W" W ! W! W WW WW W ! 0 W . W WW
p
. WW
WW W ! W ! . W W W W W WW W W ! W 00
W ) W W WW
( )
tran
si,
si,
Man
Man
ger
ger
m’y
m’y
faut
faut
main
poi
295
main
for online perusal only
: .
16
: .
q .
< .
: .
< .
sorrow from a numbing memory,
I must eat many choke-pears.
W W W 0 W )
W ! W " ! W W W 0 .+ W W W . W W W W
tes poi res d’an gois
se. En un jar din rem pli de noi
W ! W W W W W ! " ! W 0 W
) W ! W W 0 W )
W W
res d’an gois
se. En un jar din rem pli de noi
W W W 0 W+ W W ! " 7 W W W W 0 .+ W W W W 0
+ W . W W
main tes poi res d’an gois se. En un jar din rem pli de noi
! ! W W ! " ! W W ! 0 W W W W W
tes poi
WW!W W 0 W W WW
W W! W ! . W "" !! WW 0
W W W +
W 0 ! . W )
W W W . W 0 W W + WW WW
!WW !
W 0 W )
mf
WWWW !! " 7 ! W WW W W ! W
0
0 . ) W W WW 0 W W . W W
( )
res d’an
gois
se.
En
un
jar
din
rem
pli
de
noi
res
res
res
res
In a garden filled with black flowers,

=
>
""
W
W
)
W
.
W‰
296
22
= : .
: .
q .
< .
: .
< .
de Sermisy: Au joli bois
" ! W W W 0 .+ W W W . W W W W " ! W W ! !
De mes deux yeux fe rai lar mes et pleurs. Fi de li es
" ! W 0 W
) W ! W W 0 W )
W W " ! W W ! !
De mes deux yeux fe rai lar mes et pleurs. Fi de li es
" 7 W W W W 0 .+ W W W W 0 W+ . W W " ! W W .!
!
fleurs,
fleurs,
fleurs,
" ! W W ! 0 W W W W W " ! W W ! !
fleurs,
De
De mes deux
mes
deux
yeux
yeux
fe
fe
rai
rai
""! ! WW 0
W W W +
W 0 ! . W )
W W W . W 0 W W + WW . WW " " !! WW WW !! !!
7!W WW W W ! W
0
0 . ) mf
W W WW 0 W W . W WW " "
!! WW WW .!!
! !
lar
lar
mes
mes
et
et
pleurs.
pleurs.
Fi
Fi
de
de
li
li
es
es
se
se
se
se
for online perusal only
: .
29
: .
q .
< .
: .
< .
from both my eyes come sobs and tears.
Fie to jollity
! W W ! ! ! W W ! ! 7 W W W W 0 W ) W W
Et har di es se! Re gret m’op pres
! W . W ! ! ! W W ! ! 7 W W W ! 0 W
har di es se! Re gret m’op pres se,
Puis que j’ai per
! W W ! ! ! W W ! W W W 0 W
) W W W W W W W W
Et
Et
! W W ! ! ! W W ! W W W ! W W ! 0 W
Et har di es se! Re gret m’op pres se, Puis que j’ai per du
!!WW . WW !! !! /!!
WW WW !! ! 7 WW WW WW ! W 00 W ) W WW
p
cresc.
dim.
!!WW WW !! ! ! !! WW WW !! W W WW WW 0 ! W ) W W W W ! W 0 W W W W W
mp
har
di
es
se!
Re
se,
Puis que j’ai per du mes
gret m’op pres se, Puis que j’ai per du mes
du
mes
and boldness!
Regret oppresses me, since I have lost my love.

=
>
!!
.
00
00
00
00
00
00
W
W‰
/
/
W
.
4
4
4
4
00
00
00
00
35
= : .
: .
q .
< .
: .
< .
: .
41
: .
q .
< .
: .
< .
de Sermisy: Au joli bois
W W ! W " ! W W ! ! ! W W ! !
! ! " ! W W ! ! ! W . W ! !
a mours. Las! trop j’en du re, Le temps me du
W W ! " ! W W .!
! ! W W ! !
mes
a
a
! ! " ! W W ! ! ! W W ! !
a
mours.
mours.
mours.
Las!
Las!
Las!
trop j’en
trop
trop
j’en
j’en
!WW! .!
W "" !! WW WW !! !! !! WW . WW !! !!
f
mf
!WW !! ""
!!WW WW .!!
! ! !! WW WW !! ! !
Alas, how I suffer,
! W W ! ! 7 W W W W 0 W ) W W W ! W "
Je
! W W ! ! 7 W W 0 . W ) ! 0 W W W ! "
Je vous as su re:
Sou las, vous n’a
vez plus de
! W W ! W W W 0 W
) W W W W W W W W W W W W W W "
Je vous as su re: Sou las, vous n’a vez
plus
de
! W W ! W W W ! W W ! 0 W W W ! "4
Je
/ WW WW !! ! 7 WW W 0 W .+ W ! W 00 W ) W WW WW W! ! . W ""
!!WW WW !! W W WW WW 0 ! W ) dim.
W W W W ! W 0 W W W W W WWWW / W !W W "4
mp
vous
vous
I assure you:
as
as
for online perusal only
su
su
re:
re: Sou
Sou
las, vous
las, vous
n’a
du
du
du
n’a
vez
solace, you have no more currency.
re,
re,
re,
Le
Le
Le
temps
temps
temps
me
me
me
time presses hard on me,
vez
plus
plus
de
du
du
du
de
re,
re,
re,
re,
cours!
cours!
cours!
cours!
297
00
00

=
>
>
!
!
W
W
/ W
W
-W
1)
1
1
)
)
1
W
1W
W
1
1
1
1)
1
)
1
W
1
1W
1
1
1)
1
+ 1)
1
1
W W
1
W W
1
1
1
1
WW
298
Words by Mary Coleridge (1861–1907) C. V. STANFORD (1852–1924)
Op. 119 no. 3
SOPRANO
5
ALTO
TENOR
BASS
(for
rehearsal
only)
: - - - - - -
: - - - - - -
q - - - - - -
< - - - - - -
: -- - - --
< -- - - --
= : - - - - - -
: - - - - - -
q - - - - - -
< - - - - - -
: -- - - --
< -- - - --
W
W
W
4
4
4
4
pp
4
4
pp
4
4
4
4
7 9 9 9 "
Larghetto tranquillo
pp
! 00 WW ! ! W W 00 WW W WW !! 00 !! 00 WW
W ! 0 W ! W 0 + W1 ! 0 ! 0 W
W ! 0 W ! W 0 W ) W W ! 0 ! 0 W
WW!
blue,
lake lay blue
be low the hill,
W1 W1
lake lay blue
be low the hill,
The
The
The
9 9 9 " 9
! 00 WW ! ! W W 00 WW
lake lay blue
! 0 W ! W 0 W+
lake lay blue
! 0 W ! W 0 W )
lake
lay
! 00 WW ! ! W W 00 WWW1
!!0 0 W W ! ! W W 0 0 W1
52. The blue bird
for online perusal only
WWW !!000 ! WWW !!W ! WW000 WWW1 WWWWW1 !!! 000
" !!! 000 WW
W ! 0 W ! W 0 ) W1 W1 W1 ! 0 ! 0
Larghetto tranquillo
pp
blue
lake
lay
be
be
be
blue
be
low
the
hill,
W WW !! 00 !! 7 6 WW / WW !! 00
the hill,
be low the
W1 W1 ! 0 ! 7 6 W )
W W /!
0
the hill,
be low the
W W ! 0 ! 7 6 W ) W W ! 0
low
low
low
the
hill,
blue.
WWWWW1 !!! 000 !!! " 7 6 WW
1 W1 ! 0 ! 7 6 W W 1
be
pp
low the
hill,
hill,
hill,
/ 1 WW1 !! 00
WWWW1 1 /!!
00
the
the
the
© Oxford University Press 1999 and 2001. Photocopying copyright material is illegal.

=
>
x
W
W
W
-W
-
10
= : - - - - - -
: - - - - - -
q - - - - - -
< - - - - - -
: -- - - --
< -- - - --
W W 7 W W ! 6 W )
O’er
it,
W W W W W W W W ! 0 7
!!!! " " " " W ! 0 ! WW
lay
! ! " " ! 0 W
lay
! ! " " -!
0 W
lay
as I looked,
blue,
blue,
blue,
there flew
A
cross the wa ters, cold and
Stanford: The blue bird
!!W W 7 ! ! W W " "! 6 W )
W W " " W W W W W W ! !
0 7 0 ! WW
!!! !
" " " " -
! !
0 0
W
still,
cold
cold
cold
( )
and
and
and
299
for online perusal only
: - - - - - -
14
: - - - - - -
q - - - - - -
< - - - - - -
: -- - - --
< -- - - --
7 6 W+
! ! ! W W W W W ! W ! 0 W
!! 00 WW W! 0 ! W W W ! 0 ! WW WW W ! ! W W !
there flew A bird whose wings were pa
! 0 W W ! W W W W W ! ! ! !
still,
still,
! 0 W ! 0 W ! ! ! ! ! !
still,
A
bird
there
there
6 !7! 00 W ) ! WW WWW !
!!00 WW ! 0
flew
flew
û
whose
A
A
wings
bird
bird
whose
whose
wings
wings
were
were
were
!!! W W W !! W W W WW W W W W W ! ! W W W W! 0 WW ! W
WW! W W
! W ! ! ! ! " !
pa
pa
pa
lest
lest
lest
lest

=
>
"
!
!
!
7
!!!
+
)
)
W
W
"
W
7
WW
W
300
19
= : - - - - - -
: - - - - - -
q - - - - - -
< - - - - - -
: -- - - --
< -- - - --
Stanford: The blue bird
p
" W 7 8 9 9 9 " 9
ppp
blue.
p
cresc.
""WW 7 7 W W ! ! 00 WW ! ! W W 00 WW W WW !! 00 !! 00 WW ! ! 00 WW
blue.
The sky a bove was blue at last,
The sky
p
cresc.
" W 7 7 W ! 0 W ! W 0 + W W W ! 0 ! 0 W ! 0 W
blue.
The sky a bove was blue at last,
The sky
p
cresc.
" W 7 7 W ! 0 W ! W 0 W+
W W ! 0 ! 0 W ! 0 W
ppp
ppp
ppp
blue.
""" WWW 7 7 WW! W !!000 WWW ! ! W W 00 WW1
p
" W W 7 7 W ! 0 W !! WW 00 WW1
ppp
The
sky
a
bove
was
cresc.
blue
at
last,
blue,
The
sky
p
W1 WW1 !! 00 "!! 00 WW ! ! 00 WW
WWWW1 1 !! 00 !! 00 W !! 00 WW
be
be
be
for online perusal only
: - - - - - -
26
: - - - - - -
q - - - - - -
< - - - - - -
: -- - - --
< -- - - --
mf
9 9 " 9 7 6 )
W1 W1 W1 7 W 0 W
) W W ! 0 7
pp
! ! 00 WW W W WW !! 00 !! 7 WW / ! 00
WW "! -!
" " W ! 0 ! WW
neath me
pp
! 0 W W W ! 0 ! 7 W ! 0 W " " ! 0 W
neath me
pp
! 0 W W W ! 0 ! 7 W ! 0 W " " -!
0 W
neath me
blue in blue,
blue in blue,
blue in blue,
blue.
was
blue
was blue
was blue
1) W W1 1 7 W 0 W
! 00 WWW WWWWW W !!! 000 !!! " mf
7
6
WW / ! 00 WW W
pp
!!0 0 W W W ! 0 ! 7 W W ! ! 0 0 W W
8 !!"" ! "
in
in
in
blue,
blue,
blue,
Amoment,
ere
the bird had
passed,
blue
blue
) W W ! !
0 0 !
-
!
!
0
0
(
blue
)
-W
in
in
in

=
>
!
!!
"
!"
+
1)
1
)
1
W
1
1
1
1
4
Q
000
4
33
= : - - - - - -
: - - - - - -
q - - - - - -
< - - - - - -
: -- - - --
< -- - - --
7 6 W
! ! ! W W W W W ! W W ! 0 ! 0 W
mf
!! 00 WW
W! 0 ! W W W ! 0 ! WW WW W ! W W W WW WW ! W W ! W W
It caught, it caught his im age, his im age as
mf
! 0 W W ! W W W W W ! ! W W W W ! !
blue,
blue,
mf
- 0 W ! ! ! ! ! ! " ! !
blue,
mf
It
caught
It
It
caught,
caught,
his
it
it
im
caught
caught
his
his
6 !7! 00 W ) ! W W ! !! ! W WW
WWWWWW
W WWW WWW
WWW ! ! W W W W W! 0 WW WW W W! 0 W W W WW
mf
- 00 WWW ! W W !
! 7 ! 7 ! W ! ! ! ! " W W W W ! ! ! !
im
im
age,
age,
age
his
im
as
age
his
Stanford: The blue bird
im
age
as
as
he
he
he
301
he
for online perusal only
: - - - - - -
39
: - - - - - -
q - - - - - -
< - - - - - -
: -- - - --
< -- - - --
più lento
quasi niente ppp
" " 9 9 9 "4
7 WW ! ! 00 WW ! ! W W 6 WW W WW !! 00 !!
! ! 8 7 W ! 0 W ! W 6 + W1 ! 0
- 8 7 - W ! 0 W ! W 6 W ) W W ! 0 ! 0
flew.
blue.
ppp
""8
400 74
flew.
The lake lay blue
be low the hill.
ppp
W1 W1 !40 74
flew.
The lake lay blue
be low the hill.
ppp
74
flew.
The
lake
lay
blue
più lento
""" " 8 7 WWW !!000 ! WWW !!W ! WW6 WW1 W WWWWW1 W !!! 000
"4 !!! 7Q
ppp
- ! 8 7 - W ! 0 W ! W 6 ) W1 W1 W1 ! 0 ! 0 74
be
low
the
hill.

=
>
>
WW
)
WW
W
W
W
3
3
WW
)
2
2
2
+
1
1
2
2
1
1
1
1
1
1
1
1
W
)
)
302
Words by CALLIMACHUS ( c. 320– c. 240 BC )
Translated by William Cory (1823–89)
SOPRANO
ALTO
TENOR
BASS
(for
rehearsal
only)
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
W
W
W
W
W
W
4
4
4
4
4
4
C. V. STANFORD (1852–1924)
Op. 110 no. 4
mf
p
W W 0 W+
W 0 W+ W W 7 W W W W 0 W ) ! 0 W W W W30 W+
told me, He ra cli tus, They told me you were dead; They brought me bit
mf
W W 0 W )
p
mf
W 0 W W W 7 W W W W 0 W ) ! 0 W W W W
3
0 W
told me, He ra cli tus, They told me you were dead; They brought me bit
mf
p
mf
W W 0 W+ W 0 W+ W W 7 W W W W 0 W ) ! 0 W W W W30 W+
told me, He ra cli tus, They told me you were dead; They brought me bit
mf
p
W W 0 W+
W 0 W+
W W 7 W W W W20 W
) mf
!20 W W W W30 W+
Andante
They
They
They
They told me, He
) WWW WWW 000 WW WWW 000 W) WWW WW 7 W W W WW WWW WW200
) WW !!200
WWWW WW WWW3000 WWW
p
mf
W W 0 W +
W 0 W +
W W 7 W W W WW200 WW !!200 WW W W WW W30 W +
Andante
mf
53. Heraclitus
ra
cli tus,
2
mf
They told me you were dead; They brought me
bit
ter
ter
ter
ter
for online perusal only
6
: - - -
: - - -
q - - -
< - - -
: -- -
< -- -
molto teneramente
W 0 /+ W W W - W W 0 W ) ! 0 W W W 6 W
) W
1
W
1
W W 7 W
to hear and bit ter tears to shed. I wept, as I re mem bered,
W 0 W W W W W W 0 W ) " 7 W W W 6 1
W )
W W W
to hear and bit ter tears to shed.
I wept,
as I re mem
p
W 0 W + / W W -W3
W -W
0
+ W W /!
0 7 - W ! 6 W ) W W W W
to hear and bit ter tears to shed.
I wept,
as I re mem
p
W 0 W + W W W3 W W 0 W ) " 7 W ! 6 + W1 W1 W1 W W
news
news
news
news
to hear and
bit
ter tears
to
shed.
WWW 000 / W) WW WW -WW3
WW W W 00 ) WW W! ! 00 W W
/!
0 7 W W
6 W W WW W W7WWW 7
W W W W
W 0 / W W+ W -W W
3 WW -WW
00
W ) " 7 - W W ! ! 6 W1 W W WW1 W W WW
I
wept,
as
I
re
How
bered,
bered,
mem bered,
© Oxford University Press 1999 and 2001. Photocopying copyright material is illegal.

=
>
)
)
+
W +
W
/
)
WW
/ WWW
W
)
)
x
x
+
+
WW
1
1
1
1
1
/
1
)
1
4
!
!
4
000
!
WW
+
+
11
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
Stanford: Heraclitus
f
p
W 0 W W W W ! 0 W W 0 W + W W W3 W 7 W W W W 0 W ) ! 0 W
of ten you and I
Had tired the sun with talk ing and sent him down the sky.
f
7 W W 0 W
) W W W W W 0 W )
p
/ W ! W W W W W 0 W )
0 W
How of ten you and I Had tired the sun with talk ing and sent him down the sky.
7 W W 0 W ) f
p
W W W W W / W -W
W ! W W W W W 0 W 40 W
How of ten you and I Had tired the sun with talk ing and sent him down the sky.
7 W W 0
f
p
+ W W W W W -W
W W W ! W W W W W 0 W
) ! !
40 0 W
How
of
ten
you and
I
Had
tired
the
sun with talk
ing and
sent him down the sky.
W7 0 W W W W 0 W WW +
W! 0 W W WW W
W W00 W - WWW !! W 3
W 7 W W W W W
) 4
WWW WWW WWW 000 WW !!!
7 W W W W 00 W W WW W W f
W W p
-W
W W W ! W W W W W 0 W
) ! !
40 0
WW
pp
And
pp
And
pp
And
pp
And
pp
303
for online perusal only
: - - -
17
: - - -
q - - -
< - - -
: -- -
< -- -
W 0 W W W W W 7 W W W W 0 W ) ! 0 6 + W1 W2 W1 W1 W 0
+ W W1 / W1
7 W 0 W
that thou art ly ing, my dear old Ca rian guest, A hand ful of grey ash es, long,
W W W W W W 7 W W W W 0 W ) ! 0 6 W
1) W
2
W W ! W W 7 !
that thou art ly ing, my dear old Ca rian guest, A hand ful of grey ash es, long,
W W W W W W 7 W W W W 0 W ) ! 0 6 W1 W2 W1 W1 W 0
+ W W1 W1 7 W 0 W
that thou art ly ing, my dear old Ca rian guest, A hand ful of grey ash es, long,
W 0 W+ W W W W 7 W W W W 0 W ! 0 6 + W1 W2 W1 W1 ! W1 W1 7 !
now
now
now
now
that thou art
ly ing,
my dear old Ca rian guest,
WW0 W W )
WW W W !W W 7 W W
)
W WWW WWW WWW 000 WWW !!! 000 6 WW1
WW 0 W W + WW W W WW WW 7 W W W W 0 W ! 0 6 WW1
+
A
hand ful of grey
ash es,
long,
WW2 WW1 WW ! W W 0 0 W ) W WWW1 WWW 7 W W 0 0 W ) W
2 WW WW1
! W1 W1 7 !

=
>
W
WWW
000
WW
)
/
+
+
3
W
+
W
2
2
2
)
)
)
2
2
2
2
2
24
4
4
W
304
23
= : - - -
: - - -
q - - -
< - - -
: -- -
< -- -
Stanford: Heraclitus
mf
poco cresc.
W 0 W ) W W ! 0 W W W W W W W W ! W W 0 W W W W ! 0
a go at rest, Still are thy plea sant voi ces, Thy night in gales, a wake,
pp
poco cresc.
W 0 W W W W - W ! ! / W 0 W )
W W W W W W W 0 W
) W W W W
a go at rest,
Still are thy voi ces, Thy night in gales, a wake,
pp
[ poco cresc. ]
W 0 W+ W W ! ! ! W 0 W
) W W W W W 0 W W W W W W W W
long
long
long
pp
W 0 W ) W W " " ! ! " ! !
long
a
go
a go
at
at
rest,
rest,
Still
are
thy
mf
) WWW 000 WWW WWW WWW W ! 0 - W ! W ! W W W / W 0 W W W W ! W W W W W 0 W W W!
W W ! W 0 W W WW
pp
cresc.
W 0 W ) W W "! ! ! " W 0 W ) W!
W ! W W "W 0 W ) W W W W!
W ! W W
voi
ces, Thy
at
night
rest,
in
gales, a
wake,
For
For
For
For
for online perusal only
: - - -
29
: - - -
q - - -
< - - -
: -- -
< -- -
f
p
pp
W 0 W + W W W30 W ) ! ! 7 W ! 7 W ! ! "
he ta keth all a way,
but them he can not
f
W 0 W )
p
pp
W W ! 0 W W W 7 W ! 7 W W W ! "
he ta keth all
a way, but them he can not
f
WW0 0
p
pp
W W WWW -!30 W W W 7 W ! 7 W W W ! "4
he ta keth all
a way, but them he can not
f
- 0 W
) p
pp
W W !30 W ! 7 W ! 7 W ! ! "24
Death,
Death,
Death,
Death,
f
WWW
/+
- 00 WW
he
ta
keth
all
WWWWW -!!
W30 W ) !
300 WW WW! WW 7 WWW
WWW W !30 W ! 7 W
a
way,
but
p
them
he
can
not
take.
take.
take.
take.
!!7 WW W ! W !! ""
pp
!!7 WW ! W W ! ! ""4

=
>
>
W
W
W
/ W
W
WW
x
+
!
+
)
WW
305
Words by Henry Chorley
(1808–72)
SOPRANO
ALTO
TENOR
BASS
(for
rehearsal
only)
= : - - - -
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
-W
W
( )
3
4
3
4
3
4
3
4
3
4
54. The long day closes
ARTHUR SULLIVAN
(1842–1900)
W W W W W ! W ! W W W 6 W ) W 0 W+ W W
Andante non troppo largo
p
No
p
star is o’er the lake, Its pale watch keep ing, The moon is half
W W W W W ! W /!
W W W 6 W ) W 0 W W W
star is o’er the lake, Its pale watch keep ing, The moon is half
W W W W W ! W -!
W W W 6 + W W 0 + W / W W
star is o’er the lake, Its pale watch keep ing, The moon is half
W W W W W ! W ! W W W 6 W W 0 W W W
No
p
No
p
3
4
No star
is
o’er the
WWWW WW WW WW ! ! W W /!!
WW W W 6 W ) W W 00 WW
p
+
WWWW WW WW WW !! WW -!!
WW WW WW 6 WW WW00 +
WW +
Andante non troppo largo
lake,
Its
pale
watch
keep ing,
The
WWWW
/ WW
a
a
a
moon is half a
for online perusal only
6
: - - - -
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
! W ! / W / W W 6 W ) W W W ! W 0 W W W W
Through gray mist creep ing, The last red leaves fall round The porch of
! W W W W W W 6 W ) W W W ! W 0 W /!
W
Through gray mist creep ing, The last red leaves fall round The porch of
W W - W ! W W W 6 W+ W W W ! W 0 W /!
W
Through gray mist creep ing, The last red leaves fall round The porch of
! W W ! W W 6 W W W ! W 0 W W W 0 W W+
+
wake,
wake,
wake,
wake, Through gray mist creep ing, The last red leaves
!!W W! W / WW / WW W 6 W ) WW WW WW ! ! W W 00 W W /!W
W WW
!WWWW - ! W ! W W W WW 6 W WWWW WW !! WW 00 WW / W W 0 W W W+
+
fall
round The
porch
of
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
+
)
)
+
+WW
)
!
‰
000
WW
1
306
12
= : - - - -
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
: - - - -
18
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
Sullivan: The long day closes
W W 6 W ) W 0
ro
W ) / W W ! W W ! W ! ! 0
W W 6 -W
W 0 W W W W W / W ! W W ! ! 0
ro ses, The clock hath ceased to sound, The long day clo
W W 6 -+ W W 0 W W W ! W ! W ! 0 ! 0
ro
W W 6 W
ro
ses,
ses,
ses,
The
The
The
clock
clock
W W W W ! / W ! W ! 0 ! 0
clock
hath ceased to
hath ceased to
hath
ceased to
sound,
sound,
sound,
WWWW 6 W W) WW 00 W W W ) / WW
W W ! W / WW !W ! W WW !! ! 0
WWWW 6 +
WW W W W W W W !! / WW !! W W ! ! 0 0 ! ! !
p
cresc.
9 W W W W W ! W ! W W W 6 W ) W 0 + W W W
Sit
p
cresc.
9 W W W W W ! W /!
W W W 6 W ) W 0 W W W
Sit by the si lent hearth In calm en dea vour, To count the sounds
p
cresc.
9 W W W W W ! W -!
W W W 6 + W W 0 + W / W W
Sit
p
9 W W W W W ! W ! W W W 6 W
Sit
by the si lent
by the si lent
hearth
by the si lent hearth
hearth
W 0 W+
9 WW WW WW WW WW ! ! W W /!!
WW W W 6 W ) WW 00 WW+
p
cresc.
9 WW WW WW WW WW !! WW -!!
WW WW WW 6
WW00 WW +
The
The
The
long day
* The small notes in the bass part are intended for use as additional notes, when the partsong is performed by a chorus.
In
In
In
calm
calm
calm
en
en
en
long
for online perusal only
long
dea
dea
dea
vour,
vour,
vour,
day
day
To
To
clo
clo
clo
cresc.
To
count
count
count
ses.
ses.
ses.
*
ses.
the sounds of
W W
the sounds of
the sounds of
WWWW
/ WW
of

=
>
3
3
W
/
+
)
W
+
24
= : - - - -
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
: - - - -
29
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
p
! 0 W W 0 W )
f
W W 7 W W W W 0 W W 0 W ) W 0 W
mirth,
p
f
W W / W / W W 0 W / W 7 W W W W 0 W W 0 W ) W 0 W
Now dumb for ev er. Heed not how hope be lieves And fate
p
! 0
f
W W30 /+ W W W 7 W W W W 0 W W 0 W+
W 0 W
Now dumb for ev er. Heed not how hope be lieves And fate
p
f
! 0 W W30 W+ W W 7 W W W W 0 W W 0 W
) W 0 W
mirth,
mirth,
mirth,
Now dumb
for
ev er. Heed not how hope be
Sullivan: The long day closes 307
lieves
And fate
Now dumb for ev er. Heed not how hope be lieves And fate
W!0 W / W / WW W3W
00 W) / WW WW 7 W W W W 0 W W 0 W ) W 0 W
p
f
!!0 0 WW WW300 WW WWW W 7 W W W W 0 W W 0 W
) W 0 W
p
W W 7 W W W W 0 W ! W W ! W 0 W W 7
po
p
W W 7 / W W W W 0 W ! W -W
W / W W W 7
po ses: Sha dow is round the eaves, The long day clo ses;
p
W W 7 W W W W 0 W ! W W ! W 0 W W 7
po
ses:
ses:
for online perusal only
Sha
Sha
dow
dow is round the eaves, The long day clo ses;
p
W W 7 W W W W 0 W ! W W ! W W 6 W+
po ses: Sha dow is round the eaves,
is
round
the
eaves,
W W 7 / WW WW WW W W 00 WW !! WW WW ! W / W W W 0 W WW 7
p
W W 7 W W W W WW 00 WW !! WW W ! ! WW 0 W WW 6 W
The
The
long
long
day
day
clo
clo
ses;
ses;
dis
dis
dis
dis
p
The
p

=
>
)
W
)
WWW
308
34
= : - - - -
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
: - - - -
39
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
Sullivan: The long day closes
p
7 7 6 W ) W 0 W )
p
7 7 6 W ) W 0 W )
cresc.
W W ! 0 W W W W W 6 W )
cresc.
W W ! 0 W W W W W 6 W )
p
cresc.
7 7 6 + W W 0
+ W -W
W ! 0 W W W / W W 6 W+
W 0
light
The
The
The
cresc.
+ W W ! 0 W W W W W 6 W+ W 0 W+ W W
ed win dows
light
light
light
dim
ed win dows dim
ed win dows dim
ed
win dows
dim
Are
7 7 6 W ) WWW 000 WWW - WWW !!! 000 WWW WWW WWW WWW WW 6 W )
cresc.
W 0 W+ W W ! 0 W W W W W 6 + W W 0 + W W W
dim.
pp
W 0
+ W W W W W W W W W W W -W
W -W
W 74 W W W W W
that was so trim Now quiv ers low ly, quiv ers low ly. Go to the dream
dim.
W 0 W )
pp
W W W W W W W W W W W W 74
W W W W W
that was so trim Now quiv ers low ly, quiv ers low ly. Go to the dream
dim.
W 0
pp
+ W W W W W W W W W W W W W W W 74
W W W W W
that was so trim Now quiv ers low ly, quiv ers low ly. Go to the dream
dim.
pp
! 0 W W W W W W W W W 74
W W W W W
fire
fire
fire
trim
Now
quiv
ers
low
WW0 0 WW
W WWW W W WW
WW WW W W W W WW W W -WWW
WWW -WWW
WW74
W W W W W W W WW WW
dim.
pp
! 0 6 W )
WW W WW
W WW
W WW WW W W W W 74 WW WW WW WW WW
fa
ly,
ding
quiv ers
Are
Are
Are
for online perusal only
slow
low
fa
fa
fa
ly.
ly.
ding
ding
ding
The
Go
slow
slow
slow
fire
to
ly.
ly.
ly.
The
The
The
that was so
less
less
less
the dream less

=
>
W
)
W
W
)
)
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)
/
/
/
/
/
/
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44
= : - - - -
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
! W ! W W W 6 W ) W 0 W ) / W W ! W
bed
! W -!
W W W 6 W
bed
! W /!
W / W W 6 W ) W 0 W
Where grief re po ses, Thy book
! W ! W W W 6 W )
W 0
bed
bed
Where
Where
Where
grief
grief
grief
re
re
re
po
po
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ses,
ses,
ses,
W 0
W W W W W
is read,
W W ! W
W W ! W
!!WW -!!
WW WW WW 6 ) WW W 0 W ) / W W W ! W WW
!!WW /!!
WW / WW W W 6 -+
WW WW0 0 W W WWW
+ W !! WW
Thy
Thy
Thy
book
book
book
of
of
of
of
Sullivan: The long day closes
toil
toil
toil
toil
is
is
is
read,
read,
read,
The
The
The
The
309
for online perusal only
: - - - -
49
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
f
W W W W ! W W W / W W ! W ! W
long day clo ses; Go to the dream less bed
f
W W W W ! W W W W W ! W ! W
long
day
clo
ses;
Go
to
the dream less
f
W W W W W W ! W W W 0 W ! 6 W+ W W
long day clo ses; Go
to the dream less bed Where grief
f
! W W ! W W W W W ! W ! W
long day clo ses; Go to the dream less bed Where grief re
WWWW WW WW !! WW WW WW / WW W W !! W !! WW
!WWW W f
WW !W W ! W W W W W !W 0 W ! W 6 ! W ) W W
bed
Where
Where
grief
grief
re
re
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4
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310
54
= : - - - -
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< - - - -
: -- - -
< -- - -
: - - - -
59
: - - - -
q - - - -
< - - - -
: -- - -
< -- - -
Sullivan: The long day closes
ff
dim.
/ W 0 W W 0 W + + W W W W 0 W W 0 W+ W W W !
po ses; Thy book of toil is read, thy book of toil is read,
ff
W W 0
) dim.
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po ses; Thy book of toil is read, thy book of toil is read,
ff
W W W - 0 W + W W -W
dim.
W 7 6 + W W W W W ! 0
po ses; Thy book of toil is read,
thy book of toil is read,
ff
W W 0 W + W 0 W+ W W ! dim.
W W 0 W
) / W / W ! W
po ses;
Thy
book
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WW00 WW+
ff
W WW 0 W W -W + W 0 0 W W+
p
W W W ! W ! 0 W 74
Go to the dream less bed,
p
/ 0 ! W ! W W 74
Go
of
toil
is
read,
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WWW W -!W
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dim.
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W ! 0 ! 0 ! 0 ! 0 !
p
pp
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Go
for online perusal only
to
to
the
the
dream
dream
less
less
bed,
bed,
p
pp
! 0 ! W ! W W 74 W ! 0 ! 0 ! !
!0 !01
0
Go
to the dream less bed, The
W W W ! W !! 0 W W W 74
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4 !
p
pp
/ 000 !!! WWW !! WW WW 74 WW !! 00 ! ! 0 0 !! 0 0 ! ! 0 0 !!
400
pp
The
pp
The
The
thy
long
long
long
long
book of toil is read,
day
day
day
day
clo
clo
clo
clo
ses.
ses.
ses.
ses.

=
>
W
W
W
W
>
3
W -
3
9
W
3
3
W
-
9
W -
3
3
3
9
3
3
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3
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3
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W W
3
W
3
WW
S.
A.
T.
B.
Words by William Shakespeare
(1564–1616)
SOPRANO
5
: -
: -
: -
q -
< -
: -
< -
1
2
ALTO
TENOR
BASS
(for
rehearsal
only)
=
: -
: -
: -
q -
< -
: -
< -
W
W
W
/W
W
W
W
-W
-W
4
pp *
4
4
4
4
4
4
"""" "" !! !!
ding,
ding,
ding,
ding,
"""" "" !! !
ding,
ding,
ding,
ding,
pp 3
3
3
*
9 9 7 W W W W W W W W W W W W
Ding dong, bell, ding dong, bell, ding dong, bell,
pp
8 -
*
!3 W 7 -!3
W 7 -!3
W 7 !
Dong,
dong,
dong,
dong,
9 9 9 9
""" "3 """3"
""" " W W W W W W W
3
3
8 !3 W 7 !3 W 7 !3
pp
!!! W W W -!!!
W
3
W 7 !
pp
pp
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!! "" "" -!!
WW WW
ding,
ding,
Ding,
ding,
pp
pp
W ! ! W W ! ! !! "" "" ! ! W
ding,
ding,
Ding,
ding,
pp
3
W W W W W W ! W W W W ! W
) 6 7 8
pp3
W W W W
ding dong, bell, ding dong, bell, ding dong, bell,
ding dong, bell,
pp
- ! W ! -!
" W 7 -!3
! -W
W
dong,
ding,
Dong, dong,
p misterioso
9 9 8 W W W W 0 W+
W W W
pp
3
W W W W
3
W W W
dong,
WW W !!! ! W WW W
- ! W
Andante misterioso
pp *
Ding,
Ding,
Andante misterioso
* ‘Ding’, ‘dong’ and ‘bell’ should be sung + ,
to Armstrong Gibbs
55. Three Shakespeare Songs
1. Full Fathom Five
The Tempest, Act I, Scene 2
for online perusal only
R. VAUGHAN WILLIAMS
(1872–1958)
Full fa thom five thy fa ther lies;
!!! ! W ! !!! ! W """ " W W W ! """3"
W !!! ! W WW W
3
! -!
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W W W WW 0 7 - W+
W!3
W W! W W W -WW
W W
di-ng
do-ng
be-ll
© Oxford University Press 1951. Photocopying copyright material is illegal.
p
3
3
ding
311
ding,
ding,
ding
dong,
WWW W

=
>
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W
W
W
W
W
W
WW
W
W -
3
3
3
3
!
3
3
3
!!
3
-
3
3
3
W
W
WWW
W W
3
W
3
WW "
"
W W
W
W
W
WW
-
W
3
-
!
3
W -
3
!
S.
A.
T.
B.
312
10
= : -
: -
: -
q -
< -
: -
< -
Vaughan Williams: Three Shakespeare Songs
WWWW -!!
"" "" -!!
WW WW WW WW !!
dong,
W
3
W W W
ppp
WWW W
WWWW
3
W ! ! "" "" ! ! W
3
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ding dong, bell, ding dong, bell,
ding dong, bell, ding dong, bell, ding
- ! ! -!
W 7 -!
! -W
W W - W !
bell,
ding,
ding,
dong,
p
! ! W W W W W 3
W W W W W W
Of
ppW 3
W W W
WW W !!! ! W W """ " W W W ! """3"
W !!! ! W WW W
3
- !! !! -W!
W W WW 7W -W!
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W W
p
his
ding,
ding,
bones are
dong,
co
ral
ding,
ding,
dong,
made;
3
3
ding,
ding,
dong,
pppW 3
W W W
WWW W WW W
WWWW W W
3
W !
!
ding,
ding,
dong,
WW W !!! ! W
- !
dong,
for online perusal only
S.
A.
T.
B.
: -
15
: -
: -
q -
< -
: -
< -
pp
3
"""" WW -W W WW W
pp
3
"""" "! W W W
3 3
W WW WW -WW
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3
W W W ! W 7 8 W W W W W W W W
bell,
ding dong, bell, ding dong, bell, ding
W -!
W 8 -!
W W -!
W W !
dong,
dong,
dong,
dong,
p
! W W -W
0 W + W W W
3 pp
[ ppp]
W W W W
3
W W W W
3
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bell, ding dong,
Those
are
ding,
ding,
pearls
that were
3
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3
WWW 3
W WW
3
pp
pp
!W! - W W -W
0 W +
-W
W WW W W WWW! - W W W WW W W
his
ding,
ding,
pp3
eyes:
3
3
ding,
3
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ding,
3
WW! -!
3
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dong,
3
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=
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/
S.
A.
T.
B.
=
: -
: -
19 mp
.
: -
q -
< -
: -
< -
Vaughan Williams: Three Shakespeare Songs
" " . W 0 W ) W . W . W W W W W W W W . W W W W 0 W )
. . W W W . W W
ding.
No thing of him that doth fade,
But doth suf fer a sea
mp
" " W 0 W ) W W W W W W W W W W W W W W 0 W )
W W W -W
W W
ding.
No thing of him that doth fade,
But doth suf fer a sea
mp
W -!
W W 0 W
) W W W W W W W W W W W W W W 0 W W W W - WW . WW W
ding.
No thing of him that doth fade,
But doth suf fer a sea
! W + 6 7 9 9 9 9
bell,
! W + 6 7 9 9 9 9
W "" -!
W . WW 00
) WW / WW . WW . WW WW WW WW WW WW WW WW . WW WW WW WW 00 WW . WW . WW / WW -WW
. WW WW
!!W W )
mp
6 7 W 0 W W W+ W W W W W W W W W W W W 0 + W W W W - WW . WW W
313
for online perusal only
S.
A.
T.
B.
: .
24
: .
: .
q .
< .
: .
< .
pp
W . W W / W W W -W
W W . W W
change
pp
3
-W
W / W W W W / W W W / W W
3
W
pp
3
-/
WW . WW W / W W / W W W W . W W
pp
8 7 / WW W W
a sea
pp
8 7 / WW WW WW
-WW
. WW / WW W
/ -
. WW W W
a
3
. W
3
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3
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3
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3
W W W W
change
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3
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3
W / W W
3
W / W W
3
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. W W
3
!
W 0 W )
3
/ W -W
W W W W W W !! 00
3
In to some thing rich and
W 0 W )
W W /!
W -!!
00
In to some thing rich
and
W 0 W
) W W -!!
- W / ! 00
In to some thing rich
and strange,
ppp
W / W -W
W + 6 8 7 WW
In
to some thing
ppp
- W W / W W + 6 8 7 WW
3
3
3
/ / WW WW / WW WW WWW / WWW WWW . . WWW WWW WWW WWW / WW WWW WWW 000 / W W / W WW! W - - ! ! W
3 3
W W W W W - / !!!! !!
00000
/ W / W 7 WWWW
pp
ppp
3
3 3
WWW . WWW WWW . WW WW WW WW . W W WW -!!
WW / WW / W WW+ 6 8 7 WWWWW
pp
change
change
sea
change
In
to
some
thing
ppp
strange,
ppp
strange,
ppp
strange,
strange,

=
>
W
)
WW
WW
W W
!!
W
)
)
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W
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)
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«
«
«
«
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3
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«
3
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W
W
W
3
3
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W W
W
-
W
3
3
W
W
W
S.
A.
T.
B.
314
29
= : -
: -
: -
q -
< -
: -
< -
Vaughan Williams: Three Shakespeare Songs
pppp
pp
6 !! 00 WW 6 !! 00 ! W W W W W WW WW W W
strange,
strange. Ding,
pppp
) 6 -
) pp
!! 00 WW 6 -!!
00 " ! 0 W W W W W WW WW
strange,
strange. Ding,
pppp
pp 3
) 6 ! ! 00 W
) 6 ! ! 00 9 7 W W W
strange,
strange.
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pppp
pp
!!WW 6 WW "" 8 -!3
! !
strange.
Dong,
dong,
pppp
! W WW
+ 6 - WW " "" 9 9
strange.
3
W W W W
ding dong, bell,
WWW 6 -!!!! !!
00000
WWW 6 -!!!! !!
00000
W " / W W W WWW W WWW W WWW W WW W
pppp
pp
3
3
!! !!! WW WWW
+ 6 - WWWWW
"" """
8 -!3
! 7 W W W -W!
W W W
for online perusal only
S.
A.
T.
B.
: -
33
: -
: -
q -
< -
: -
< -
WWWW W W
ding,
ding,
W W WW WW W W
p cresc.
3
W WW WW W W W W W -W
W W
3W W W
3
-W
W W
3W W
p cresc.
3
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ding dong, bell,
ding dong, bell, ding dong, bell, ding
p cresc.
3 3 3 3
! -!
W 7 -!
-W
-W
W W W W -W
-W
W W W W
dong,
ding, ding dong, bell, ding dong, bell, ding dong, bell, ding dong,
pp misterioso
8 W W W W W - W p cresc.
" W -W
W W W
WWW W WWW W WWW W WWW W WWW W WWW W WWW W WWW
W
3
!WWW W
Sea nymphs hour ly ring his
ding
p cresc.
3
W WW WW W W W W
ding
knell:
WWWW
p cresc.
- W WW 7 W - W - W -"
W
dong, bell, ding dong, bell, ding dong, bell, ding dong, bell,
3
- W WW
3
- W
3
W W W
3
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3
W W W
3
W W W
3
WWWW - W WW
3
- -W
-W
W
3
W W
dong, bell, ding dong, bell, ding dong, bell, ding dong, bell,
Hark!
now
I hear
dong,
them
3
WWWW W WW
3
W WW W W W
bell,

=
>
W
W
W
W
WWWW
W
W
WW
-W
-
W
W
3
3
W
WW
W
W
WWW
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W
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W
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W
W
WW
W
W
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W
W
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+
W
4
-
4
-
W
WW
S.
A.
T.
B.
37
= : -
: -
: -
q -
< -
: -
< -
f
ding
3-W
W W
W W
dim.
3
W
3
- W W W
3 3
W W -W
W W W
3W W
f
dim.
3 3 3 3 3 3
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dong, bell, ding dong, bell, ding dong, bell, ding dong, bell, ding dong, bell, ding dong,
f
dim.
3
3
3
3
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-W
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f
3 3 dim.
3
3
3
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W W W W ! W W W W W W W W W
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ding dong, bell, ding dong, bell, ding dong, bell,
f
3 3 dim.
W W W W W W W W W
3
W W W -!3
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ding
bell,
ding
ding dong, bell,
3
WWW -WW
W
f
3
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3
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W W
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ding
ding dong, bell,
3
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3
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dim.
3
3
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3
dong,
bell,
ding
ding,
dong,
Vaughan Williams: Three Shakespeare Songs
bell, ding
dong,
ding
bell,
ding
dong,
dong,
bell,
315
bell,
bell,
bell,
for online perusal only
S.
A.
T.
B.
: -
40
: -
: -
q -
< -
: -
< -
ppp
ding
ppp
ding
ppp
3
- W
3
W W W
dong,
ppp
3
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W
dong,
ppp
3
W W W
ding
ding
ppp
- W W W
3
W
3
dong,
3
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dong,
ding dong, bell,
3
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W
W W
bell,
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3
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ding
3
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ding
3
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dong,
3
W W W
dong,
3
W W W
ding
ding
ding dong, bell,
3
W W W
3
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3
dong,
dong,
W W
bell,
bell,
bell,
bell,
ding
ding
3
- W
3
W W W
ding
3
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W
dong,
3
W W W
ding
3
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3
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3
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dong,
ding dong, bell.
3
-W
W
W W
W W
3
bell, ding dong,
3
bell, ding dong,
W ) 6 7 8 94
ppp
3
W W - ! "
bell, ding dong, bell, ding dong, bell.
niente
3
W W
) 6 7 8 94
bell, ding dong, bell.
niente
W ! W
) 6 7 8 94
3
W W W
niente
3
W!W WW WW
niente
bell.
niente
bell.
W ) 6 7 8 94
- ) 6 7 8
! "
ppp
WW)
6 7 8
94
niente

=
>
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)
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>
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/ -/!!
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/!!
!!
!!
!!
`
`
316
Vaughan Williams: Three Shakespeare Songs
SOPRANO
5
: . .
: . .
q . .
< . .
: . .
< . .
ALTO
TENOR
BASS
= : . .
: . .
q . .
< . .
: . .
< . .
W
W
/W
W
/ W
/W
-W
W
4
4
4
4
4
4
4
4
4
4
The Tempest, Act IV, Scene 1
WW!! !! -""
7 -W
/ W 0 W WW 0
+ !
cloud capp’d towers,
the gor geous pal a
pp
WW!! !! - "" 7 - W . WW 00
/ W+
/ WW 0
)
/+ WW !!
cloud capp’d towers,
the gor geous pal a
pp
WW!! !! -""
7 -W
. W 0 W W+ / WW 00
/+ W
cloud
WW! ! capp’d
. ! W
towers,
W . "" "
the gor geous pal a
7 . W / WW 00
)
WW / WW 00
W /+ W
pp
)
W !
Lento
pp
The
The
The
The
WWWW!! ! ! !! ! ! - """" 7 . WW / WWW 000
W WW
pp
WW! ! . ! W W - "" " 7 . W / WW 00 W W WW
Lento
cloud
2. The Cloud-Capp’d Towers
for online perusal only
capp’d
towers,
/ WW 00
W W /+ !
/ WW00 W 0 /+
WW
) !!
WWW . WW 00
WW . WW
WW WW WW / WW / W WW
- WW 00
+ WW !
The sol
emn tem ples, the great globe it self,
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the
the
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great
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Vaughan Williams: Three Shakespeare Songs
p
8 / W W W
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pp
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317
like this
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13
: . .
q . .
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hind:
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318
17
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< . .
: . .
21
: . .
q . .
< . .
: . .
< . .
Vaughan Williams: Three Shakespeare Songs
pp
! W ) 6 -WW
-W
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+ . W WW
7 JWW
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We are such stuff as dreams are made on, And
pp
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) pp
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dreams are
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pp
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with
with
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our
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And our
niente
niente
niente
niente

=
>
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`
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)
+
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W
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Vaughan Williams: Three Shakespeare Songs
319
SOPRANO
5
: .
: .
q .
< .
: .
< .
ALTO
TENOR
BASS
= : .
: .
q .
< .
: .
< .
W
W
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W
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8
6
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A Midsummer Night’s Dream, Act II, Scene 1
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Allegro vivace
p
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Allegro vivace
3. Over Hill, Over Dale
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) 6 6 7 0 7 0
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park,
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8
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W W W / W W W W W W W 0 W+ 6 6 7 0 7 0
park,
park,
o
o
ver
ver
for online perusal only
pale,
pale,
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Tho rough flood, tho
rough
rough
+. =
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8
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fire,
fire,
9
8
9
8
bush,
tho rough
brier,
I do wan der ev er y
ver
ver
ver
O ver
6
8
6
8
6
8
6
8
6
8
6
8

=
>
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)
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W
)
320
8
= : .
: .
q .
< .
: .
< .
: .
11
: .
q .
< .
: .
< .
Vaughan Williams: Three Shakespeare Songs
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
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8
9
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where,
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pp
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pp
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9
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8
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) 6 W70 W W
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pp
6 W W W W W W W W W W W W W W W W W
O
pp
pp
6 W W W W W W W W W W W W W W W W W
O
ver
ver
ver
for online perusal only
hill,
hill,
hill,
o
o
o
ver
ver
ver
dale, Tho
dale,
dale,
Tho
Tho
rough
rough
rough
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bush,
bush,
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W
6 WW WW W W WW WW W W WW WW W W WW WW W W WW WW WW WW WW
tho
tho
rough
rough
tho rough
brier, O
brier,
brier,
O
O
ver
ver
ver
And
park,
park,
park,
o
o
o
I
ver
ver
ver
6
8
6
8
6
8
6
8
6
8
6
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=
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W
)
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+
W
14
= : .
: .
q .
< .
: .
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W 0 W W
Vaughan Williams: Three Shakespeare Songs
W 0 W 0 W 0 W W )
serve
the Fai
ry
Queen,
To
W W W W W W W W W W W W W W W W W W
pale,
W W W W W W W W W W W W W W W W W W
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pale,
Tho
Tho
rough
rough
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flood,
flood,
flood,
tho
tho
tho
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rough
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fire,
fire,
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ver
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hill,
hill,
hill,
o
o
o
ver
ver dale, Tho rough flood, tho rough
ver
321
dale, Tho rough flood, tho rough
dale, Tho rough flood, tho rough
for online perusal only
: .
17
: .
q .
< .
: .
< .
W 0 W 0 W 0 W W
dew
W 0 W 0
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fire,
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fire,
O
O
ver
ver
her
park,
park,
o
o
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fire, O ver park, o ver pale, Tho rough flood,
ver
ver
orbs
pale,
pale,
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Tho
rough
flood,
rough flood, tho rough fire, I do wan der,
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tho
tho
up
rough
rough
on
fire,
fire,
I
I
do
do
the
wan
wan
der,
der,

=
>
W
W
W
W
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W
W
W
W
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WW
W
)
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/ W
W
)
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322
20
= : .
: .
q .
< .
: .
< .
Vaughan Williams: Three Shakespeare Songs
W 0
green.
wan
) p
6 W ) W W ) 2
W W + W 0 W W W 0 W 0 W W
pp
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pp
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pp
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der
der
der
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ev
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er
The
y
y
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cow slips tall her pen sion ers
where.
where.
where.
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pp
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WWWW +
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be;
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Cow
Cow
slips
slips
slips
tall
tall
tall
her
her
her
In
pen
pen
pen
their
sion
sion
sion
ers
ers
ers
for online perusal only
: .
24
: .
q .
< .
: .
< .
f
2 2
W W ! 0 W W ) W W + W W + W W
coats spots you see;
Those be ru bies, fai ry fa
+
pp
f
W 0 W ) 6 6 / WW WW WW00 W W
) W W ) W W
be,
cow slips tall. Those be ru bies, fai ry fa
pp
f
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W /+ W W W +
W W
be,
cow slips tall. Those be ru bies, fai ry fa
+
pp
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) W 0 W W + W W +
W W + W W +
gold
be,
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2
2
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pp
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tall.
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bies,
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+
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ry
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WWWW +
fa
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WWWW +
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vours,

=
>
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28
= : .
: .
q .
< .
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f
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6
.+ 7 0 W 0 W W W W
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W W +
W /+ W
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9
8
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)
9
8
WW 00 WW
vours:
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those
those
those
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freck
freck
)
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les
les
les
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live
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their sa
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their sa
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WWW W+
9
8
9
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9
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6
8
6
8
+ 6 6 7 0 9
8
6
vours:
W70
W 00
+
WW W 0
f
2
6 6 W 7 0 W
WW00 WW
Vaughan Williams: Three Shakespeare Songs
6
8
W W + W W )
+ 6 6 7 0 9
8
6
323
must go seek some dew drops
for online perusal only
: .
32
: .
q .
< .
: .
< .
p
W 0
) 6 W
) W W +
W W
2
2
2
W 0 W 0
pp
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pp
here,
dew
WW00 WW 00 WW 00 WW
pp
dew
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dew
hang
drops
drops
drops
p
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)
WW W ) 2
2
W
0 + W 6 W 6 W W
pp
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WW00
00 WW00 WW 00 WW 6 6
a
pearl
6 6 9 9
6 6 9 9
in
2
ev
W 0 W 0
9 9
ery

=
>
WW
9
WW
/
/
`
`
/
324
36
= : .
: .
q .
< .
: .
< .
Vaughan Williams: Three Shakespeare Songs
pp
W 0 W 0 ! 0 W+ 6 6 6 WW
WW WW 00 WW WW
WW
cow
slip’s
pp
9 9 7 0 6 WW WW -WW
00 WW / WW WW
pp
7 0 6 WW WW WW 00 WW WW WW WW 00 WW+ 6 6 9
O
pp
7 0 6 WW WW -WW
00 WW / WW WW -WW
00 WW+ 6 6 9
O
ver
ver
ear.
hill,
hill,
o
o
ver
ver
W 0 W 0 ! 0 9 + W 6 6 6 WWW WWW -WWWW
0000 WWWW / WWW WWW
pp
pp
7 0 6 WWW WWW -WWWW
0000 WWWW / WWW WWW -WWWW
0000 WWWW + 6 6 9
dale,
dale,
Tho
Tho
rough
rough
bush,
bush,
tho
tho
rough
rough
for online perusal only
: .
40
: .
q .
< .
: .
< .
pp
WW00
+
WW 6 6 7 0 6 WW WW WW 00 WW ) WW WW 00 WW ) WW !!400
brier,
O ver dale.
pp
- 00
) WW 6 6 7 0 6 / WW WW -WW
00
) WW WW -WW
00
) 4
WW / WW -!!
00
brier,
O ver dale.
pp
7 0 6 WW WW WW 00
+
WW 6 6 9 9 94
O ver hill,
pp
7 0 6 / WW WW -WW
00 +
WW 6 6 9 9 94
)
-WWWW
0000 WWWW
7 0 6 WWW
O
ver
hill,
6 6 7 0 6 / W ) ) 4
WWW -WWWW
0000 WWWW WWW -WWWW
0000 WWWW WWW -!!!!
0000
pp
/ WWW -WWWW
0000 WWWW + 6 6 9 9 94
niente
niente

W
WW
;
;
:
<
"
|
|
1
1
/
=
>
W
W
W
W
W
W
325
Words: Anon.
1
SOPRANO
2
ALTO
TENOR
BASS
Cantus
Quintus
: "
Altus
Tenor
Bassus
| 1
(for
rehearsal
only)
: - -
: - -
: - -
q - -
< - -
: --
< --
W
W
W
W
2
2
2
2
2
Allegro
2
2
56. Sweet Suffolk owl
THOMAS VAUTOR
( fl. 1600–20)
9 " 9 " 8 7 W
Sweet,
sweet,
" 8 7 W W W ! 9 "
sweet Suf folk owl,
sweet,
9 ! 0 W W W ! 9 ! 0 W
Sweet, sweet Suf folk owl,
sweet,
9 ! 0 W W W W ! 9 /!
0 W
Sweet, sweet Suf folk owl,
sweet,
9 ! 0 W W W ! 9 ! 0 W
Sweet,
" "!! 00 WW WWWW 9 !!! " /!!!
000 WW
9 ! 0 WW W W WW W
! 9 ! 0 WW
mp
Sweet,
sweet
Suf
folk
owl,
sweet,
sweet
sweet
sweet
sweet
for online perusal only
S.
A.
T.
B.
=
6
: - -
: - -
: - -
q - -
< - -
: --
< --
W W ! 9 " 8 7 W W W ! 7 W W W
folk owl,
sweet,
sweet Suf folk owl, so trim
9 " 8 7 W W W W W W W ! 7 W W W
sweet,
sweet Suf folk owl, sweet Suf folk owl, so
W W ! 9 ! 0 W W W W W W W W ! ! !
folk owl,
sweet, sweet Suf folk owl, sweet Suf folk owl,
so
W W W /!
9 ! 0 W W W W W W W W ! ! !
folk owl,
sweet, sweet Suf folk owl, sweet Suf folk owl,
so
/ W ! 9 ! 0 W W W W W W W ! ! !
Suf
Suf
Suf
folk owl,
sweet, sweet Suf folk
WWWW !!!
" ! ! 0 0 W W W W W W owl,
W W W sweet
W W Suf folk
W W WWWWWWW ! ! owl,
so
! 7 ! WW !WW WW
/ WW
W
! 9 !! 00 WW WW WW WW W W WW !! !! !
Suf
ly
trim ly
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
WWW
W
+
W
W
W
)
/
/
)
)
S.
A.
T.
B.
326
12
= : - -
: - -
: - -
q - -
< - -
: --
< --
Vautor: Sweet Suffolk owl
! 0 W W W W W W W W 7 W W W W W W 0 W )
With fea thers like a la dy bright, sweet Suf folk owl, so trim ly
! 0 W W W W W W W W 7 / W W W W W W 0 W
With fea thers like a la dy bright, sweet Suf folk owl, so trim ly
+
W 0 W ) W 0 W ) W W W W W W W 7 W W 0 W
) / W W W 0 W )
ly dight With fea thers like a la dy bright, sweet Suf folk owl, so trim ly
W 0 W ) W 0 W ) W W W W W W W 7 W W W W W W 0 W )
ly dight With fea thers like a la dy bright, sweet Suf folk owl, so trim ly
W 0 + W 0 + W W W W W W W W 7 W W W W W W 0 W
dight
dight
trim
trim
trim
ly
dight
With
fea thers like
a
la
dy
bright,
sweet
W!!000
+ W W 0 WW W +
WWW WWW WWW WWW WWW WWW WWW 7 / WWW WWWW W 0 W W + / W WWW WWW 000 WWW
WW00 WW WW00 WW+
WWWW WW WW WW WW WW 7 W WW W WW WW WW 00 WW+
Suf
folk
owl,
so
trim
ly
for online perusal only
S.
A.
T.
B.
16
: - -
: - -
: - -
q - -
< - -
: --
< --
W 0 W ) W W W W W W W 8 7 W W W W W W W W
With fea thers like a la dy bright,
Thou sing’st a lone, sit ting
W 0 + W W W W W W W ! 9 9
With fea thers like a la dy bright, Thou,
/ 0 W ) W W W W / W W W ! 9 7 W W W
With fea thers like a la dy bright, Thou,
sit ting
W 0 W ) W W W W W W W ! 9 7 W W W
With fea thers like a la dy bright, Thou,
sit ting
W 0 W W W W W W W ! 9 7 W W W
dight
dight
dight
dight
dight
With fea thers like
a
la
dy bright, Thou,
)
/ 000 WWW WWW WWW WWW WWW / WWW WWW WWW !! 7 W W W W W W WW WW
WW00 +
WW WWWW WW WW WW WW W W !! 9 7 WW WW W W
sit
ting
by
by
by
by

=
>
W
ˆ
+
)
"
S.
A.
T.
B.
=
20
: - -
: - -
: - -
q - -
< - -
: --
< --
Vautor: Sweet Suffolk owl
! 8 9 8 ! W 0 W+ W W W W
Te whit, te whoo, te whit,
7 W W W W W W W W ! ! W 0 W+ W W W W
night,
thou sing’st a lone, sit ting by night, Te whit, te whoo, te whit,
! 8 7 W W W ! ! W 0 W W W W W
sit ting by night, Te whit, te whoo, te whit,
! 8 7 W W / W ! ! W 0 W+ W W W W
sit ting by night, Te whit, te whoo, te whit,
! 8 7 W W W ! ! W 0 W ) W W W W
night,
night,
sit ting by night, Te whit, te whoo, te whit,
7!W
)
W W8 W W W WW / WW ! !!! WWW 000 WWW WWW WWW WWW WWW
p
!!87 WW WW W !! !! W W 0 0 W W WWW W W W W W
night,
te
te
te
te
te
327
for online perusal only
S.
A.
T.
B.
: - -
: - -
: - -
q - -
< - -
24
: --
< --
W W W W W W ! 7 W ! 8 7 W ! 7 W W W
te whit, te whoo, te whit, te whoo,
te whoo,
te whit,
W W W W ! 7 W ! 7 W ! 8 7 W "
whoo,
te whit, te whoo,
te whit,
te whit,
te whoo,
W W W W W W ! ! " W ! W W W W !
te whit, te whoo, te whit, te whoo,
te whit, te whoo, te whit,
W W W W W W " W ! W ! ! ! 7 W
te whit, te whoo, te whit,
te whit, te whoo, te
whoo,
W W W W W W ! ! ! 0 W ! ! "
whoo,
whoo,
whoo,
whoo, te whit, te whoo, te
whit,
te
whoo,
WWW WWW WWW WWW WWW WWW ! W W ! W W " W W ! 7 W ! W W
WWW W 7 W W ! W W
WWW W W W W W W W W W !" ! W ! 0 !
W !! !! "! 7 W
te
whit,
te
whoo,
te
te

=
>
ˆ
S.
A.
T.
B.
=
328
29
: - -
: - -
: - -
q - -
< - -
: --
< --
Vautor: Sweet Suffolk owl
" ! 0 W W W W W W W 0 W ) ! 0 W W W W W W "
whoo,
te whit, te whit, te whit, te
9 7 W W W " W W W W W W W W W W W "
W W W W W " 7 W W W " W W W W "
te whit, te whoo,
te whit, te whoo,
te whit, te
W W ! ! W W ! W 0 W ) " W W W W W "
whoo,
te whit, te
whoo,
te whit, te
" " " " W W W W "
whit, te
te whit, te
whoo,
te
whit,
W"W W W W W ! te
0 W W WW W " W W W W W 0 W + " W whoo,
te whit, te
W W W W W WW WWW WWW WWWWW W """
"WW ! " ! W W "W W WW WW W "" WW W W W WW WW " "
te
whit, te
whoo.
whoo.
whoo.
whoo.
whoo.
for online perusal only
S.
A.
T.
B.
35
: - -
: - -
: - -
q - -
< - -
: --
< --
8 ! ! 0 W W W W W W ! 8 9 9
Thy note, that forth so free ly rolls,
8 ! ! 0 W W W W W ! 8 9 9
Thy note, that forth so free ly rolls,
8 ! ! 0 W W W W W ! ! ! 0 W W W W W
Thy note, that forth so free ly rolls, thy note, that forth so free
9 9 9 8 ! ! 0 W W W W W W
Thy note, that forth so free
9 9 9 8 ! ! 0 W W W W W
8 ! ! ! !!!000
W WW WWW WW W Thy note, that forth so free
W WW WW !!! !! !! 00 WW WW WW W W WW
mf
9 9 9 8 ! ! 0 W W W W W
ly
ly
ly

=
>
x
)
x
/
+
S.
A.
T.
B.
=
41
: - -
: - -
: - -
q - -
< - -
: --
< --
Vautor: Sweet Suffolk owl 329
9 9 8 7 W W W W !
With shrill com mand
9 9 8 7 W ! 0 W W
W W W W W W W W W W 0 W ! 0 W W W W W W
rolls,
rolls,
With shrill com mand the
W W W W W W W W W W W W W W W W " 7 W W 0 W
rolls,
With shrill
W W W W W W W W W W W W W W W W ! 0 W W W W !
rolls,
W W W W W W W W W W 0 W
WWW! 0
! 0 W W /!
W W
WWWW WW WW WW WW WW WW WW WW WW WW WW WW W W W W ! ! 0 0 WW W W W WW W W ! W f
W W
With
With
shrill
shrill
com
mand
com
com
for online perusal only
S.
A.
T.
B.
45
: - -
: - -
: - -
q - -
< - -
: --
< --
W W W W / W W W 0
+ W W W W W ! 0 W
the mouse con trols, with shrill com mand the mouse con trols,
W W W / W W W ! W W W W W W W / W !
mand
W W ! W W ! W W W W W W W W
con trols,
with shrill
com mand the mouse con trols, And
W W W W " 9 7 W W W W
the mouse con trols,
And sings a
W W W W W W ! W W W W W W W W W
mouse
mand
the mouse con
trols, with
shrill
the mouse con trols, with shrill
com mand the
WWW WWW ! WWWW W / W
/ WWW WWW -! ! W 0 W WW W WW W WW W WW W mousecon
trols,
!W W / W W WW ! And
WW
WWW W W W ! W ! W WW W W W W W W W W W W W
com
mand the
mouse
con
trols,
And
dim.

=
>
"
"
x
!!
!
!
"
S.
A.
T.
B.
=
330
49
: - -
: - -
: - -
q - -
< - -
: --
< --
Vautor: Sweet Suffolk owl
! 0 W W W W W W 3 " 8 9 ! ! !
2
a dirge for dy ing souls,
and sings
W W W W W W W W W " 8 ! ! ! " 8
sings
3
2
And sings a dirge for dy ing souls,
and sings a
dirge,
W W ! W W W W 2 " 8 ! 3 ! ! ! 0 W W W
a dirge
for dy ing souls,
and sings a
dirge for
" W W W W 3 " 8 ! !
2 W W " 8
dirge
for dy ing souls,
and sings a
dirge,
W W ! W W W W " 8 ! ! ! " !
sings
sings a
dirge
for
dy
ing
3
2
WWW -W
W !W WW W WWW WWW WWWWW W
2
""" 8 !!!
! 3
!! 0 !
W W !
[ -. = , of preceding ]
W
p
p
W" W ! WW W
WWWW " " 8 ! ! !
! ! W W " " 8 !
3
2
souls,
and
sings
a
dirge
a
dy
for
for online perusal only
S.
A.
T.
B.
54
: - -
: - -
: - -
q - -
< - -
: --
< --
" 8 ! ! ! " 8 ! ! ! " 8
and sings a dirge
for dy ing souls,
! ! ! " 8 ! ! ! " 8 ! ! !
sings a dirge
for dy ing souls,
for dy ing
! 0 W W W " 8 ! ! W 0 W )
! ! ! ! 0 W W W
ing souls,
for dy ing, for dy ing souls, for dy ing
! ! ! ! 0 W W W " ! " 8 ! ! W 0 W
sings a dirge for dy
ing souls,
for dy ing,
+
" ! " ! " ! " ! " !
dirge,
and
and
dy
ing
souls,
for
dy
!! 0 ! W W ! W "" ! ! ! 8 !!! ! ! W! 0 W ! + ! ! ! !! ! ! W! 0 W
! !
+
"!0 W !W W " " !! " ! ! !!
"!0 W !W W
ing
souls,
for
dy
ing

=
>
‰
ˆ
"
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A.
T.
B.
=
59
: - -
: - -
: - -
q - -
< - -
: --
< --
! ! ! ! 0 W W 0
2
W+ " 8 " 8 " 8 ! 8 7 W !
dy ing souls, for dy ing souls, souls, souls,
souls,
" 8 ! ! ! " 8 " 8 " 8 ! ! ! 7 W
for
2
for dy ing souls, souls, souls,
souls, Te whit,
! " " ! " 8 " 8 " 8 ! ! ! !
2
souls,
for
dy ing souls, souls, souls,
souls, Te
! ! ! ! 0 W W W " 8 " 8 " 8 ! ! "
souls,
2
dy ing souls, for dy ing souls, souls, souls,
souls, Te whit,
" ! ! " " 8 " 8 " 8 ! ! ! !
2
for
souls,
for dy ing
!!" ! ! !! ! 0 ! ! W !! W 0 W )
"!!!!
souls,
souls,
souls,
Vautor: Sweet Suffolk owl
souls, Te
whit,
whit,
Te whit,
[ , -.
""8""" 8 """ 8 = of preceding ]
!!! ! ! ! W W ! W W
2
dim.
pp
cresc.
!!0 " W W W " " 8 " " 8 " " 8 ! ! ! ! !" !
2
te
te
331
te
for online perusal only
S.
A.
T.
B.
66
: - - 7 W ! 8 7 W " 9 7 W W W "
te whit,
te whoo,
te whit, te whoo,
: - - ! 8 7 W ! 7 W W W " ! 0 W W W W W W W 0 W )
whit,
te whoo,
te whit, te whoo,
: - - ! 0 W W W W 0 W ) W W ! W W W W W " 7 W W W
whoo, te whit, te whoo, te whit, te whoo, te whit, te whoo,
te whit, te
q - - W ! W W 0
+ W W W ! 7 W W W ! ! W W ! W 0 W )
te whit, te whoo, te whit, te whoo, te whit, te whoo,
te whit, te
< - - ! 0 W ! ! " " " "
: --
< --
te whit, te whoo,
te
whit,
te
! W 0 W ! W 7 W WW WW 0 W "
W +
W W W W " 7 W W W W ! 0
7 W W WW W W" W W W W 0 W+
! W 0 !
WW! W 0 W ) W!
W "W W W W " W W ! " ! W W "W W WW WW W
whoo,

=
>
4
4
S.
A.
T.
B.
=
332
72
: - -
: - -
: - -
q - -
< - -
: --
< --
Vautor: Sweet Suffolk owl
W W W W W W W W W W W ! 7 W ! 7 W ! 7 W ! 7 W
te whit, te whoo, te whit, te whit,
te whoo,
! 0 W W W W W W W W ! 7 W ! 7 W ! 7 W !
te whit, te whit, te whoo, te whit,
te whit,
te whoo,
te whoo,
" W W W W W W W W ! 7 W ! 0 W W W W W
whoo,
te whit, te whoo, te whit, te whoo, te whoo, te whit, te whoo,
" W W W W W " W W W W W W ! 7 W W W
whoo,
te whit, te whoo,
te whit, te whoo, te whit,
te whit,
" W W W W W 0 W ) W W ! 0 W W W W W ! 0 W
whoo,
te whit, te whoo,
! W 0 W W W W W WW WW WWW WWWWW W WW W te whit,
W W W W te whoo,
WW W W W W W W te whit, te whoo, te whit,
WW W ! W 0 W W WW WW WW WW WW
""" WWW W W W WW WW
W" 0 + W W W ! 0 W W W W! W 7 ! 0 W W WW
te
te
te
te
for online perusal only
S.
A.
T.
B.
: - -
78
: - -
: - -
q - -
< - -
: --
< --
" " 7 W W W W W ! ! ! "4
whoo,
te whit, te whoo, te whit,
te
8 ! ! 0 W " " W W W W W W "4
te
whit, te whoo,
te whit, te
! ! ! 0 W W W W W W W ! ! ! ! "
te
whoo, te whoo, te whit, te whoo, te whit, te
W W W W W ! 0 W W W W W ! ! W 0 W+
! "4
te whit, te whoo, te whit, te whoo, te whit, te whit, te
! ! ! 0 W W W W W ! ! ! ! "4
whit,
whoo,
te
whoo, te whit, te whoo, te whit,
!"!! !!" 00 W W W " W W W WW " te whoo, te
W ! !W W W W!
W W """
dim.
!WW !W W W ! ! 0 0 WW WW WW W WWW
WW W !! !!! ! ! W 0 W ) !!! " 4 "
whoo,
f
whoo.
whoo.
whoo.
whoo.
whoo.

<
;
:
- ý
- ý
- ý
ý
"
"
}
>
W
W
+
W
W
+
"
)
+
+
+
+
)
S.
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T.
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=
Words: Anon.
SOPRANO
6
: - - -
: - - -
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q - - -
q - - -
< - - -
: -- -
< -- -
2
ALTO
1
TENOR
2
BASS
Canto
=
1
: - ý "
-
- ý
; }
Quinto
Alto
Tenore
; }
-
-
Sesto
Basso
(for
rehearsal
only)
57 a. Thule, the period of cosmography
: - - -
: - - -
: - - -
q - - -
q - - -
< - - -
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< -- -
W
W
W
W
W
W
W
W
W
W
2
2
2
2
2
2
The first part
THOMAS WEELKES
(1576–1623)
" " 9 9 8 7 W
le,
the
9 9 " " 7 W W 0 W
9 9 7 W W 0 W ) W 0 W ) W W W 0 W
) W W
The pe riod of cos mo gra phy, cos mo
9 9 9 9 9
9 8 7 W W 0 W
) W 0 W
) W 0 W W W W W W 0 W
The pe riod of cos mo gra phy, of cos mo
9 9 9 9 9
" " " 7 W " W W 7 W 0 W W 7W WW
9 8 7
W W 0 W WW 00 )
W WW 00 )
WW W W W W WW 00 WW +
With excitement
2
mf
2
Thu
for online perusal only
Thu le, the pe riod
W 0 W+
W 0 + W W W W W W 0 W +
W 0 W +
W W W 7 9
pe riod of cos mo gra phy, the pe riod of cos mo gra phy,
W 0 W
) W W W W W / W " 7 W W 0 + W W W W W
of cos mo gra phy, cos mo gra phy,
the pe riod of cos mo
W 7 8 9 9 " ! 0 W
phy,
Thu
le,
7 W W 0 + W W 0 W +
W W W W W 0 W +
W 0 W+
W W W W W W
The pe riod of cos mo gra phy, the pe riod of cos mo gra phy, cos mo
! 8 9 8 7 W W 0 W+
W 0 + W W W !
phy,
the pe riod of cos mo gra
9 9 " " ! 7 W
Thu
le,
)
WW00 WW WW 0 W W ) W W WW W W / W W " W 0 W ) W 0 W ) W
7 W W WW 0 W W )
! W W W ! W W
W W W 0 W +
W 0 W W W + "W W W 0 W )
" WW 00 WW W 0 W )
! W W W WW 7
gra
gra
the
gra
the
333
gra
© Oxford University Press 2001. Photocopying copyright material is illegal.

=
>
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+
!
+WW
W
!
W
+
WW
+
+
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S.
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B.
=
334
11
: - - -
: - - -
: - - -
q - - -
q - - -
< - - -
: -- -
< -- -
Weelkes: Thule, the period of cosmography
" ! 0 W W 0 W
) W W W ! / W ! 7 W
le,
the pe riod of cos mo gra phy, the
" 9 9 " "
Thu
le,
W 0 W
) W W W W W 0 W
) W W W W W " "
riod of cos mo gra phy, of cos mo gra phy,
Thu
W W W 0 W
) W 0 W
) W W ! W W / W W ! 7 W W 0 W
the pe riod of cos mo gra phy, of cos mo gra phy,
the pe
+
! 0 W W 0 W
) W W W W W W W W W W 0 W
the pe riod of cos mo gra phy, of cos mo gra phy,
W 0 W +
W 0 W W W W W W 0 W W W ! 0 W "
Thu
phy,
pe
phy,
phy,
riod of cos mo gra phy, the pe riod of cos mo gra phy,
W""W+
0 W W W! 0 W W 0 W W +
W W 0 W W W
) WW WW W" " ! / W " " ! 7 W
WW 0 W W +
WW 00 W WW +
WW00 W W WW +
WWW WWW WW 0 W W WWWW +
WW W /! 0 WW W 0 W W ) 7" W " W 0 W )
pe
riod
for online perusal only
S.
A.
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B.
16
: - - -
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q - - -
q - - -
< - - -
: -- -
< -- -
W 0 W +
W 0 W +
W W ! 8 W W ! 0 W ! 8
pe riod of cos mo gra phy,
of cos mo gra phy,
7 W W 0 W +
W 0 + W W W " 7 W W 0 W ! !
the pe riod of cos mo gra phy,
Doth vaunt of Hec la,
! 7 W W 0 W ) W 0 W ) W W ! 8 7 W W 0 W
) !
le, the pe riod of cos mo gra phy,
Doth vaunt of Hec
W 0 W +
W W ! 7 W W W W 0 W ) " 7 W W 0 W+
of cos mo gra phy,
of
cos mo gra phy,
Doth vaunt
9 7 W W 0 W +
W W ! W " ! 8
the pe riod of cos mo
gra
phy,
8 ! ! ! ! 0 W " 8 !
7W0 W W + W of
cos mo
gra phy,
Doth
)
W00 W W WW WW 0 WW W + !W W 8 W " W ! W 7
WW ! 0 W W 0 WW W ) !!! W 0 W + W!!W 0
W 0 W )
+
8
7!W !W W )
!
W 0 WW 00 W! 0 W W 0 W W ) """ 7 8 W !
of

=
>
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+
+
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x
!
!
)
!
S.
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B.
=
21
: - - -
: - - -
: - - -
q - - -
q - - -
< - - -
: -- -
< -- -
Weelkes: Thule, the period of cosmography
8 7 W W 0 W ! ! 8 8 7 W W 0 W ) ! W ! W
Doth vaunt of Hec la,
doth vaunt of Hec la, whose
! ! W W 7 W W 0 W ) ! ! ! 8 ! ! !
of Hec la, doth vaunt of Hec
la,
whose sul
W W ! ! ! 9 7 W W 0 W ) ! ! ! 0 W
la, of Hec
la,
doth vaunt of Hec la, whose
! ! 7 W W 0 W ! +
W W W ! 7 8 ! ! !
la, doth vaunt of Hec la, of Hec la,
whose sul
! / W 0 W
) ! ! 8 7 W W 0 + W ! ! ! ! 0 W
vaunt of Hec la,
doth vaunt of Hec
la, whose
W 0 W
) ! " 7 W W 0 W ! ! ! ! ! !
Hec
Doth
of Hec la,
doth vaunt of Hec la,
whose sul
!W! W !7! W WW 0 W W ) !
7 ! W W! 0 W ! + W W W! W W! W W W! 0 W !! + ! ! W 0 ! WW
W! 0 W /!!W 0 W ) 7 ! W ! W 0 W ) !
+ 7 W 7 W 0 W W W!
0 W ) ! + ! ! ! ! ! ! ! ! ! 0 ! ! W
vaunt
335
sul
sul
sul
for online perusal only
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B.
27
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< - - -
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< -- -
W W W W W W W W W W W W W W W ! ! ! ! W W W W W W W W
phu ri
ous fire, whose sul phu ri
W W W W W W W W W W W W W W W /!
! ! ! W 0 W W W W W
phu ri
ous fire, whose sul phu ri
W W W W W W W W W W W W W W W ! ! ! ! W W ! W
phu ri
ous fire, whose sul phu ri ous
W W W W W W W W W W W W W W W W ! ! ! ! ! !
phu ri
ous fire, whose sul phu rious
! 0 W " ! ! ! ! W W W W W W W W
phu
ri ous
fire, whose sul phu ri
! 0 W " ! ! ! ! W W W W W W W W
phu
WWWWWW W W WW W W WW W W WW W W W W ri
W WW W W W ous
W WW W W WW W W WW W W WW W W WW W W W W fire, whose sul phu ri
W WWWW W / -!!!
!!! !!! WW W W! 0 WW WW W WW WW
!!00 WW "" ! !
!!! !!! !!! WW W WW WW !WW W WW WW

=
>
/
!
)
)
)
WWW
W
W
W
S.
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336
32
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< -- -
Weelkes: Thule, the period of cosmography
W W W W W W W W W W ! ! ! -!
0 W ! W W / W ! W W W
ous fireDoth
melt the fro zen clime and thaw the sky, and thaw
W W W W W W W W W W ! ! ! ! 0 W ! W W W ! W W W
ous fireDoth
melt the fro zen clime and thaw the sky, and thaw
" 7 W /!
! ! ! 0 W " ! 8
Doth melt the fro zen clime
" 7 W ! ! ! ! 0 W " W W W !
Doth melt the fro zen clime
and thaw the sky,
W W W W W W W W W W ! ! ! ! 0 W " W W W W W
ous fireDoth
melt the fro zen clime
and thaw the sky, the
W W W W W W W W W W ! ! ! -!
0 W " "
fire
fire
ous fireDoth
melt the fro zen
WWWWW WW WW W WW WW WW WWW /!!!
!!! !!! -!!!
000 WWW "" ! clime;
! WW WW / WW ! !WW8 ! WW WW
mp p
cresc.
WWWWW WW WW W WW WW WW WW !!! !!! !! -!!!
000 WWW " " "
WW WW WW W W
the
the
for online perusal only
S.
A.
T.
B.
38
: - - -
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q - - -
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< - - -
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< -- -
! 8 W W W W
) W W
) ! !
3
4 W 0 W
and thaw the sky, the sky; Trin
a cri
! W W W W W W W W W ! ! W 0
+ W W
sky,
3
4
and thaw the sky, and thaw the sky, the sky; Trin
a
W W W W W W W W W ! ! ! 4
3 W 0 W
sky,
thaw the sky, and thaw the sky, the sky;
Trin
a cri
W W W W W ! 8 8 ! W 0
+ W W
and
3
4
and thaw the sky, the sky;
Trin
a cri
! 8 8 7 W ! 7 W 4 W 0 W
3
sky,
the sky; Trin a cri
9 9 8 ! 4 W 0 W ) W 3
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Trin
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343
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A.
T.
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344
: -- -
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Weelkes: The Andalusian merchant
full
of
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ing
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es,
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for online perusal only
S.
A.
T.
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41
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345
for online perusal only
S.
A.
T.
B.
52
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58
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for online perusal only
S.
A.
T.
B.
63
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with love,
with
love doth
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freeze,
freeze,
with
love,
with
love
with
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love
doth
doth
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fry.
fry.
fry.
fry.
fry.

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Draw
on, sweet Night,
draw on,
9 9 9 8 ! ! ! ! !
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on,
9 ."
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on, sweet Night, best friend un to
9 " ! . W W ! 0 W .!
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9 9 9 9 9 9
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58. Draw on, sweet Night
for online perusal only
Calmly
JOHN WILBYE
(1574–1638)
. 9 9 9 8 ! ! ! ! !
Night,
best
friend
" ! ! ! 0 W ! 8 9 9 9
Night,
draw on, sweet Night,
" 8 ! ! W W " " 8 ! ! !
cares,
draw
on, sweet Night,
draw on,
! 0 W ."
8 ! ! W W .!
0 W ! ! ! !
those cares,
draw
on, sweet Night, best friend un to
9 9 " ! . W W ! 0 W .!
! ! !
Draw
on, sweet Night, best friend un to
9 9 9 9 9 9 9
. k ! !! !! 0 W W W " ! 8 8 " ! ! 8 !!
! ! ! !
!" 0 W ."
k" ! !! . WW WW .!!
00 WW .!!
!! !! !!
sweet
sweet
those
un
sweet
those
those
© Oxford University Press 1999 and 2001. Photocopying copyright material is illegal.

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Wilbye: Draw on, sweet Night
! 0 . W W " 9 9 9 8 ! ! !
to those cares
That do a
8 ! ! 0 W .!
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best friend un to those cares
That do a rise from
. 9 " ! W . W ! ! " 9
Night,
best
friend un to those cares
. ! ! . W W " " ! ! ! .!
! !
cares, draw
on, sweet Night,
best friend un to those
" ."
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! ! .!
! ! ! 0 W
cares,
draw
on, sweet Night, best friend un to those cares,
9 " ! . W W ! 0 W .!
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Draw
on, sweet
Night,
."!0
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best
friend un
to
those
cares
un
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rise from pain ful me lan cho ly,
a rise
from
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pain ful me lan cho ly, from pain ful me lan cho ly,
" ! ! .!
! " 9 8 ! ! !
do a rise, a rise
from
pain
" 9 9 9 ! ! W W .!
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That
cares
That do a rise from pain
. " " 8 ! ! ! .!
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to
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9 9 " ! ! .!
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That do a rise from pain
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pain ful me lan cho ly.
My life so ill
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lan cho ly.
! ! " " 9 W ! W ! 0 W
me lan cho
ly.
My life so ill
. ! " " " 9 9
from
me
lan
cho
ly.
Wilbye: Draw on, sweet Night 349
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through
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through
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My life so ill through want of com fort fares,
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want of com fort fares,
That un
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want of com fort fares, my life so ill through want of com fort fares,
9 9 ! W W ! 0 W W W W W ! 0 W W 0
+ W !
My life so ill through want of com fort fares, That un to thee,
- W W W " 9 9 9 9 7 W W 0 W
want of com fort fares,
That un
9 9 W ! W ! 0 W W W -W
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My life so ill through want of com fort fares,
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un to thee, to thee
I con se crate it whol
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that un to thee I con se crate it whol
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9 7 W W 0 W )
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that un to thee
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that un to thee
I con
se crate it whol ly, that un to
9 7 W W W -!
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thee,
thee,
Wilbye: Draw on, sweet Night
I
con
se
crate
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that un to thee I con se crate it whol
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un to thee, to thee
I con se crate
it whol
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I con se crate it whol ly,
that un to thee I con se crate
9 8 7 W W 0
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that un to thee, to thee
I con se crate
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I con se crate it whol ly,
it whol ly.
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+ W W W " 9 7 W W 0
+ W W W !
thee
thee
for online perusal only
un to thee, to thee,
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8 W W W W -WW W 0 0
I con se crate it
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it
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ly. Sweet Night, draw on,
sweet Night, draw on, O sweet
Night,
" 9 8 ! ! . W W " 9
ly.
Sweet
Night, draw on,
. W ! ! ! ."
."
! W W ! !
ly. Sweet Night, draw on,
sweet
Night, draw on, sweet
W W 8 9 9 " ! . W W .!
!
ly.
Sweet
Night, draw on, sweet
8 ! ! 0 . W " 9 9 8 !
Sweet Night, draw on,
sweet
" 9 9 9 9 9
whol
whol
ly.
Wilbye: Draw on, sweet Night 351
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! . WW! W . WW WW . W! W ! ! . W W
p
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9 . WW WW .!!
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" " 9 8 ! ! W . W "
on,
sweet
Night, draw on,
9 8 ! ! W . W " 9 8 !
! ! " " ! W W ! ! ! !
draw on,
sweet
Night, draw on, sweet Night,
! 0 W ."
7 W W W W W ! W W W W .!
!
draw on,
sweet Night, draw on, draw on,
sweet Night, draw on,
! .!
" " ! . W W .!
! ! 8
draw on,
sweet
Night, draw on, draw on,
9 9 9 9 9 8 !
Night,
Night,
Night,
for online perusal only
sweet
Night, draw
on,
!"!
8"! "! W . W !!
W! W !! !W . W .!!
!!
!! 0 .!
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draw
draw
sweet
sweet
Sweet

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Wilbye: Draw on, sweet Night
! 8 9 8 ! ! . W W " ! 8 9
sweet Night, draw on!
! ! " 9 9 9 8 ! ! . W W
draw on,
sweet Night,
" " 8 ! ! W . W " ! 8 9
on,
sweet Night, draw on!
! ! ."
8 .!
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! ! ! W W
draw on,
sweet Night, draw on,
sweet Night,
9 9 " " " 8 ! ! W W
sweet Night,
sweet Night,
! 0 W " 9 9 9 " "
Night,
Night,
Night,
draw
on,
!!! 8!! .""
8 !! !! . WW . W W " " ! ! !! !! . WW W W
! 0 / W
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W W "" ! /!
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9 9 9 9 9 7 W W W "
My griefs when they
" 9 9 9 9 7 W W W W W !
on!
My griefs when they
9 9 9 9 9 " ! !
My
griefs
" 7 W W W W W ! ! ! " 9 9
on!
My griefs when they
be told
. 7 W W W ! ! W W W ! " 9 9
on!
My griefs when they be
told
" " ! ! ! ! " 9 9
My
for online perusal only
griefs
when
they
""7 W W W W W ! ! ! " 7 WW WW WW "W W !
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be
told
draw
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draw
draw
draw
when

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be
told
To shades and dark ness, find some ease from pain
" ."
9 9 9 9
told
! ! "
9 9 9 9
be told
9 9 7 . W W W ! ! W ! W . W W W W
To shades and dark ness, find some ease from pain
9 9 " W W W W ! 0 W ! !
To
shades and dark ness, find some ease from
9 9 9 9 9 9
be
they
Wilbye: Draw on, sweet Night 353
W"W . . W ! .""
7 . WW WW WW !! !! W ! 0 ! WW . WW WW W! W
! ! " " W W W W ! 0 W ! !
for online perusal only
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ing.
8 7 W W W ! W ! W W W ! ! ! "
To shades and dark ness, find some ease from pain
ing.
8 7
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To shades and dark ness, find some ease from pain ing, to shades
. ! W W W W W ! ! ! 0 W ! ! 9
ing, to shades and dark ness, find some ease from pain ing.
" " 9 9 9 7 . W W W
pain
ing,
to shades
9 9 9 9 9 "
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W WW W WW !! WW !! WW W W ! ! ! "
" W"
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To
and
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=
354
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Wilbye: Draw on, sweet Night
9 9 9 9 9
9 9 9 8 7 W W W !
! ! ! ! W W ! W W ! "
ness, find some ease from pain
ing.
9 9 9 9 7 W W W
And
! ! W ! W . W W W W . W ! W ! 8
ness, find some ease from pain
ing.
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dark
dark
shades and
dark
ness, find
some
ease
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9 9 7 W W W ! 0 W .!
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And while thou all in si lence dost en
W . W .!
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in si lence dost en
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And while thou all in si lence dost en
fold,
! ! .!
! ! 0 W W W ! ! ! ! 0 W
in si lence dost
en
fold, in si
9 9 9 9 9 7 W W W
And while
9 9 9 9 7 W W W ! 0 W
all
for online perusal only
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! ! .!
! .! 0 ! . W W" W ! W W W W 7 ! 0 W W WW
from
pain
And
while thou
ing.
And while thou
all
all
while thou
lence
thou
in

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in si
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and while
W ! W . W W ! W W W . W W ! 7 W W W !
thou all in si
lence dost en fold, and while thou all
! W W ! 0 W .!
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and while thou all
in si lence dost en
! ! " ! W W ! ! .!
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en fold,
and while thou all in si lence
! 0 W .!
! ! ! ! 0 W . W W W 0 W
all
in si lence dost en
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. ! ! 0 . W W W ! ! 8 ! W W
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and while
dost
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in si lence dost
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9 9 9 7 W W W
I then
! ! W 0
+ W W W W W W W ! ! . W W W W
en fold, and while thou all in si lence dost en fold, I then
! ! ! 0 W " " ! 8
si lence dost
en
fold,
! 0 W .!
! ! 0 . W W W ! "
all
fold,
dost
all
in
for online perusal only
si
lence
dost
! W 0 W .! ! W ! !! WW 0 W W +
W W WW ."W
! W . W ! ! 7 W
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WW WW
en
fold,
Wilbye: Draw on, sweet Night
and
fold,
thou
in
while thou
I
355
shall
shall

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A.
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Wilbye: Draw on, sweet Night
W W ! - W ! W W W ! ! 8 9
best time for my com plain ing,
9 9 9 9 9
! 0 W W W W W . W ! W W W W W "
best time for my com plain
ing, for my com plain
! 0 W W W -W
W W ! W W W ! ! !
best time for my com plain ing, for my com plain
9 9 8 ! .!
0 W "
for my
com plain
9 9 9 9 9
then shall have
have
have
W ! 0 W ! W - W ! W W W ! W W W W "
! 0 W WW WW -WW
WW . WW ! W ! W .! 0 W ! W "! !
for online perusal only
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7 W W W ! 0 W W W W W . W ! W W 0 W ) W W W
I then shall have
best time for my com plain
ing, for my
8 7 W W W ! - W ! W W W ! ! 8
I then shall have best time for my com plain ing,
*
. 8 9 9 8 7 W W W !
ing,
I then shall have
" 7 W W W ! 0 W W W W ! 9
ing,
I then shall have
best time
! 8 9 9 7 W W W -!
0 W
ing,
I then shall have
7 W W W ! 0 W W W -W
W ! ! 9
I
then
shall
have
best
time
for
. / W W WW W W W! W -WW
! W W WW . W W W W!
W WW W W W W 0 W /+ W - W W
W"W W W
7!0 W W W W W ! 0 W -W
W W 7 ! W ! W W ( ) -!
0 W
my
com
plain
ing,
com
best
* This note may be shortened to a +

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plain
ing,
I then shall have best time
9 9 7 W W W ! 0 W W W W W
I then shall have
best time for my
W W W W W W W . W ! 8 9 8 !
best time for my com plain ing,
for
7 W W W W W . W W ! " 9 9
for my
com plain ing,
W W W W " ! 8 7 W W W ! !
for my com plain
ing,
I then shall have best
9 9 7 W W W ! 0 W W W -W
W
time
WWWWW WW WW W" W ! W W W WW W W W! W -WW
W! W WW
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my
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plain ing, I then shall have
best time for my com plain
my com plain
ing, shall have best time for my com plain
"4
I then shall have
best time for my com plain
"4
for my com plain
"4
time
for online perusal only
com
plain
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I
plain
then
shall
have
Wilbye: Draw on, sweet Night
best
time
for
my
ing.
ing.
ing.
ing.
ing.
ing.
for
com
com
357

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Words: Anon.
SOPRANO
6
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59. Weep, weep, mine eyes
JOHN WILBYE
(1574–1638)
8 ! ! ! ! 0 W ."
! !
Weep, weep, weep, mine eyes, my
" ! .!
! ! " ! !
Weep,
weep, weep, mine eyes,
my
. 0 W ! ! " ! ! W W !
Weep, weep, mine eyes,
my heart can take
! 0 W W ! ! ! ! .!
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weep, weep, weep, O mine eyes, my heart
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© Oxford University Press 2001. Photocopying copyright material is illegal.

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thou
Wilbye: Weep, weep, mine eyes 359
eyes,
sand
weep
deaths
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and
this
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and
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Wilbye: Weep, weep, mine eyes 361
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Wilbye: Weep, weep, mine eyes 363
am
dead
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(back to p. 361)
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365
COMMENTARY
Notes
1. Specific references to musical notes are given thus: bar number (arabic), stave number counting down from the top
stave in each system (roman), symbol number in the bar (arabic). For example, in Bennet’s All creatures now, 19 ii 1
refers to the length of soprano 2’s first note in bar 19.
2. Pitch and rhythmic references are given in terms of this edition, not of the original sources. Where editions are
transposed and note values shortened, so are all references to variants unless explicitly described as original.
3. The Helmholtz system of pitch notation has been used whenever it is important to specify the octave of a particular
note (except where the octave is self-evident). The seven notes upwards from the C an octave below middle C are
shown thus: cdefgab; the seven notes upwards from middle C are c' d' e' f' g' a' b'; the next octave, c" d", etc.
The octave two octaves below middle C is CD, etc. Notes in roman capitals, C, D, etc., are not octave-specific.
4. Original clefs are indicated by the note they designate (F, C, G) and the line of the stave on which they are placed,
starting from the bottom. So G2 is the normal treble clef, C3 is the alto clef and F4 is the bass clef.
1. Anonymous: Dindirín, dindirín
The Cancionero Musical de Palacio was copied around
1500, perhaps for the court of Ferdinand II, perhaps for
the Duke of Alba, at whose castle the main composer
included in the MS, Juan del Encina, worked in the
1490s. It contains over 450 pieces, mostly short and
secular. This morning song to a nightingale may well use
traditional material. It also survives in a manuscript
now at Monte Cassino (MS 871) that was copied at a
monastery at Gaeta on the Italian coast between Naples
and Rome in the late fifteenth century. That version is in
three parts, two of which correspond roughly to the alto
and bass of the version given here. The words belong to
a tradition that goes back to the troubadours in a variety
of languages and are in a mixture of Catalan, French,
and Italian.
Source: Madrid, Palacio Real, Biblioteca, II-1335; edited
in Monumentos de la Música Española, vol. 10, no. 359
(Barcelona, 1951). Clefs: C1 C2 C4 F4. Time signature:
. Note values quartered. Notes: Since the text is such
a linguistic mix, it is difficult to decide on the
pronunciation: a mixture of holiday Spanish and French
may not be authentic but will give an appropriate
impression of linguistic fluidity. The MS stops at bar 22,
giving only the words for the rest of the piece.
for online perusal only
2. Arcadelt: Il bianco e dolce cigno
The idea that the swan sang as he died was taken by
Renaissance poets from two much-read Roman poets,
Ovid and Martial. In England it is familiar from
Gibbons’s The silver swan (no. 23), and it is very likely
that he knew Arcadelt’s setting, since it is the first piece
in the most widely circulated madrigal book of the
period, with fifty-eight editions appearing between 1538
and 1654. The words are often attributed to Alfonso
d’Avalos (1502–1546) on no strong grounds (see no.
47). The attribution to Guidiccioni is not much stronger,
resting on the inclusion of the poem in eighteenthcentury
editions of his poems, though it is not in earlier
editions. Arcadelt may have been Flemish or French. He
worked in Florence for about a decade, then was
appointed to the Sistine Chapel choir in Rome in 1538.
From 1552 he worked for the Cardinal of Lorraine and
the French court. If the madrigal is sung chorally, altos
and tenors might be mixed on the middle two parts.
Source: Il primo libro di madrigali di Archadelt a quatro
voci (Venice, 1539); the 1538 edition is not extant.
3. Bartlet: Of all the birds that I do know
John Bartlet worked for the Earl of Hertford and
became an Oxford Bachelor of Music in 1610. He is
known almost solely from his Booke of Ayres. Most
madrigals and ayres set contemporary poems, but this is
from several decades earlier, published in 1573. Philip as
a name for a sparrow goes back to the poet Thomas
Skelton at the beginning of the century.
Source: A Booke of Ayres (London, 1606). Clefs: G2 C2
C3 F4. Black notation (i.e. what looks like a crotchet in
the incipit is a coloured minim, so the note values of this
edition are halved). Only one verse is underlaid, the rest
being printed as verse. No sharp in the original key
signature, but all necessary sharps are printed and
modernization causes no ambiguities. Lute part omitted.
Notes: 4 i: the text is printed without any specific
indication of whether the second syllable is set to note 2
or note 3. Verse 4, line 5: ‘fend cut, Phip’ meaning not
entirely clear, but perhaps borrowed from fencing
meaning something like ‘keep the right distance’.
(Skelton’s Philip Sparrow has ‘Philip, keep your cut’.)
Line 6: ‘Peat’ is a term of endearment.
4. Bennet: All creatures now
The Italian idea of publishing a collection of madrigals
in honour of a patron or an event reached England
through Il Trionfi di Dori of 1592, commissioned by a
wealthy Venetian, Leonardo Sanudo, for his bride.
Twenty-nine composers each contributed a madrigal,
ending with the same congratulatory couplet. The
Triumphes of Oriana was published in 1601 with no
indication of its function; the dedicatory letter (to
Charles Howard, Earl of Nottingham) is remarkably
uninformative about why Morley assembled or
commissioned ‘these few discordant tunes’, as he
modestly called them. All end with the words
Then sang the shepherds and nymphs of Diana
Long live fair Oriana!

366
The name Oriana is taken from the then-famous
romance Amadis de Gaule, Oriana being the fair,
constant, and chaste beloved of the hero Amadis. In
1601 the name could only refer to Queen Elizabeth I.
Many of the texts seem appropriate for singing at
ceremonial tournaments, such as those held on the
anniversary of the queen’s accession or on May Day, but
that may be because such events provided appropriate
imagery. Oriana is here presiding over a hunting scene,
appropriate for Diana, goddess of the chase. The music
is illustrative, from the opening laughter to the long
notes wishing Oriana a long life. The bugle was at this
period an instrument of the hunt, not the battlefield;
‘winded’ refers to the act of blowing, not of making a
curved shape, so should be pronounced accordingly.
‘The flowers themselves discover’ (that is, the flowers
show themselves to view) is perhaps a metaphor from
the stage, when the pulling back of the curtain to the
inner stage discovers what lies behind.
The original time signature is , not , which is a
warning not to hurry: a degree of stateliness should be
evident. We have kept to regular barring (the original has
no barlines), but have marked triple rhythms in the
accompaniment in bars 23–5 and 33–6. Bars 49–55 should
be sung as if the barlines were displaced by a minim.
Virtually nothing is known about John Bennet (the
name is spelt Benet in the 1601 edition). His Madrigalls
to Foure Voyces were published in 1599, with a
dedication to Ralph Assheton, who held official
positions in Chester and Lancashire, offering ‘these first
fruits of my simple skill’; so he was probably a young
man from the north-east.
Source: Madrigales. The Triumphes of Oriana, to 5. and
6. voices: composed by divers severall aucthors. Newly
published by Thomas Morley (London, 1601) (RISM
160112). Two editions were published in that year. The
original price was four shillings and sixpence; at least,
that is what the Cavendish family paid in December
1601. Variants: 8 v 1: (no rest) / 9–12: no apostrophe
in ‘shepherds’; we have assumed more than one of them
/ 19 ii 1: (no rest) / 22–3: in all parts ‘Orianaes’ / 28
iii and iv 3 – 30 iii and iv 1: underlay ambiguous, since
only a repetition of the previous phrase is marked;
melisma in iv follows the explicitly notated pattern of v
in bar 26; ii is also indicated thus, but makes sense with
the normal rule of having the melisma on the
penultimate syllable / 30 i 1: (which is how it should
be sung in all parts).
for online perusal only
5. Brahms: Nachtwache No. 1
Brahms conducted choirs at various stages of his career,
including early music and folksong in their repertoire, so
it is not surprising that he wrote partsongs. His Op. 104
comprises five pieces, mostly melancholy. This is the first
of two to poems by Rückert, from his Italienische
Gedichte, with the title Nachtwache. Brahms set them in
1888, and writers have associated them with the
composer’s awareness of passing years (though he was
only fifty-five).
Source: Fünf Gesänge für gemischten Chor a Cappella
(Simrock, Berlin, 1889 [recte 1888]); we have omitted
the English translation by Mrs J. P. Morgan printed
below the German in that edition; we have also
consulted Johannes Brahms, Sämtliche Werke, vol. 21.
Editorial hairpins have been added to parallel passages.
6. Britten: The Evening Primrose
Throughout his life, vocal music was central to Britten’s
work. One of his most distinctive early works, A Boy
Was Born (1930), is a set of choral variations of great
originality. In his operas, the emphasis is chiefly on the
solo voice (though there is magnificent choral writing in
Peter Grimes), but he returned to the vocal ensemble in
his last illness for Sacred and Profane. He had a fine
taste in poetry—not surprising for a close friend of
W. H. Auden—and his Five Flower Songs of 1950 sets
poems by Herrick, Crabbe, Clare, and Anon. John Clare
spent the first half of his life in Helpston, a small village
in Northamptonshire; he had considerable success with
his first book of poems in 1820, but returned to rural life
(he had worked as a gardener and farm labourer) and
spent much of the rest of his life in asylums. Britten’s
songs were written for the twenty-fifth wedding
anniversary of Leonard and Dorothy Elmhirst, who had
bought the run-down Dartington estate in Devon in the
1920s and had restored it to be a place of beauty and the
home of a progressive school; the music summer school
came later (1953). They were generous patrons of
Britten’s English Opera Group.
Source: Five Flower Songs for mixed chorus (Boosey and
Hawkes, London, [1951]). Notes: in earlier music in this
book, unaccented quavers beginning a bar (as in bars 1
and 3) would be treated as if upbeats; but performers will
need to decide whether the barline and the first syllable of
the poetic line encourages slightly more weight / bars 5–6
show another typical feature of earlier styles: the use of
three-note phrases crossing the metrical pattern.
7. Campion: Never weather-beaten sail
Thomas Campion (or Campian) came from a wealthier
background than most of the musicians of his time. He
was well educated, having studied at Cambridge and at
Grays Inn, perhaps chiefly for social reasons, and also
obtained a medical degree at Caen in Normandy. He
wrote poetry in Latin and English as well as books on
poetry and counterpoint, and he was involved in the
production of court masques. He published four books
of songs to his own words, distinguished by a simplicity
of style in which words and music matched perfectly.
This comes from the first book, which was intended for
domestic devotional use.
Source: Two Bookes of Ayres. The First Contayning
Divine and Morall Songs . . . (London, c.1613). Lute
part omitted. The edition has only verse 1 underlaid, but
prints both verses separately, Campion presumably
wishing to set out his texts as poetry. The underlay is too
squashed to indicate precise placement of syllables
beneath quavers; in bar 10, for instance, the third
syllable of the alto part could be sung a note earlier. The
inconsistency between the parts of the original time
signatures is by no means rare, and suggests that they
were not of great significance (cf. no. 11). The original

367
edition indicates bars 5–8 by a repeat of bars 1–4 and
marks bars 9–18 to be repeated, though the presence of
double bars after bar 12 is unusual and makes one
wonder whether only bars 13–18 should be repeated;
the repeat pattern AABCC, with different text for the
repeat of A but not of C, is quite common: see, for
example, Ford’s Since first I saw your face (no. 19).
Repetition in music comprising short sections was
normal at this period, whether signs were present or not.
When present, they can be ambiguous: need not
imply a repeat of both the preceding and following
sections since and are never used. One possibility
is to sing verse 1 with no repeats, but to repeat 13–18 in
verse 2. Variants: 9 iii 7: ♯ omitted, but confirmed by the
lute part / 11 ii 2: e', changed to g' in accordance with
the lute part.
8. Cornelius: So weich und warm
Cornelius’s parents were actors and he was prepared for
a career as actor and musician. He became a poet and
music critic and spent five years (1853–8) in Weimar
working for Liszt, who encouraged him as a composer.
He then moved to Vienna and Munich, where he was an
associate of Wagner. His literary skills enabled him to
write the libretti for his operas and also the texts for
many of his songs. In a period which favoured orchestral
music, he wrote surprisingly little music without words.
He is known in the English-speaking world for just
one work, The Three Kings, a song whose piano
accompaniment (based on a chorale) was arranged for
choir by Ivor Atkins in 1930. So weich und warm was
written as an unaccompanied duet for soprano and alto
around 1848, when Cornelius was living with his uncle,
the painter Peter von Cornelius, in Berlin. The four-voice
arrangement given here, with an extended text, was his
last composition, probably finished by his pupil Karl
Hoffbauer. In bars 19–20, ‘mutterseelenallein’ literally
means ‘alone without your mother’s soul’.
Source: Musikalische Werke Band II (Breitkopf &
Härtel, Leipzig, 1905).
for online perusal only
9. Debussy: Trois chansons de Charles d’Orléans
The prince-poet Charles d’Orléans, nephew of one
French king and father of another, wrote much of his
poetry—some in French, some in English—during a
twenty-five-year period of imprisonment in England after
being taken hostage at the Battle of Agincourt in 1415.
His captivity seems not to have been without pleasant
diversions: the dedicatee of some of his love poetry
(including Dieu! qu’il la fait bon regarder) is reputed to
have been Alice Chaucer, descendant of the famous poet
and wife of the Duke of Suffolk, his guardian at
Wingfield Manor, where he was kept for a time.
Debussy was attracted by Charles d’Orléans’s poetry.
In a letter of 1908 to his friend Louis Laloy requesting
clarification of the meaning of some archaic words in
Quant j’ay ouy le tabourin, he wrote: ‘I find this little
poem so full of sweet interior music that—naturally—I
cannot stop myself from “exteriorizing” it . . .’. His
setting of this whimsical rondel was the last of the three
chansons to be composed: nos. 1 and 3 were written ten
years earlier in 1898, for a small amateur choir in Passy
which Debussy directed at that time, the nucleus of
which was provided by the family of his friend Lucien
Fontaine (whose singing Debussy likened to ‘un taureau
sentimental’). From the absence of divisis in these two
settings, it is possible that the ‘choir’ may not have been
much more than a quartet.
The two chansons remained unpublished until 1908,
when no. 2 was added and no. 3 substantially rewritten;
the set of three was then premièred at the Concerts
Colonne in Paris in 1909, with the composer
conducting. All three were enthusiastically received by
the audience, nos. 2 and 3 being encored, and a slightly
revised version of the set was published in 1910.
The Trois chansons are most attractively varied in
style and mood. No. 1, despite its archaically modal
flattened seventh, is closest to the harmonically seductive
Debussy of the Prélude à l’après-midi d’un faune. No. 2,
more austere, uses the altos, tenors, and basses
instrumentally to evoke the drums of a May Day
procession, underpinning the languid solo of the young
man who prefers to stay home in solitude rather than
join in the fun. Yver, vous n’estes qu’un villain, which is
loosely inspired by Renaissance choral style, neatly
contrasts grim winter and pleasant summer by
characterizing minor-key winter with contrapuntal
imitation (a device viewed with distaste by Debussy) and
major-key summer with sweet homophony.
The distinctive and deliberately historical French
quality of the Trois chansons de Charles d’Orléans
undoubtedly provided Ravel with the model for his own
delightful Trois chansons of 1915, and we can only regret
that neither composer left any further works for a cappella
choir, a medium for which they both wrote so effectively.
Source: revised published edition (Durand, Paris, 1910);
also consulted: composer’s MS (Paris, Bibliothèque
Nationale, MS 192). There are only minor discrepancies
between the MS and published versions, with the
important exception of the voice assigned to the solo in
no. 2. In the MS this is tenor (its part written in the treble
clef on a stave between the alto and choral tenor staves),
but a later correction in the composer’s hand crossed out
‘Ténor solo’ and substituted ‘Contralto solo’, adding a
note to the engraver, ‘le Contralto solo au dessus’, a
change followed in the published edition. Why did
Debussy make this change? The character in the poem is
surely male, and from a musical standpoint the part is
perfectly effective for tenor, though admittedly slightly
low-lying. Neither a female alto nor a male countertenor
seems to the present editor quite right, and conductors
may prefer to follow Debussy’s first thought and use a
tenor. Note: exceptionally in this volume, the original
beaming of notes has been preserved; the presence of
Debussy’s own phrase slurs makes the addition of
editorial syllabic slurs undesirable, and in the absence of
the latter the verbal underlay is perhaps clearer if separate
tails are used for notes carrying a separate syllable.
Spelling, punctuation, and capitalization of the text
follow the 1910 edition. [J.R.]
10. Delius: To be sung of a summer night on the water
Frederick Delius’s father was a successful businessman,
working in the wool trade, who had moved to Bradford

368
from Bielefeld and had become a British citizen before
Frederick was born. His family was musical, but did not
approve of a career for him in that profession. Attempts
to develop Delius’s interest in the wool trade were
unsuccessful, and a period working at a Florida orange
plantation was valuable chiefly for his opportunity to
hear black singers. Most of his music required a large
orchestra, and the characteristic lushness of sound is
carried over into these two wordless choruses, written in
1917. The opening bars of the second piece quote two
ubiquitous nursery songs of the time: the opening of
‘Have you seen the muffin man (who lives down Drury
Lane)’ and ‘Madam will you walk, Madam will you talk
(Madam will you walk and talk with me)?’, the refrain
of ‘I will give you the keys of heaven’. (I quote the titles
as I remember them; some informants favour ‘Do you
know the muffin man?’.)
‘These two delightful pieces have long been favourites
among choir directors, but are not performed as often as
they deserve because the awkwardness of their partwriting
makes them needlessly difficult for singers.
Delius devised his exquisite chains of chromatic
harmony without much regard for the detail of
individual voice parts. The present edition preserves
virtually all the notes of the originals, but with some
interchanging and adjustment of voice parts to make the
individual lines more singable. Both pieces may
effectively be sung a semitone lower.’ [J.R.]
Sources: original version, Winthrop Rogers, London,
1920, dedicated ‘For Kennedy Scott and the Oriana
Choir’ (they gave the first performance on 28 June 1921);
John Rutter edition, Oxford University Press, 1991.
for online perusal only
11. Dowland: Come, heavy sleep
Dowland was a lutenist with an international
reputation. In the 1590s he travelled in Germany and
Italy and was suspected of treason because of his
Catholic contacts. He worked as lutenist to the King of
Denmark from 1598 to 1606, then returned to London,
though did not receive the court appointment he felt was
his due. He published his First Booke of Songes or Ayres
in 1597; it was an enormous success and set the pattern
for such publications.
Source: The First Booke of Songes or Ayres of fowre
partes with Tablature for the Lute (London, 1597). Lute
part omitted. The awkwardness of underlay of verse 2
can be diminished in 5 i and 18 iv by ignoring the rests
and by making a slight crescendo through bar 4.
Variants: 8 ii 2: ♯ , but ♮ in lute part / 24: text ‘thoughts
worn’ in all parts. We have preserved the normal modern
amendment, which agrees, apart from the modern
hyphen, with the version of the poem set by Robert
Johnson (printed in original spelling in Diana Poulton,
John Dowland (London, 1972, p. 243), chiefly because it
is easier to sing. The changes in later editions (which
mostly concern the lute part) are not noted here except
the correction of ‘his’ (stanza 2, bars 11–12) to ‘this’.
12. Dowland: Can she excuse my wrongs
Source: The First Booke of Songes or Ayres of fowre
partes with Tablature for the Lute (London, 1597). Lute
part omitted. The music also exists as an instrumental
piece with the title The Earl of Essex’s Galliard and
makes a perfectly good piece without the words (as in
Dowland’s Lachrimæ, for five strings and lute, of 1604).
The poem may have been written by or on behalf of the
queen’s impetuous favourite, the Earl of Essex, whose
rise and fall is told in Britten’s opera Gloriana. For bars
33–6, the rhythm changes to 6/8 and the middle parts
allude in canon to a popular song, The woods so wild.
Bars 9–16 and 25–31 are printed once with double
underlay in the original. Variants: 2 i 2: this note is
flattened in some of the many instrumental versions of
the tune and also in the accompaniment in the first three
editions, though the later editions avoid the B. The
original edition has no key signature (the natural in this
edition is the consequence of modernizing the signature),
and it is possible that a singer of the time would have
expected the note to have been flattened without the
need for an accidental, especially as the tune may well
already have been familiar (there are sources of it dated
a year or two before the first edition); but other versions
of the melody in tablature (which are not dependent on
key signatures) have a natural. The tune seems to have
circulated in both forms. / 4 iv: / 24 ii: no dot / 38
iii 2: superfluous sharp.
13. Dowland: Weep you no more, sad fountains
Many lute songs are essentially homophonic and can
equally well be performed as lute solos or in four parts,
but the fluidity of the part-writing and the gratefulness
of the words for singing make performance of this song
by a vocal ensemble preferable. Although we have not
added dynamics, it is obvious that each verse has a long
diminuendo from the soprano g" in bar 18; the
temptation to slow down is more easily resisted if the
bass is treated as a melodic line leading to the
penultimate bar, not just the harmonic basis.
Source: The Third and Last Booke of Songs or Aires
(London, 1603). Lute part omitted. Variants: 4 iv 3: e♭
in the bass is added to correspond with original
signature / 6 iv 2: e ♮ is editorial, confirmed by lute part /
27: Dowland’s lute part has a bottom D, which low
basses may sing.
14. Elgar: As torrents in summer
Elgar was born near Worcester, the son of a piano tuner.
He spent much of his life in the area, and was
particularly attached to the Malvern Hills. His career
began as a jobbing freelance violinist. He composed an
enormous amount, at first with only local success, but
his ambition was encouraged by the determination of his
wife (he married above his station in 1889). He achieved
some popularity during the 1890s with a series of
secular cantatas, then suddenly achieved success with
the Enigma Variations in 1899. As torrents in summer is
an independent partsong in Scenes from the Saga of King
Olaf, Op. 30, written for the North Staffordshire
Musical Festival, October 1896. Longfellow’s poem was
adapted by a neighbour of the Elgars, Harry Acworth.
The story is complicated: a genealogical table showing
how the characters in it are related has nearly forty
names. Fortunately, this metaphorical chorus from
Olaf’s death scene needs no context to justify it, and

369
indeed Elgar was anticipating that it might be published
separately while he was correcting the proofs of the
vocal score in May 1896.
Source: Scenes from the Saga of King Olaf, Op. 30
(Novello, London, 1896), pp. 163–5; separate edition as
Novello’s Part-Song Book (Second Series), PSB no. 796.
Variants: Andantino in PSB only / 5: both editions have
ten. marked for staves i and ii, with stress marks staff i
only; bars 6, 25, and 26 should presumably be sung
similarly / 6 iii 1–2: the piano accompaniment (which is
3
Elgar’s own) implies that these two notes be sung as /
43: in King Olaf, with orchestral continuation starting
at the beginning of the bar.
15. Elgar: My love dwelt in a Northern land
This is among Elgar’s earliest partsongs, written in 1890
to a poem by Andrew Lang published in the Century
Magazine in May 1882. It was the first work of Elgar to
be published by the leading English publisher of choral
music, Novello. Elgar got 100 free copies but no fee, and
had to pay the poet a guinea for his permission, which
was granted reluctantly on the third request. Elgar wrote
of it to his friend Jaeger (‘Nimrod’) in 1908, ‘Now a
stock piece for superior poetic choirs: then [1890] it was
said to be crude, ill-written for the voices, laid out
without knowledge of the capabilities of the human
voice &c&c!!’.
Source: My love dwelt in a Northern land, Novello’s
Part-Song Book (Second Series), PSB no. 585.
Publication of Op. 18 as a set did not occur until 1979.
for online perusal only
16. Elgar: There is sweet music
The set of four partsongs written in Rome at the end of
1907 and early 1908 shows Elgar at his most ambitious
in this form, and it was tempting to include the whole
set. This is the first of the set and is the least-often sung,
chiefly because it looks so difficult; but despite the
separate key signatures for each choir, the difficulty is
primarily for the rehearsal pianist. Elgar wrote ‘No. 1 is,
of course, written as it is for convenience’, so we have
had no compunction in renotating the piano part in a
way that seems to us to be less complicated. In the same
letter (26 April 1908), he writes that ‘short syllables may
be sustained occasionally for the sake of effect’, and
stresses that, ‘a modern partsong is to be listened to and
not read’. The words are from Tennyson’s The Lotos-
Eaters. It was dedicated to Canon Gorton, Rector of
Morecambe, who organized a local competitive choral
festival; Elgar had visited him in Morecambe in 1903
and had conducted a specially written partsong to an
audience of 6000.
Source: Four Part-Songs, Op. 53 No. 1 (Novello,
London, 1908), Novello’s Part-Song Book (Second
Series), PSB no. 1056.
17. Farmer: Fair Phyllis I saw sitting all alone
Farmer is first heard of in 1591, when he published a
collection of canons while still ‘in youth’. Like his single
book of madrigals, it was dedicated to the Earl of
Oxford, so he may have been supported by him. He
spent part of the 1590s as organist at Christ Church
Cathedral, Dublin, but was back in London when his
madrigal book was published. This is one of the lightest
madrigals. It is difficult to sing ‘whither she was gone’
without overemphasizing the consonants: it helps to
accent the first note of each group of four quavers and
lighten the rest. We have preserved from the original
notation the soprano part’s retention of duple time in
bars 32–3 and 52–3 while the lower parts sing in 6/4
(original time signature in black notation): the tempo
relationship is unambiguous.
Source: The First Set of English Madrigals (London,
1599). Bars 1–7: repeat printed out in full. Variant: 6: i
and ii, ‘mountain side’; iii and iv, ‘mountains side’.
18. Finzi: My spirit sang all day
Finzi’s music was highly regarded during his lifetime,
though not particularly popular. His outstanding work
is the song-cycle Dies natalis, to mystical poems by
Thomas Traherne. Choral singers know him for his set
of seven partsongs to words by Robert Bridges, a poet
whose reputation was in decline before the end of his
long life and which has not revived. This is the third item
of that set.
Source: My spirit sang all day (Oxford University Press,
London, 1937).
19. Ford: Since first I saw your face
Ford worked at the English court from 1611 until 1642.
His single publication is the only indication of his earlier
career. This contains eleven songs and eighteen pieces
for viol. The two best-known songs, this and There is a
lady sweet and kind, are the most straightforward in the
collection; Ford’s music is elsewhere more elaborate if
less charming.
Source: Musicke of Sundrie Kindes (London, 1607).
Lute part omitted. Variants: 3 ii 4 and 7 ii 4: g' (though
one wonders whether Ford was very concerned about
consecutives) / 13 i 1: rest omitted / 14 and 15: comma
after ‘fast’ in tenor part only / 14 iii 3–4: ; the lute
part, doubling the alto line but not the tenor, has /
15–16: two four-beat bars and a concluding two-beat
bar / 15–16 lute: omits the soprano part as normal;
instead
thus filling the open third on
the last chord.
20. Gabrieli: Lieto godea
Giovanni Gabrieli’s name is synonymous with
polychoral music (music set out for more than one
choir), although he did not invent the style and his
understanding of the word ‘choir’ was rather different
from ours. He may just as well have intended Lieto
godea, which is described in the 1587 edition as being
‘per cantar et sonar’, to have been performed by two
voices and six instruments as by two four-voice choirs.
His pupil Schütz incorporated it as an instrumental
interlude in his setting of Psalm 111 (SWV 34), and
other composers also based compositions on it. Gabrieli
probably studied with his uncle Andrea and, like him,
worked for a while with Lassus at Munich. Thereafter,
he remained in his native Venice, being one of the two
organists at the Basilica of San Marco and also acting as
an entrepreneur. There is a report by an English tourist,
Thomas Coryat, of a concert for the patronal festival at

370
the Scuola di San Rocco (performed amid the
Tintorettos) which can be matched with the surviving
list of fees paid to the musicians: Gabrieli received a
substantial ‘present’, presumably for composing and/or
organizing, and also a fee for hiring the seven organs
which Coryat mentions. Conductors need to decide how
to handle the echoes: making the second statement of
each pair quieter is only one of the possible options. If
the two choirs are sufficiently separate, or are differently
constituted, there may be no need to make any further
dynamic contrast. In the one work in which Gabrieli
included dynamic marks, the instrumental Sonata pian’
e forte (1597), the sections where each choir plays
separately are marked piano and those where they play
together forte.
Source: Concerti di Andrea et di Gio. Gabrieli (Venice,
1587), (RISM 1587 12 ). Clefs: G2, C1, C3, F3 each choir.
These clefs imply downward transposition of a fourth or
fifth: we have taken it down only a major third.
Instrumental parts for a flexible scoring with modern
instruments are available from the publisher; other
transpositions and instrumental parts notated at
sounding pitch and suitable for modern or early
instruments are published by King’s Music. Time
signature: ; bar 25 .
for online perusal only
21. Gastoldi: Amor vittorioso
Gastoldi worked as a church musician in Mantua. His
church compositions, however, were outshone by his set
of vocal balletti, a form which he virtually invented. The
alternation of light texts with ‘fa la la’s proved
particularly popular in England and Germany, and they
were translated as well as imitated (often very closely) by
Morley and Hassler (see nos. 41 and 25). The military
metaphor of the poem comes through clearly in the
music, and a marching tempo should be adopted,
though it is often sung more quickly. A military
precision should not, however, prevent de-accenting the
second minim in bars 2, 4, etc. If you have a chance, try
dancing it.
Source: Balletti . . . con li suoi Versi per cantare, sonare,
& ballare (Venice, 1591).
22. Gibbons: Ah, dear heart
Orlando’s father was a wait (a town musician) at
Cambridge and Oxford, and his son Christopher
became one of the leading musicians in the midseventeenth
century. Orlando was a choirboy at King’s
College, Cambridge, and became organist at the Chapel
Royal in 1605. Orlando died suddenly at Canterbury on
5 June 1625, the Chapel Royal having gone there to
receive Charles I’s bride, Henrietta Maria. Doctors
reported ‘In the braine wee founde the whole & sole
cause of his sicknes namely a great admirable blackness
& syderation in the outside of the braine’. Although not
a pupil of Byrd, of all his generation Gibbons was the
composer most influenced by him. His madrigals are far
less Italianate than those of his contemporaries, and
often are effective as solos with instrumental
accompaniment. The words of ‘Ah, dear heart’ are
almost the same as those of a song by Dowland printed
in A Pilgrim’s Solace (1612) which begins ‘Stay, O
sweet, and do not rise’. With yet another opening, ‘Lie
still my dear’, it is attributed to John Donne in a 1669
edition of his poems, but modern scholars reject the
attribution. Dowland prints a second stanza, but it does
not fit Gibbons’s setting.
Source: The First Set of Madrigals and Mottets of 5.
Parts: apt for Viols and Voyces (London, 1612). Notes:
the range of the original tenor part is awkward; we have
allocated it to alto for bars 1–25 and interchanged the
parts for bars 26–35. In places like bars 16 (soprano and
bass) and 26, the opening crotchet should be treated as
an upbeat with the accent on the minim.
23. Gibbons: The silver swan
Unlike most of the sixteenth- and seventeenth-century
pieces here, this has been in the vocal repertoire ever
since it was written and has not needed modern revival.
For the dying swan myth, see Arcadelt’s Il bianco e dolce
cigno (no. 2).
Source: The First Set of Madrigals and Mottets of 5.
Parts: apt for Viols and Voyces (London, 1612).
24. Gibbons: What is our life?
The ascription of this fine poem to Sir Walter Raleigh
comes from some poetic manuscripts of the period,
though the comment in one that it was written ‘the same
morning he was executed’ must have been surmised by a
scribe who did not know that Gibbons had published his
setting six years earlier. Its sombre, sustained style
justifies the use of the word motet in the title of the
volume. Gibbons is inconsistent whether ‘passion’ has
two or three syllables. This is particularly clear in the
first tenor part, where at its first occurrence there are
only two notes, immediately followed by a repeat in
which it is given three notes and is printed with hyphens
dividing it into three syllables. ‘Di-vi-si-on’, with which
it rhymes, is printed thus in that part, but as ‘di-vi-sion’
in the other parts; it is, however, always set to music that
implies a four-syllable division. ‘Division’ is the term for
a form of embellishment in which long notes are split
(divided) into roulades or shorter ones, hence the
quavers to which it is set. The speed needs to be fast
enough to maintain the unity of the long phrases. Make
the most of the way Gibbons disrupts the regular rhythm
at ‘Thus march we playing’, treating ‘march’ as a
downbeat wherever it occurs.
Source: The First Set of Madrigals and Mottets of 5.
Parts: apt for Viols and Voyces (London, 1612).
25. Hassler: Tanzen und springen (Gagliarda)
Hassler was the son of an amateur organist at
Nuremberg. In 1584–5 he studied in Venice with Andrea
Gabrieli, the first of many Germans who would travel
there for instruction, and also became a friend of
Andrea’s nephew Giovanni, whose Lieto godea (no. 20)
he imitated. He worked for the wealthy Fugger family in
Augsburg until 1600. He then spent four years back in
Nuremberg as the town’s director of music, another four
at Ulm, and his final four years at the court of Christian
II of Saxony at Dresden. Although now less well known
than Michael Praetorius, he was the leading German
composer of his time. Tantzen und springen (the

371
underlaid text is modernized, but the original spelling is
a reminder that in German the ‘z’ includes an initial ‘t’
sound) is an imitation of Gastoldi’s balletti (see no. 21).
Source: Lustgarten (Nuremberg, 1601). Only the first
verse is underlaid.
26. Hassler: Ach, Weh des Leiden
This is printed next to Tanzen und springen in
Lustgarten but it is very different. The feature of the
triple-time section that distinguishes it from a dance is
the balancing of a two-bar phrase by one in three bars.
In the duple time section, ‘Muss ich dich dann aufgeben’
is set with a different rhythm in each part, preparing for
genuine counterpoint (the upper two parts in canon)
from ‘So kost’s mir’. Triple time at this period is not
normally slow or heavy, so the initial grief should not be
laid on too thickly.
Source: Lustgarten (Nuremberg, 1601). Variants: 20:
time signature / 34–end: none of the Es are flattened
in the original edition. The explicit E♭s in the soprano
parts in bars 31 and 32 would have given a strong hint
to singers to continue to flatten Es, but performers may
like to experiment with E ♮ s.
for online perusal only
27. Haydn: Die Harmonie in der Ehe (Matrimonial
harmony)
Haydn wrote one of the most popular works for chorus
and orchestra in the repertoire, The Creation, but his
music for smaller vocal ensembles is far less known.
During his London visits he had heard far more of such
music than he could have done in Vienna and on his
return there began setting poems selected from an
anthology entitled Lyrische Blumenlese, assembled by
C. W. Ramler (1725–98), which deliberately withheld
the names of their authors so that the reader would
judge them on merit, not the fame of the poet. Haydn
intended to set twenty-four of them, but only produced
thirteen, mostly during 1796. The traditional way to
deal with the inconclusive end is to whisper the last
phrase, though other solutions are possible.
Source: autograph manuscript, Paris, Bibliothèque
Nationale, Conservatoire MS 140, as edited in Joseph
Haydn, Werke, vol. 30 (Henle Verlag, Munich, 1958).
The autograph has a figured bass as the accompaniment,
although later items in the collection (nos. 10–13) have
a two-stave keyboard. The figuring is very full and
includes both parts in the duet sections. But the
accompaniment has no independent material, so may be
omitted. This edition prints the piano part added
(probably not by Haydn) in the first edition (in the
Oeuvres de J. Haydn, cahier 8, no. 7, Breitkopf &
Härtel, Leipzig, 1803). The dynamics also come from
that edition, and were probably added by the publisher.
Notes: bar 6, ‘lombert’, from the Spanish card game el
hombre, the ‘hombre’ being the man who attempts to
win the stakes. The 1803 edition has different words
from the end of bar 4 to bar 8, perhaps because the
original was too obscure: ‘Er zechet gern, sie auch; er
spielet gern, sie auch; er zählt Dukaten gern’. Variants:
41 iii 3–4: c', corrected to fit Haydn’s figuring and the
piano accompaniment / 52 and 53: grace notes in the
voice parts changed from quavers to semiquavers to
show performance length (confirmed by the 1803 piano
accompaniment).
28. Isaac: Innsbruck, ich muss dich lassen
Isaac called himself ‘de Flandria’, but nothing is known
about him until 1484, when he was paid as a composer
at Innsbruck. He worked at Florence from the following
year and retained connections there after his
appointment in 1497 as composer to the emperor,
Maximilian I, based in Vienna but travelling elsewhere
within Austria. Isaac returned to Florence in 1515,
where he died. He was among the most distinguished
composers of his time, with an international reputation,
but is remembered chiefly for this single brief song. It
circulated as a hymn with the title O Welt, ich muss dich
lassen from the sixteenth century and the tune then
became associated with Paul Gerhardt’s Nun ruhen alle
Wälder. Non-Germans know it from its use in Bach’s St
Matthew Passion. In view of the lateness of the sources,
the attribution to Isaac may be questioned; and it is
likely that the tune and words existed before the setting
was made, so biographical speculation is unnecessary.
The canonic setting printed here for verse 2 is the second
‘Christe eleison’ of Isaac’s Missa carminum, which is
based on well-known songs of the period; this
movement circulated independently with the German
words.
Source: Ein Aussug guter alter und newer teutscher
Liedlein (Nuremberg, 1539) (RISM 1539 27 ). Variants:
28 i 3: ♮ in the posthumous edition of the mass (RISM
15411); if that is adopted, 29 iv 1 should also be ♮ ; 28 iii
2 may stay sharp, but should be changed to .
29. Jones: Farewell, dear love
Despite graduating as a Bachelor of Music at Oxford in
1597, Jones seems to be the least competent of the
composers who published madrigals and songs, though
as this piece shows, he can write a good tune (if it is his).
The original publication has only the first verse
underlaid, and the subsequent verses do not always fit
very well; a soloist singing to the lute might well adapt
them to the notes rather more freely. The words are
quoted in Shakespeare’s Twelfth Night, Act II, scene iii,
sung in a rowdy manner by Sir Toby and the clown. The
song circulated widely (perhaps it existed before Jones
set it, though his version is the earliest one that survives).
Jones set a reply, Farewell, fond youth, in his Musicall
Dreame (1609).
Source: The First Booke of Songes and Ayres of Foure
Parts (London, 1600). Lute part omitted. Variant: verse
1, 9 i 1: ‘Nay’; ‘Yet’ in other parts. Note: bar 16: ‘moe’
means ‘more’.
30. Josquin Des Prez: Mille regrets
Despite being the major composer of the decades around
1500, surprisingly little is known about Josquin, and
that has diminished rather than increased as a result of
recent research: much of what seemed to be known
about his earlier life turns out to have been the result of
confusion with a different Josquin. He worked in Milan
in the 1480s, in the papal chapel from 1489 to the mid
1490s, then in France for a while, before a brief spell in

372
Ferrara in 1503–4. He spent his remaining years at
Condé-sur-l’Escaut, now on the Franco-Belgian border.
A large amount of music ascribed to him has survived,
but scholars are questioning the authenticity of a
considerable proportion of it, including this poignant
chanson. It was first printed in an anthology, Chansons
musicales a quatre parties, published in Paris in 1533,
where it is ascribed to J. Lemaire; this may be a matter
of confusing poet and composer, since Lemaire is not
otherwise known as a composer. The earliest attribution
to Josquin is at the heading to a vihuela transcription by
Luis de Narváez published in 1538, which is headed ‘La
cancion del Emperador del quarto tono de Jusquin’.
Whoever wrote it, it is an expressive though
frustratingly short piece; it can be extended in a concert
by having a lutenist or guitarist play Narváez’s
transcription (published in Monumentos de la Música
Española, vol. 3). The Spanish composer Morales used
the chanson as the basis for a mass for six voices (vol. 11
in the same series) and Gombert reworked the chanson
for six voices.
Source: L’unziesme livre contenant vingt et neuf
chansons amoureuses (Antwerp, 1549) (RISM 1549 29 ),
where it is followed by a response by the publisher,
Tielman Susato: Les miens aussi brief. Some regard has
been paid to the Narváez version and to other lute
transcriptions, especially with respect to the accidentals:
the 1549 anthology has none in this piece, and very few
in any others either; singers were supposed to know
when to add them.
for online perusal only
31. Lassus: Chi chi li chi
Lassus was the most comprehensive master of music in
the second half of the sixteenth century. His output was
extraordinary in both quantity and quality. The bulk of
his work is set to Latin texts (60 masses, 100
magnificats, 500 motets—not all to religious texts), but
he also produced a large number of settings of secular
Italian, French, and German texts. He was born at
Mons, travelled to Italy as a boy, worked in Rome in
1553, was in Antwerp in 1555, then from 1556 until his
death worked for Duke Albrecht V of Bavaria and his
successor, Wilhelm V, in Munich. In 1568, Lassus was
responsible for the lavish music celebrating the wedding
of Wilhelm to Princess Renée of Lorraine. A full account
of the event was published, giving very full details of the
music and how it was performed. This included
performances of moresche by six flutes and six voices.
Like most of the other villanesche and moresche, Chi chi
li chi is based on a Neapolitan piece in popular style, a
morescha by Giovanni Domino da Nola, perhaps
originally sung at a carnival or some other occasion when
the normal decencies were relaxed, and accompanied by
lewd gestures. The gender confusion of the text may also
have comic possibilities: both Martin and the cock are
grammatically feminine. It is not at all clear how the
dialogue is divided between the characters beyond the
opening four bars. Lassus had a reputation as a skilled
mime in commedia dell’arte; one can imagine the music
accompanying a mimed representation of the dialogue.
It should be sung with a suitable vigour, dramatic
flexibility, and awareness of the rhythm. Note, for
instance, that after the first two notes, the opening tutti
phrase should sound as if it is in 3/4. (It is not notated
thus, since Lassus uses the change to triple time at bar 12
to indicate a faster triple time.) Most performances treat
‘Sona se voi sonare’ at bar 76 as words to speak (or
usually shout), but it may mean repeat bars 71–6
sounding like an instrument. The chords are more
characteristic of a lute or cittern than the bagpipe
mentioned in the text; perhaps bars 71–2 could be sung
several times before going on to bars 73–6, with the top
parts (or two solo singers in a choral performance)
inventing elaborate runs above the chords.
Source: Libro de villanelle moresche, et altre canzoni
(Paris, 1581). We have not attempted to modernize the
text, which is probably intended to suggest how a black
African whose native language is Arabic might speak a
Neapolitan dialect. In a few places, erratic underlay in
one part has been corrected to conform with the others.
32. Lassus: La nuit froide et sombre
Lassus had a close relationship with the French court. In
1571 he was given control over the publication of his
own music in France by Charles IV, who three years
later granted him a generous state pension. The official
court printers Le Roy and Ballard issued a substantial
collection of his music in 1570, revising and expanding
it in 1576 to contain 129 pieces, mostly settings of
French texts; the title page claims that it was revuez
(revised or perhaps just approved) by the composer. Du
Bellay was a friend of Ronsard and one of the leading
poets of his time. The low compass of the opening suits
the music so well that we have not transposed it, despite
the low range of the alto part. It can be sung a tone or a
minor third higher, or the voices can be redistributed
with sopranos and altos taking the soprano part, tenors
the alto part and baritones the tenor part. The way the
music illustrates the words so closely shows Lassus
bringing the style of the Italian madrigal into the French
chanson, which tended to be more concerned with
structure and poise than text expression.
Source: Les meslanges d’Orlande de Lassus (Paris,
1576).
33. Lassus: Bonjour mon cœur
Ronsard’s poem was published in La nouvelle
continuation des amours (Paris, 1556); Lassus set only
the first of its two verses. Shape the rhythm by following
the word stresses, but remember that French accents are
less bold than Italian.
Source: Les meslanges d’Orlande de Lassus (Paris,
1576). Variant: 12: Lassus set ‘tourterelle’, but that
anticipates bar 24, so Ronsard’s original text has been
substituted.
34. Lassus: Matona, mia cara
This is sometimes performed with an inappropriate
beauty by singers who have not understood what it is
about. It is in bad Italian, sung by a German soldier
promising a woman a full night’s activity. The problem
is to balance the suavity of the music with the situation
it dramatizes. The translation is far more innocent than
the original text, especially ‘cazze’ and ‘ficar’.

373
Source: Libro de villanelle, moresche, et altre canzoni
(Paris, 1581).
35. Le Jeune: Revoici venir du printemps
Claude Le Jeune was a native of Valencienne and is first
known from four chansons published in 1554. He was
the leading composer linked to a group of poets, led by
Baïf, who established the Académie de Poésie et de
Musique for the cultivation of musique mesurée à
l’antique. This involved the creation of poems following
the metres of Latin poets such as Horace and setting
them in chordal declamation according to the rhythmic
pattern of long and short notes demanded by Latin
prosody. Most of his music was collected together in a
series of publications after his death. Le printemps
includes a brief ‘Preface sur la musique mesurée’ praising
the composer for restoring the rhythmic parameter of
music to its place alongside harmony.
Source: Le printemps (Paris, 1603) and Airs (Paris,
1608). Note: the texts of the 1608 edition were revised
to make the verse rhyme; this edition preserves the
original words of the 1603 edition, which agree with an
autograph copy of Baïf’s poems, except in modifying his
experimental orthography. The original has barlines
after each line of the poem. The metre fits into six-beat
bars, divided into both 2 × 3 and 3 × 2. It appears to
flow from one section to another without breaks. The
original, however, has a minim rest in all parts at the
beginning of each section, though not at the opening;
there are also minim rests elsewhere, represented in this
edition by commas.
for online perusal only
36. Marenzio: Crudel perche mi fuggi
It could be argued that the unaccompanied Italian
madrigal reached its peak in Marenzio. He was extremely
prolific in the form, publishing over twenty books of
them. He seems, in a way matched only by Monteverdi
(whose shadow has concealed him), to be able to express
the essence of every verbal phrase. He worked in various
parts of Italy, settling in Rome for most of the 1590s,
apart from obeying papal instructions to go to Warsaw in
1596. He was particularly influential in England, being
the predominant composer represented in three
anthologies published with English versions of the Italian
texts: Musica Transalpina in 1588 and 1597 and Thomas
Watson’s Italian Madrigals Englished in 1590. In fact,
twenty-three of the twenty-eight madrigals in Watson’s
collection are by Marenzio. Watson’s contemporary fame
as a poet did not last, but his skilful paraphrases of Italian
were partly responsible for the tone of English madrigal
verse in its heyday over the following twenty years. This
text was set again by Wilbye in his first book (1598).
Source: Il quarto libro de madrigali a sei voci (Venice,
1587); The first sett of Italian Madrigalls Englished, not
to the sense of the originall dittie, but after the affection
of the noate. By Thomas Watson (London, 1590). When
the Italian text was published by Guarini in his Rime in
1598, it began ‘Lasso perche mi fuggi’. Performers of the
English version will need to decide whether to underplay
rhythmic features that relate to the Italian text but not
the English; at bar 17, for instance, the second note
needs to be unaccented with a crescendo to the fourth
beat, with ‘death can as-’ sung as a three-beat phrase
across the barline. In bars 28–9 and 31–2, an
esclamazione can be sung (see p. vii).
37. Marenzio: Scaldava il sol
The words of this madrigal are taken from a poem
Favola di Narciso depicting a sultry summer’s day with
the god Pan lying asleep. The overall mood is magically
caught and should not be broken by making the
illustrations of detail too vivid. When there are quavers,
there is always at least one part maintaining the slower
pulse. In bar 53, the solitary ‘sol’ is an obvious piece of
word painting; less obvious in this transposed edition is
that it also set to a G, ‘sol’ in Italian.
Source: Luca Marenzio, Il terzo libro de madrigali a
cinque voci (Venice, 1582).
38. Monteverdi: O Mirtillo, Mirtillo, anima mia
Monteverdi’s madrigals first established his reputation,
though now we hear his operas and church music far
more frequently. He had an even greater flair than
Marenzio for finding musical ideas that embody both
the sound and the sense of each phrase of text.
Monteverdi worked from 1590 to 1612 at the court of
Mantua, then spent the rest of his life in charge of music
at the Basilica of San Marco in Venice. Most of his
madrigals were written during his Mantuan period, and
by 1603 he was absorbing (or initiating) the new style,
which split the voices that were normal for madrigals
into smaller groups, most often duets or trios. Here
much of the texture is that of a duet, with a third voice
supplying the harmony. A continuo part was added in a
reprint published in Antwerp in 1615; this follows the
lowest sounding part and differs little from the bottom
line of the keyboard accompaniment printed here.
The words are from Act III of Guarini’s famous play
Il pastor fido. It is difficult now to imagine why this
undramatic story of pastoral lovers had such fame in the
1590s and 1600s and beyond (Handel wrote an opera
on it in 1712). Excerpts were used as the text for
countless madrigals, perhaps because they were easily
detachable and the generalized expressions of passion
were not dependent on any specific knowledge of why
Amarilli (whose words are set here) and Mirtillo are
parted. Although the top two parts were notated in the
same clef, they have distinctly terraced ranges, so have
been allocated to soprano and alto. In choral
performances, some low altos should join with the first
tenors and some baritones with the second tenors.
Transposition down a tone would help the tenors if the
basses can manage an E♭ in bar 2.
Source: Monteverdi, Il quinto libro de madrigali
(Venice, 1605). Variants: 4 iv 3: ♮ in original / 5ff:
original ‘vedesti’ / 55 and 61: we have retained the
capitalization of ‘Amor’ in the Italian text, though
visualizing a Cupid is unlikely to help a modern singer.
39. Monteverdi: Ohimè so tanto amate
This was a notoriously revolutionary piece in its day,
either breaking or stretching (depending on your
viewpoint) the conventions of polyphonic writing. It was
difficult to sing, too: how did a soprano manage bar 2

374
from a single voice part, not a score? Guarini’s text is an
independent poem.
Source: Monteverdi, Il quarto libro de madrigali
(Venice, 1603). Variants: 4 i 1: the cautionary ♮ is in the
original edition; without it, singers would have sung e♭",
avoiding the tritone above the bass B♭ / 49–end: original
inconsistent in giving ‘dolc’’ or ‘dolci’ / 57 iv 1–2: , no
rest.
40. Monteverdi: Lamento d’Arianna
This is the first and among the greatest of dramatic
laments. It is the only surviving portion of Monteverdi’s
opera Arianna, performed in 1608 as part of the
celebrations in honour of the return of the heir to the
Duke of Mantua, Francesco Gonzaga, with his new
bride, Margaret of Savoy. Arianna had helped Theseus
escape from the labyrinth at Cnossos, where her father,
Minos, King of Crete, had imprisoned him; but he
abandoned her on the island of Naxos on his way home
to Athens. According to the official report of the events,
‘In the lament which Ariadne sings on the rock when she
has been abandoned by Theseus, which was acted with
so much emotion and in so piteous a way that no one
hearing it was left unmoved, there was not one lady who
did not shed some little tear at her beautiful plaint’. The
lament circulated widely, and Monteverdi published an
edition with Latin words as a Lament of the Madonna
(edition by King’s Music). He also made this more
complex version with the texture reworked for five
voices, turning a masterpiece in the new, monodic style
into the older form of the polyphonic madrigal.
Source: Monteverdi, Il sesto libro de madrigali a cinque
voci . . . con il Basso continuo per potersi Concertare
nel Clavicembano & altri stromenti (Venice, 1614,
reprinted 1615 and 1620). The continuo partbook is
called ‘Basso continuo’ on the title-page but ‘Partitura’
at the top of each page. All the original ‘figures’ (sharps
for major chords, flats for minor) have been retained.
The single-line part is supplemented here by what is
predominantly a reduction of the voice parts. It can be
used as a rehearsal accompaniment for piano or as the
basis of a harpsichord part. Players using the early editions
may have had only a figured bass part in front of
them, but there is evidence that players copied out scores
(as Schütz recommended to German organists) or
followed the movement of the voice parts quite closely
by ear. There is no need for a string instrument to play
the continuo bass. The work can be performed unaccompanied,
especially if sung chorally. Occasionally the
tactful exchange of a few notes with the tenor may avoid
altos having to sink too low.
For further information, see the introduction and
critical commentary to the separate edition, Oxford
Choral Classics, OCCO 24.
for online perusal only
41. Morley: My bonny lass she smileth
If you wanted to film a scene of an Elizabethan family
amusing themselves by singing a madrigal, you would
probably have them sing either this or the following
Morley ballett, two of the most recognizable examples
of vocal ensemble music of the period. It was Thomas
Morley who set the agenda for the brief but intense
flowering of English madrigals in the 1590s and 1600s,
naturalising in particular the lighter forms prevalent in
Italy at the time. His balletts led to an epidemic of ‘fa la
la’-ing, extending their use from the very lightest type of
secular song to association with serious and even sombre
texts. His First Book of Balletts of 1595 was popular
enough to need a reprint in 1600 and it was also issued
in 1595 with Italian words; a German version was
prepared by Valentin Haussmann (Nuremberg, 1609).
Several of the pieces are based extremely closely on
Balletti a cinque voci by Giovanni Giacomo Gastoldi
(1554–1622), published in 1591 (see no. 21). Sing we
and chant it is very similar to the first balletto in that
publication, though Morley is a little more subtle. Now
is the month of maying has no such precise model, but
has strong similarities to So ben mi ch’a bon tempo by
the other leading Italian composer of vocal dances,
Orazio Vecchi (1550–1605), from his Selva di varie
ricreatione (1590). The Italian balletti were genuine
dance music: a choreography for So ben mi ch’a bon
tempo survives in Negri’s Le gratie d’Amore (1602).
They were also played as well as sung. The manner of
instrumental participation in England is less certain,
despite such phrases as ‘apt for voices and viols’ on title
pages of some editions. The tendency towards
elaboration and irregularity of phrase in the English
balletts suggests that they were not danced.
Notating dynamic changes (whether in print or pencil)
for the four times (six times for no. 42) that each section
is sung would be confusing. The dynamic can change at
each double bar, or the ‘fa la la’s can be sung at a
different dynamic from the preceding texted section. The
same pattern can be used for each verse, or they can be
varied. It is fun (and good discipline) not to notate them
but to respond to the conductor’s indication without
advance warning. If an audience is responding well,
tease it by throwing in an extra repeat or an unexpected
dynamic at the end. The ease of imposing dynamic levels
should not impede the natural rise and fall within the
phrases. ‘Fa’ should be stressed, especially if it is off the
beat; unstressed syllables at the ends of phrases (e.g.
‘smileth’) should be taken very lightly, especially when
sung .
Source: Of Thomas Morley the first booke of balletts to
five voyces (London, 1595). In both pieces, each verse is
printed out in full without repeats but only the first verse
is underlaid. Note: the triple-time section (bars 17–25)
has the time signature and black notation; note values
are halved.
42. Morley: Now is the month of maying
May Day was celebrated widely; indeed, some customs
persisted into the twentieth century, though their demise
was probably hastened by the day’s association with
demonstrations by the urban proletariat. At dawn,
maydew was gathered for medicinal and cosmetic
purposes; later there were games and dancing round the
maypole (a practice that needs some skill to prevent the
ribbons getting tangled). Barley-break could be a
complicated game, if played in the manner recounted in
Sir Philip Sidney’s A Shepherd’s Tale (Arcadia, 1598);
no doubt similar symbolic games were staged when

375
Queen Elizabeth went a-maying. But the word was also
used for a simpler game of tag.
Source: Of Thomas Morley the first booke of balletts to
five voyces (London, 1595). At the opening, we have
omitted minim and crotchet rests. Variants: 4 ii 3: no ♮ in
the source, but the notation of accidentals is precise, with
a ♯ before every other f' in the phrase, so the absence of a
♯ is significant; similarly 10 ii 2 and 12 iii 2 (c ♮ "). See also
note to no. 41 for performance suggestions.
43. Parry: Music, when soft voices die
Parry came from an affluent background. After reading
law and history at Oxford, he became an underwriter at
Lloyds, but in 1877 was sufficiently confident of his
musical abilities to abandon his career. By the 1890s, he
was a leading figure in many branches of music—
musicologist, administrator, composer—and in 1898 he
was knighted. He was highly regarded as a teacher by
composers such as Vaughan Williams, but his
compositions have fared less well. His anthem I was glad
was sung at all twentieth-century British coronations; a
tune from his oratorio Judith become popular as a hymn
tune (‘Dear Lord and Father of mankind’) and his setting
of William Blake’s Jerusalem has won favour as a
patriotic song with the Women’s Institute and the
Promenade Concerts. His Songs of Farewell, although
not church music, are more appropriate for a volume of
sacred music.
Source: Six Modern Lyrics, set as Part-Songs . . . 6
(Novello, London, 1897). Novello’s Part-Song Book
(Second Series), PSB no. 766. Variant: 14 i and iv:
in the original edition.
for online perusal only
44. Passereau: Il est bel et bon
The few surviving biographical references to Passereau
show him to have been a church singer, but apart from
one motet, only chansons survive. For the modern
singer, he is a one-work man, and this onomatopoeic
piece is invariably popular. A modern performance style
has evolved, treating it as a patter song with the refrain
sung quietly, ending virtually inaudibly, and the other
sections always beginning louder than they end. Singers
who enjoy this chanson should try the two rather longer
pieces by Passereau’s contemporary Janequin, Le chant
des oiseaux and La bataille.
Source: Vingt et huyt chansons musicalles (Paris, 1534)
(RISM 1534 11 ).
45. Pearsall: Lay a garland
Pearsall was a lawyer who moved to Germany in 1825
for the sake of his health. He had become interested in
discovering early music and composing in the
Renaissance style. His imitations of Morley’s madrigals
were performed by the new Bristol Madrigal Society,
which was set up in 1837 while he had returned to sort
out the family estate at nearby Willsbridge. He is best
known for his arrangement of In dulci jubilo. Madrigal
singers find Lay a garland the most effective of the
nineteenth-century partsongs, its relationship to earlier
styles not being so self-conscious as in some of Pearsall’s
other music. It was written in 1840 to words taken from
Beaumont and Fletcher’s play The Maid’s Tragedy, Act
II, scene 1, though changed from first to third person.
Dating from around 1610, the play was performed fairly
regularly until the Victorian period, so Pearsall could
well have seen it. It is one of those gory tragedies in
which everyone finishes up dead, though ‘happily ever
after’ adaptations diminished the play’s original gloom.
The song is sung by Aspasia, whose betrothed has been
forced to undertake a marriage of convenience to the
king’s mistress. The chief performance problem of
Pearsall’s setting is tempo. It is usually sung by small
choirs used to the current style of singing early music,
who probably take it faster than Pearsall would have
done; listeners too are used to faster tempi for music of
the Renaissance, and performing it too slowly may
emphasize its origin in the 1830s and separate it from
the style to which it relates.
Source: autograph manuscript, British Library, Add.
MSS 38544, fols. 39–42: pencil draft overlaid by inked
final version. Heading ‘Lay a Garland on her hearse, an
Eight-part Madrigal, written 4th June 1840 by R. L.
Pearsall of Willsbridge’. A few pencil marks suggest that
Pearsall thought of adding a Latin text, ‘O salutaris’, but
instead copied it out afresh with the text ‘Tu es Petrus’
(Add. MSS. 38540). The posthumous edition published
in the 1880s by Novello (Novello’s Part-Song Book,
Second Series, vol. 11, PSB no. 320.) has many dynamics
added by its anonymous editor; we have included those in
the piano reduction. The inconsistent slurring of the MS
has been retained. Variants: iii and iv: alto clef; v and vi:
tenor clef / 11 iv: in pencil sketch, but stem not inked
over / 16 iv 3: ♭ (unbracketed) in MS / 20 ii: this is the only
hairpin in the MS / 32 i and iv 2: D♭s in the pencil version
but the flats are not inked over; the ♭ in 34 iv 2, however,
is inked / 36–7 vi: separate slurs from g' to f' and from f'
to e' / 41 vii: additional slur from g to f.
46. Pilkington: Rest, sweet nymphs
Nothing is known of Pilkington’s early life, but when he
took his Bachelor of Music degree at Oxford in 1595 he
claimed he had been a student of music for sixteen years.
From 1602 he worked at Chester Cathedral, as both
musician and cleric. In addition to a book of airs, he
published two books of madrigals, in a retrospective
style suggesting that provincial musical circles were less
subject to fashion than those in London. This is a rather
more playful treatment of the sleep theme than
Dowland’s in the second verse of Weep you no more,
sad fountains (no. 13).
Source: Francis Pilkington, The First Booke of Songs or
Ayres (London, 1605). Verses 2 and 3 not underlaid in
original. Lute part omitted. Note: 1–5: the stress should
follow the verbal stress of each verse, irrespective of the
barlines. The second crotchet of bar 1, for instance,
needs some weight, the first note of bar 2 is unstressed
for verses 2 and 3. Variants: 3, 9, 20: editorial
accidentals correspond with lute tablature / 2 iii 1: / 6
i 1: ‘Whilst’. ii, iii, iv: ‘Whiles’; 2nd verse: ‘Whiles’ / 8 ii:
‘pleasant’ / 8 iii 2: c' in lute part / 13: time signature /
13–14: the original barring is | Sleep sweetly, sleep
sweetly | let nothing affright ye |. This distorts the stress
of the text, so we have displaced each note a step earlier,
beginning the triple time at the end of bar 12 and adding

376
a rest at the end of bar 14 / 15: time signature ; if the
rest feels redundant, it may be omitted, though it can
help to maintain the calm mood and make it easier not
to accent the minim.
47. Rore: Ancor che col partire
Rore was the most adventurous of the Italian madrigal
composers in the years around the middle of the
sixteenth century. He went from Flanders to Italy in the
early 1540s, and became director of the important
musical centre of the court of Ferrara in 1545. He
returned to Flanders in the late 1550s, then spent his last
few years at Parma. Ancor che col partire was one of
those pieces which, presumably because everyone knew
them, became examples in manuals of ornamentation
(see also no. 48): singers who wish to sing more than the
notes that are written (or those who wish to alternate
instrumental settings to make a varied concert) should
consult Girolamo Dalla Casa, Giovanni Bassano, and
others, Divisions on ‘Ancor che col partire’ for solo
instrument or voice and continuo (London Pro Musica
Edition, 1986, LPM REP11). The music shows a
contrapuntal flexibility that was new to the madrigal at
the time. The poem is conventional enough, but the fact
that it was believed to be by a nobleman who had
recently died may have drawn attention to it. Like so
many ‘facts’, however, recent scholarship has questioned
the ascription: the words Rore set differ somewhat from
the version explicitly ascribed to Alfonso d’Avalos in
Cimello’s Libro primo de canti a quatro voci (1548).
Source: first published in Perissone Cambio, Primo libro
di madrigali a quattro voci . . . con alcuni di Cipriano
Rore (Venice, 1547); also in Rore’s Il primo libro de
madrigali a quatro voci (Ferrara, 1550, and many
reprints). Note values have been halved, so do not be
tempted to begin too quickly; use bars 30 onwards to
find a suitable tempo.
Source: Second livre contenant XXVII chansons
nouvelles (Paris, 1538), and Le Parangon des chansons.
Second livre contenant XXXI chansons nouvelle[s]
(Lyons, 1538). Variants: the edition is based on the
latter, but with editorial accidentals based on Ortiz’s
more explicit notation. But it is not clear whether Ortiz
is merely modernizing the notation or updating the style,
and some may prefer to ignore his sharp in bars 3 and
16. Later sources have major chords in bars 13 and 26 /
6 and 19 ii 2–3: / 29 iv 1: d.
49. Schubert: Der Tanz
This was written to tease Irene von Kiesewetter, the
daughter of Raphael Georg Kiesewetter, a leading
Austrian administrator and pioneering musicologist, for
her passion for dancing. Irene was a proficient pianist,
who sometimes played with Schubert. Various dates
have been allocated to this short work: early in 1828 is
currently favoured, just after a short Italian cantata
dated 26 December 1827 which Schubert wrote to
celebrate her recovery from an illness (D 936; this work
is D 826). The poem is ascribed to ‘Schnitzer’, who may
be Kolumban Schnitzer von Meerau.
Sources: autograph manuscript, Vienna Stadtbibliothek,
MH 37/c. This has no heading and has only verse 1
underlaid, with a note that verse 2 is to be sung to the
same melody. Verse 2 is in a contemporary MS in the
Archiv der Gesellschaft der Musikfreunde in Vienna
(Witteczek-Spaun Collection, vol. 31, pp. 115–22)
which contains a score (headed ‘der Tanz von Schnitzer’)
with verse 1 underlaid and a set of vocal parts with the
text of both verses. Notes: original vocal clefs, C1, C3,
C4, F4. We have placed the dynamics in the piano part
in the same place as in the vocal parts, although the MS
places them after the barline at 16/17, 20/21, and 24/25.
Perhaps the piano introduction should be played again
at the end.
for online perusal only
48. Sandrin: Douce mémoire
Sandrin was probably an actor named Pierre Regnault
who acquired the name Sandrin from a play in which a
character of that name, a cobbler, replied to every
question by singing the opening of a chanson. He
worked as a church musician, but all his surviving music
is secular. This is one of fifty chansons by him published
between 1538 and 1549. It became extremely popular,
and like Rore’s Ancor che col partire (no. 47), it was
used as a model to illustrate how to ornament. The
Spaniard Diego Ortiz used it in his Tratado de glosas
(1553), printing it in something like its original version
(there are some differences from the 1538 edition) and
with several embellished settings for viol. Twenty-four
versions have been brought together in George Houle,
Doulce memoire: a study in performance practice
(Indiana University Press, 1990). Lassus and Rore wrote
masses based on the chanson. François I was king of
France from 1515 and, like his contemporary Henry
VIII (whom he met at the Field of the Cloth of Gold), he
had a strong interest in the arts. He devoted some of his
enforced leisure during his imprisonment after the Battle
of Pavia (1525) to writing chanson texts.
50. Senfl: Ach Elslein, liebes Elselein
Senfl was the leading composer of German song in the
early years of the sixteenth century. The repertoire is
generally called the Tenorlied, since the melody was
usually in the tenor. In this example, however, the
traditional melody is given to the soprano. Senfl was a
choirboy at the court of the Emperor Maximilian from
1496, staying there after his voice changed. He probably
studied with Isaac (see no. 28) and succeeded him in
1513. After Maximilian’s death in 1519, the new
emperor, Charles V, was more interested in his own
Spanish musicians, and he secured a position worthy of
his status only in 1523, when he joined the chapel of
Wilhelm IV of Bavaria at Munich. During his life he was
chiefly famous for his Latin music, but German scholars
reviving his music in the last century paid greater
attention to his secular songs. This is his simplest and
most popular.
Source: Der erst Teil. Hundert und ainundzweintig newe
Lieder (Nuremberg, 1534) (RISM 1534 17 , collated with
1536 8 and other sources in accordance with the version
printed in Das Erbe deutscher Musik, vol. 15 [= Senfl
Werke, vol. 4]).

377
51. de Sermisy: Au joli bois
Claudin de Sermisy spent most of his life working for the
French royal chapel. His extensive body of church music
has mostly been ignored by scholars and performers, but
he is acknowledged as a leading composer of a style
which emerged in Paris in the late 1520s and was
published extensively there by the printer Attaingnant.
Indeed, of the thirty-one pieces in Attaingnant’s first
anthology of chansons, over half are by Claudin. The
Parisian chanson is, in its archetypal form, loosely
homophonic and appears to set only one verse of a poem,
although longer versions circulated in independent poetic
anthologies. This poem was published in an undated
pamphlet entitled S’ensuyvent viii. belles chansons
nouvelles (reprinted in Brian Jeffery, Chanson verse of
the early renaissance, vol. 1, pp. 198–204) with three
verses. The main difference in the first verse is the
opening (‘Au bois de dueil’) and bars 19–20 (‘Dans un
vert pré’). Brian Jeffery points out the similarity of the
style to that of Clément Marot. The poem, with its
distinctive metre, exists in various parodies, including a
versification of the ten commandments (see Dorothy
Packer, ‘Au boys de dueil and the Grief-Decalogue’,
Journal of Musicology, 3, 1984, pp. 19–54.) There is a
six-voice reworking by Gombert.
Source: Trente et une chansons musicales (Paris, 1529)
(RISM 1529 2 ). The transposition theoretically requires a
signature of two sharps, except that it looks wrong. A
small natural before a note indicates where the editor
believes the note would have been flattened.
for online perusal only
52. Stanford: The blue bird
Stanford was the conductor of The Bach Choir in London
from 1885 to 1902. The choir had been formed in 1875
to give the first English performance of Bach’s Mass in B
minor. Its instigator was a lawyer and amateur singer, a
great-nephew of the author of Kubla Khan and The
Ancient Mariner, Arthur Duke Coleridge (Duke is a
name, not a title). His daughter Mary was extremely well
educated (see note to 53) and had considerable gifts as a
poet; after her death her friend Sir Henry Newbolt
published 237 of her poems. L’oiseau bleu is assigned to
1894 by Theresa Whistler, the editor of The Collected
Poems of Mary Coleridge (London, 1954).
Source: The blue bird (Stainer and Bell, London, 1910).
The original accompaniment, slightly modified here, is
headed ‘Pianoforte. For practice only’. The practice of
having the soprano part sung by a soloist, with the other
sopranos singing the upper alto part, is effective but not
indicated by the composer. Original time signature: .
53. Stanford: Heraclitus
Stanford was the son of a Dublin lawyer. He studied in
Cambridge, Leipzig, and Berlin and was professor of
composition at the Royal College of Music in London
from its opening in 1883; he was also professor of music
at Cambridge from 1887. William Johnson was from
1845 to 1872 a fellow of King’s College, Cambridge,
and a fine teacher of classics at Eton (where he wrote the
Eton Boating Song). His career came to an abrupt end
when the headmaster discovered a letter to a pupil
written in rather too affectionate a manner. He changed
his name to Cory, married in 1878, and settled in
Hampstead in 1882, where he taught classical Greek to
a group of young women, including Mary Coleridge (see
note to no. 52). Stanford headed his setting of Heraclitus
‘Poem by William Cory’, but Cory’s poem is in fact a
literal translation of a poem from the Greek Anthology,
a collection of lyric poems, some dating back as far as
the seventh century bc, assembled in the tenth century
ad, amplified in the fourteenth, and discovered by
Western scholars in the seventeenth. Book 6 no. 80 is
ascribed to Callimachus, a poet who worked in Cyrene
and Alexandria in the third century bc and may have
lived from c.320 to c.240 bc. It is an imaginary epitaph
for a contemporary poet, Heraclitus (not to be confused
with the philosopher Heraclitus of Ephesus, who lived
about 250 years earlier), who died in or before 266 bc.
Source: Heraclitus (Stainer and Bell, London, 1908).
The original accompaniment, slightly modified here, is
headed ‘Pianoforte. For practice only’. Original time
signature: .
54. Sullivan: The long day closes
Sullivan had achieved some success as a musician before
the first of his successful operettas with W. S. Gilbert,
Trial by Jury, in 1876. He studied at Leipzig, and his
graduation exercise, music for The Tempest,
immediately brought him fame, if not fortune. As Elgar
was to do later, he won commissions from the provincial
oratorio circuit, and he was appointed principal of the
National Training School for Music. The long day closes
dates from 1868 and was one of a group of seven songs
for male voices. The words are by Henry Chorley, one
of the leading musical journalists of the day, who had
favoured the young Sullivan. The version for mixed
voices appeared after his death, in 1902. It is such a
typical image of Victorian words and music that we
could not omit it, even if this is not as Sullivan
composed it.
Source: The long day closes; four-part song . . . arranged
for S. A. T. B. (Novello, London, 1902), Novello’s Part-
Song Book (Second Series), PSB no. 894.
55. Vaughan Williams: Three Shakespeare Songs
Vaughan Williams probably reached the peak of his
fame with his Sixth Symphony, first performed in 1948.
It seemed to have a powerful extra-musical message
about the violence and bleakness of the post-war world.
However, the composer himself referred to Prospero’s
farewell speech at the end of The Tempest, and there are
several reminders of the music of the symphony in this
choral work, written for a competitive festival in June
1951 of the British Federation of Music Festivals.
Source: Three Shakespeare Songs for S.A.T.B. unaccompanied
(Oxford University Press, 1951). A few minor
changes have been made to the piano reduction to bring
it into closer conformity with the voice parts, though no
attempt has been made to follow the details of the
dynamics. The slurs in the piano part of song 1, 21–4
reveal a characteristic three-quaver pattern such as
Vaughan Williams uses at the opening of the Sixth
Symphony. Variant: Song 2, 25 i: second soprano note
omitted from the first edition.

378
56. Vautor: Sweet Suffolk owl
Vautor worked for the Villiers family, and his single
publication is dedicated to George Villiers, Duke of
Buckingham, James I’s notorious favourite. The family
seat was at Brooksby in Leicestershire, moving to
Goadby in the same county when George Villiers senior
died in 1606. If he was still connected with the family
after Buckingham’s rise, he would probably have been
based in London. He became an Oxford Bachelor of
Music in 1616. His music shows a degree of
independence from the standard madrigal style, as this
example shows. ‘Dight’ (bar 16) means ‘dressed’. The
certainty once thought to exist in proportional notation
has been under question of late so there is discretion in
the relationship between duple and the triple note values
at bars 51–63. The time signature is over 31. The
options are bar = bar, half bar = bar, or crotchet =
minim. On the grounds that the ‘souls’ in 61–3 should
be the same length as in bar 64, I favour the second.
Various English pieces (especially by Jenkins, who was
based in East Anglia) suggest the sounding of bells in a
for online perusal only
similar manner to this passage.
Source: The First Set: being Songs of divers Ayres and
Natures . . . Apt for Vyols and Voyces (London, 1619).
Variant: 57 iv 1: (no rest).
57. Weelkes: a. Thule, the period of cosmography
b. The Andalusian merchant
Weelkes published four sets of madrigal books between
1597 and 1608, including some of the most ambitious
pieces in the repertoire. Unlike other leading composers
of his time, he kept clear of London, working at
Winchester College from 1598 then moving to
Chichester Cathedral in 1602, the year in which he was
awarded an Oxford Bachelor of Music degree. His life
went into a decline; whether alcoholism was the cause or
consequence is not known. Thule, the period of
cosmography is rare for an English madrigal in being in
two sections; they are linked by common conclusions,
announced by the chord change on ‘wondrous’. The text
calls on the discoveries of the explorers, and needs some
explanation for the modern singer and audience. Iceland
(Thule), at the end of the world, boasts a volcano
(Mount Hecla) as powerful as three-cornered Sicily’s
Mount Etna. Cochineal is a scarlet dye made from the
dried body of the female coccus cacti, a scale insect that
lives on the opuntia Coccinellifera cactus native to
Mexico. ‘China dishes’ at this period means crockery
actually from China. Fogo probably refers to Fogo
Island, a volcanic island in the Atlantic (one of the Cape
Verde islands); the identification with Terra del Fuego,
the southern tip of South America, is unlikely.
Source: Madrigals of 5. and 6. parts, apt for the Viols
and voices (London, 1600). Variant: the second part, 6
iii 5: ‘re-’ a note earlier.
58. Wilbye: Draw on, sweet Night
Wilbye spent much of his life working for the Kytson
family, partly at Hengrave Hall in Suffolk, but also at
their house in London, so he was able to keep in touch
with musical developments at court. This anonymous
poem presents fine phrases for musical setting though is
somewhat clumsy as verse. The third line, ‘My life so ill
through want of comfort fares’, means ‘My life fares so
ill because of lack of comfort’. The rhyme ‘melancholy’/
‘wholly’ is weak, even if ‘-choly’ is pronounced like
‘wholly’; Wilbye covers this awkwardness by making the
listener feel that the return of ‘Sweet Night, draw on’ is
the conclusion of the first verse rather than the beginning
of the second. Singers need to be careful not to land
heavily on the final syllable of feminine rhymes, popular
in madrigal verse in imitation of Italian. The tempo can
easily sag: two beats in a bar should be maintained
throughout, otherwise it is difficult to sing ‘and while
thou all in silence dost enfold’ and ‘I then shall have best
time for my complaining’ as single phrases.
Source: The Second Set Of Madrigals To 3. 4. 5. and 6.
parts, apt both for Voyals and Voyces (London, 1609).
Variants: 59 iii 1: ♯ (= ♮ ) in original, since singers from a
single partbook might expect such a leap to be a minor
sixth / 63 vi 2: it is tempting to sharpen the c to match
S1 in 61, but the original edition is quite accurate with
regard to accidentals and there is nothing except a keen
ear to suggest to the singer that it should be sharpened /
73–4 v: ‘told’ three notes earlier / 99 v 2: underlay
‘when’ for ‘while’ / 106–8 v: underlay from last note of
103 indicated by ‘ij’ (see Preface); by normal practice
‘en-’ should be placed under the second note of bar 106,
but delaying the syllable to bar 108 articulates the leap
of a fourth / 107 i 4: could perhaps be sharpened / 126
iii 4–end: underlay marked ‘ij’, so if text of previous
phrase is repeated exactly, it should be ‘for my complain
- - - ing’.
59. Wilbye: Weep, weep, mine eyes
English music for weeping usually has Dowland’s
Lachrimæ theme somewhere: here it opens the tenor
part. A curiosity is that only the bass sings the lady’s
name. This piece can easily drag: markers for a good
tempo are to think of a forceful speed for bars 38–42
and to make it possible for the bass from bars 71 to the
end to sound like a single phrase. A version for solo
voice and continuo survives in a contemporary
manuscript; an edition is published by King’s Music.
Source: The Second Set Of Madrigals To 3. 4. 5. and 6.
parts, apt both for Voyals and Voyces (London, 1609).
The index uses the title Weep, O mine eyes, but in
modern usage the ‘O’, which appears only in the tenor
part, is omitted to avoid confusion with the four-voice
madrigal that begins thus. Variants: 17–19 i: ‘Weep
heart, weep eyes’, but other parts reverse the order of
nouns for this, the third line of the poem / 32–7, alto
underlay: ‘ij’ under last note of 33, ‘a thou-sand’ under
first three notes of 34, then nothing until 38; perhaps
repeat ‘I die’ on notes 2 and 3 of 33 / 64ff: ‘Elysian’ spelt
‘Elizian’ throughout / 64 and 66, ii, iii, v: the
inconsistent lengths of ‘plain’ are thus in the original,
but the parts should end the phrase together, a reminder
not to take the notated lengths too literally.

2
CHORAL
CLASSICS
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Opera Choruses
Madrigals and Partsongs
European Sacred Music
Light Opera Choruses
Sacred Choruses
English Church Music
Christmas Motets
Oxford Choral Classics: Madrigals and Partsongs gathers together nearly sixty of the finest
examples of the secular choral repertoire into one volume. Due space is given to the
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Spine illustration: Musical Society (detail) by van Honthorst.
1
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