Handel Thesis

University of Nebraska - Lincoln
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Performance - School of Music
Music, School of
4-1-2012
Performing Editions of the Handel Cantatas HWV

81, 105, and 113 for Soprano, Obbligato
Instruments, and Continuo, or Piano Reduction,
with Accompanying Notes, Phonetic
Pronunciations, and Translations
Elizabeth N. Deutmeyer
University of Nebraska-Lincoln, bethdeutmeyer@gmail.com
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Deutmeyer, Elizabeth N., "Performing Editions of the Handel Cantatas HWV 81, 105, and 113 for Soprano, Obbligato Instruments,
and Continuo, or Piano Reduction, with Accompanying Notes, Phonetic Pronunciations, and Translations" (2012). Student Research,
Creative Activity, and Performance - School of Music. Paper 49.
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PERFORMING EDITIONS OF THE HANDEL CANTATAS HWV 81, 105, AND 113
FOR SOPRANO, OBBLIGATO INSTRUMENTS, AND CONTINUO, OR PIANO
REDUCTION, WITH ACCOMPANYING NOTES, PHONETIC PRONUNCIATIONS,
AND TRANSLATIONS
by
Elizabeth N. Deutmeyer
A DOCTORAL DOCUMENT
Presented to the Faculty of

The Graduate College at the University of Nebraska
In Partial Fulfillment of the Requirements
For the Degree of Doctor of Musical Arts
Major: Music
Under the Supervision of Professor Kathleen S. Butler
Lincoln, Nebraska
April, 2012
PERFORMING EDITIONS OF THE HANDEL CANTATAS HWV 81, 105, AND 113
FOR SOPRANO, OBBLIGATO INSTRUMENTS, AND CONTINUO, OR PIANO
REDUCTION, WITH ACCOMPANYING NOTES, PHONETIC PRONUNCIATIONS,
AND TRANSLATIONS
Elizabeth N. Deutmeyer, D.M.A.
University of Nebraska, 2012
Advisor: Kathleen S. Butler
This document consists mainly of performing editions of the Handel cantatas
Alpestre monte (HWV 81), Dietro lorme fugaci (Armida abbandonata) (HWV 105), and
Figlio dalte speranze (HWV 113). For each of the three cantatas on which the document
is focused, provided in this document are a full score with realized continuo and extracted
parts; a piano reduction; an overview containing information on key, tempo, range,
tessitura, timing, and musical characteristics and vocal skills required; IPA, idiomatic
translations, and word-for-word translations for each; options for da capo ornamentation;
indications for cadential delays in recitatives and traditionally expected appoggiature and
trills. Additionally, the author has provided pertinent biographical information on
Handel, background on the cantatas, and notes on performance practice.
iii!
Authors Acknowledgements
The author would like to thank Dr. Pina Mozzani of Wichita State University for her help
in ensuring the accuracy of the translations in this document, and Professor Kate Butler
of the University of Nebraska for her help in researching and ensuring the accuracy of the
pronunciations and translations in this document.
iv!
Table of Contents
Title Page.. i
Abstract
ii
Authors Acknowledgements. iii

Table of Contents iv
List of Multimedia Objects.. v
Handels Cantatas.1
Handels Time in Italy..3
Notes on Performance Practice 6
Notes on the Pronunciation Guides..8
About this Edition 9
HWV 81: Alpestre monte................................................................................................... 11
Overview.. 12
Pronunciations and Translations.. 13
Piano-vocal score. 17
Full score..29
Extracted obbligato parts. 44
Extracted cello part.. 52
Ornamented voice part. 55
HWV 105: Dietro lorme fugaci (Armida abbandonata).......... 57
Overview.. 58
Pronunciations and Translations.. 59
Piano-vocal score. 68
Full score..85
Extracted obbligato parts... 106
Extracted cello part 113
Ornamented voice part... 118
HWV 113: Figlio dalte speranze120
Overview 121
Pronunciations and Translations 122
Piano-vocal score... 126
Full score141
Extracted obbligato part. 160
Extracted cello part 163
Ornamented voice part... 167
Bibliography 169
LIST OF MULTIMEDIA OBJECTS

Musical scores to HWV 81: Alpestre monte, pages 15-54
Musical scores to HWV 105: Dietro lorme fugaci (Armida abbandonata), pages 66-117
Musical scores to HWV 113: Figlio dalte speranze, pages 124-166
v!
1!
Handels Cantatas
Grove Music Online states that a cantata is a work for one or more voices with
instrumental accompaniment.1 This basic definition is necessarily loose; the term
cantata can apply to anything from a relatively short solo piece with continuo
accompaniment to a long scene utilizing multiple solo voices, orchestra, and even choir.
Besides opera and oratorio, the cantata was the most important and prevalent vocal genre
of the Baroque era, and the primary kind of vocal chamber music in Italy. The form is
characterized by a sectionalized structure. By the beginning of the 18th century it had
evolved into a multi-movement work, most often consisting of two or more arias, with a
recitative preceding each. Walter Ford describes these recitatives as integral, and rich
in harmonic change and bold in modulation.2 In Handels cantatas, the recitatives tend
to be less straightforward and more melodically and harmonically surprising than the
recitatives in his later operatic works. They serve the same purpose, however. As in
opera, the cantata recitatives are used to move the action forward. The harmonic daring
that is characteristic of Handels cantata recitatives often makes the contrast starker
between stable (more dramatically static) aria and less stable (more dramatically mobile)
recitative.
Jonathan Keates writes, the cantata was related to opera, though independent
from it, using the same expressive alternation of recitative and aria, but exploring a
simpler and more intimate world. It offered the composer excellent practice in
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
Colin Timms, et al, "Cantata," Grove Music Online. Oxford Music Online,
http://0-www.oxfordmusiconline.com.library.unl.edu/subscriber/article/grove/music/04748pg1 (accessed
Feb 11, 2012).
2
Walter Ford, Handel's Cantatas, Proceedings of the Musical Association, 58th Sess. 1931-1932,
http://www.jstor.org/stable/765646 (accessed December 3, 2011) 39.!
!
2!
constructing a sequence of linked numbers and rewarded the singer with opportunities for
vocal display.3 These opportunities came through expressive and virtuosic vocal
writing, as well as through ample call for the singer to embellish her or his part. Though
not always, Handels cantatas most often employed the standard da capo Baroque aria
form, in which a singer was expected to tailor the repeat of the main theme to his or her
particular skills and abilities through unique ornamentation.
Handels cantatas cover a wide array of scope and structure. Most were written
for solo voice and continuo, but there are also cantatas scored for voice and one or two
obbligato instruments, cantatas for up to five solo voices, and cantatas that employ a full
orchestra of strings; woodwinds such as flute, oboe, and recorder; trumpet; and archlute.
According to the Works list in the Grove Music Online article on Handel, two of his
cantatas are sacred, six are categorized as dramatic, twenty-five (twenty"two of which
are fully extant) are scored for a vocal solo or duo and instruments, and sixty are for
vocal solo and continuo. Most of his cantatas were written for soprano. Altos have the
next greatest number at their disposal, a few are meant for baritone, and only one cantata
was written for tenor. In all, Handel wrote nearly 100 cantatas, the vast majority of
which were composed while he was in Italy from 1706 to 1710.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
3
Jonathan Keates, Handel, the Man and his Music (London: V. Gollancz, 1985), 35.
3!
Handels Time in Italy

It seems that Handel made the decision to travel to Italy at the prompting of the
so-called Prince of Tuscany, a title which probably refers to Gian Gastone de Medici,
in order to absorb the Italian musical style.!When Handel left his home in Hamburg for
Italy in the winter of 1706, he was only 21 years old and had already seen compositional
success in his first opera, Almira. He ultimately based himself in Rome, but before he
settled there he spent periods in both Florence and Venice. It was during this time in
Venice that he most likely composed the cantata Figlio dalte speranze. He did not
remain long in Venice, however; documentation indicates that he was living in Rome by
the end of 1706.4 There, he quickly became connected with wealthy patrons of
musicians, Cardinal Colonna and Cardinal Pietro Ottoboni. Through his link to the
Ottoboni household, he worked with and gained the acquaintance of other!important
musicians of the time, like the influential Arcangelo Corelli. He also made the
acquaintance of Cardinal Benedetto Pamphilj, who lent financial and organizational
support to musicians, and who was a skilled poet and librettist. Cardinal Pamphilj wrote
the libretto to Handels first oratorio, Il trionfo del Tempo e del Disinganno, as well as to
some of his cantatas.
Through his relationships with the two Cardinals and his growing reputation,
Handel also secured the support of a third patron: the Marchese Francesco Maria
Ruspoli, one of Romes wealthiest citizens, and Handels most important patron during
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
4
Rainer Heyink, "Rome," in The Cambridge Handel Encyclopedia, ed. Annette Landgraf and David
Vickers, trans. Angela Baier, 553-555 (New York: Cambridge University Press, 2009), 553.
!
4!
5
his stay in Italy. Handel possibly made a trip to Venice in the winter of 1707/1708 his
exact whereabouts during this time are unknownbut by the spring of 1708 he was back
in Rome and living at the Ruspoli palace. He spent the summer in Naples, and then
returned again to Rome in August. He devoted that autumn of 1708 to writing cantatas;
he wrote almost a third of his entire cantata output during this time. He quit Rome
permanently in the spring of 1709, spent March through December of that year in
Florence, then traveled to Venice, where he stayed until he left Italy in the spring of
1710.6 By the time he left Italy, he had written nearly all of the cantatas he would
produce; he composed only two more cantatas with instruments after this time.
While in Italy, Handel did write two operasRodrigo and Agrippinaand two
oratoriosIl trionfo del Tempo e del Disinganno and La Resurrezionebut the great
bulk of his vocal output consisted of cantatas. So why did Handel focus so intently on
writing cantatas while he was in Italy? And why did he all but abandon the genre after he
left in 1710? For one thing, Pope Innocent XII closed the theater in 1697, which ended
public theatrical performances in Rome until 1709.7 Operas and oratorios continued to be
written and performed, but less frequently and only in the private residences of Romans
like Ruspoli and Ottoboni. In addition, producing larger works like operas or oratorios
requires resources that may have been more difficult for Handel to obtain frequently.
Works of this type demand a much greater personnel, and a more extended and involved
rehearsal period than cantatas. Such expenditures of time and money could have been
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
5
Anthony Hicks, Handel, George Frideric, http://0-www.oxfordmusiconline.com.library.unl.edu/
subscriber/article/grove/music/O902119 (accessed November 28, 2011).
7
Jonathan Keates, Handel, the Man and his Music (London: V. Gollancz, 1985), 30.!
6
!
difficult to justify on a regular basis, considering the resources he did have at his
5!
disposal. Handel could readily collaborate with the household musicians of his
benefactors Ottoboni, Pamphilj, and Ruspoli. His easy access to these small contingents
of musicians, as well as the constant demands on his time, explain the great number of
cantatas he wrote for vocal solo and continuo only. It also explains why the majority of
his cantatas were written for soprano; the soprano Margherita Durastanti was one of
Ruspolis household musicians,8 and many of Handels cantatas were certainly written
for her. Obviously Handel and his patrons had the ability to bring in outside musicians as
wellhence the few operas and oratorios, and the cantatas scored for multiple singers
and instrumentsbut it is clear that more often, he simply wrote for the ensembles at
hand, which were a perfect fit for the cantata.
Most importantly, cantatas were in demand. Cardinal Ottoboni held weekly
concerts in his palace on Wednesdays,9 and Marchese Ruspoli hosted musical
conversazioni every Sunday, where new compositions were frequently premiered.10
Marchese Ruspoli and Cardinals Ottoboni and Pamphilj, along with other aristocrats from
Rome, Naples, and probably Venice, frequently commissioned cantatas from Handel to
be performed in their homes. Because of Handels cantata manuscripts presence in
various Italian libraries, Jonathan Keates suggests that these were the compositions for
which he first became noted.11 At the end of his time in Italy, Handel traveled through
Hanover, Innsbruck, Dsseldorf, and the Netherlands before settling in London near the
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
8
Rainer Heyink, "Rome," in The Cambridge Handel Encyclopedia, ed. Annette Landgraf and David
Vickers, trans. Angela Baier, 553-555 (New York: Cambridge University Press, 2009), 554.
9
10
11
!
6!
end of 1710. Unlike in Rome, theatrical productions in London were flourishing at the
time, so the greatest vocal music demand existed for opera and oratorio and not cantata.
This explains Handels suddenly minimal output in this genre.
Notes on Performance Practice

One of the most fundamental means of expression in Baroque music is
highlighting the differences between stressed or unstressed, or good and bad notes.
Martha Elliott writes that it is essential to emphasize the duality of heavy versus light and
tension versus release, and that performers should use the flow and stresses of the text to
their greatest advantage. When a strong syllable falls on a weak beat, the resulting
rhythmic clash can add more interest and texture to the musical fabric.12 The singer
should tap into the expressive potential of dissonances and add dissonant appoggiature.
In this edition, points at which these appoggiature would traditionally be expected are
marked, as are suggested trills. Also marked are the places in the recitatives at which the
cadences would traditionally be delayed. These places are all internal, and do not fall on
the final cadences of the recitatives. In the preface notes of the Hallische HndelAusgabe, Hans Joachim Marx writes, For the performance of the recitatives it should be
observed that Handel never treats the final cadence as delayed; this means that the
continuo enters with the last accented syllable of the singer and not after it. Chrysander
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
12
Martha Elliott, Singing in Style: A Guide to Vocal Performance Practices (New Haven: Yale University
Press, 2006).
!
7!
printed Handels cadences as delayed, an editorial correction which is not followed in this
edition.13
In measures where rhythmic discrepancies between parts exist, such as dotted
eighth-sixteenth figures versus triplets, the rhythms should not be performed as written.
Martha Elliott writes,
Dotted figures, which we today understand to have specific proportion and
duration, were interpreted with much more flexibility. A dotted eighth
and sixteenth note, for example, could be performed with different degrees
of length and crispness, ranging from a gentle triplet to a double
dotdepending on the character of the situationWhen different
rhythms appear simultaneously, they pose particular problems that need to
be solved on a case-by-case basis. Again, depending on the character of
the music, dotted figures would most likely be softened to accompany
simultaneous triplets, since it was unusual to have a two-against-three
rhythm in Baroque music.14
This idea of rhythmic alteration needs to be employed in the aria Venti, fermate from
Dietro lorme fugaci, HWV 105. Marx writes that in instances where straight eighth or
sixteenth notes in the upper parts occur simultaneously with triplets in the bass, the upper
parts should be altered to conform to the triple rhythm of the bass. He states, The
decision about the performance of such rhythmic conflicts needs to be based on
consideration not only of the metre and basic rhythm, but also of their relationship to the
meaning of the words. In most cases the conclusion must be to synchronise the dotted
rhythm with the triplet.15
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13
Hans Joachim Marx, "Preface," in Hallische Hndel-Ausgabe, ser. 3 bd. 4, trans. Terence Best, (New
York: Brenreiter, 1958-), XXIII.
14
Martha Elliott, Singing in Style: A Guide to Vocal Performance Practices (New Haven: Yale University
Press, 2006).
15
Hans Joachim Marx, Preface, in Hallische Hndel-Ausgabe, ser. 3 bd. 4, trans. Terence Best, XVIXXIII (New York: Brenreiter, 1958-).
8!
Some recommended resources for further research on the performance practices
of these cantatas are:

Elliott, Martha. Singing in Style: A Guide to Vocal Performance Practices. New Haven:
Yale University Press, 2006.
Marx, Hans Joachim. Preface, in Hallische Hndel-Ausgabe. Translated by Terence
Best. New York: Brenreiter, 1958-.
Tosi, Pier Francesco, and Johann Friedrich Agricola. Introduction to the Art of Singing.
Edited and translated by Julianne C. Baird. New York: Cambridge University
Press, 1995.
Notes on the Pronunciation Guides

All pronunciations are given using the International Phonetic Alphabet (IPA).
N assimilations have not been indicated, aside from modifying the letter n to [] before
[k] or [g], and changing the letter n to [m] before bilabial consonants in recitatives.
Instances where the special or phrasal doubling of consonants may be desirable have also
not been indicated.
Diction scholars are divided upon the pronunciations of some Italian words,
specifically the voicing or not of intervocalic S; the opening or closing of unstressed Es
and Os; and the opening or closing of E in the words nel, del, and their derivatives. In
this edition, the pronunciations of these are transcribed as found in the dictionaries (see
bibliography). Although the dictionaries used, and therefore this edition, indicate some
instances of intervocalic S as unvoiced [s], it should be noted that these are commonly
modified to voiced [z] in sung Italian. The words nel, del, and their derivatives have
been transcribed using closed [e]; singers should feel free to modify these vowels to open
!
[]. The same is true for unstressed Es and Os. While the dictionaries used for this
9!
project and this edition list most of them as closed [e], this is meant to serve as a guide
only and singers should feel free to open them as needed or desired, or at the advice of a
trusted coach or teacher.
To quote Nico Castel,
The difference between closed [e] and open [] and closed [o] and open []
in Italian singing is minimal due to the demands of tone production,
tessitura and long held notes. In Italian speech the difference is more
noticeable, but even then local speech habits make any set of rules
impossibleThe punctilious singer or coach looking for consistency in
this matter of the Italian e o vowels will be totally frustrated, as there is
no consistency possible, and certainly no inflexible rules to be followed.
Italian singers have used, do use, and will continue to use these e o
vowels to suit their VOCAL NEEDS, and not their VOCALIC (vowel)
preferencesAs for the unstressed and final e o some texts state that
they are always closed, and others state categorically that they are always
open. I say that they are neither. They open or close depending on vocal
needs, tessitura and the color of neighboring vowels (vocalic
harmonization).16
About this Edition

All of the arias in this edition were originally written in da capo form. Here the
da capo sections have been recopied after each B section. This eliminates burdensome
page turns for the pianist, and allows the singer to write in ornaments without worry of
rendering the first A section illegible. Additionally, whole or partial recitative texts have
been copied into the violin and cello parts so that the string players may more easily time
their note changes with the singer. Syllables that should coincide with a particular note
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
16
Nico Castel, Handel Opera Libretti, ed. Hemdi Kfir (Geneseo: Leyerle Publications, 2005), xviii.
!
or rest have been underlined and aligned above the note or rest in question. In the
recitatives, each suggested appoggiatura is marked with a plus (+), and each suggested
cadential delay is marked with an asterisk (*).
10!
11!
HWV 81: Alpestre monte

Handel wrote Alpestre monte in Venice, most likely during the winter of 17081709. Handel originally wrote this cantata for soprano castrato. Before the Hallische
Hndel-Ausgabe published this cantata in its volumes of Kantaten mit Instrumenten, it
was available only in fragmented form. It is the first-person narrative of a desperate man
alone in the mountain woods, walking to find his beloved and confess his love, imagining
the worst, and hoping that at the very least, death will end the misery of his likely
unrequited passion. This piece is a stunning example of Handels ability to heighten text
musically. The first aria begins starkly, with the two obbligato violins in unison,
unaccompanied by continuo. The constancy of the staccato eighth notes seems to drive
the piece forward with a sense of inevitability, mirroring the mans journey toward death.
The second is permeated by descending lines in the upper parts, and by sequences. These
features again add to the feeling of the inevitability and unhappiness of the mans fate.
Carlo Vitali sums it up as follows: A desolate obbligato recitative, modulation to remote
keys in the first aria (Io so ben chil vostro orrore), and the interweaving downward
spirals between solo soprano and violin in the second (Almen dopo il fato mio),
enhance the pieces depressive mood.17 Handel was perhaps first inspired to write this
cantata after hearing his contemporary Mancinis setting of this text, the authorship of
which is unknown.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
17
Carlo Vitali, The Cambridge Handel Encyclopedia, ed. Annette Landgraf and David Vickers (New York:
Cambridge University Press, 2009), 32-33.
12!
Overview
1. Accompagnato Alpestre monte
Key: C minor
Range: C4-E5
Tessitura: E4-D5
Timing: approx. 45 secs.
2. Aria Io so ben chil vostro orrore
Key: C minor
Tempo: Largo (= 40-60)
Range: C4-G5
Tessitura: G4-F5
Timing: approx. 5 mins.
Musical characteristics and vocal skills required: sustained legato phrases, some
large leaps; requires sostenuto singing and vocal agility
Recitativo Quindi men vengo a voi
Key: G minor
Range: D4-F5
Tessitura: F4-D5
Timing: approx. 1 min.
3. Aria Almen dopo il fato mio
Key: G minor
Tempo: Adagio (= 66-76)
Range: D4-A5
Tessitura: G4-G5
Musical characteristics and vocal skills required: long phrases, frequent large leaps;
requires good breath control and vocal agility
Pronunciations and Translations

IPA and word-for-word translation
!
1. Accompagnato
[al!p!stre!!!!mon!te!!!!e!!!!!!!so!li!ta!rja!!!!sel!va]!
Alpestre
monte, e
solitaria
selva,
Alpine
mount and solitary
wood
!
[tri!stoal!br!go!!!!!!dor ror!!!!ni!do!!!!di!!!!fe!re]!
tristo albergo
dorror, nido
di fere,
wretched residence of horror nest
of beasts
!
[fra!!!!!!!!!!!lom!bre!!!!!!!!!!ku!pee!!!!!!!!!!ne!re!!!!del!!!!!!!v stro!!!!sen!!!!!!!!e!la!te]!
fra
lombre
cupe e
nere del
vostro sen
celate
through the shadows gloomy and
dark
of the your
breast hidden
!
[kwe!stin!fe!li!ee!!!!!!!di!spe!ra!toa!man!te]!
questinfelice
e
disperato amante,
this unhappy
and desperate
lover
!
[kea!!!!!!voi!!!!!pj no!!!!di!!!!!dwl!!!!m!ve!!!!!!le!!!!!!pjan!te]!
che a voi, pieno
di duol, move
le piante.
that at you full
of grief moves
the soles
!
2. Aria
[i!o!!!!so!!!!!!!!!!bn!!!!!kil!!!!!!!!!!!v stroor ro!re]!
Io
so
ben chil
vostro orrore
I
know well that the your horror
!
[u!ni!ma!go!!!!del!!!!!!!!mi!o!!!!k re]!
unimago
del
mio
core,
is an image
of the my
heart
!
[u!ni!d a!!!!del!!!!!!!!mi!o!!!!!pen!sj re]!
unidea
del
mio
pensiere.
is an idea
of the my
thoughts
!
!
!
13!
!
[ko!mei!kwe!sto!!!!a!tro!!!!!!!!sod!or!no]!
Come in questo atro
soggiorno,
As
in this
gloomy residence
!
[ko!si!!!!!!!!!!!!stan noal!!!!!!!!!!k reat tor!no]!!!!
cos
stanno al
core attorno
in this way
stay
to the heart around
!
[om!bre!!!!!lar!ve!!!!!!!!r ri!dee!!!!!!!!fj re]!!
ombre,
larve,
orride e
fiere.\
shadows
wraiths
horrid
and fierce
!
Recitativo
[kwin!di!!!!!!men!!!!!!!!v!goa!!!!!voi!!!!per!!!!er!kar!!!!mr!te]!
Quindi
men
vengo a voi per cercar
morte,
Therefore at least I come to you for to seek
death
!
[kil!!!!!!!!!!!mi!o!!!!dwl!!!! si!!!!fr!te]!
chil
mio
duol si forte
that the my
grief is so strong
!
[da!!!!non!!!!tro!var!!!!mai!!!!pa!e!!!!al!tro!!!!kin!!!!!!!!li]!
da non trovar mai pace altro chin lei,
that not to find ever
peace other that in it (death)
!
[a!mo!!!!!nin!fa!!!!!en!ti!le!!!!e!!!!!!!!!la!mo!!!!!!!!!!!tan!to]!
amo
ninfa gentile,
e
lamo
tanto,
I love
nymph delicate
and
her I love much
!
[ke!!!!per!!!!!!!!!!!!so!vr!kjoa!mo!re!!!!al!!!!!!!!!!!fin!!!!!pr!di!!!!mi!!!!stes so]
che per
soverchio amore
al
fin perdei
mi stesso,
that through excessive love
at the end I lost
my self
!!
[el!!!!!!!!!!!!!kr!!!!!!!pr!di!!!!dal la!!!!!!!!!!!!!gran!!!!!!!!!fjam maop prs so]!
el
cor
perdei dalla
gran
fiamma oppresso.
and the heart I lost
through the intense flame
oppressed
!
[a!i!!!!ni!e!!!!a!i!!!!!di!!!mi a!!!!mr!te!!!!a!spra!!!!ka!o!ne]!
Ahi Nice, ahi di mia morte aspra cagione,
Ah Nice ah of my
death
harsh
cause
!
14!
!
[nomper!!!!!!!!!!!tu!a!!!!!kol!pa!!!!ma!!!!per!!!!!!!!!!!!mi!o!!!!de!sti!no]!!
non per
tua
colpa ma per
mio destino,
not through your
fault
but through
my
destiny
!
[se!!!!la!mar!ti!!!!!!!!!!de!lit to!
se lamarti
delitto,
if
the love-you is
offense
!
[vw!!!!!!mo!rn!do!!!!pu!ni!re!!!!!!di!!!!mi!e!!!!pu!pil le]!
vu
morendo
punire
di mie pupille
I wish dying
to punish of my
eyes
!
[il!!!!!!te!me!ra!rjoar!di!re]!
il
temerario
ardire.
the reckless
impudence
!
3. Aria
[al!men!!!!do!poil!!!!!!fa!to!!!!mi!o]!
Almen
dopo il
fato
mio
At least after the fate
my
!
[vj nia!!!!!dar!!!!!!!!!le!str!moad di!o]!
vieni a dar
lestremo addio
come to give
the final
farewell
!
[al la!!!!fred da!!!!sp ae!za!gwe]!
alla
fredda
spoglia esangue.
to the cold
remains lifeless
!
[per!!!!!!!!!!!tem!prar!!!!il!!!!!!!mi!o!!!!!gran!!!!!dw lo]!
Per
temprar
il
mio
gran
duolo,
Through to temper the my
great grief
!
[si!o!!!!tof fr!sil!!!!!!!!!!!!!pjan!to!!!!!so!lo]!
sio toffersi il
pianto solo,
if I
you offered the
weeping only
!
[k kor!!!!tof fro!!!!!!!!!!a!ko!rail!!!!!!!sa!gwe]!
eccor
toffro
ancora
il
sangue.
here now you I offer
more
the blood
!
15!
!
Idiomatic translation
Alpestre monte, e solitaria selva,
tristo albergo dorror, nido di fere,
fra lombre cupe e nere
del vostro sen celate
questinfelice e disperato amante,
che a voi, pieno di duol,
move le piante.
16!
High mountain and solitary wood,
wretched home of horror, lair of beasts,
through dark and gloomy shadows
of your hidden breast
this unhappy and desperate lover,
who toward you, full of grief,
moves his feet.
Io so ben chil vostro orrore

unimago del mio core,
unidea del mio pensiere.
I know well that your horror

is a reflection of my heart
and a product of my thoughts.
Come in questo atro soggiorno,

cos stanno al core attorno
ombre, larve, orride e fiere.
As in this gloomy residence,

so stand around my heart
shadows and wraiths, horrid and fierce.
Quindi men vengo a voi per

cercar morte,
chil mio duol si forte
da non trovar mai pace altro chin lei,
amo ninfa gentile,
e lamo tanto,
che per soverchio amore
al fin perdei mi stesso,
el cor perdei dalla gran
fiamma oppresso.
Ahi Nice, ahi di mia morte aspra cagione,
non per tua colpa ma per mio destino,
se lamarti delitto,
vu morendo punire di mie pupille
il temerario ardire.
Therefore, I come to you at least

seeking death,
since my grief is so strong
that I can only find peace in death,
I love a delicate nymph,
and I love her so much,
that through excessive love
I have finally lost myself
and my heart to the intense and
oppressive flame.
Ah Nice, ah harsh cause of my death,
not through your fault but by my destiny,
if my loving you offends you,
I want dying to punish my eyes
for their reckless impudence.
Almen dopo il fato mio

vieni a dar lestremo addio
alla fredda spoglia esangue.
After my fate, at least

come to give a final farewell
to my cold and lifeless remains.
Per temprar il mio gran duolo,

sio toffersi il pianto solo,
eccor toffro ancora il sangue.
To temper my great grief,

if I once offered you weeping only,
here now I offer my blood as well.
17
Alpestre monte
G. F. Handel
1. Accompagnato
Soprano
Piano
b

b
& b bc j n J
n
Al - pe- stre mon - te
b
& b bc
? bb c w
b
e so - li - ta - ria sel - va,
w
w
w
tri -sto_al - ber - go d'orror,
ni - do di fe - re,
j
j # j n
b
&b b
fra l'om - bre cu - pe_e
b w
w
&b b w
ne - re
del vo - stro sen ce - la - te
b
& b b n J b
+
di - spe - ra - to_a - man - te,
b <#>
& b bn
? bb
b
+ appoggiatura * cadential delay
che_a voi, pie - no di duol, mo
quest' in - fe - li - ce_e
#w
#w
w
nw
w
w
? bb
bw
ve le pian
n n
-
#n
te.
18
2. Aria
b
&b b
Largo e staccato
S.
Pno.
b
&b b
?b
bb
Io
dea del mio pen - sie
b n
b
& b b b n n
? bb
b
vo - stro_or - ro - re _un'
re,
b
n J bn
&b b
b
ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio core, _un' i - de - a
b
& b b b
11
io
so ben,
io
& b b n
n b
? bb
b
#n
so
del mio pen sie - re,
n
#
J
j
so ben ch'il vo - stro_or - ro - re _un'

J
n b
io
b n
& b b n n
n
b
n b # n n
? bb
b
i-
n
-
ma - go del mio co - re, _un' i
so ben ch'il
b n n
b
&b b
# nn

i - ma - go
del
mio
19
<>
b n
& b b n
co re, _un' i - dea del mio pen sie

b

bb n b
n
b
&
J
? bb J

b
J
14
<>
b
& b b n
17
- sie - re,
20
b
&b b
_un' i dea del mio pen

J

J
re.
a - tro sog
n b n

nJ #

b
p J
b
b
&b b
re,
Co - me_in questo
b
& b b bJ
? bb
J
b
23
b j b
b

n

n
#
J n

_un' i - dea del mio pen- sie
b
& b b n
J
? bb
n
b
J
gior - no, co - s stan - no_al co- re_at - tor - no om - bre, lar - ve, or
b
-
ri - de_e fie
re,
or
bb
b b b n bb
b
&
J

b
b n n b
? bb
20
b b n b
&b b
26
- ri - de_e fie
b
b

b
& b b n n
? b n b
b b n
n
29
b
&b b
b
& b b bn

J

J
no
b
& b b n
n
n
stan - no_al co - re_at - tor - no om -
# n
b
n
&b b
a - tro sog- gior - no,
om - bre,
lar - ve,
co- s stan - no_al co - re_at - tor - no,

n
J
35
? bb
b n
n n n n# n
n #
n
# n
n
J
b
ri - de_e fie - re, co - me_in que - sto
? bb #
b
Co - me_in
n j b b
b b
b b
J
b J
n n
32
or
re,_e fie - re.
a - tro sog- gior - no, co - s stan - no_al co - re_at- tor
b b
& b b b n
b b
&b b
n
n b n
que - sto
? bb
b
bre,
n
lar
#
ve,
or
co- s
J
j

# n
ri - de_e fie
re.
n

n J # n
J
J

j n
21
38
b
&b b
Io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co - re, _un' i -
n n b n
b
n
&b b
?b
bb
b
n
&b b
42
dea del mio pen sie
re,
io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio core, _un' i-
b n b n n n
& b b n

n b # n n

? bb
b
b
bn
& b b n J
46
de - a
b
& b b #n
? bb
b
del mio
pen sie - re,
n
#
J
j
b
io
so ben,
io

J
so ben ch'il vo - stro_or
# nn n
n b J
n b
<>
b
n
n
&b b
ro - re _un' i - ma go del mio core, _un' i - dea del mio pen sie

b
j
bb
n
b

&
J
? bb J
J
b

50
22
53
b
&b b
re,
<>
b n
_un' i dea del mio pen - sie - re,
b
& b b
J
? bb J
b
56
b
&b b
- re.
b j b
#
J n
n
J
b
b
b n b
n

& b b n
J

? bb

J
nJ #
b
J
23
Recitativo
S.
Pno.
b
& b #
j
+
Quin - di men ven- go_a voi
per cer - car mor - te,
bw
&b w
w
? b #w
b
# J
ch'il mio duol
si for - te
da
#
n
b
n

& b # n n J J
non tro - var mai pace al - tro ch'in lei;
b
& b <#>
? bb <n>
a-mo nin - fa gen - ti - le,
w
w
w
e l'a - mo tan - to,
w
w
w
w
b
& b J j b J b n
mo - re
al fin per - dei me stes - so,
b
&b w
w
w
? bb w
12
e'l cor per - dei
b
& b J b b
Ni- ce,
b
& b <b>w
w
w
? bb<n>w
ahi di mia mor - te a- spra ca - gio - ne,
che per so- ver - chio_a
dal - la gran fiam - ma_op - pres - so.
Ahi
b
b
n
+
j
b n n #
non per tua col-pa
ma per mio de - sti- no,
#
n
24
b
n
& b # n # J #
16
se l'a - mar - ti_ de- lit - to,
vu mo - ren - do pu-ni - re
b
& b <#>
? bb
3. Aria
b 3 Adagio
b
& 4
di mie pu - pil-le
#n
il te - me - ra - rio_ar - di - re.
#n
n

? bb 43
b
& b 43
b
&b
<>
b

& b
?b
b
Al - men do - po_il fa - to mi - o
<>

b

&b
13
al - la fred - da spo- glia_e - san
& b
? bb
vie - ni_a dar l'e - stre- mo_ad - di - o
al - men
do - po_il fa - to
<> gue,
b nn
25
19
b
& b
mi - o
vie - ni_a dar
l'e - stre- mo_ad - di-

b
& b

? bb

#
b
&b
25
b
& b
? bb
31
b n
&b
? bb
b
&b
36
gue.
gue,
al - la fred - da
al - la fred
<>
#

n
l'e - stre- mo_ad di
b
& b bb
#
J
spo - glia_e san
dar
b n n
#
da spo - glia_e - san - gue, al - la fred - da
gue, vie - ni_a
<>
j
n
#
#
#n
#j
spo glia_e- san -
#n b
&b
? bb
<>

#
26
n # n
b
& b J
43
Per
tem - prar
b
& b
? bb

s'io
t'of - fer - si_il pian - to
fer - si_il pian - to so - lo,_il pian - to solo, ec - c'or
? bb
b
& b b
56
san
<>
b
n
& b #J #
64
b
b
& b b
? bb b
ec - c'or t'of - fro an
j

# n
an - co- ra_il
co - ra_il
ec - c'or t'of - fro
s'io t'of
san
# n
J
b b
n #
b n
b
b
ra_il san - gue.
t'of - fro,
b n
gue,
# n #<n>
b
& b J #
t'of - fro_an co
? bb n
# n #
so - lo,
bJ
b n J # n # j
&b
n
49
n
J
n
n # n
n

# n
il mio gran duo - lo,
b
& b
gue, ec - c'or
27
71
b
&b
b
&b
? bb
<>

b
& b
77
b
&b
al - men
do - po_il fa - to
mi - o
vie - ni_a dar
#
b
& b #
89
b
& b #

? bb n
gue,
<>
gue,
& b nn

?b

b n

san
83
<>

b
&b
? bb
al - la fred - da spo- glia_e

<>

al - la fred - da
spo- glia_e san
28
95
b
&b
gue,
vie - ni_a
dar
b b n n bb
b
&
#
b
? bb
<>
100
b
n
& b #
san - gue, al - la fred - da
b
& b #n
?b
b
105
b
&b
#j
b
&
? bb
spo- glia_e- san
b
-
al - la fred
da
# n b
spo - glia_e
gue.
b j
<>

#
29
Alpestre monte
HWV 81
Violin I
1. Accompagnato
b
& bb c
& b b c
Violin II
G. F. Handel
b

b
& b bc j n J
n
Soprano
Piano
Al - pe- stre mon - te
b
& b bc w
? bb c w
b
b
&b b
b
& bb
& b b
b
b
&b b
fra l'om - bre cu - pe_e
w
w
w
w
#w
nw
ne - re
<#>
n
che_a voi, pie - no di duol, mo
j
n
quest' in - fe - li - ce_e
#w
n#w
w
w
n J
b

di - spe - ra - to_a - man - te,
ni - do di fe - re,
bn
del vo - stro sen ce - la - te
#nw
w
w
w
b
& b b<#><n>
? bb
b
tri -sto_al - ber - go d'orror,
j # j
b
&b b w
w
w
? bb
bw
e so- li - ta - ria sel - va,
b w
& bb
b
& b b w
ve le pian
n n
-
te.
30
2. Aria
Vln. I
Vln. II
n
b b
b
b
&
f
p
bbb
&
S.
Pno.
n n
? bb
b
b
& b b #
re,
de - a
b
& b b #
n
? bb
b
io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio core, _un' i-
n n
n n
b
p
n b # n n b

#J
n n
b

& b b n J b n
b
&b b
Io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co - re, _un' i -
dea del mio pen sie
& b b
b
&b b
b
n
&b b
b b
& bb
?b
bb
b
&b b
& b b
Largo e staccato
del mio pen sie -
re,
b
io
so ben,
io

J
#j # j b n
n

n b n
j
b

13
b
& bb
b
& b b
b
n
&b b
ro - re _un'
i - ma go del mio core, _un' i - dea del mio pen sie
b
& b b b
b
? bb
b
16
b
& bb
& b b
b
b
&b b
re,
b
& b b
? bb
b
19
b
& bb
b
&b b
? bb
b
j
b
b
j n
n

J
<>
j n
n
re.
b
J
j
b
b
j
b b
J n

J

f
j

nJ
<>
b
n
b
& b b n
b
&b b
j
b
j
n

31
j n
n
n #
J
32
22
b
& bb
b
& b b
b
&b b
25
b
& bb
b
& b b
b <b>
n
-
re,
or
ri - de_e fie
b
&b b
b
& b b b b b
? b b
bb
b
b b
b b
b n b
-
re,_e fie -
re.
j
b
J
n n
#
n
n b n
Co - me_in que - sto
a - tro sog- gior - no, co - s stan - no_al co - re_at- tor
j b n

J
n
b

b b
b
ri - de_e fie
b b b b
J
& bb
& b b
b
& b b b n b

? bb
b n n b n n b
b
n
28
b b
&b b
-
a - tro sog - gior- no, co - s stan - no_al co - re_at - tor - no om - bre, lar - ve, or
b b
p J
b
Co - me_in que - sto
b
&b b
? bb
b
nn
no
31
b n # n
& bb
b
& b b n
b
& b b n
om - bre,
n
lar - ve,
or
b
& bb
& b b
b
ri - de_e fie - re, co - me_in que - sto
j

J
# n
# n
b
& b b n
?b
bb
37
b
n
& bb
& b b
b
b
& b b # n
co- s
nJ
stan - no_al co - re_at - tor - no om -
#
n
n
bre, lar
ve,
nj n

J

b n
f
n
J
co-s
or
ri - de_e fie - re.
b
& b b #
n
? bb
b n
a - tro sog- gior - no,
n

n
n
b n
&b b
stan - no_al co - re_at - tor - no,
n n
b
n
b
& b b n n n b n
# n
? bb
#
b
34
33
Io so ben ch'il vo - stro_or - ro - re _un' i
34
b n
& bb
41
& b b
b
n n
b
n
&b b
ma- go del mio co - re, _un' i - dea del mio pen sie
b
&b b
re,
n

p

b
& b b n #
#
J
?b
bb
45
& b b
b
b
& b b n #

n
? bb # n n b
b
49
b
& b b
b

& b b
b
&b b
n n

b
n b n b

io
del mio pen sie -
#j #
n
j
io
so ben,
j
b

n b
so ben ch'il vo - stro_or - ro - re _un'
re,
b
& b b n
n
? bb
b
nn
io so ben ch'il vo-stro_or-ro- re _un' i-
b

& b b n J b n
ma - go del mio core, _un' i - de - a
i - ma- go del mio
co - re, _un'
b j n
b

i dea del mio pen sie
j
b
35
52
b
& bb
b
& b b
b
& b b b
b
& b b
?b
bb
re,
j n
n
55
b
& bb
b
& b b
<>
n
?b
bb
j
b
b
j

nJ
_un' i - dea del mio pen- sie -
<>
b
n
b
& bb
b
& b b
b
&b b
j
b b
f
J
b
&b b
? bb
b
re.
& b b
57
b
J
b
&b b
b
J
j
b
b
j n
n
nJ #
Recitativo
S.
Pno.
b
& b #
36
j
+
Quin - di men ven- go_a voi
per cer - car mor - te,
b
w
&b w
w
? bb #w
ch'il mio duol
# J
si for - te
da
#
n
n +
b
n
n
J
&b
J
non tro - var mai pace al - tro ch'in lei;
b
& b <#>
? bb <n>
a-mo nin - fa gen - ti - le,
w
w
w
e l'a - mo tan - to,
w
w
w
w
b
& b J j b J b n
mo - re
al fin per - dei me stes - so,
b
&b w
w
w
? bb w
12
e'l cor per - dei
b
& b J b b
Ni- ce,
ahi di mia mor - te a- spra ca - gio - ne,
b w
& b <b>w
w
? b<n>w
b
dal - la gran fiam - ma_op - pres - so.
che per so- ver - chio_a
Ahi
b
b
n
+
bj n n #
non per tua col-pa
ma per mio de - sti- no,
#
n
b
n
J #
# n #

&b
16
se l'a - mar - ti_ de- lit - to,
b
& b <#>
?b
b
vu mo - ren - do pu-ni - re
#n
di mie pu - pil-le
il te - me - ra - rio_ar - di - re.
#n
n

37
3. Aria
b 3
&b 4
Vln. I
& b
Vln. II
S.
Pno.
b3
4
b
& b 43
b
&b
& b
b
&b
& b 43 n #
? bb 43
n b b
<>

<>
#

Al-men do - po_il fa - to
b
& b
mi - o
b
&b
? bb
11
& b
b
& b
vie ni_a dar l'e - stre- mo_ad - di
& b
n b
?b
b
<>

<>

<>

38
16
b
& b
& b
b
b
al - men
do - po_il fa - to
mi - o
b
&b
? bb
gue,
22
b
&b
& b
{
{
l'e - stre- mo_ad - di -
al - la
# #
J
b n

#
spo- glia_e san
gue, vie - ni_a
<>
b

&b
b
& b
?b
b
? bb

b
& b
vie - ni_a dar
b
& b
b
&b
fred - da spo- glia_e - san
28
b
&b
b
&b
dar
b
n b
al - la fred - da
gue,
b
-
o al - la fred - da spo - glia_e
34
#
J
b
& b
b
& b
#
J
b
n #
& b #
san - gue, al - la fred - da spo- glia_e- san
b
& b #
n
? bb
40
b
&b
& b
b
&b
# n
b
&b
b
& b

s'io
gue.
# n b b

<>

n # n
Per
tem - prar
il mio gran duo - lo,
# n #
J
j
so - lo, s'io t'of - fer - si_il pian - to
n

n
J n # n
n n
t'of - fer - si_il pian - to
? b n
b
<>
j
#

j
b n
&b
46
& b
b
& b
? bb
39
so - lo,_il pian - to
solo, ec - c'or
# n #
#
52
b
&b
& b
j n
bJ b
b
& b
? bb
60
b
&b
& b
b
& b n
t'of
ec - c'or t'of - fro an
co - ra_il
san
fro
an - co - ra_il

b
& b
& b
b
&b
b
-
san
gue,
ec - c'or
<>
n n
gue, ec - c'or t'of - fro_an co

#
n
ra_il san
gue.
#n #
<>
# n
n
#
#J
J
n
& b n b n #

? bb b
b
67
b b

b
b

n b
b b

b
& b n
t'of - fro,
40

& b # n
b b

?b

73
& b
& b
b
&b
41
<>

<>
#

Al men do - po_il fa - to
b
&b
? bb
78
b
&b
& b
b
&b
di - o
mi - o

n
n
b
<>

-
b

& b
b
? bb

b
&b
& b
b
&b
mi - o
vie - ni_a dar
gue,

n
n

al - men
do - po_il fa - to
b
&b
n
?b
b
vie ni_a dar l'e - stre- mo_ad
<>

n
J
<>

b
J
84
#
J
42
90
b
&b
#
b

& b
& b
b
& b
? bb #
96
b b
&b
& b
b n
b
&b
? bb
101
b
&b
b
& b #
spo - glia_e- san
spo- glia_e san
b
-
o al - la fred
da spo
#
J
#
J
j
n
#
glia_e - san - gue, al - la fred - da
gue, vie - ni_a
al - la fred - da
b
& b
? bb
gue,
<>
b
& b
dar
b
&b
n b
gue.
43
105
b
&b

b
b
&
b
&b
b
&b
? bb
# n
#
<>

<>
j
#

j
44
Violin I
Alpestre monte
HWV 81
1. Accompagnato
G. F. Handel
Alpestre monte,
b
& b bc
e solitaria
selva,
tristo albergo
d'orror,
nido
nere del vostro sen celate quest'infelice e disperato amante, che a voi, pieno di duol,
b
&b b w
#w
move le pian -
di fere,
fra l'ombre cupe e
- te.
n n
45
2. Aria
n
bb b
n b
b
&
Largo e staccato
b
n n
&b b
#
n #
#J
bb n
b
&
j
b
& b b
12
17
b
b
b n
b
& b
21
n J b b b b b
b
j
J
&b b

26
n n n #

bb
n
n
&
n
J
30
34
b
&b b
n # n n
n
b n n b
b
&b b
38
b
n
n #
&b b
43
j
b
& b b
49
bb n
b
&
54
57
b
&b b
n #
#J
46
Recitativo
-tacet-
3. Aria

b
& b 43
Adagio
<>
47
b
J
& b n

b
& b n
17
26
b
&b
36
b
&b
44
b
&b
54
b
&b
<>
b
n
n
&b
b
&b
<>
<>
b
b
&
81
89
b
& b
100
b
& b
105

#
J
b
&b

#J
<>
# b
n
b b
j n
n J
64
72
<>

b

# n
48
Violin II
Alpestre monte
HWV 81
G. F. Handel
1. Accompagnato
b
& b bc
7
Alpestre monte,
e solitaria
selva,
tristo albergo
d'orror,
nido
fra l'ombre cupe e
nere del vostro sen celate quest'infelice e disperato amante, che a voi, pieno di duol, move
b
& b b nw
di fere,
le pian - - - - - - te.
49
2. Aria
b n b n n
&b b
Largo e staccato
b
n
& b b n
11
& b b n
j nn
b n
n b
& b b
16
21
b
& b b
b
b
p
n b b b b
b
j
#
&b b
26
n # n n
bb n
b
J
&
n n J
31
b n
&b b

36
b n b n n
&b b
n
40
j
b
n nn n
&b b
n
45
n
J
b
b
&
51
b n b

&b b
55
50
Recitativo
-tacet-
51

10
<>
b n J b
b
&
3. Aria
b
& b 43
Adagio
18
b

&b
27
b
&b
37
b
&b
b n
#

b n # n
&b

45
55
b
& b
65
b
& b J #
b
&b
74
b
& b
#
J
100
105
b
&b
<>
n

J
b b
&b
b
&b
#J
b b

82
90

# #
b n
#
52
Alpestre monte
Cello
HWV 81
G. F. Handel
1. Accompagnato
? bb c w
b
7
Alpestre monte,
e solitaria selva,
tristo albergo
d'orror,
nere del vostro sen celate quest'infelice e disperato amante, che a voi, pieno di duol,
? bb w
b
2. Aria
? bb
b
Largo e staccato
di fere,
move le pian -
fra l'ombre cupe e
w
-
- te.
n b n b

p
? bb # n n b j
b
nido
n b
n b
n #
? bb J
J
b
J
J
13
? b n n #
bb
J
b
J
18

? bb b b nnb nnb
b
J
n
23
? bb b b b n # n #
b
28
33
j
? bb n j
b
n J n
n
J
39
n b n b # n
?b
n b

bb
p
n b
46
n b
? bb j
b
51

? bb J
J
nJ #
b
J
? bb J n J n #
b
J
55
53
Recitativo
? b #w
b
6
Quindi men vengo a voi

per cercar morte,
ch'il mio duol si forte
da non trovar mai pace altro ch'in lei;
amo ninfa gentile, e l'amo tanto,

che per soverchio amore al fin perdei me stesso,
?b
b w
? bb<n>w
12
dalla gran fiamma

oppresso.
e'l cor perdei
ahi di mia morte aspra cagione, non per tua colpa ma per mio destino,
vu morendo punire
se l'amarti delitto,
di mie pupille il temerario ardire.
* cadential delay
Ahi Nice,
54
3. Aria
? bb 43
Adagio
? bb

10

? bb
#
n
20
b
?b
b n

30
?b
j
b
39

# n
n b
? bb n
48
? bb b
b
58
? bb

68
? bb

77
?b
#
n
86
96
? bb n
103
? bb
55
Alpestre monte
HWV 81
Possible vocal ornamentations
of da capo sections
2. Aria: Io so ben ch'il vostro orrore

38
b
& b bc
Io
so ben ch'il vo -
stro_or - ro - re _un' i - ma - go del mio co - re, _un' i -
b n n
b
b
&b b
42
dea del mio pen sie
re,
io so ben ch'il vo - stro_or - ro- re _un' i - ma - go del mio core, _un' i -
b
n
& b b n J

46
de - a
del mio pen- sie
re,
io
so ben,
io
b
n b n
&b b
50
ro - re _un' i - ma - go
53
b
&b b
- re,
55
b
&b b
- re.
del mio
_un' i - dea
co - re, _un' i-dea del mio pen- sie
del
mio
pen
sie - re,
<>
_un' i - dea del mio pen - sie
56
3. Aria: Almen dopo il fato mio

67
b
& b 43
<>

b
& b
77
gue,

al - men
b
&b
#
J
84
do - po_il fa - to
mi - o vie - ni_a dar
l'e - stre- mo_ad - di - o al - la fred - da spo- glia_e -san
b
n# #
& b

90
b
&b
96
<>
b
&b
dar
spo- glia_e- san
gue.
gue,
al - la fred - da spo- glia_e- san
l'e - stre - mo_ad - di
101
al - la
fred -
gue, vie - ni_a
b #
da spo
glia_e - san - gue, al - la fred - da
57!
HWV$105:$Dietro'lorme'fugaci'(Armida'abbandonata)'
!
In late May of 1707, Handel traveled with the Ruspoli household to the
Marcheses summer villa in Vignanello. He composed Armida abbandonata during his
time there, probably for the soprano Margherita Durastanti, a member of Ruspolis
household. The story, adapted from Tassos Gerusalemme Liberata by an unknown
librettist, concerns the sorceress Armida after her lover Rinaldo has deserted her. As
Armida sits watching as Rinaldos ship sails away, she curses him for betraying her and
asks the gods to destroy his ship and the sea monsters to consume him. She changes her
mind suddenly, asking them instead to stop and spare him. Since she cant help loving
him despite his betrayal, she asks the God of Love to at least lessen her pain. Carlo Vitali
writes,
A tense dramaticism, enhanced by the extended use of the accompagnato
recitative, prevails throughout the cantata, which provides many timehonored devices of opera proper. Such are the first aria Ah, crudele a
lament whose florid singing line is based on repeatedly descending lines
and the concluding Siciliana In tanti affanni miei, with its (Neapolitanstyle) finely nuanced textures, and during which the eloquent cantabile
supported by unison violins in the A section gives way to subdued
stepwise phrases accompanied by continuo only in the B section. The
accompagnato recitative O voi, dellincostante, marked Furioso,
introduces the second aria, whose vigorous octave leaps would
customarily hint to warlike or vengeful feelings (aria di sdegno).
Nevertheless, its text Venti, fermate ostensibly proclaims Armidas
forgiveness a study in psychological ambivalence announcing the great
dramatist.10
Armida abbandonata was copied and performed multiple times by various parties.
Johann Sebastian Bach himself made a meticulous copy of this cantata and gave it a
performance in 1731 at the Collegium musicum in Leipzig.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
10
Carlo Vitali, Dietro l'orme fugaci, in The Cambridge Handel Encyclopedia, ed. Annette Landgraf and
David Vickers, 191-192 (New York: Cambridge University Press, 2009), 191-192.
Overview
1. Accompagnato
Key: D minor
Range: D4-F5
Tessitura: F4-D5
2. Aria
Key: F major
Tempo: Adagio (= 66-76)
Range: C4-G5
Tessitura: F4-F5
Timing: approx. 4.5 mins.
Musical characteristics and vocal skills required: some extremely fast-moving florid
sections; requires vocal flexibility, ability to sing quick ornamental passages.
Recitativo
Key: D minor
Range: F4-G5
Tessitura: A4-F5
3. Accompagnato
Key: G minor
Range: D4-G5
Tessitura: G4-G5
4. Aria
Key: C minor
Tempo: Not indicated; author recommends Andante moderato (= 72-84)
Range: C4-A5
Tessitura: E4-E5
Musical characteristics and vocal skills required: disjunct vocal line, some large leaps;
requires vocal agility and accuracy.
Recitativo
Key: G minor
Range: E4-G5
Tessitura: A4-F5
58!
!
59!
5. Aria
Key: G minor
Tempo: Siciliana (.= 46-54)
Range: D4-G5
Tessitura: G4-E5
Musical characteristics and vocal skills required: lilting vocal lines, accented syllables
often fall on lower notes; requires good control over high range, ability to sing softly in
upper range
Pronunciations and translations

1. Accompagnato
[dj$tro$$$$$lor$me$$$$$$$$$$$$$$$$fu$ga$i]$
Dietro
lorme
fugaci
Behind
the footprints
fleeting
[del$$$$$$$$gwer$rjr$$$$ke$$$$$$$$$$$gran$$$$$tm$po]$
del
guerrier,
che
gran
tempo
of the warrior
whom long
time
[in$$$$la$i$vo$$$$$sod$or$noa$sko$zoa$ve$a]$
in
lascivo soggiorno
ascoso avea,
in wanton stay
hidden
had
[ar$mi$daab$ban$do$na$ta$$$$il$$$$$$$pj$$$$$$$mo$v$a]$
Armida abbandonata
il
pi movea;
Armida abandoned
the foot moved
[e$$$$$$$pi$$$$$ke$$$$$$vi$deal$$$$$$$$$$fi$ne]$
e
poi
che vide al
fine
and then who saw at the end
[ke$$$$$l$ro$$$$$$$$$$del$$$$$$$$$su$o$$$$kri$ne]$
che loro
del
suo crine,
that the gold of the her
hair
!
[i$$$$$$$vet$tsi$$$$$$$i$$$$$$$$zgwar$di$$$$i$$$$$$$pre$gi]$
i
vezzi,
i
sguardi, i
preghi,
the caresses the glances
the pleas
[non$$$$an$$$$$$$fr$tsa$$$$$$$$ke$$$$$$$le$gi$$$$$il$$$$$$$fud$i$ti$voa$man$te]$
non
han forza
che leghi il
fuggitivo
amante,
not
have strength
that binds the fleeing
lover
[fer$m$$$$$le$$$$$$sta$ke$$$$$pjan$te]$
ferm
le
stanche piante,
stopped
the tired
soles
[e$$$$$$$$as$si$za$$$$so$praun$$$$sk$o]$
e
assisa
sopra un scoglio,
and seated
on
a
rock
[kol$ma$$$$di$$$$ri$o$$$$$$$$kor$d$o]$
colma
di rio
cordoglio,
full
of bitter grief
[a$$$$kwel$$$$led$$roa$be$te]$
a quell leggiero
abete,
at that light
fir-wood
[keil$$$$$$$su$o$$$$bn$$$$$$$$$$$$$$$le$$$$$$$$$$$$$$$$ra$pi$a]$
che il
suo ben
le
rapia,
that the her
well-loved from her was stealing
[le$$$$$lu$iaf$fis$se]$
le
luci affisse,
the eyes affixed
[pjan$n$do$$$$e$$$$$$$$so$spi$ran$do$$$$ko$si$$$$dis$se]$
piangendo
e
sospirando
cos
disse:
weeping
and sighing
thus
said
2. Aria
[a$$$$$$$kru$d$le$$$$e$$$$$$$$pur$$$$tn$$$$$$$$$$$$$vai]$
Ah! crudele,
e
pur ten
vai,
Ah cruel one and yet you from you go
60!
!
[e$$$$$$$mi$$$$la$iimpr$daal$$$$$$$$$dw$lo]$
e
mi lasci in preda al
duolo,
and me leave in prey to the grief
[e$$$$$$$pur$$$$sai$$$$$$$$$$$$$$$ke$$$$$$si$$$$$$$$$$tu$$$$$$so$lo]$
e
pur sai
che sei
tu
solo
and yet you know that you are you alone
[il$$$$$$di$lt$to$$$$del$$$$$$mi$o$$$$kr]$
il
diletto
del
mio cor.
the beloved
of the my heart
[ko$mei$gra$to]$
Come, ingrato,
How
ingrate
[e$$$$$$ko$me$$$$pwi$$$$$$$in$vo$la$rea$$$$$kwe$sto$$$sen]$
e
come puoi
involare a questo sen,
and how
you can let fly
to this
bosom
[il$$$$$si$rn$$$$de$$$$lu$mi$$$$twi]$
il
siren de lumi tuoi,
the siren of
eyes
your
[se$$$$per$$$$te$$$$$$$$son$$$$$$$$$$tut$taar$dor]$
se per te
son
tutta ardor?
if
for you they are all
ardor
Recitativo
[per$$$$te$$$$$$mi$$$$strug$go$$$$in$fi$do]$
Per te mi struggo, infido,
for
you I
yearn
treacherous one
[per$$$$te$$$$$$$la$gwi$sko$$$$i$gra$to]$
per te
languisco,
ingrato;
for
you I pine
ingrate
[a$$$$$$pur$$$$lo$$$$sai$$$$$$$$$$$$$$ke$$$$$$sol$$$$$$$da$$$$$twi$$$$bi$$$$$$$$$$$rai]$$
ah! pur lo sai
che sol
da tuoi bei
rai
ah
but it you know that alone for your beautiful eyes
61!
!
[per$$$$te$$$$$$pja$ga$toil$$$$$$$$se$no]$
per te
piagato ho il
seno,
for
you sore I have the bosom
[e$$$$$$$pur$$$$$tu$$$$$$$mab$ban$do$ni]$
e
pur tu
mabbandoni,
and yet you me abandon
[in$fi$doa$man$te]$
infido amante.
treacherous lover
3. Accompagnato
[o$$$$$voi$$$$del$li$ko$stan$te]$
O voi, dellincostante
Oh you of the inconstant
[e$$$$$$$pro$el$lo$zo$$$$ma$re$$$$r$ri$di$$$$mo$stri]$
e
procelloso
mare orridi
mostri,
and tempestuous
sea
horrid
monsters
[dai$$$$$$$$$$pju$$$$$$$pro$fon$di$$$$kj$stri]$
dai
pi
profondi
chiostri
from the most deep
cloisters
[a$$$$$ven$di$kar$miu$i$te]$
a vendicarmi
uscite,
to avenge me
come out
[e$$$$$$kon$tro$$$$kwel$$$$kru$del$$$$$$i$kru$de$li$te]$
e
contro
quel crudel
incrudelite;
and against that cruel one act cruelly
[si$$$$$sia$$$$v$stroil$$$$$van$to]$
s, sia vostro il vanto
yes be yours the pride
[e$$$$$$del$$$$$$$v$stro$$$$ri$go$re]$
e
del
vostro rigore,
and for the your
severity
62!
!
[ummo$stro$$$$$la$e$rar$$$$di$$$$$$$$voi$$$$mado$re]$
un mostro
lacerar
di
voi maggiore;
a
monster
to tear
than you greater
[on$de$$$$vn$ti$$$$ke$$$$$$$fa$te]$
onde,
venti, che
fate,
waves
winds what you do
[ke$$$$voi$$$$nol$$$$$$$$$$$$$$$$som$mr$e$te]$
che voi nol
sommergete?
that you do not him submerge
[a$$$$$$$no$$$$$fer$ma$te]$
Ah! no, fermate.
Ah no stop
4. Aria
[vn$ti$$$$fer$ma$te$$$si$$$$$$fer$ma$te]$
Venti, fermate,
s, fermate,
Winds stop
yes stop
[nol$$$$$$$$$$som$mr$e$te$$$$no$$$$nol$$$$$$$$$$som$mr$e$te]$
nol
sommergete,
no, nol
sommergete;
not him submerge
no not him submerge
[$$$$ver$$$$ke$$$$$me$$$$tra$di$$$$$$$$$$$$$ma$$$$pur$$$$$la$d$ro]$
ver che mi trad,
ma pur ladoro.
is true that me he betrayed but yet him I adore
[on$de$$$$kru$d$li$$$$no$$$$non$$$$lut$i$de$te]$
Onde
crudeli,
no, non luccidete;
Waves cruel
no not him kill
[$$$$ver$$$$$ke$$$$$$mi$$$$$sprt$ts]$
ver che mi sprezz,
is true that me he scorned
[ma$$$$il$$$$$$mi$o$$$$te$z$ro]$
ma il
mio tesoro.
but is the my
treasure
63!
!
Recitativo
[ma$$$$ke$$$$$$$par$lo$$$$$$ke$$$$$$di$ko]$
Ma che parlo,
che dico?
But what speak I what say I
[a$$$$$$ki$o$$$$$va$ned$o]$
Ah! chio vaneggio;
Ah what I rave
[e$$$$$$ko$mea$mar$$$$po$tri$$$$un$$$$tra$di$to$re]$
e
come amar potrei
un traditore,
and how
love
I can
a traitor,
[in$fe$li$e$$$$mi$o$$$$k$re]$
infelice
mio
core?
unhappy
my
heart
[ri$spon$di$$$$o$$$$di$o$$$$ri$spon$di]$
Rispondi,
o Dio, rispondi!
Respond
o God respond
[a$$$$$$$$ke$$$$$$tu$$$$$$$ti$$$$$$$$$$$$$$$kon$fon$di]$
Ah! che tu
ti
confondi,
Ah that you yourself confuse
[dub$bjo$soe$$$$$$$$pal$pi$tan$te]$
dubbioso
e
palpitante,
hesitant
and trembling
[vor$r$sti$$$$$$$$$$$non$$$$a$ma$re]$
vorresti
non amare,
you would want not to love
[e$$$$vi$via$man$te]$
e vivi amante.
and to live lover
[spet$tsa$$$$kwel$$$$lat$oin$de$o]$
Spezza
quel laccio indegno,
Break
that snare unworthy
64!
65!
[ke$$$$tj$neav$vin$to$$$$a$kor$$$$af$ft$ti$$$$$$$$$$twi]$
che tiene avvinto
ancor glaffetti
tuoi.
that holds enthralled still
the affections your
[ke$$$$$$$fai$$$$$$$$$mi$ze$ro$$$$$$kr]$
Che fai,
misero
cor?
What you do miserable heart
[a$$$$$$$tu$$$$$$$nom11$$pwi]$
Ah! tu
non puoi.
Ah you not can
5. Aria
[in$$$$tan$tiaf$fan$ni$$$$mji]$
In
tanti affanni
miei
In
many anxieties
my
[as$si$sti$mial$men$$$$tu]$
assistimi
almen
tu,
assist me
at least you
[nu$me$$$$da$mo$re]$
Nume
damore!
God
of love
[e$$$$$$$se$$$$pje$to$so$$$$$$$$$$$$$si]$
E
se pietoso
sei,
And if compassionate you are
[fa$$$$$$$ki$o$$$$$$non$$$$a$mi$$$$pju$$$$$$$kwel$$$$tra$di$to$re]$
fa
chio non ami pi
quel traditore.
make that I not
love more such traitor
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
11
Due to the high tessitura of this passage, the singer may wish to ignore this assimilation, or to leave the
consonant out altogether.
66!
1. Accompagnato
Dietro lorme fugaci
del guerrier, che gran tempo
in lascivo soggiorno ascoso aveva,
Armida abbandonata il pi movea;
e poi che vide al fine
che loro del suo crine,
i vezzi, i sguardi, i preghi,
non han forza che leghi
il fuggitivo amante,
ferm le stanche piante,
e assisa sopra un scoglio,
colma di rio cordoglio,
a quell leggiero abete,
che il suo ben le rapia,
le luci affisse,
piangendo e sospirando cos disse:
Behind the fleeting footprints

of the warrior, who for a long time
in wanton sojourn had been hidden,
the abandoned Armida moved her feet;
and then who saw finally
that the gold of her hair,
her caresses, her glances, her pleas,
did not have the strength to hold back
her fleeing lover,
stopped her tired feet,
and seated upon a rock,
full of bitter grief,
on that light fir-wood ship
that was stealing her beloved from her,
affixed her eyes
weeping and sighing thus said:
2. Aria
Ah! crudele, e pur ten vai,
e mi lasci in preda al duolo,
e pur sai che sei tu solo
il diletto del mio cor.
Ah! cruel one, and yet you go,

and leave me beside myself with grief,
and yet you know that you alone
are the delight of my heart.
Come, ingrato,
e come puoi involare a questo sen,
il siren de lumi tuoi,
se per te son tutta ardor?
How, ingrate,
and how can you send flying at this bosom
the siren of your eyes
if they are all ardor for you?
Recitativo
per te languisco, ingrato;
ah! pur lo sai
che sol da tuoi bei rai
per te piagato ho il seno,
e pur tu mabbandoni,
infido amante.
For you I yearn, treacherous one,

for you I pine, ingrate;
ah! but you know
that for your beautiful eyes alone
for you my bosom aches,
and yet you abandon me,
treacherous lover.
3. Aria
O voi, dellincostante
e procelloso mare orridi mostri,
dai pi profondi chiostri
a vendicarmi uscite,
Oh you, horrid monsters of the inconstant

and tempestuous sea,
from the deepest cloisters
come out to avenge me,
!
e contro quel crudel incrudelite;
s, sia vostro il vanto
e del vostro rigore,
un mostro lacerar di voi maggiore;
onde, venti, che fate,
che voi nol sommergete?
Ah! no, fermate.
67!
and act cruelly against that cruel one;
yes, be it your pride
and for your severity,
to tear at a monster greater than you;
waves, winds, what are you doing,
that you do not submerge him?
Ah! no, stop.
4. Aria
Venti, fermate, s, fermate,
nol sommergete, no, nol
sommergete;
ver che mi trad, ma pur ladoro.
Winds, stop, yes, stop,

do not submerge him, no, do not
submerge him;
it is true that he betrayed me, but yet I adore him.
Onde crudeli, no, non luccidete;

ver che mi sprezz,
ma il mio tesoro.
Cruel waves, no, do not kill him;

it is true that he scorned me,
but he is my treasure.
Recitativo
Ma che parlo, che dico?
Ah! chio vaneggio;
e come amar potrei un traditore,
infelice mio core?
Rispondi, o Dio, rispondi!
Ah! che tu ti confondi,
dubbioso e palpitante,
vorresti non amare,
e vivi amante.
Spezza quel laccio indegno,
che tiene avvinto ancor
glaffetti tuoi.
Che fai, misero cor?
Ah! tu non puoi.
But what do I speak, what am I saying?

Ah! how I rave;
and how can I love a traitor,
my unhappy heart?
Respond, o God, respond!
Ah! you confuse yourself,
hesitant and trembling,
you would want to not love,
and to live as a lover.
Break that unworthy snare
that still holds enthralled
your affections for him.
What are you doing, miserable heart?
Ah! you cannot.
5. Aria
In tanti affanni miei
assistimi almen tu,
Nume damore!
In my many anxieties
at least assist me,
God of love!
E se pietoso sei,
fa chio non ami pi quel traditore.
And if you are compassionate,

make it that I no longer love that traitor.
68
Dietro l'orme fugaci

(Armida abbandonata)
HWV 105
1. Accompagnato
Soprano
Piano
& bc
Die - tro
l'or - me fu - ga - ci
& bc
& bc
del guer - rier, che gran tem - po
&b
G. F. Handel
in la - sci
vo sog- gior - no_a- sco - so_a - ve - a,
Ar - mi - da_ab - ban - do -
& b # # #
&b
&b
na - ta
j
il
pi mo - ve - a;
n J
J
j n
poi
che vi - de_al fi - ne
che
# #n #n
&b
#
&b
n b j # j
&b
l'o - ro del suo cri - ne,
vez - zi,
i sguar - di,
pre - ghi,
non han for
za che
& b #n # b
&b
69
12
& b # nJ #
le - ghi
il
J # j
fug - gi - ti - vo_a - man - te,
fer - m le stan - che pian - te,
staccato
# bn* roll chords from here on
b
n
& #
&b
15
&b
si - sa
so- pra_un sco - glio,
b
J
+
col - ma di rio cor - do - glio,
&b
&b
+
j
j
r
&b
18
ben le ra - pia,
le lu - ci_af - fis- se,
pian gen - do
&b
&b
e_as
quel leg - gie - ro_a - be - te,
che_il suo
J J #

e so - spi - ran - do
co- s
dis - se:

#n #
70
2. Aria
S.
Pno.
Adagio
j
b
&
& b

?b
Ah! cru de - le,
e pur ten' va - i,
& b n
& b n
?b
mi
j b
& b #

?b
J
?b
j

&b
il di - let - to,
lo,
e pur
e pur sa - i,
ah! cru - de- le,
n n
n
<>

<>
n
#

J
tu solo, so - lo
sci_in pre - da_al duo -
b # b
n n b

b

&b
lo,
il di - let - to del mio cor,
11
so
b
& b #j b# n
che sei tu so - lo
sai
la
che sei tu
b r n
e pur ten' vai,
bj
e pur ten'
j
n
71
& b J n
14
vai, ah! cru - de
le,
pur sa -
che sei tu so - lo
&bn
?
b
J
b

&b
17
cor, il
di let
& b
20
& b # n
to
gra - to,
& b b
tuo - i,
& b bb
?b
Co -me,_in
j # n
b
# b #j
e
23
j

J
j
r

J
r
co - me
puoi
# n b
#
& b #
?b
del mio
del mio cor.
j

J
?b
<>

il di - let- to
in - vo - la - re_a questo
n
#
se per te
n #
#
son tut - ta_ar - dor?
sen,
bb
il si - ren de'
#
n

b
lumi
n b b b
son tut - ta, tut - ta_ar- dor? per te,
in -
72
25
# n n b
& b # n #
gra - to,
e come puo i,
come,in - gra - to,
& b #
nn# n nn
n
?b
n
28
j
& b #
ren
de'
lu - mi tuo - i, se
e come puo - i
#
n

#
n
#
& b
?b
e pur ten' va - i,
& b n
& b n
?b
mi
35
<>

n
n
la
sci_in pre-da_al duo -
se
n
# n # nn
n

# #
son tut - ta, tut - ta_ar dor?
j
& b
Ah! cru de - le,
il
& b n # n n #
n # n
? n
31
sen,
<>
n #

per te
in - vo - la re_a que - sto
lo,

e pur
73
38
& b #j
sai
& b #
?b
che sei tu so - lo
b# n
j b
b #
n n b
b

41
&b
so
lo,
tu solo, so - lo
& b j
J
?
j
b
il di - let - to,

&b
47
cor, il
& b
?
b
di let
to
e pur ten' vai,
e pur ten'
j
n
&bn
? b
che sei tu
b r n
ah! cru - de- le,
n n

n
le,
<>

& b J n
-
e pur sa - i,
<>
j
n
#
J

44
vai, ah! cru de
pur sa -
<>

che sei tu so - lo
il di - let to

J

J
del mio
del mio cor.
j

r

J
r
74
Recitativo
S.
Pno.
+
+
j b b j
& J J R

j J
& w
w
w
?
#w
Per te
mi stru - go, in - fi - do,
per te lan - gui - sco,
w
w
w
in - gra - to;
+
b b
J
J
b
&
sol da tuoi bei rai
per
& w
w
w
?
w
S.
Pno.
3. Accompagnato
b
&b
in - fi - do_a- man - te.
#
n #
n #

n#
? bb
#
b # n
b
&
n
nb
n b
? bb
b
&b
? b #
b
O voi,
dell' in - co - stan - te
e pro - cel-lo - so ma - re or - ri - di mo - stri,
#n
#
b j
b +
& b j n # j
J #
pur tu m'ab - ban- do- ni,
che
b
&b
b
&b
te pia ga- to_ho_il seno,
ah! pur lo sai
J b
dai pi pro - fon - di
75
10
b

& b J n j
chio - stri
ven- di - car - mi_u - sci - te,
b
&b
? bb
13
b
&b
b
&b
17
rar
s,
di voi mag - gio - re;
20
b
&b
s, s,
J b
b
& b b b
? bb
b
in - cru - de
J J R
n n J
b
b

& b n #
? bb

li - te;
contro quel cru - del
J #
e del vo - stro ri - go - re,
un mo - stro la - ce
nb
n*
sia vo - stro_il van- to
on - de,
ven - ti,
b

&b

? bb
22
b
&b
J J
che fa - te,
che
voi nol som - mer - ge- te? Ah!
b
&b
n
? b

b
n J
no,
fer - ma - te.
76
4. Aria
S.
Pno.
b 2*see noteson performance practice

b
& b4
s,
fer - ma - te,
b
& b b
n

? bb
b
J
<>
b
&b b
25
ge
te;
bb
b
&
? bb
b
s,
nol som - mer - ge - te, no,
nol som - mer
3
j #
j
3
3

J
J

ven - ti, fer
n b
b
3
3 3
3
ven - ti, fer - ma - te,
n
3
3
3
3

n

3
nn
&b b J
ma - te,
16
Ven - ti,
n
b
& b b n
? bb
b
b
n
& b b 42
n
? bb 42 n 3 nn
b
n
b
&b b
ver che mi tra - d, ma pur
33
b
&b b J
l'a do -
3
3
# 3n
ro, pur l'a - do - ro, mi tra - d,
b # #
& b b J J #
? bb n J n J n
b
41
3
b 3
& b b n
pur l'a - do -
bb 3 j
b
& b n
? bb j
b
3
te;
b
& b b
- d,
ro,
j 3
#nj
3
3
3
j
j n
ro;
venti, fer ma - te, s, nol som - mer - ge
pur l'a do
J
3
3
j
j j
n

3
? bb n
b J
3
3
b
&b b
l'a - do
ma
ma
j
b
J n
ro, pur l'a - do
ro,
mi
tra-
j

nj

nn
ro.
j

nj
3
n
n
3
J
3
n
ma pur,
ver che mi tra - d,
b
J
n
3
3
3
3
3
3
3
3
3
bb j
b
&
J
3
3
? bb J 3j
b

3
3
56
j b b
J # n
J
3
n #
J
J
ma pur l'a do -
3
3
3
<>
b
& b b
48
77
78
64
b
&b b
b
&b b
n
? bb nn
b
3
72
b
&b b
On- de cru-de - li, no,
b
& b b #
n
? b n#
bb
no,
& b b n #
ver che mi sprez - z,
non l'uc - ci - de -
b
3
j
j nj
n b

n b n
J
J
ma _il mi - o te - so
ro,
3
3
3
n n
non l'uc - ci - de - te,
3
J n #
#
n
3
#nn
b
n
3
n
n
3
3
n
n
#n

80
3 n 3
#
n
n

n

3
te;
j

J
3 3
on -
de cru de - li,
j
j
b
j 3 j
j
j
#n
& b b #n # n# n
3
3
3
3
3
3
j
j
j

? bb j 3 j
b
n #
J
3
3
3
b
& b b b
no,
bb
b
&
non
? bb n
b
3
3 j
l'uc ci de -
87
te;
3 3 3

3
3
j

ro.
3 j

J
3
79
95
b
&b b
bb
b
n
&
n
3
? bb n 3
b
n
103
b
&b b
b
&b b
- te;
bb
b
&
? bb
b
3
s,
nol som - mer - ge -
3
j #
<>

j
3
3

J
J

n bb
3
3
3

3
3

3
3
3
3
3
3
n

3
3

nn
b
& b b
n

? bb
b J
120
Ven - ti,
&b b J
fer - ma - te,
111
s,
nn
bb n n n
b
&

? bb
b
J
l'a do -
J # J
n
J
J
80
# 3 3 3
b
n
&b b
j b b
128
- ro, pur l'a - do - ro, mi tra - d,
bb #
b
&
J #
? b n J n
bb
136
b
&b b
#
J n
J
3
J n J#
ro,
b
&b b
J
n
b
&b b
b
&b b
l'a - do
pur l'a do
ro, pur l'a - do -
j
b n

ro,
j

J
3 j
J
3
mi
j

nj
3
J
ma
pur,
3
? bb
b
151
- te;
pur l'a - do -
j
b
J n
3
3
3
? bb

b
3
143
ma
<>
3
3
ver che mi tra - d,
bb
b
&
j
j
#n
3
3
3
j

j n
3
3
- ro;
ma pur l'a do -
tra - d,
ma
j

nj
n
J
ro.
bb j
b
n
&

3
3
? bb n 3
b
n
3
n n n
n
n

? b

bb
b
&b b
157
81
Recitativo
S.
Pno.
+

j + b
b n
J
#
& bc J
Ma
che par - lo,
& bc
? bc
che di co? Ah!
ch'io va - neg- gio;
e co- me_a - mar po - trei un tra - di - to - re,
w
w
w
#
#
+
+
J # J J J b
& b b J
<#>
& b<#>
in - fe - li - ce mio core?
Ri- spondi,
?b
o Di o,
ri - spondi!
w
w
w
Ah! che tu ti con - fon - di, dub - bio - so_e pal - pi
w
w
w
w
+
j
b
&
J
tan - te,
vor re - sti non a - ma - re,
&b w
w
?b
w
e vi - vi_a - man - te.
w
w
w
b
J
+
Spez- za quel lac - cio_in - de- gno,
w
w
ke tie- ne_av
j j b j b n #
b
b
&
b
13
vin - to
& b b
b
?
b
ancor gl'af - fet - ti tuoi. Che fai, mi - se - ro cor? che fai, mi - se - ro - cor?
#n
n
#
Ah!
tu non puoi.
82
5. Aria
b
& b 12
8
Siciliana
S.
Pno.
b
& b 12
8
? bb 12
8
J #
J
J
f
b
&b
j
#
nn nj
J
J
J
J
J
J
J
J
J
J
b n
& b # J n J# # n# nJ
? bb J
J n
J nJ # J
J
b
&b
b
&b
? bb
b
&b
? bb
10
b
&b
In tan - ti_af - fan - ni mie - i
re!
J
f
nJ
J #
J #n
J
J
#
j
J
J
b n
tu,
Nu - me d'a - mo -
n nj
J
b J
J
J
bj j
J
J
J j
# J
J

j
j
d'a - mo - re!
j
#
j
J
J n b j
J
J
J
J
b
j
j
n n
p j
J
n
b
j

& b #n j J
J
j
In tan - ti_af - fan - ni mie
13
& b
J
pp
j
?b
b
as - si - sti- mi_al men
J
J

J
j
j
j
nj
n b
p
J
J
nJ
J
tu, Nu - me

nj
j b
J J nn
J
J
J J #
as - si - sti_in tan - ti_af - fan - ni mie - i,
Nu
n n
j
# #
as - si - sti mi_al - men
j
bj
b
J
J
j
# n
j
#
me, Nu-me d'a mo -
b
J
nj
J
83
b
&b
16
re!
bb
b
b
& J
J
f
? bb J n
b
& b n
19
se -
b
& b
? bb
b n
&b
22
pi
# n

J
J J #
j
j

J
e se pie - to - so
J b b b
j
j b
b
J bJ
re,
b # n
&b
J
J
quel
tra - di - to
re,
se -
j
n

J
i,
b
&b
b
& b
?b
b
pie - to - so
j

j
j
b
j J J
fa ch'io non a - mi
J

J
se pie - to - so
j
n
n j
J
se - i,
j

n
J
quel tra - di - to -
fa ch'io non a - mi
j
b n
J
j j
J
n
J
re.
j
j
j
n j n j j

# # #
J n j
? bb
J
J
J
J J
29
se
j b j j b j j J J
j
n j
b
j
b
J
25
b
& b b

j n j
J
n
n
p
j
# j
j J
J
j
j
bj j
b n

j b j J bJ
J
J
quel tra - di - to
J n J J
J n J J n J b J J
i,
b
& b n
? bb J b
pi
# nn nj J J # nJ n
J
J
J
J
J
J nJ #
J
J
J
J
J
j
J #
J
f
J
J
#
J #
J n J
J
84
32
b
&b
b
& b # nJ
n
? bb n #
J
J
nn
b
J
& b J J
b
&b
j
j
nj
p
? bb J J J
b
&b
? bb
Nu - me d'a - mo -

n b
n
J
si
? bb
b
&b
re!
sti_in tan - ti_af - fan
b

&b J
43
j
#

J
In tan - ti_af - fan - ni
re!
J
f
j
nJ
j
b
-
ni
j
bj
b
J J
mie - i,
J

j
Nu
n n
j
# #
bb

b
b
J
&
J
f
n
? bb
J
j

J
pp
j
J
as - si - sti mi_al - men tu, Nu - me
b n nj
j
j
n n J
p
nj bJ J
b
&b
tu,
In tan- ti_af - fan - ni mie
41
b n
J #
J #n
J
J
j
J J n J b j #n j J
J
J

38
b
&b
J J #
j
nj
j
j b J
J
35
mie - i
j
#

J
J
j
#
J
j

as-
j n
#
me, Nu - me d'a - mo

J
j
n
# n

J
J
j

J
# J
j

d'a - mo - re!
J
n
# j
j
J

85

HWV 105
Violin I
1. Accompagnato
& bc
Violin II
& b c
Soprano
& bc
& b
& b
& b n
+
&b
na - ta
j
il
l'or - me fu - ga - ci
in la - sci
# #
Die - tro
del guer - rier, che gran tem - po
&b
&b
G. F. Handel
vo sog- gior - no_a- sco - so_a - ve - a,
Ar - mi - da_ab - ban - do -
n # n
#
pi mo - ve - a;
n J
J
j n
poi
che vi - de_al fi - ne
che
& b # n # b
& b
+
+
n b j # j
b
&

J
l'o - ro del suo cri - ne,
vez - zi,
i sguar - di,
pre - ghi,
non han for
za che
86
12
# n
& b #n b
n
staccato
& b
16
il fug - gi - ti - vo_a - man - te,
&b
& b
b
& b J
+
col - ma di rio cor - do - glio,
19
&b
& b
fis - se,
& b n
?b
quel leg - gie - ro_a - be - te,
che_il suo ben
#n
so
spi - ran - do
& b
?b
Ah! cru de - le,
e pur ten' va - i,
ra - pia,
le lu - ci_af -
J J #

pian - gen - do
le
j r
& b n
fer - m le stan - che pian - te, e_as - si - sa so- pra_un sco - glio,
j
& b
Adagio
Pno.
2. Aria
S.
j
&b
+
J # j
& b # nJ #
le - ghi
mi
la
co - s
dis - se:
n

-
lo,

e pur
87
b
& b #j b# n
sai
& b #
?b
che sei tu so - lo
j b
b # b
n n b

b

&b
lo,
tu solo, so - lo
& b j
J
?b
j

& b J n
vai, ah! cru de
pur sa -
che sei tu so - lo
J
b

&b
& b
?b
di let
to
e pur ten' vai,
&bn
? b
cor, il
e pur ten'
j
n
le,
17
che sei tu
b r n
<>
j
n
il di - let - to,
#
J
14
ah! cru - de- le,
n n

n
<>

11
so
e pur sa - i,
<>

del mio cor.
j

J
il di - let to
j

J
del mio

Co -me,_in
j
r

J
r
88
20
& b # n
gra - to,
& b #
?
b
j # n
# b b #j
e
co - me
# n b
#
23
& b b
puoi
tuo - i,
in - vo - la - re_a questo
n
#
& b bb n
n #
#
?b
bb
il si - ren de'
lu - mi
#
n

n b b b
se per te
sen,
son tut - ta, tut - ta_ar- dor? per te,
in -
b
b
25
b
& b # n #
# n n
gra - to,
e come puo i,
come,in - gra - to,
& b #
nn# n nn
n
? b n
28
j
& b #
ren
de'
lu - mi tuo - i, se
e come puo - i
#
n

per te
in - vo - la re_a que - sto
sen,
il
se
# # n nn
n
n

# #
<>
n # #
<>

son tut - ta, tut - ta_ar dor?
& b n # n n # #
n
n # n
? n
#
b
n
89
j
& b
& b
?b
31
Ah! cru de - le,
e pur ten' va - i,
& b n
& b n
?b
mi
35
& b #
?
b
j
b
b
tu solo, so - lo
& b j
J
?
j
b
n n# b
b

il di - let - to,
#
J

lo,
e pur
e pur sa - i,
ah! cru - de- le,
n n
n
<>

che sei tu
b r n
<>
j
n
&b
lo,
41
so
b
& b #j b# n
che sei tu so - lo
38
sai
la
e pur ten' vai,
e pur ten'
j
n
90
& b J n
44
vai, ah! cru de
&bn
? b
le,

&b
cor, il
di let
pur sa -
che sei tu so - lo
to
<>

il di - let to

J

J
Pno.
del mio cor.
Recitativo
S.
del mio
j
j r

J
?b
J
b
47
& b
+
+
j b b j
& J J R

j J
& w
w
w
?
#w
Per te
mi stru - go, in - fi - do,
per te lan - gui - sco,
w
w
w
w
in-gra - to;
ah! pur lo sai
che
b b b +
&
J
J
J #
& w
w
w
?
w
sol da tuoi bei rai
per
te pia ga- to_ho_il seno,
pur tu m'ab - ban- do- ni,
in - fi - do_a- man - te.
91
Vln. I, II
Vln. II
S.
Pno.
b
&b
b
& b
b
&b
3. Accompagnato
n #

#
Furioso
b
&b
b
& b
n #

#
b
&b
b
& b
? bb
#
#
n #
n#
# n

n
# n
# n

n # n
b n b
b
&
n b #
nb
n b
#
?b
b
&b
& b
b j j
b +
j
&
n #
b
& b
? bb #
O voi,
dell' in - co - stan - te
e pro - cel-lo - so ma - re or - ri - di mo - stri,
J b
dai pi pro - fon - di
92
10
b
&b
& b
b

& b J n j
chio - stri
ven- di - car - mi_u - sci - te,
b
&b
? bb
b

& b #
& b
n #
b
&b
li - te;
s,
#

? bb

b
&b
17
contro quel cru - del
13
s, s,
sia vo - stro_il van- to
b
bb
&
J b

n b
b
& b b
? bb
b
di voi mag - gio - re;
in - cru - de
J J R
n n J
rar
b
&b
b
&b
J #
e del vo - stro ri - go - re,
un mo - stro la - ce
b
nb

93
20
b
&b

& b
b
&b
b
&b
on - de,
ven - ti,

? bb
22
b
&b
& b
n J
b
&b
J J
che fa - te,
che
adagio
voi nol som - mer - ge- te? Ah!
b
&b
n
? bb

n
no,
fer - ma - te.
94
4. Aria
b
& b b 42
Vln. I, II
Vln. II
Pno.
& b b
b 2
4
S.
b
&b b
b
& b b
16
& b b
&b b J
s,
b
& b b n
?b
bb
fer - ma - te,
venti, fer - ma - te,
j

J
s,
j

J
nn
ma - te,
ven - ti, fer
b
& bb
b
Ven - ti,
nn
n

? bb
b
n
b
n
& b b 42
? bb 42 n 3
b
n
& bb
& b b
j

J
nol som - mer
j

J
95
25
b
& bb
& b b
<>
b
&b b
ge
te;
j 3 3 j
bb
b
&
n b

3

? bb
b
33
b #
& bb
& b b
b
b
& bb
& b b
#
#
n J n
pur l'a - do -
j
b
& b b b n
?b j
bb
3
# J n
n3 #
J
venti, fer ma - te, s,
j b b
ro,
j
#nj
3
j
j
3
3
ver che mi tra - d,
j
b
J n
ma
3
3
3
3
3
3 3
3
ro;
ma pur l'a do -
3
3
3
# 3 3n
3
b 3
& b b n
3
j
b
& b b #
? b n J
bb
l'a do -
41
J #
b
&b b J
3
j #
nol som - mer - ge
j

J
96
48
b
& bb
& b b
<>
b
& b b
te;
j
b
& b b
3
3
? bb J j
b

3
3
56
j
b
& bb
b
b
& b b
- d,
b
& bb
& b b
b
b
&b b
ma
pur l'a do
3
j
3

3
? bb nn
b
3
ro, pur l'a - do
ro,
mi
tra-
nj
nj
n

3
n
#n
3
#n n
nn
3
3
3
j j

J
l'a - do
ro.
j

J
ma pur,
b
& b b n
b
& b b j
? bb n
b J
64
& b b
b n
97
72
b
& bb
& b b
b
&b b
3 n 3
#
On- de cru-de - li, no,
b
& b b #n
3
J
no,
80
b
& bb
& b b
n#
j
j nj
n b

n
n b
J
J
non l'uc- ci - de -
n
3
#n
non l'uc- ci - de - te,
? bb n# 3 b n #nn
b
n
bb n j
j n j
b
& # #
n
3
j
? bb j 3 j
b
n #
3
87
b
& bb
& b b
b
b
&b b
ro,
on -
de cru de - li,
non
3
3 j
l'uc ci de-
te;
3 3 3

3
3
? bb n j J
b
3
3 3
3
3
j 3 j
j n j n
#n
#

3
3
3
3
j n j
J
3
3
b
& b b b
no,
te;
3
b
# 3 n 3 3
b
n
n
& b n #
J
ro.
98
95
b
& bb
& b b
b
b
&b b
103
b n
& bb
& b b n
b
&b b
b
& b b n
111
b
& bb
& b b
b
n

? bb
b
3
b
j
& b b n

?b
bb J
s,
j

J
nn
3
fer - ma - te,
Ven - ti,
b

&b b J

s,
nn

3
b
n
& b b
3
? bb n 3
b
n
<>

j

J
nol som - mer - ge -
99
120
b
& bb
& b b
j 3 3
n b j
? bb
b
128
b #
& bb
& b b
b
J #
J #
j
b
& b b # #
? bb n J n
b
136
b
& bb
& b b
b
b
&b b
- ro;
b
& b b
3
3
?b
b b
ma pur l'a do -
j
# n
J
3
J n J#
ro,
J
l'a do -
#
n J

n
3
ver che mi tra - d,
j
#nj

3
3
j3
n
3
3
j b b
3
3
bb # 3 3n
b
&
#
J
3
j #
- te;
b
&b b
b
&b b
ma
pur l'a - do -
j
b
J n
b n
j

3
3
3
3
3
3
3 3
3
3
j
j

J J j
3
100
143
b
& bb
& b b
b
b
& bb
& b b
b
b
&b b
ma
& b b
b
b
& b b
? bb nn
b
3
ro,
mi
tra - d,
nj
ma
3
3
n n
j

n
J
nj
ro, pur l'a - do -
ro.
b
&b b
j j

J
l'a - do
pur l'a do
b
& bb
j
b
n
&b b
3
? bb
b
157
pur,
151
J
n
- te;
b
& b b
? bb
b
b
&b b
101
Recitativo
S.
Pno.
+

j + b
b n #
& bc J
Ma
che par - lo,
& bc
? bc
che di - co? Ah!
ch'io va - neg- gio;
e co- me_a - mar po - trei un tra-di - to- re,
w
w
w
#
#
+
+
+
b
J
J # J
&
J
J
<#>
& b<#>
in - fe - li - ce mio core?
Ri- spondi,
o Di o,
ri - spondi!
w
w
w
Ah! che tu ti con - fon - di, dub - bio - so_e pal - pi
w
w
w
w
+
j
b
&
J
tan - te,
vor re - sti non a - ma - re,
&b w
w
?b
w
e vi - vi_a - man - te.
w
w
w
b
J
+
Spez- za quel lac - cio_in - de- gno,
w
w
ke tie- ne_av
j
b n #
& b b bj b b j
13
vin - to
& b b
b
?
b
ancor gl'af - fet - ti tuoi. Che fai, mi - se - ro cor? che fai, mi - se - ro - cor?
#n
n
#
Ah!
tu non puoi.
102
bbSiciliana
12
Vln. I, II
& 8
5. Aria
S.
Pno.
4 bb
&
b 12
& b 8
j
#j #j nj

f
J
J J
J J
J
? bb 12
8
# nJ
J J #
b
&b
?b
j
b
#j bj
n
nJ # nj
J
j
j

j b
J J nn
J
J
b
&b
n
J
J J
#
n

J
J #
#
J
J n
b
n
& b #n
? bb nJ #
J n n
J
J
J # J
b
& b 12
8
b
&b
7 bb
&
j
j nj

p
J
J
J
tu,
b n
Nu - me d'a - mo -
n b
nJ
j
#
j
J
103
10 bb
&
J J # J n
b
&b
re!
b
& b j
#
? bb n
J
13 bb
&
n j n
j
n
#

J
j
n

J
pp
b
j
& b
pp
? bb j
16 bb
&
b
&b
re!
j b
p
nj
b
& b n
19
b
& b
?b
b
j
b
n
b
J
j

J
j

b
J
# n
J
J
i,
j

J
bj j
J
J
J #
Nu
#j n
me, Nu-me d'a mo -
j
j
n n n #
J
j
j
# # J n
j
#j

j

j
n b
J

j
j
J
J

J
J
j
b
j
as - si - sti- mi_al - men
j
n b
n J
J b
J
as - si - sti_in tan - ti_af - fan - ni mie - i,
j
#

j

b
J
J
In tan - ti_af - fan - ni mie
j
b j #n j j j

f
n j
j
J
J #J
b
& b
? b
b
se -
d'a - mo - re!
b n n
J
J
J J n J b j
J
J
b
j
& b #n j J
tu, Nu - me
J n J J
E
se pie - to - so
j
j
j nn
p
j j
J n J J n J b J J
e se pie - to - so
j
j
bj j
b n

j b j J bJ
J
J
se -
j
n

i,
J

J
j
b
j J J
fa ch'io non a - mi
104
b n
&b
22
pi
J b b b
quel tra - di - to
b
& b n
? bb J b
j
j b
b
J bJ
25 bb
&
re,
pi
quel
b
& b b
b
&b
tra - di - to
J
J
re,
b
&b
b
& b n
j
n
n j
J
n n
J
j
b n
J
j j
J
n
J
J
f
j

n
J
quel tra - di - to -
re.
n
J
# nJ
J # n
j n n
#
n #
J J
#
J
J n
j
#j

f
J
J
j
j

j b
J # J
#j bj
n
? bb n # nj
J
J
fa ch'io non a - mi
n
J
se - i,
j j j j

# n #
n j
J
J
J

j
b
j
& b # n
? bb J J J J
32 bb
& #
se pie - to - so
j
n j
#

? bb
J
J
J
29 bb
&
j
n j
b
j
b
J
b # n
&b
J
J
j
j
j b b j j J J
j

J
J J #
j

j
105
35 bb
&
b J nn
b
&
J
J
mie - i
b
&b
? bb
38 bb
&
j
j
nj

p
J
J
J
n j n
b
&b
41 bb
&
b
&b
si
b
& b
b n n
J
J
sti_in tan - ti_af - fan
j
n

J
pp
j
b
-
#
J
as - si - sti- mi_al - men tu, Nu - me d'a - mo - re!
j b j j
n
n J pp
J b J
J
J
ni
n
J
mie - i,
bj
j
b
& b
? bb
j
# j #n

j
n J
J
j
J n
re!
j
#

J
n b
nJ
b
J
J
b
J
re!
Nu-me d'a - mo -
j

J
j b j b
n
p
nj bJ
b
&b
b n
tu,
In tan-ti_af - fan - ni mie
? bb
43 bb
&
J #
J n b j j #
j J
J
J
n
J
J
b
& b
? bb
Nu
j
n n
j
# #
J #
j n
#
j
# n
J
j
n
J n

J
j
#
j
b j #n j j j

f
n
j
j
J
#J
J
j

J
j
j
#
j

j

j

as-
106
Violin I

HWV 105
G. F. Handel
1. Accompagnato
& bc #
& b #
& b # #n #n #n
& b # b #n
10
# n
& b b
n
13
staccato
17 a quel leggiero abete, che il suo ben le rapia, le luci affisse,
&b
2. Aria
Adagio
&b
TACET
piangendo
e sospirando,
Recitativo
cos disse:

#n #
107
3. Accompagnato
bFurioso
n# # # n
&
n#
b

&b
n
#n
orridi mostri,
b
&b
n
b
&b
o voi, dell'incostante
e procelloso mare
13
b b
b
&
19
22
b
&b
n n 3 3
bb 2
& 4
4. Aria
n
3
3
b
&b b
12
bb
b
&
b #
&b b
J #
27
33
b
n
J #
108
b

b
&
42
j
b
j
& b b j
55
b n
b
& b
67
n j
3
3
3
3
n
n
#
bb
b
&
77
n
3
n n 3 3
bb
&
95
n
3
3
b
&b b
106
bb n b
b
&
121
133
b
&b b
147
b
&b b
b
&b b
156
n # #
J J J J #
n
3
109
17
Recitativo
& bc
5. Aria
Siciliana
b
J nn j J J J # n
12
& 8
J J # n #
J J # J
J
J
f

b n
b
j j j
& # J

#

b J J #
b n n b j
b
j
&
j
J n
J J
n n J J
pp
p
10
J b J # n J J
J
J #
j
b
& b J J J J
14
18
b
&b

J J# J J J nn
J
f

b j J J J # n
b
&
J J # n
# J
#
30
34
b
&b
j j j

j
b
& b J bJ
39
pp
j
b
& b
42

b n n
J J # Jn
n j n j J J
J J J
J

b J # n
J J# J
J J
110
Violin II
HWV 105
1. Accompagnato
& bc
&b
15
G. F. Handel

a quel leggiero abete, che il suo ben le rapia,
le luci affisse, piangendo
&b
2. Aria
&b
Adagio
TACET
e sospirando, cos disse:
Recitativo
Furioso
# n
#
b
n
&b
n#
3. Accompagnato
o voi, dell'incostante
e procelloso mare
&b
n #n
orridi mostri,
b
&b
13
b
b
& b n #
b b
n nb
b
b
&

19
22
b
&b
111
4. Aria
3
3
b 2 n
b
n
& 4
n n
n

2
3
2
3
3
b 3 3
b
&
27
b

J J J # J
&b b
3
3
3
12
39
b
&b b
54
b
& b b j j j j
n #
j j
3
3
3
3
bb n
b

&
#n n
#

b
&b b
n
n n
n n
66
76
3
3
b
& b b n
n n
n

95
106
b 3 3

&b b
b

&b b
3
3
3
121
133
b
&b b
148
b
& b b j
156
b
&b b
J J J # J
j j
112
17
Recitativo
& bc
bSiciliana
12
J nn j J J J # n
#
& 8
J
J J # J
J
J
J#
f
5. Aria

b n
b
& # J

#
j j j

b J J #
b n n b j
b
j
&
j
J n
J J
n n J J
pp
p
10
J b J # n J J
J
J #
j
b
& b J J J J
14
18
b
&b

J J# J J nn
J
J
f

b j J J J # n
b
&
J J # n
# J
#
30
34
b
&b
j j
j
b
& b J bJ
39
pp
j
b
& b
42

b n n
J J # Jn
j
j
n n J J
p
J J J
J

b J # n
J J# J
J J
Cello
113

HWV 105
1. Accompagnato - tacet
2. Aria
? bc

Adagio
n
J
n
? b b b b
j j
12
?b

b j J
# #
? b J r
17
? b #
22
# b
n

? b # n # n n # n # n
26
30
n
? b b b b
j j
37
42
?b
b j
? b J J r
46
114
Recitativo
#w
w
n# nb
? bb # #
? bb
infido amante.
n b
...e procelloso mare orridi mostri
ah! pur lo sai che
e pur tu m'abbandoni,
Furioso
? bb
ingrato;
sol da tuoi bei rai per te piagato ho il seno,
per te languisco,
? bb
14
? bb
20
22
? bb
Ah! no, fermate.
? bb 42 n 3 b b nn

3
3
3
4. Aria
? bb
3
? bb
b
29
b
3
n b J
? b bJ b
b
J
19
b
J
b
3
# j 3 3 3
J
J
J
J J
j
3
3
39
?b
b
49
? bb
J n j b

3
3
115
b j
b
J J
3
b
b
J J
nj nj n
J
3
3
? bb n 3 b b nn

3
3
3
59
67
? b
b
3
3

3
3
#n
n# b
3
3
3
3
3
j 3 j
j
? b nb j 3 j
b J
J
#
J
3
3
3
76
? bb b n b j Jb b b
3
3
3
3
85
? bb b
93
? bb
3
3
b nn
b
101
b b
? bb
J b
J
b J
b
J
110
b
3
3
3
#

? bb
J J J J J
b
3
3
3
3
3
3
131
3
3
3
3
3
? bb j j 3 Jn j
b

3
121
3
3
3
b
j
j
? bb J b J j
J J n n n
3
3
141
? bb b n 3 b b

3
3
152
? bb n n
158
116
Recitativo
? bc
7
?b
13
Ma che parlo,
che dico? Ah!
ch'io vaneggio; e come

amar potrei un traditore,
Ah! che tu ti confondi, dubbioso e palpitante, vorresti non amare,

spondi!
e vivi amante.
avvinto
misero cor?
?b
ancor
gl'affetti tuoi.
Che fai,
misero cor?
che fai,
infelice mio core? Rispondi, o Dio, ri-
Spezza quel laccio indegno, che tiene
Ah!
tu non puoi.
117
? b 12
b 8
5. Aria
J
n# J n
J
J
J
J J J
J
J J
J
f
? bb n# nj j b j J
j

J J
J J J
? bb n J j n J J J nj b J b
J
J
J
J J J J
? bb j j j

n
j #j # nj J j
J
J
J
13
pp
j j
j b j
? bb j # j j
bJ J
J
J
J
J J

p
17
? bb j J J Jb J b j Jb J n j j j
J J
n
J
J
J
21
25
? bb
J n j
J
J
J J J
J
J
f
? bb J J J J J J nJ # J n J n# nj j
J
J J
29
J J J nJ J j
? bb b j J
j
J
33
? bb n J J J nj b J b j j j
J
J
J J J J
37
? bb
41
43
? bb
n
J
f
j

j

pp
j
#
#J
j
n
j

118

of da capo sections
1. Aria: Ah! crudele, e pur ten' vai

31
& b 44
Ah!
cru - de - le,

pur ten' va

& b n
-
i,
35
mi
la

sci_in pre - da_al duo
lo,
e pur
n
b
n
& b # r b# n
38
sai
che sei tu
so - lo
il di - let - to
del mio cor,
e pur sa - i,
ah! cru - de- le,
che sei tu

b r n
&b
41
so - lo,
44
&b
tu solo, so - lo
j
n
vai, ah! cru - de
il di - let
to,
e pur ten' vai,
e pur ten'
le,
pur sa - i

&b
47
cor, il
di - let
to
che sei tu so - lo
<>

del mio
cor.
il di - let- to
del mio
119
2. Aria: Venti, fermate
12
95
b
& b b 42
J J
Ven - ti,
s,
bb
b
&
116
som - mer - ge - te, no,
nol som - mer - ge
fer - ma - te,
s,
nol
3
j # J
3
te;
3
bb # # 3 3 3n
j n3 3b b
b
&
J J

n
127
<>
3
3
3
3
3
3
3
3
&b b

l'a - do
135
ro;
b
&b b
149
mi
b
&b
che mi
d,
tra - d,
ma
- re!
pur
b
&b
b
&b
Nu
l'a -
do
3
n
ro,
pur
l'a - do
ma
pur
l'a - do -
ro,
10
n
ro.
me

J
J
d'a - mo - re!
#
J
ma
tu,
Nu - me d'a - mo -
J n j b j j
40
42
ma pur
Nu
ver che mi tra - d,
nn n b n
J J #j j J J
J
tu,
3
n
ro,
3. Aria: In tanti affanni miei
b
& b 12
8
37
ver
tra
28
venti, fer - ma - te, s, nol som - mer - ge
b
n
b
&b b
- te;
pur l'a - do
pur l'a - do -
143
ma
mie
j
b
as - si - sti_in tan - ti_af - fan - ni
re!
mie - i,
120!
HWV 113: Figlio dalte speranze

Figlio dalte speranze is the first cantata with obbligato instruments that Handel
wrote. It was written before he settled in Rome, making it one of the earliest works of his
Italian years. Although the exact date and location of composition are not known,
scholars have determined that it was probably written in Venice in the autumn of 1706.
The autograph shares characteristics of handwriting, and is written on the same type of
paper, as Dixit Dominus, which is known to have been composed in Venice at this time.
Many scholars believe that Handel may have originally intended this cantata to
begin with an instrumental sonata, since the word [So]nata appears crossed out on the
first page of the manuscript. Handel could have thought he would begin with a sonata
and then changed his mind, or the cantata could have been an unrelated project that
Handel decided was a better use for the paper at the time.11 Hans Joachim Marx, the
author of the preface notes in the Hallische Hndel-Ausgabe, states that the sonata in
question
can only be the Sonata a 5 (HWV 288): it is certainly likely on grounds of key,
for the sonata is in B flat major, like the first recitative of the cantata. The
autographs of both the sonata and the cantata are, moreover, so similar in the
handwriting and paper-type, that we can speak of nearly identical characteristics.
Like the first part of Dixit Dominus, the three-movement sonata must have been
composed in Venice in 1706; the concerto-technique in the manner of Vivaldi,
which Handel uses in the last movement, supports this thesis.12
The editors of the Hallische Hndel-Ausgabe have not felt strongly enough that this
sonata belongs with the cantata Figlio dalte speranze that they have published the two
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
11
Ellen T. Harris, "Figlio d'alte speranze," in The Cambridge Handel Encyclopedia, ed. Annette Landgraf
and David Vickers, 231-232 (New York: Cambridge University Press, 2009), 232.
11
Hans Joachim Marx, "Preface," in Hallische Hndel-Ausgabe, ser. 3 bd. 4, trans. Terence Best, XVIXXIII (New York: Brenreiter, 1958-), XX.
!
121!
together as a unit. Unless new evidence comes to light, it is appropriate to perform the
cantata without the introductory instrumental sonata.
The text of this cantata is anonymous, as are most of the texts of Handels
instrumental cantatas. Its subject concerns Abdolonymus before he became the last king
of Sidon, which lies in what is now Lebanon. Abdolonymus was a Phoenician of royal
descent, but was a gardener before Alexander the Great gave him the kingship in 332
B.C.
Handels compositional tactic is centered on the idea that Abdolonymus was fated
to be king; it was fate that denied him the throne at first, but that then turned around and
gave it to him. The work is saturated with spinning or turning motives, which are meant
to represent the turning of the wheel of fate or fortune.
Overview
Recitativo
Key: G minor
Range: E4-F5
Tessitura: F4-D5
1. Aria
Key: G minor
Tempo: Not indicated; author recommends Andante (= 76-108)
Range: D4-A5
Tessitura: G4-F5
Musical characteristics and vocal skills required: long phrases, coloratura passages, some
large leaps; requires good breath management, good vocal flexibility, agility, and
accuracy
Recitativo
!
Key: B minor
Range: E4-E5
Tessitura: B4-E5
122!
2. Aria
Key: E minor
Tempo: Not indicated; author recommends Adagietto (= 70-80)
Range: D#4-F5
Tessitura: E4-D5
Musical characteristics and vocal skills required: sits in a relatively low tessitura; requires
strong and unified middle voice
Recitativo
Key: D major
Range: F#4-E5
Tessitura: F#4-B4
3. Aria
Key: G major
Tempo: Not indicated; author recommends a fast Andante (= 92-108)
Range: D4-G5
Tessitura: G4-F#5
Musical characteristics and vocal skills required: long phrases and coloratura passages;
requires good breath management, good vocal flexibility
Pronunciations and translations

Recitativo:
[fi$o$$$$$dal$te$$$$$$$spe$ran$tse]$
Figlio
dalte
speranze,
Son
of high hopes
$
[ab$do$lo$ni$mo$$$$$na$kweal$lim$pr$$$$$$$$$$di$$$$$$si$d$nja]$
Abdolonimo
nacque all imper
di Sidonia;
Abdolonymus
was born to the empire
of
Sidon
!
$
$
$
[si$$$$$$$$$$$$$$$$$dis$seun$$$$di$$$$la$$$$$fa$ma$$$$$e$$$$$$$pi$$$$$si$$$$$$$$$$$$$ta$kwe]$
s
disse un d la fama e
poi si
tacque
in this way spoke one day the fame
and then himself silenced
$
[lo$$$$spir$to$$$$su$o$$$$$go$de$re$$$$$tra$$$$$$$$$$$$$$di$za$stri$$$$$$ve$de$te]$
lo spirto
suo
godere
tra
disastri
vedete
the spirit
his
to enjoy
through
disasters
(you) see
$
[kwal$$$$$$$ke$$$$$$$$$p$sa$$$$$nok$kjr$$$$$fra$$$$$$$$$$$$le$$$$$tem$p$ste]$
qual
che
posa nocchier fra
le tempeste.
such as which rest
helmsman through the tempests
$
1. Aria:
[trp$po$$$$$k$sta$$$$ad$$$$u$nal$ma$$$$ke$$$$$$$$$$$in$tn$de]$
Troppo
costa ad unalma che
intende
Too much costs
to
a soul
which intends
$
[la$$$$su$a$$$$sr$te$$$$$del$$$$$$$re$oil$$$$$$kon$tn$to]$
la sua sorte del
regno il contento,
the its
fate
of the reign the happiness
$
[kwel$$$$ful$go$re$$$$$ke$$$$$$$$$$al$let$ta$$$$e$$$$$$$$$ri$spln$de$$$pr$$$$$kon$fr$to]$
quel fulgore
che
alletta
e
risplende per conforto
that
splendor
which attracts
and sparkles
for comfort
$
[e$$$$$$non$$$$$$$$$ke$$$$$$$tor$men$to]$
e
non che tormento.
and not is but torment
Recitativo:
[$ra$$$$$$$kon$fr$to$$$$il$$$$$$$su$o$$$$$pe$nar$$$$$$trai$$$$$$$$$$$$$fjo$ri]$
Era
conforto
il
suo
penar
tra i
fiori,
He was comforted the his
struggle through the flowers
$
[men$tre$$$$al$$$$$$$$$$$s$o$$$$$$$pen$san$do$$$$ri$mi$ra$va$$$$$$$la$$$$$$pal$ma]$
mentre
al
soglio pensando
rimirava
la
palma
while
on the throne thinking
was gazing at the palm
$
123!
124!
[e$$$$$$$$pa$e$$$$a$$$$$$vo$ler$$$$$$$en$de$va$$$$$nel$lal$ma]$
e
pace a voler
scendeva
nellalma.
and
peace at to wish descended to the soul
2. Aria:
[si$a$$$$gwi$da$$$$si$a$$$$stel$la$$$$$kwe$stu$naal$$$$$$$$$$$$$$$$$$$de$kr]$
Sia
guida, sia
stella
questuna al
decor.
Be
guide
be star
this one
toward the dignity
[for$tu$na$$$$si$$$$bl$la$$$$$fa$$$$$$$$$$$r$to$$$$lo$nor]$
Fortuna
s bella
fa
certo
lonor.
Fortune
so fine
makes certain the honor
$
Recitativo:
[i$$$$ko$si$$$$dir$$$$$$$$$$pre$vi$de$$$$$kwal$$$$$a$mi$ko$$$$$sem$bjan$te]$
In cos dir
previde
qual amico
sembiante
In
so
saying predicted
what amicable appearance
$
[la$$$$sr$teal$lor$$$$ve$stis$se]$$$$$$$$$$
la
sorte allor
vestisse
The fate then
was donning
$
[pr$$$$far$lo$$$$$$$$$$$di$$$$$$$$mes$kin$$$$$$al$to$$$$re$an$te]$
per farlo
di
meschin
alto
regnante.$
to
make him from lowly one high ruler
$
3. Aria
[bril$la$va$$$$$$$pro$tt$to$$$$$da$$$$$sp$ne$$$$$gu$sta$ta$$$$nel$$$$$$$$k$reil$$$$$$$do$lor]$
Brillava
protetto
da spene
gustata
nel
core il dolor.
Was shining protected
of
hope
tasting
in the heart the pain
$
[i$ra$va$$$$$$$$so$let$to$$$$kon$$$$pe$nal$lu$ga$ta$$$$in$$$$men$te$$$$$lar$dor]$
Girava
soletto
con pena allungata in mente
lardor.
Was turning alone
with sorrow extended in
mind
the fervor
!
Recitativo:
Figlio dalte speranze,
Abdolonimo nacque allimper di Sidonia;
s disse un d la fama e poi
si tacque
lo spirto suo godere tra disastri vedete
qual che posa nocchier fra le tempeste.
1. Aria:
Troppo costa ad unalma che intende
la sua sorte del regno il contento,
quel fulgore che alletta e risplende per
conforto
e non che tormento.
Recitativo:
Era conforto il suo penar tra i fiori,
mentre al soglio pensando
rimirava la palma
e pace a voler scendeva nellalma.
2. Aria:
Sia guida, sia stella questuna al decor.
Fortuna s bella fa certo lonor.
Recitativo:
In cos dir previde qual amico sembiante
125!
Son of high hopes,

Abdolonymus was born to be emperor of
Sidon;
Fame spoke in this way one day and then
silenced himself.
See his spirit find pleasure in the midst of
disasters
as that which gives rest to the helmsman
in the midst of the storms.
There is too much cost to a soul that intends
its fate to be the contentment of reigning,
that splendor which lures and sparkles in
order to comfort
and is nothing but torment.
He was comforted by his struggle through
the flowers,
while he was thinking of the throne and
gazing at the palm,
and peace, at his wish, descended to his
soul.
This is both guide and star towards dignity.
Fortune so fine makes honor certain.
la sorte allor vestisse per farlo di meschin

alto regnante.
In so saying, he predicted what amicable

face
fate was donning to make him from lowly
man into high ruler.
3. Aria:
Brillava protetto da spene gustata nel core
il dolor.
Tasting of hope, the sorrow sheltered in his

heart was shining.
Girava soletto con pena allungata in mente Fervor, with drawn-out pain, was turning
lardor.
alone in his mind.
126
Figlio d'alte speranze

HWV 113
G. F. Handel
Recitativo
Soprano
Piano
b
&b c
n
J
b
&b c w
w
? bbc w
w
Fi - glio d'al te spe - ran - ze,
Ab - do - lo - ni - mo
b
&b
J n
b
& b
? bb
dis - se_un d la fa - ma
e poi si ta - cque
Sop.
Pno.
1. Aria
b
&b
na- cque_all' im - per di Si -do - nia;
w
w
w
nw
nw
w
w
w
w
nJ n b
lo spir - to su - o go - de - re
qual che pos - sa noc - chier fra
? bb w
w
n* w
nw
w
#w
b
& b bnw
w
& b b
#
de - te,
le tem - pe
n
n
n

#
tra di- sa - stri ve -
ste.
n # w
w
w

j #

? bb #
b
&b
127
b
&b
#
n b

? bb

#

b
& b
b
&b
j #
b n
b
b# n
&
#
? bb

Trop
11
b
&b
po co - sta
ad un'
al - ma, ad un'
al - ma,
j #

b # n b n
& b
#
trop - po
co sta ad un' al ma che in - ten - de la sua sor - te,

? bb
15
b
&b
la sua sor
b
b
& #
? bb # n
b

&b
te del re -gno_il con- ten - to, del re - gno_il con
18
ten
b
& b
? bb
to,

il
con

n
n

128
& b n b #
21
ten
to
trop - po
co - sta
ad
un'
al - ma che in - ten - de
b
& b b n n b #
b
n

? bb

24
&b
-ten - de
la sua sor
te
re
del
gno_il con - ten
la sua
sor - te, che in -
#

#

to,
il
con -
n
#n
b
b # n
& #

? bb # n

n

b
&b
27
b
# n
& b #
? bb

ten
30
b
&b
to,

quel ful - go
b
& b b# n

? bb
re,
quel ful - go
b n
&b
e ri - splen - de
per con - for - to
& b
? bb
e non che tor - men
re
che al -
33
- let - ta
n n
129
b b n
&b
36
to,

quel ful
b
n
n
b
& b b n
? bb
b
j
b
& b # n #
39
go - re
che al - let - ta, che al - let - ta
b
& b n
? bb
n
b n
&b
men
ri - splen de
per con - for - to,
#n
46
b
&b
tor -
n b j
n
-
to,
b n n # n
b
&
? bb
e non che
n n
42

n
n
#
che
tor men -
to.
#n
& b j #
? bb #
50
b
&b
#
n b
& b

? bb

#

53
b
&b
j #
b n
b#n
&b
#
? bb

b
&b
# n
#
Trop - po co sta ad un'
57
130
al ma, ad un' al - ma,
j #

trop - po
la sua sor
#
& b# n

n
? bb
#
61
b
&b
te del re -gno_il con- ten - to, del re - gno_il con - ten

b n
&

? bb

b
&b
b
&b
64
to,
n b
il con - ten
n

? bb

to
b n n
67
& b #
co - sta
ad
un'
al - ma che in - ten- de
b
& b b #
b n

? bb
trop - po
la sua sorte, che in - ten- de
la su - a sor
te
del
# #
#
#
n
n
70
b
&b
re
gno_il con - ten
to,
b n #n b #
&b
? bb
73
b
& b
131

il
con - ten
to,
n
#
b
b# n
& b #
? bb

Recitativo
Sop.
Pno.
b
&b c
E - ra con- for - to
il
b
& b cn w
w
w
? bbc w
b
&b
j
n
n
+
n
J
ra - va
b
& b <n><n>
<n>
? bb
<#>
suo pe - nar tra_i fio - ri,
la
pal - ma
n
>
men - tre al so - glio pen- san - do
ri - mi
nnnw
w
w
#w
n # #
pa - ce
n n
#
vo - ler
n #
scen - de - va nell' al - ma.
nnn
###
nn
###
132
2. Aria
Sop.
Pno.
&
#
& 43

# #
#
#
? # 43 # n # n #
#3
& 4
Sia
gui - da, sia
#
& # # n #
n n
?#

#
&
10
quest'
na_al de
#
& # n #
#
n n
?#

15
&
gui - da,
#
&
#
&
21
na_al de
quest' u na_al
cor, quest'
stel - la
# #
na_al de - cor,
sia
de - cor,
sia

gui - da, sia
stel - la quest'
j

-
sia stel - la

? #
cor,
sia
#
&
#
? # #
j
#
gui - da,
sia
stel - la
quest' u - na_al de - cor, quest'
# #

#
& #
27
#
& #
# #
na_al de
cor,
quest'
j

? # #
#
&
32
j
#
na_al de
cor,
j #
#
#
#

#
j
#
sia
gui
da,
sia
stel
la
quest'
u - na_al
de - cor.
j
n # #
? # # n

&
For - tu - na
n
#

#
J
#
&
43
bel - la
fa
cer - to
l'o - nor,
fa
#
&
cer
#
&
?#
#
J
to
l'o
#
#
cer - to
l'o - nor,
bel - la,
for - tu - na
j

j

#J # #
#
& # #

#

?#

50
##

j j
#
& # #
n n

?#
j
j
#
#
#
& #
37
133
for tu - na
bel - la
fa

# #
# n
n b
nor,
bel
la
for
tu
na,
n n
for
134
#
& # n
#
& #
n
?#
n
n
54
58
&
- tu
na
bel
la
fa
cer
to
l'o
nor.

# #
# #
#
n
# # n n
?#
#
n #
n
#
&
63
&
#
& n #
?#
#
&
68
na_al de
#
& n #
?#
#
&
74
na_al
Sia
cor, quest'
de - cor,
gui - da, sia
sia
u - na_al de - cor,

gui - da, sia
quest'
# #
# # n n
sia
gui - da,
stel - la

stel - la quest'
sia stel - la
quest'
na_al de
#

& #

j
? #
135
#
& #
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#
79
cor,
sia
gui - da,
#
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85
cor, quest' u
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stel
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j

-
na_al de
cor,
la

quest'
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94
quest' u - na_al de - cor, quest' u
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gui
da,
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j #
j
j
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#
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&
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91
stel - la
# #
j
#
sia
na_al
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de - cor.

# #
#
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n #
#
n n
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136
Recitativo
Sop.
Pno.
#
& c #j #
In
co - s
#
& c #
? #c
#w
&
ve - stis - se
per
3. Aria
#
& c
far - lo
al - to re - gnan - te.
di
me - schin
Bril
?#
&
& c
? #c
J
J

j
J
la

J
la
&
#w
w
#w
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a - mi - co sem - bian - te
w
ww
sor -te_al - lor
? #<#>
Pno.
pre - vi - de qual
#
& <#>
Sop.
dir
# #
j

va
pro - tet -
to,
137
7
&
J
bril- la
va pro - tet - to da spe - ne gu - sta - ta, da spe - ne gu-

#

&

?#
& #
11
- sta
#
&

?#

#
& J
14
lor,
nel
co
ta
nel co - re_il do - lor,
#
&
va,
bril - la -
#
&
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pro - tet
&
19
to

da
bril - la
re_il do -
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j

n
spe - ne
re_il do - lor,

va
nel co
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&
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16
j
j

j
J
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j
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& j

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J J J J
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138
23
# j j
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26
&
so- let to
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&
pe - na_al - lun - ga - ta in - men - te l'ar - dor,
&
J
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ra - va
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con pe - na_al - lun - ga - ta, con
j
j
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n n
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con pe - na_al - lun - ga - ta in - men - te l'ar - dor,
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n #j
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34
re_il do - lor.
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j
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30
va so - let
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to
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con pe
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n J
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37
ta
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men - te
l'ar dor,
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men - te
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#
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in men - te l'ar - dor.
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&
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41
&
139
& n
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J
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j
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44
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la
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47
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va
pro - tet -
Bril
to,
J
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va pro - tet - to da spe - ne gu - sta - ta, da spe - ne gu-

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51
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54
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nel
co
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ta
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va,
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va
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140
57
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da
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60
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63
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65
re_il do - lor.

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141

HWV 113
Recitativo
Soprano
Piano
b
&b c
Fi - glio d'al te spe - ran - ze,
b
&b c w
w
? bbc w
w
b
&b
dis - se_un d la fa - ma
b
& b
? bb
b
& b b
de - te,
b
& b bnw
w
Pno.
e poi si ta - cque
*
na- cque_all' im - per di Si -do - nia;
lo spir - to su - o go - de - re
le tem - pe
n b
n
#
& b
? bb
n # w
w
w

n
n
ste.

#
j

tra di- sa - stri ve -
w
w
w
w
qual che pos - sa noc - chier fra
b
& b

? bb #
b
&b
w
w
w
nw
nw
+
n
n w
nw
w
#w
1. Aria
b
&b
Ab - do - lo - ni - mo
? bb w
w
Vln.
n
J
G. F. Handel
142
b #
&b
n b
b
&b
# n
j #
b
& b # # b # nb #

n bn
#
#
? bb #
b # n
b# n
&b
11
b
&b
b
& b
# nb b #
? bb

b
& b #
b
&b
la sua sor
b
& b #
? b #
b

n
-
j #
trop - po
15
te del re -gno_il con- ten - to, del re - gno_il con
143
18
b
&b
b

&b
ten
b
&b
b
& b
? bb
21
to,
il
con
& b n b #
ten
to
trop - po
co - sta
ad
un'
al - ma che in - ten - de
b
& b b n n b #
b
n
? bb

24
b
&b
&b
-ten de
la sua sor
te
re
del
b
& b #
? bb # n
gno_il con - ten
sor - te, che in -
#

#
# n
la sua
n b
to,
il
con -
144
# n
27
b
& b #
b
&b
ten
to,
b
& b n # #
? bb

30
b
& b b # n
quel ful - go
b
& b b # b n
n bn

? bb
33
b
&b
re,
quel ful - go
ri - splen de
per con - for - to
b
& b

?b
b
re
che al -
b n
b
&
b
&b
- let - ta
e non che tor - men

J
n

n
J
145
36
b
&b
b b n
b
&
to,
b
& b b n
? bb b
39
b
&b
quel ful
j
j
b n
j
b
& b # n #
go - re
che al - let - ta, che al - let - ta
b
& b n
#
n

n
? bb
n
ri - splen de
per con - for - to,
b
& b
men
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n b j
n
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to,
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? bb
n
n

n
n
tor -
b n
&b
e non che
#
n
42
b n
&b
che
tor men - to.
146
b
&b
46
j #

b
&b
b

& b
#

? b #

b
50
b
&b
b
&b
b
& b n
? bb
b n b
&b
# n
b #
53
b
&b
b
#
# n
j #
b
& b b # nb #
#
n bn

# #

? b
147
57
b
& b b# n
b
&b
j #

trop - po
b n
&b
61
b
&b
&b
la sua sor
n
#
te del re -gno_il con- ten - to, del re - gno_il con - ten
b
& b
64
b
& b n

?b

b

b
&b
b
& b b #
n bn
? bb
? b
b

to,
n b
il
con - ten
to
trop - po
b n n
148
67
b
&b
& b #
co - sta
ad
un'
al - ma che in - ten- de
b
& b b #
b
n

? bb
b # n
&b
re
b
& b
#
? bb

73
b
& b #
b
& b
gno_il con - ten
la su - a sor
te
n b
to,
il
con - ten
to,
#
n b n#
# n b

# n
b
& b # #
? bb
del
# #

# # n n
70
b
&b
la sua sorte, che in - ten- de
149
Recitativo
S.
Pno.
b
&b
{
{
la pal - ma
n
>
pa - ce
#w
n
J
vo - ler
nnn
###
ri - mi
nnnw
w
w
n # #
men - tre al so - glio pen- san - do
n
J
b
& b <n><n>
<n>
? bb
<#>
#
& 43
suo pe - nar tra_i fio - ri,
ra - va
2. Aria
il
n n
#
E - ra con- for - to
b
&b nw
w
w
? bb w
b
&b
j
n
n
+
n #
scen - de - va nell' al - ma.
nn
###
43
43
43
#

# #
#
n
n n
#
? # 43 # n # n #
#
& 43
&
Sia
gui - da, sia
#
& n #
?#

11
#
j
&

na_al de
& n #
?#
cor, quest'
stel - la
u - na_al de - cor,
quest'
# #
# # n n
sia
gui - da,
sia stel - la
quest'
150
#
&
17
na_al
de - cor,
sia
gui - da, sia

stel - la quest'
na_al de
#

& #

j
? #
#
& #
j
#
22
cor,
sia
gui - da,
sia
stel - la

#
#
? # #
n
#
& # #
cor, quest' u
#
&
j
#
na_al de
cor,
j
#
#
j
#

j
#

#
& # j
34
stel - la
na_al de
j
#
sia
gui
da,
sia
quest' u - na_al de - cor.
#
& # #
?#

# # n #

# # n n

#
j
j
&
39
j
n
#

# # # n
? # #
quest' u - na_al de - cor, quest' u
& #
28
For - tu - na
#
&

?#
bel - la,
for - tu - na
bel - la
#
J
fa
cer - to
l'o - nor,
fa
cer - to
l'o-
j

j

151
#
&
47
nor,
#J # # J#
#
& # #
? # #
for tu - na
bel - la
#
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bel - la
& #
n
? # #
n
n
60
&
cer - to l'o - nor,

# #
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54
fa
fa
cer - to l'o
bel - la
for - tu - na,
nor.

Sia
#
&
# #
# # n #
# n n
#
? # #

#
& #
65
gui - da, sia
stel - la
quest'
na_al de
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# # n #
# # n n

#
&
&
70
for -
# # n b

# nn
#

#
#
n
b
u - na_al de - cor,
sia
gui - da,
&

?#
sia stel - la
quest' u
na_al
cor, quest'
de - cor,
sia

j

J
152
#
&
76
gui - da, sia
stel - la quest'
na_al de
cor,
sia
gui - da,
#
&
?#
#
& #
81
stel - la
quest' u
j

-
#
&
#
& #
j
#
na_al de - cor, quest' u
#
& # #
?#

87
#
#
na_al de
cor, quest' u
cor,
j
#
-
na_al de
j
#
#
j

#
sia
# #
j
#
sia
gui
da,
sia
stel
la
quest'
j
#
j
n
? # # # # n

#
& # j
92
u - na_al de - cor.
#
& # #
?#

n
# # #

# # n n

Recitativo
S.
Pno.
#
& c #j #
In
#
& c #
? #c
#w
co - s
dir
per
#w
far - lo
al - to re - gnan - te.
la
w
#w
w
w
ww
ve - stis - se
? #<#>
pre - vi - de qual a - mi - co sem - bian - te
sor -te_al - lor
#
& <#>
# #
#
j
&
153
+
di
me - schin
3. Aria
#

&

&
j

J
#
&
?#
&
&
?#
la
Bril
&
-
j

J
j

va
pro - tet -
to,
j j
154
7
&
&
#
&
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ta,
da spe
bril - la
#
j
& j j

?#
10
va pro - tet
&
lor,
J
nel
co
to da spe
ne
gu -
ne
gu - sta
re_il do -
n
J
lor,
nel
co
ta
nel co
re_il do
J #
J

# # #

#
&
#
j
&

?#

13
re_il do - lor,

J
bril- la
j
j
#
# #
& j #
n
J
#
n

?#
#
16
&
#
&
#
&
va,
?#
bril - la

va
pro - tet
j

j
to

da
spe - ne
j
j
155
19
&
&
j
# j
j
j
&
?#
J
J
J
J
&
&
22
#
&
?#

25
&
j j

j j

re_il do - lor.
#
&

j
j
j j
j
j
J J
#
&

J
Gi - ra- va
so- let to
j j j j
j
j

j #

?#
##
con
n
J
156
29
&
&
&
men - te l'ar - dor,
& #
#
?#
36
&
&
#
pe
so - let - to,
gi - ra
#
& ## # j j
n J
? # #
j
J #
#
va
so - let
to
con
j
#
# # #
#
na_al lun - ga
con pe - na_al - lun - ga - ta in-
J
J
gi - ra - va
# n# j # n

#
#

# # #
#
& #
pe - na_al - lun - ga - ta, con pe - na_al - lun - ga - ta in - men - te l'ar - dor,
#
& # n

? # n
#

33
ta
in
men
j
j ##
#
j
j
te
in
l'ar - dor,
j
#
#
157
39
&
# #
# j

& # # J J
men - te
#
J
l'ar dor,
j
# #
#
? # #
#
&
#
&
#
& j
Bril - la
- tet
&
j
n

#
&

?#
46
in men - te l'ar - dor.
#
& ##
43
pro -
J
bril - la
j j
j

va
to,
#
j
& j
?#

va pro
158
49
&
#
&
tet
to da spe
ne
gu - sta
ta,
da spe
ne
gu - sta
#
j
&

?#

52
&
# #
#
#
&
ta
nel co
re_il do - lor,
&
#
& J
lor,
bril- la
va,

&
J n
n
?#

nel co
n
J
re_il do - lor,
nel co
re_il do
j
j
# #
#

#
#
#
& #
J
J
?#
55
bril - la - va pro - tet - to da spe - ne gu - sta - ta nel co

j j
J
j

159
59
&
&
j
# j
j
j
&
? # J
J
J
J
&
#
j
&
62
#
&
?#

#
&
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&
65
&
j j

j j

j
j
j j
j
j
J J
re_il do - lor.
?#
j
j
160
Violin

HWV 113
G. F. Handel
12
Recitativo
b
&b c
& b j #
1. Aria
f
b
b
& b n
b n b n
&b

#
# n
p
& b b# n
12
n

b
&b
16
b
b
&
20
#n
n
b # nb
#
&b
#
26
30
b
& b b# n
38
b
& b n
n n
n
b
b
&
42
161
& b j #
46
b n b
b

&
50
b n b n
&b

#
53
57
b
& b b# n
# n
p
b n
b
&
61
b
b
&
65
#
b
&b
71
#n
n b

b
# n b
& #
# n
73
Recitativo - 2. Aria - Recitativo
b
&b
TACET
3. Aria
&

#

&
# # #

&
13
#
&
17
# j
&
#
& #
39
44
&

#

&
26
#
& ##
22
34
# # #

&
j
&
62
#
&
65
53
#
&
57
162
Cello
163

HWV 113
G. F. Handel
Recitativo
Figlio d'alte speranze, Abdolonimo
? bc
b w
7
? bb #w
nacque all'imper di Sidonia;
e poi si tacque
nw
lo spirto suo godere tra disastri vedete, qual che possa nocchier fra
si disse un d la fama
le tempe -
-ste.
1. Aria
? bb
? bb #
11
? bb
# #
# n
? bb n
17
? bb # # n
22

? bb

27
? bb n b
32
? bb b b n n n
n
37
42
? bb
n #
164

? bb
47
52
? bb #
57
? bb
# #
# n
? bb n
63

? bb # # n

68
? bb

72
Recitativo
Era conforto il suo penar tra i fiori, mentre al soglio pensando rimirava la palma
? bbc w
#w
e pace a voler
scendeva nell'alma.
# n
2. Aria
# n n
? # 43 # n # n #
?#
# # n n

j
?#
12
? # # n

19
? # #
26
#
# #
165
n n

# #
? # # n
33
39
?#
? # # n # # nn #

48
?#
56
62
?#
67
?#

# #
#
n # n
n n

# #
n n

? # j J
73
? # # n

79
? # # # # n

87
92
?#

# # n n

166
Recitativo
? #c
In cos dir previde qual amico sembiante
#w
#w
la sorte allor vestisse
per farlo di meschin
3. Aria
? # J j
J
J
alto regnante.

12
n
# #
?#
?#
? # j J
J J
J
J
17
?#
j j j
j J J
22
## n n
?#
#
27
? # # J
32
J # #j
J
? # j j #
#

37

J
J
? # j
48

?#

53
n
? # # #

j
42
? # j J
J J
J
J
58
63
?#
j j
j
j J J
167

of da capo sections
1. Aria: Troppo costa ad un'alma

46
b
&b c
S.
&b
J
#
#
al - ma, ad un' al - ma,
b
&b
Trop - po costa ad un'
55
60
trop - po costa ad un' al - ma che in - ten - de la
sua sor - te,
<>
<>

&b
la sua sor
te del re - gno_il con- ten - to, del re - gno_il con
63
ten
to, il con - ten
to
trop - po
# n
&
#
67
<>
71

&b
co - sta ad un' al - ma che in - ten
to,
il con - ten
de la sua sor - te del re - gno_il con- ten
to.
2. Aria: Sia guida, sia stella
#
& 43
58
S.
# #<>
J
&
68
<>

J
# #
Sia
u - na_al de - cor,
sia
gui - da,
76
gui - da, sia
stel - la
quest'
stella
#
J
J
J
<>
#

&
J
u - na_al de - cor, quest'
gui - da, sia
u - na_al de - cor,
sia stel - la
quest' u - na_al de - cor,
quest'
sia
j # j
j

sia
gui - da, sia
stel - la quest' u - na_al de-
168
#
&
83
cor,
quest'
u - na_al de
#
J
# #
cor,
quest'
u - na_al de
<>

&

#
90
gui - da,
sia
stel - la,
quest'
cor,
sia
u - na_al
j
#
de - cor.
3. Aria: Brillava protetto
#
& c
41
S.
47
&

j

J
Bril - la
va pro - tet - to,
<>
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ne
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ta,
da
spe
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J

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51
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va,
ta
nel
co - re_il do
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59
to da spe - ne gu - sta
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63
ta nel co
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169!
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Performing Editions of the Handel Cantatas HWV

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Authors Acknowledgements. iii

LIST OF MULTIMEDIA OBJECTS

Handels Time in Italy

Notes on Performance Practice

of these cantatas are:

Notes on the Pronunciation Guides

About this Edition

HWV 81: Alpestre monte

Pronunciations and Translations

Io so ben chil vostro orrore

I know well that your horror

Come in questo atro soggiorno,

As in this gloomy residence,

Quindi men vengo a voi per

Therefore, I come to you at least

Almen dopo il fato mio

After my fate, at least

Per temprar il mio gran duolo,

To temper my great grief,

Al - pe- stre mon - te

e so - li - ta - ria sel - va,

tri -sto_al - ber - go d'or- ror,

fra l'om - bre cu - pe_e

del vo - stro sen ce - la - te

di - spe - ra - to_a - man - te,

+ appoggiatura * cadential delay

che_a voi, pie - no di duol, mo

dea del mio pen - sie

ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co- re, _un' i - de - a

del mio pen sie - re,

so ben ch'il vo - stro_or - ro - re _un'

ma - go del mio co - re, _un' i

_un' i dea del mio pen

Co - me_in que- sto

_un' i - dea del mio pen- sie

stan - no_al co - re_at - tor - no om -

a - tro sog- gior - no,

co- s stan - no_al co - re_at - tor - no,

ri - de_e fie - re, co - me_in que - sto

re,_e fie - re.

a - tro sog- gior - no, co - s stan - no_al co - re_at- tor

Io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co - re, _un' i -

dea del mio pen sie

io so ben ch'il vo - stro_or - ro - re _un' i - ma - go del mio co- re, _un' i-

pen sie - re,

_un' i - dea del mio pen- sie

Quin - di men ven- go_a voi

per cer - car mor - te,

ch'il mio duol

non tro - var mai pa- ce al - tro ch'in lei;

a-mo nin - fa gen - ti - le,

e l'a - mo tan - to,

al fin per - dei me stes - so,

e'l cor per - dei

ahi di mia mor - te a- spra ca - gio - ne,

che per so- ver - chio_a

dal - la gran fiam - ma_op - pres - so.

ma per mio de - sti- no,

se l'a - mar - ti_ de- lit - to,