GEORG FRIEDRICH HANDEL

30 Ausgewahlte Arien
aus Opern und Oratorien

fi.ir eine Frauenstimme

Ausgewahlt und mit Klavierbegleitung

herausgegeben von

Herman Roth

EDITION PETERS LEIPZIG

Edition Peters, Leipzig

Bestell-Nr. 3493
Druck: Leipziger Druckhaus Grafischer Grof)betrieb III /18/203
Lizenz-Nr. 415-330/142172

- 7

PRE~ACE

VORWORT

ie vorliegende SammlunR vermitteft eine Auswahl

HandelsmerGesange fiirFrauenstimme. Es worden,
Clamit aucn zahlenmaBig Handels Reicntum veransmaulicnt
sei. aus dreiBig W erken drei6ig Nummern entnommen.
Der Stoff wurde so angeordnet, da6, ausgenommen die
Arie aus der Cacilienode, welcne, gcwissermaften afs
musikalis<he V orrede, am Anfange steht, erst die (zwei
Drittel des Ganzen ausmacnenden> Stu<ke aus Opern, dann
die aus oratoris<hen W erken nacn der Zeitfolge ihrer Ent
stehung aneinandergereiht ersmeinen. Man mag hierin
den bescneidenen V ersum erblidten, auf dem Sondergebiete
des begleiteten Sologesanges cin BUd von dcr Entwic:kelung
des Meisters zu zei<hnen.
Grundsatz bei der Veroffentlicnung war, soweit dies im
Klavierauszuge moglim ist, das Original darzubieten,
wie es durcn die Ausgabe der deutschen Handelgesellscnaft
reprasentiert wird. Neben dieserwurden na<h Gelegenheit,
dod! ohne Oberscnatzung ihres urkundli<hen W ertes
Cluersme und W alshs<he Erstdrucke zu Rate gezogen. Bei
der Bearbeitung der Arie Vo' far guerra a us Rinaldo ist das
Cembalosolo mit kleinenAnderungen na<h dem Walshs<hen
Drucke wiedergegeben, den Chrysander im 48. Bande der
Handelausgabe mitteilt. Ferner wurden fiir dieseArie wie
die Arie Sl t' amo, oh caro aus T eseo die in mehr als einer
Hinsimt lehrrei<hen Klavierubertragungen von Handels
Schuler William Babell <urn 1690-1723) mitbentltzt, aus
denen eine Auslese gleimfalls im 48. Bande der Handel
ausgabe abgedruckt ist.
Der Klaviersatz verscnmaht nicnt Wirkungen, wie sie
der moderne Fliigel nahelegt 1 sumt aber in der Hauptsame
mehr, als h.eute iiblim ist, jene zarte Bestimmtheit und
T ransparenz des Klanges auf, die Handels eigenen Klavier
satz kennzeimnet und in zahlreimen Fallen nom am
melsten vom Reize seines Oren esters auf das T as ten
instrument hinuberrettet. lnstrumentationsangaben er
lautern den Aufbau der Stiidte: insbesondere ist der vom
Herausgeber ausgefiihrte Continuosatz sorgfaltig gegen
obligate Stimmen abgehoben. Von Verzierungen notiert
Handel in den vorliegenden Gesiingen mitverscnwindender
Ausnahme our der. T riller (tr). Die Einformigkeit der
Notierung bedeutet nimt Einformigkeit der Ausfiihrung 1
vielmehr hat diese, je nam Stelle und Zeitmafi, vom ein
famen Praller zu verwickelteren Formen hin zu wemseln.
Das Wenige, was an Verzierungen. erganzt ist, wurde
dur<h Einklammerung als Zusatz kenntlim gemamt.
Eben so verfahren wurde mit dynamiscnen Zeimen, die si<h
aus dem Baue der Musik ergeben.
Bei den italienis<hen Arientexten s<hien eine metriscne
Obertragung i.ibertli.issig, da der Vortrag in der Gesangs
spra<he par excellence das fur den gebildeten Sanger
Gegebene ist. Zur Simerstellung des Textverstandnisses
worden am Kopf der Arien wortli<he Prosaiibersetzungen angebra<ht, welme einer Prufung zu unterz:iehen Herr
Dr. Ludwig Landshoff dieGiite hatte. DieUbertragungen
der englismen Arientexte sind vom Herausgeber genau
durcngesehen und zum T eil iiberarbeitet worden. Auf
den Reim wurde dabei, wie s<hon in alteren Obertragungen gesmehen ist, des Ofteren verzimtet. Ihn zu
erzwingen, ist falsm iiberall da, wo seinetwegen der in
erster Linie anzustrebende gesunde Zusammenhang von
Wort und Ton eine Beeintra<htigung erfahrt.
Endlich sei mir vergonnt, au<h an dieser Stelle meinem
Freunde Otto Vrieslander aufrimtig zu danken fiir den
lebhaften und mir stets forderlich gewesenen Anteil, den
er wie an andern so an der vorliegenden Arbeit ge
nommen hat.
MONCHEN,

me present colfectlon comprises a cnolce ofHand;f6s

L .Sonps for fomak voict>. 'To prove the n"chness of
Hamid numerlcaff;y, we incfudetf tfir'rt;y num~ers
ufectt>d /rom tfiirt;y woris. W1th the exception of
fbi?' aria from Ct>cifia's Ocfe which opens th? serit?s
as a Rind" of musica( prtiface, the maft'riaf fias ~em
arrangt?d /0 ShOW jlrst/;y the pieces ./rom Operas rP
prt>smtine two thirdS of th' wfiofe, secondf;y those
taien from oratorical woris, ~oth in tfie cfironofogicaf
order of tneir creation, 'Tfiis ma;t be constderetl as a
mot:kst attempt to sietch tne cfevefopment ofthe master
in tfie specialjlefd of tne accompanied sofosoniJ.
In pup/lshlng this worn It bas Delli our princlpk,
as far as this couftfbe tfone within the llmitetf.fcope of
a scou lor plano, to present orlglnafs, in conformit)'
with tle edition of tnt' German Hancft~l's Soci'et;y. In
addition to the fatter, Cfuer's and" Wa/Sn's first prints
Wt?re consuftt>doccasionaf(;y, wlthout however overesti
molino their authentic vafl4e. In deali"ng with the aria
"Vo'.far guerra"j'romRinafdo" tfie "Ct>moafo solo" nas
oettn reproduced with somt> sllo6t a!ierations accordiizo
to Wa!Sfi's prrizt:, wfiicfi Chr;ysancfer malies inown In
tfie 48th volume of the Hand"t>f.ttdltion. In arrangino
tfiis aria and th-e aria "Sl t' amo, on caro" .from 'Testto,
thtt transcriptions for plano o;y Hancfttrs pupil WJ10am
Baoe(f(aDout 169o to 1723), Vt?r;y lnstructive in man;y
respects, wert' put under contrtoutlon, a cn~ice sert'es
of them De1izg containttd lliewlstt ln tfie 48th vofume
of tfie Hancft>f edirlon.
'Tfie settlno /or piano tfot>s not ro:jttct effects,. such
as are imposed DJI the modern grand; but as a ruk
it aims mortt tfian 1t is usual nowacfa;y.s at that delicate
dt>termtization and" transpaunc;y of sound whkfi cha
racterlses Hancfef's own composi'tion for plano anti
which, in numerous instances, saves most charms of
his orchestra liz a transmission on a /ie;yed instrUlllt'llf.
Notes of ordiestration expfariz the structure of tne
pieces; especlaf(;y tfie "contJizuo" executed D;y fhl' edi'tor
is cartifu/T;y separated /rom fhl' "oD!Igatos." As for
ornaments Handel With out a ft~w exceptions notes
onf;y the tri/To (tr) 1iz the fier? t~dited songs. But the
monoton;y of the notation DJI no means impflt>s a mono
ton;y of execution,~ on the contrar;y, according to place
and measur. of time, thl' fattt>r nos to var;y /rom the
plainest tnff to the most complicatedforms. Tfie ver;y
few ornaments tfiat were Jitsertt>d nov' been made
inown as an addition DJI oeing put ln oraciets. We
proceeded in the same wa;y with d;ynamic desionations
resuffrizo /rom tfie oulli of music.
in treating tfie Italian texts of arlas, a metrlcaf
transfation seemed unnecessar;y consldering that their
defivt>r;y ln this mefodi'ous fanpuage ls predetermined
for an;y cu!iivatt>dsinger. W1th a vlew to assurlng an
undl'rstandiitg of the text litera( transfatr'ons in prose,
wfiicfi Dr. Ludwig LandSfiojf had the Rl'ndness to
t>xamritt?; prt>cede the arias. 'Tnt> transfat1'ons qf the
Engfisfi texts of the arias nave oeen strictf;y revlsed
o;y tne puDfishttr and" part(;y woried over agar'n. Tfie
rh;yme ojil'n fias Dl'en gitNn up" slmrfarf;y to the older
translations r'n wnlcn tnt? li'Re omi.sst'on occurred: It
would De wrong to enforce it wfieret'er for .salle of
rfi;yme tfie sound" fiarmon;y of word and tone, which
ouofit to oe tfie enid arm" would De prejudiced.
Before cfosr'no I talie great pleasure r'n tfianilng
m;y friend; Mr. Otto Vriesfancler, most stitc:eref;y for
tfie li'vef;y and most /ruiifuf interest wfilcn fie fias
liindf;y faRm in the prt>st>nt as in former woris.

Juni 1915.

MUNICH, June 1915.

Herman Roth.
10013

IV

INHALT
Pat
1. Clclllenode. Arie: ,Wie hebt und senkt Musik der Seefe Flug" - ,What passion cannot Music
raise and quell" (Sopran) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S
2. ~odrlgo. Arlette der Esllena: ,,51 che lieta goderb" (Sopran)................................... 14
.3. ~lnaldo. Arie der Armida: ,Vo' far gu~rra" (Sopran)......................................... 15
4. TeMo. Arie der Agilea: ,Sl, t' amo, oh caro" (Sopran). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
5. Amadlgl. Arie der Melissa: ,Ah! Spietato!" (Sopran)......................................... 26
6. ltadamlsto. Arie des Radamisto: ,Ombra cara di mi- sposa" (Sopran) . . . . . . . . . . . . . . . . . . . . . . . . . 30
7. Florldante. Arie der Rossane: ,Oh dolce mia speranza" (Sopran).............................. 34
8. Ottone. Arie des Ottone: ,Ritoma, o dolce amore" (Kontraalt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
9. Flavlo. Arie der Teodata: ,Che colpa ~ Ia mia" (Ait) . .. .. .. . .. .. .. . .. . . . .. . .. . . . . . . .. .. .. . . . 40
10. TamerJano. Arie der Irene: ,Par che mi nasca in seno" (Ait). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
11. ltodelluda. Arie des Bertarido: ,Con rauco mormorio" (Kontraalt) . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
12. Scipione. Arioso der Berenice: ,Tutta raccolta ancor" (Sopran)................................ 52
13. Aleuandro. Arie der Rossanc: ,L' armi implora dal tuo figlio'' (Sopran)......................... 54
14. Admeto. Arie des Admeto: ,Cangio d' aspetto" (Kontraalt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
15. Slroe. Szene und Arie des Siroe: 11 Son stanco, ingiusti Numi" (Kontraalt) . . . . . . . . . . . . . . . . . . . 6Z
16. Poro. Arie do Poro: ,Senza procelle ancora" (Kontraalt). . . . . . . . . . . . . . . . . . . . . 66
17. Sosarme. Arie des Sosarme: ,II mio valore" (Kontraalt)....................................... 72
18 Orlando. Szme und Arie des Orlando: ,Imaginl funcste" (Kontraalt). . . . . . . . . . . . . . . . . . . . . . . . . 76
19. Arlanna. Rezitativ und Arie der Arianna: ,Qgel crudele" (Sopran) . . . . . . . . . . . . . . . . . . . . . . . . 82
ZO. Arlodante. Arie des Polinuso: ,Spero per voi~~ (Ait) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
21. Alcina. Arie des Ruggiero: ,Mi lusinga il dolce affetto 11 (Sopran). . . . . . . . . . . . . . . . . . . . . . . . 90
22. Ads and (ialatbea. Rezitativ und Arie der Galathea: ,0! kenntest du die Qgal einsamer Ucbe11
- ,Oh I didst thou know the pains of absent love" (Sopran) . . . . . . . .. .. . . .. . . . . .. . .. .. .. 9423. Israel In Aaypten. Arie: ,Du flc6't wehn"- ,Thou didst blow" (Sopran) ...................... 102
24. Mesalu. Arie: 11Steh' auf, steh' auf mit Freuden" - ,Rejoice greatly, o daughter of Sion" (Sopran) 106
25. Samson. Rezitativ und Aric des Micha: ,0 Wechsel uneriWrr' - ,0 change beyond ftPOI't'' (Aft) 116
26. Belsazar. Szene und Arie der Nitocris: ,Falsch, unbestindig Los" - , Vain, fluctuating state" (Sopran) 121
27. Heracles. Arie der Jole: ,Mein Vater! ach!" - ,My father! ah!" ([Mez:ro]Sopran) ............. 130
28. Judas Maccabaeus. Arie: ,Vater des Ails" - ,Father of Heav'n" (Ait) ............... 135
29. Josua. Arie des Othnicl: , W enn der Held nach Ruhme dOrster~ - ,Heroes, when with glory
buming" (Kontraalt) ............................................ 141
30. Theodora. Rezitativ und Aric des Oidymus: ,,Drackte sic Gram?"- ,Or lull'd with grief" (Ait) . 147

10013

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Si che lieta godero
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15

Arie der Armida

aus ,Rinaldo" (1711)
(Giacomo Rossi)
Vo' far guerra e vincer voglio,
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22

Arie der Agilea

a us , Teseo u

(1712)

(Nicola Haym .)

Ja., ich liebe dich, Teurer, so tief wie einst ich dich liebte,
da dies mein Herz ich dir gab.
Du allein bist Erquickung fiir diesen Busen,
und nicht !eben kann ich ferne von dir, mein Lieb.

Si, t'amo, oh ca.ro, quanto un di t'amai,

perche questo mio cor gia ti donai.
Tu sol ristoro sei di questo sen,
ne viver so lontan date, mio ben.

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10013

26

Arie der Melissa

a us , Amadigi"
Ah! spietato! e non ti muove
un affetto si costante,
che per te mi fa languir!
Ma crudel, tu non sai, come
fai sdegnar un alma amante,
che tu brami di tradir.

(1715)

Ach! Unbarmherziger! und nicht riihrt dich

das Gefiihl so treu, so standhaft,
das fur dich mich schmachten liU.W
Doch Grausamer, du weiBt nicht, wie
du verachten lehrst die liebende Seele,
die zu verraten dich geliistet.

Largo.

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30

Arie des Radamisto

a us , Radamisto {( (1720)
(Nicola Haym.)
Ombra cara di mia sposa,
deh! riposa
e lieta aspetta
la vendetta,
che faro!
E poi tosto, ove tu stai,
mi vedrai venire a volo,
e fedel t 1abbracciero.

Teurer Schatte meiner Gattin,

ja! ruhe nur
und froh erharre
die Rache,
die ich bereiten werde!
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wirst du mich nahen sehn im Fluge,
und getreu werd ich dich umarmen.

ma non troppo.

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84

Arie der Rossane

aus ,Flori dante"

(1721)

(Paolo Rolli)
Oh dolce mia speranza,
no, non partir da me!Per te di lontananza
non sento
piu tormento
e vivo sol per te.

Larghetto.
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0 meine sUI3e Hoffnung,

nein, gehe nicht von mir!_
Um deinetwillen der Ferne
nicht fiihl ich
mehr die Marter
und lebe nur fur dich.

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38

Arie des Ottone

aus ,Ott one"

(1722)

(Paolo Rolli.)
Kehr wieder, sii!3e Liebe,
erquicke diesen Busen.
Es sehnt sich das traurige Herz,
fest zu umfassen sein Gut.

Ritorna, o dolce amore,

conforta questo sen.
Sospira il mesto core
di stringer il suo ben.

vr

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Da Capo dal Segno.

40

Arie der Teodata

aus ,,Flavio" (1723)
(Nicola Haym.)

Was ist meine Schuld denn,

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mit tausend
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der das Herz mir traf.
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mit dem Gescho.6
cines Blickes
verfiihrt! er das deine schon.

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se Am or vuol cosi?
con mille
faville
piu strati m'invia
l'alato,
bendato,
ch' il cor mi feri.
Ogn un sa, ch' Amore
tiranno d'un core;
col dardo
d'un guardo
il tuo gia tradi.

Allegro, ma non troppo.

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[)a Capo dal Seg-no

toota

"
Arie der Irene
aus ,Tamerlano"

(1724) [ 2. Fassung]

(Nicola Hayrn.)
Par che rni nasca in seno
un raggio di speranza,
a consolarmi il cor.
Ma non contenta a pieno
del seno Ia costanza,
se l'agita il timor.

Es scheint, daB rnir aufgeht im Busen

ein Strahl der Hoffnung,
zu trosten mir das Herz.
Doch nicht befriedet er vollig
den Busen zur Stetigkeit,
wenn Furcht ihn erregt.

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Da Capo,

48

Arie des Bertarido

aus ,Rodelinda" (1725)
(Nicola Haym)
Mit heiserem Rauschen
klagten zu meiner Klage
Bache und Quell en.
Und in versttimmelten und trtiben Lauten
geben Widerhall meinem Jammer
die Hohlen und Berge.

Con rauco mormorio

piangono al pianto mio
ruscelli e fonti.
E in tronchi e mesti accenti
fann 'eco a miei lamenti
e gli a.ntri e i manti.

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52

Arioso der Berenice

aus ,Scipione" (1726)
(Paolo Rolli~
Tutta. raccolta ancor
nel palpita.nte cor
trema.nte ho l'alma..

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im pochenden Herzen
zitternd ha.b ich die Seele.

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54

Arie der Rossane

aus ,Alessandro"

(1726)

(Paolo Rolli)

nachkomponiert fur Faustina Bordoni. [2. FassungJ

L'armi implora. dal tuo figlio
a.l mio la.bbro ed a.l mio ciglio,
va.ga. Dea della belta.
Son le grazie, i vezzi sono,
bella Diva, inutil dono,
s'altri gode liberta.

Die Waffen ernehe von deinem Sohne

fur meine Lipp' und fur meine B ra.ue,
schweifende Gottin du der Schonheit.
Anmut ist, es ist der Liebreiz,
schone Gottin, ein unniitz Gut,
wenn ein Andrer Freiheit genie.6t.

13.

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58

Arie des Admeto

aus ,Admeto" (1727)
Es wandelte sein Antlitz
das herbe Schicksal,
und in meiner Brust
ist schon wiedergeboren
aile Wonne.
Nicht mehr ftihle ich
Kummer und Qualen
nun da. mein Busen zurticksichwendet zur Freude.

eangio d'aspetto
il crudo fato,
e nel mio petto
gia rinato
tutto il piacer.
Io piu non sento
pene e tormento
or che il mio seno torna a goder.

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Szene und Arie des Siroe *>

62

a us , Siroe '' (1728)

(Pietro Metastasio~
Ich bin es miide, ungerechte Gotter,
zu leiden unter euerem Zorne.
Wozu hilft mir
die Unschuld und Tugend?
wenn den Gerechten sie niederwirft,
wenn den Verriiter sie erhoht.
Wenn menschliches Verdienst
also Astraia abwagt,
dann herrscht der Zufall
oder Unschuld ist v~rbrecherisch.
Ich muB sterben, ihr Sterne,
und niemanden schaut ihr, der meiner Unschuld
ein Geniigen gabe,
noch ihr gabe den Frieden.
Ich bin dem Tode nahe,
und ein jeder bei meinem Lose
zeigt sich emport
oder schweigt doch.

Son stanco, ingiusti Numi,

di soffrir Fira vostra.
A che mi giova
l'innocenza virtu?
Si opprime il giusto,
s'inalza il traditor.
Se i merti umani
cosi bilancia Astrea,
o regge il caso,
0 I'i~nocenza
rea.
Deggio morire, o stelle,
ne all' innocenza mia
v'e chi contento dia,
ne chi dia pace.
Jo son vicino a morte
e ogn' un nella mia sorte
o mostrasi rubelle
o pur si tace.

:strelchorchester

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66

Arie des Poro

aus ,Poroa (1731)
(Pietro MatastasioJ
Senza procelle ancora
si perde quel nocchiero,
che Iento in su la prora
pass a dormendo il di.
Sognava il suo pensiero
forse l'amiche sponde,
rna si trovo fra l'onde
allor che i lumi apri .

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schlafend den Tag verbringt.
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vielleicht von freundlichen Ufern,
doch er fand sich in den Wellen,
als er die Augen auftat.

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Da Capo

72

Arie des Sosarme

aus ,Sosarme a

(1'732)

(Matteo Noris.)
Il mio val ore,
ch'albergo in petto,
al tuo furore
argin sara.
E gran diletto
di nobil alma
l'aver la palma
crudelta.

Meine Kraft,
die in der Brust ich hege,
wird wider deine Wut
ein D amm sein.
Hohe Lust ist's
der edeln Seele,
die Palme zu erringen
iiber Grausamkeit.

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IJa Capo

'76

Szene und Arie des Or lando

a us ,Orlando" (1732)
(Braccioli.)

Imagini funeste, che turbate quest' alma,

e non avro sopra di voi Ia palma.
Si, gia vi fuggo e corro a inalzar col valor novi
trofei!
Ti rendo, oh bella gloria, i affetti miei.
Ma, che parlo, e non moro!
e lasciero quel idolo, che adoro?
No! parto! e fia mia gloria
piu servir ad amor ch'aver vittoria!

Angstigende Bilder, die ihr diese Seele verwirret,

nicht werd ich iiber euch die Palme erringen.
Ja, schon flieh ich euch und eile, durch Tapferkeit
zu erhohn mir neue Trophi:i.en!
Dir opfre ich, schoner Ruhm, meine Leidenschaft.
Doch, was red ich, und sterbe nicht!
und werd ich das Bild denn lassen konnen, das ich anbete?
Nein! ich ende! und es wird mein Ruhm sein,
mehr der Liebe zu dienen als Sieg davonzutragen!

Non fu gia men forte Alcide,

benche in sen d'Onfale bella
spesso l'armi egli poso.
Ne men fiero il gran Pelide
sotto spoglie di donzella
d'Asia i regni minaccio.

Largo, e piano

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Nicht minder tapfer war einst der Alkide,

wenngleich urn den Busen der schonen Omphale
oft die Riistung er legte.
Und nicht minder trotzig bedrohte der gro13e
Pelide
unter Madchengewandern
die Reiche Asiens.

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82

Rezitativ und Arie der Arianna

aus ,Arianna" (1733)
(Francis Colman.)
Quel crudele di me pieta non sente
e mi lascia morir benche innocente!
Se nel bosco resta solo
rusignolo,
col suo canto
va sfogando
il suo dolor.
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il mio dolce car,o amor.

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87

Arie des Polinesso

aus ,Ariodante" (1734)
(Antonio Salvi.)
Ich hoffe durch euch, ja, ja,
ihr schonen Augen, an diesem Ta.ge
zu heilen meine Wunden.
Und euch weihen will ich
die Gefi.ihle meines Herzens,
ihr lieblichen Blicke.

Spero per voi, si, si,

begli occhi, in questo di
sanar mie piaghe.
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gli a.ffetti del cor mio,
pupille va.ghe!

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10018

90

Arie des Ruggiero

aus ,Alcina"

(1735)
Mich umschmeichelt ein siiBes Geftihl
beim Anblick
meiner Geliebten.
Doch wer weiB? beftirchten muB ich,
daB in meinem Lieben ich noch mich tausche.
Aber wenn sie es wirklich ware,
die ich anbetete,
und ich verlasse sie,
ungetreu, unda.nkbar bin ich dann,
bin grausam und ein Verrater.

Mi lusinga il dolce a.ffetto

con l'aspetto
del mio bene.
Pur chi sa? temer conv1ene,
che m' inga.nni amando an cor.
Ma se quella fosse mai,
che adora.i,
e l'a.bbandono,
infedele, ingra.to io sono,
son crudele e traditor.

Andante larghetto.

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Da Capo dal
10013

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94

Rezitativ und Arie der Galathea

a us ,Acis und Gala thea"

(Urn 1720)

(John Gay.)

"

IL~

h-

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...

0!
Ok.'

kenn - test
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klagt; kehrt
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CY.

IJa Capo dal. Seg-no.

102

Arie
aus ,Israel in Agypten u (1738)
(Exodus XV, 10.)

Andante larghetto.

23.
Streicher und Fagotte

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Du

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J.

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du lie.l3 1t wehn - - - - - - thou didst b l o w - - - - - - -

with the wind,

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Edition Peters.

- sern,
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10013

sie
they

104
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san- ken
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11

wie Blei 1
as lead,

~~u

D- I J

_L

---~

-.-

.....~.-

in den macht 1gen

in the might-y

Was wa -

Oboen

....._

Blei
lead

wie
as

L __ k

ff

_1

!.

CmbIo

f~t f -r

-1!_-

._......

....

I.

wie
as

r.H.

If

,-,

h.
_ll.

@.}

A_

,.

~;

r.l_

h.

Was
wa
I

---.-!
,...

. . - . ..,..,...,.._

t.

- ..,.

J'"'"

h.
" U'

11

""

..

du liefft
thou dz'~st

~en

..

[I_

_..._

-._;r - r~r
..I

_...._

......

__...._

Edition Peters.

It

L I [

..I

'1

dei - nen
wt'th the
~

~~

~..,..,.

J ) ~
sanken, sie san- ken wie
sank, they sank as

das
the sea

II

1f=

b::U' r

........

~ ~ p l J

Wind:
wind:

I$ W1 J

..I

du liel31t wehn
thou dz'dst blow

~~
,_
j

wehn,
blow,

Cembalo

r.l.

lw W&

..I

I"".-

macht1- gen Was - sern;

might-y
wa Ob ters;

in den
in the

...

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.1"'1:

'<

sern,
ters,

-"'

I""

Sl

t.

~ ~ I

I""-

---=::!

~-

1'\

l"""--

,...

---

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Cembalo

I""

Blei in den machCgen

lead in the mighty

_I_

I""--

If"

F[

I I

I
10013

F cr E

rI

105

t.

1~.

"'--

f.

..

wie
as

J'-

I'"'"

II

-w

v..

II L
If

""'"

-..v

.~
m
___

1'1
'.1ft v:

......~

Ll

."'-lt..

J- ...

.I'"'"

-..v

1.1

..

Edition Peters.

I"""

--

wie
as

Blei
lead

..

.-.

---

~ ~ ~ ~ ~ ~ ~ ~ ~ t: ~'- ~ --.D

.1.

.....
.. h, r
mac t- gen
mght - y

..

.....

- ters)

den
in ___ they

- -.....
- sern,

....

).

Oboen

I'"'"

pr

J-

__ 1.....___

.-

.....

./

L1

le.J

I'"'"

"1.1

If

If"~

..

.....

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tr

J-

_...
_,

._

.....

in den miicht'fen Was wa in the mighty

_. J-

Blei
lead

Cembalo

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If

....
s~n- k;n

they sank

....

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....

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Sle

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lead)

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1:

.~r~.

ffi

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I'"'"

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....

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-

Cembalo

:s..

r-r

f1"'1

10013

j
-....

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106

Arie
a us ,Messias"

(1741) [2. FassungJ

(Sacharja IX, 9. tO.)

Allegro
fl

..

Geigen senza rip.

I
[L_

24.)

---

L/

(f)

"_L

.._

.,.

...

ll

_...!~

-t

f\

-~

_.,of[__b:

[t.J

.,. .,.

h~~~

---mit

f)

auf
Joice,

--

--

IL

..

-"..1
_L

IL

fl
"""

1-'1

tJ
fl
II

I
h

tJ

/_

P""

froh - lo re - Joice

P""

P""

.........

!'"'"

--

!""'

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>--j

-...

!""'

Edition Peters.

-,....,.,.,_

10013

"
.L

- eke,

du

Toch - ter
daugh- ter
I

p i

Cembalo

I [/
h_

__._

.~

---

Cembalo

- den,
great - ly,
Geigen
j

re-

if.J

steh

Re -;'ot'ce,

P""

Steh auf,

----

.-.-.!!

f----=

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JA:

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tr

J1j~...":

.. .
-

:----. &:----.,
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~~.

_M_

!""'

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I

:On
of

107
"'

T< IV
[T

Zi
Si
,

rr

on,
on,

Ge~

P'I"O'

~17

--.-.

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'T

I""

ll 1

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f)

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eke,

~
~

<

I 7"

;-tOo

,.. ----

:a

Edition Peters.

...I

-i

<.J'

Cembalo

.,.

I
I""--

_.I!I.__S.

---

-~

:a

I""

I""

--.;;jjjl

~r

--------

froh - lock',
re - ;"oice,

--t

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OL

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1'.

--

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@)

froh - lock'
re - j'oice,

froh - 1o _
_
_
_
_
re - foice, - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

.,_.,

;---

h J

..,

. -.

_r

z1 - on,
r
Si - on,

von
of

-~

..

-""

---

.,

,.,

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daugh-ter

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...

'lilt

du

,..

--v

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t:

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10013

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---

Lo...-1

v-

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108

!
_6____i

~
du

~~

LU'I'_]"

lt.J

fl

I_

\w

__._

,~

-.

Toch - ter
daugk - ter

II
.,.

~~LL

von
of

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zi

.,p

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auf__
foice

mit _ _

-J

1'1

"t

.,p

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II

\ 0): "
~

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- ze,

du

-~

tr

von
of

..,.

...

fl.

10013

~,--.._,

~sa - lem: I

Je - ru Je - ru - sa - lem:

,.

q:J

"

Edition Peters.

Toch - ter
daugk- ter

))
--

&,

jauch skout)

...

f)

Freu - den 1
great - ty,

!
~

...,.

-.
steh
re -

v
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109
fl

I
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t)

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fl

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~embalo
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r~

fl
If

I
t;;

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~~

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....

.J.!"'

Ko - nig

King__
I

-.t---....1

~mt ~
com - eth

--

....1

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~-

-----

~~

v
- 'q
dir, ___ kommt her
~

tJ

,..

.....

fl

--

~--J=-=t
,..

..

--~-

'1r

_.-'I

sieh,-- dein __
hold,-- thy--

denn
be -

+--=~

,..

Gei~en

'-'

,..-

.:l-~

t...

./

zu dir,
to thee,

+.......

I'--.

~r

-~

-...

her
un -

, __

jCemba~o

.,.

..,

1"\

lr:;.,.

1'"'1

de in Ko - nig kommt
thy King com-eth

denn sieh,
be - hold,
I
-

.,.~.~

,..

her__ zu __
un - to__ thee,_ com-eth

un -

zu dir.
to thee.

!=

.h_J
I

!I'J~ W "'~
Edition Peters.

=r

---

'~
~

.1

IJ

----

p~

tt;==-

--.

J!~i' t
10013

~ ~-~fq-fl.

i~~

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Geigen
-f/1

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--

1;

mJ

110
~. l

4!

~ l

de;"

ist
is

Er
He

.-

.-.

the

:.L"

IL

-"

rr

..

- r,-

I~

~r

"r

,_

f.

und er
and He

~- ~

1'-

..L

..b_.t

_h:

c.:rr

.-tl-

---.

__...,

.-

r-

~ u~

...,_

~-

brin-get
Heil zu al- len Vol shallspeak peace un - to the hea-

,..

f..

....

,_

IL

fl

vr

oiL--*'-

Hel - fer
Sa - viour
..

......

4!

te
teous

....--....._

rech rz'glt -

:J

-kern,
then,

er
He

brin- get_
shall speak

Heil,
peace,

er brin-get
Heil,
He shall speak peace,

-9~

'I

I.

'
I')
-,~~

!
t:

er
He

Heil,
peace,
I

....

ket

brinshall speak

al
zu
un - to

len
the

..,'-"'

Edition Peters.

Heil
peace

I
L

10013

...-

...

~P"'i"

Vol kea -

....

Cembalo

111
f')

I@

er
He

- kern,
- then,

ist _ _
is _ _

,_...
fl

Gei.:;en

., -r

!)

IL

'l

Hel
Sa

""

@)

'-':

[J.

der
the

rech rt'gh -

J J J

_l"'i

- te
- teous

J J J r J J 1

,...,--

..

und
and

- fer,
- viour,

er
He

Heil,
speak,

bringt
shall

b~in - [et

!r
He

J--------..L

shalt

speak

,.j---------

pP
L

.....J

t.

~~~J:JJ) ~-]J

,...
'I'

r-1

~~

~r-

-r-.

..-P-

rJ
T1

'\.:V

4!)

J~J-J1TI

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-- -

k'

"

_..-......

Cembalo

Heil_ lu al- len

peace_ un-to the

"'
fl

rT

Jl

!)

,.
I

.--

Vol

hea

..-....-..-

kern.
then.
Geigen

.rl

,..

'1(

Lf'"..l

- -

. I

.......

fl

-;J J J
I

4!

er b~in- get
He shall speak

Heil,
peace,

Heil,
peace,

'-

=1
-

-~

i
,

r-

if)

-L

-t....J:::= ........

....

) So die Mozartische Korrektur. Im Autograph, dessen BaB Schmidt aus der ersten Fassung i.ibertrug, steht ein
Viertel g'j was nach Umbildung der Singstimme nicht stehen bleiben kann.

Edition Peters.

toots

112
~

')

Steh i.uf
Re - fcn:ceJ'

..r-----,

fJ

!
'!)

--

g.b

_._

'l

I
rJ

r""
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r-

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-.;;

+~-F-~~-

1.....:::r

.I

liiiiiiiiliiiii-

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~igcn

1*" _

r-

I'

.,_
rJ

Edition Peters.

,......_,

....

t-7du

- eke,
great - ly)

""'

r-

._,.

...

r-

10013

r-

Toch daugh
I

l.

Cembalo

_l

----

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..

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FR=;

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tl

FFfi FFFi

-...-.~
~

rl
II

1'-'"
_L

froh-lo re- fot'ce

_I"'"

II

G~ -l

1.!

---

...

---

t-

_J

fl

f'\

IJ
Jl
.I
!"\ v

- den,
greatly,

..

<

'--'

----

LI

........

rl

"'

mit
Freu
re - foz"ce

auf
folceJ

Cembalo

'

steh
re

!"'\ v

'l

l I.

r-

1,1

.v

r-

=~

-- -

~~ ~

- ter von

ter of

'----------

113
'I

...n

Zi- 6n
Si - on '

f..

:ff'r"\

"':
f

Geigen _

!"'"

Cemb .

r '
ru- sa-lem,
ru- sa-lem.)
~

...
I

e)

d~nn sieh, dein

be - hold1 thy

r-

--

.......

'--'

r-

...

r!oh-lo re -foz'ce

- eke,

- --Gei~
r::iilllll""'

I"'"-

r--

,,

....

..

...J

I~

1.!"'"

?-.

~tm~.

Edition Peters.

.-

Geigen
&I

:*J-:T

...

- eke

r-

...

@)

r-

...

l r "'"
v

IZ.

-~-

h-

tJ
11.

( f'r"\

..

liiiiiiiliiiiii~

.,..

--

....I

.l

[J

r-

re-foz'ce1

~-

- -

-.

froh-~ ~-

v
I!J

r-

'""

dir,
thee1

Ko-nig komrnt her zu

xzng co-meth un- to

...

~lo

,_.

--

Geigen

"'

r_

Toeh - ter von Jedaugh-ter of Je-

...

-~

du

1..

fJ

jauch- ze,
shout1

"--'

f)

"'

1*-

...

!.

...!)

-------

r-

-~-

r-

r-

10013

Jl

P'

r\
;..

und jauch- ze,

and shout1 _

.-

r-

----.fl-

Crmb .

2,.eigen
r-

114

r-1

f)
,

t.

fl
If"'

f)

jauch- ze,

JaUc
~-ze,

shout~-

shout~-

shout~-

:J:

"'"""''

.._

- -

~~

Cembalo

- -~
-

f..

1!!!!'11

!
~

~n

,...

~.v

- eke,
greatly1
~igen

--""!

. . . . . !"""

- r
.

~
r

auf_
steh
re - folce
~

"

"

-.

f)

-- -

Zi Sl -

fl

I
h

..

...

on~

[}'

Edition Peters.

den,
ly)

-.

-.

-.

- __[___

..,

~~

ze,

du

Toch- ter
daugh-ter

- ---1

,...

.....

t0013

,...

""'

-.

_,...

von
of

..,

von
of

- -

Je Je-

r--1.....

,...

""'

F"f ...l

I ----

_ ____L_ _

_1"""

-
.... ., ....

Toch - ter
daugk - ter

du

... . ., ... . .,

..

jauch shout,

t)

-.

- on,

Freu
great

mit_

""

tJ

-.

--

,....

-~

liiiiiiiiiiiiil

_[J"

~v

,...

........ - - -

t)

fl

,...

I
"

froh- lo re- fm:ce

,...

fl
lfrT'\

jauch-ze_,

l
&.

p:::::;_

"

115
l'l

,, "" v

tJ

...
l

--,..

'.

--.:

'>V

.. ==

. 1!:-

l'l

..

dir,

[l_

._,:

--

...

sieh,

ko- mg.

de in

King

thy

f-..'-...

....

-r

"-iiiiii

kom- met

her

co

un

meth

---

zu

to

"fi-

r-1

--

r
..,...

to

jllllll'!"!!

~~Cembalo

r-

be - hold,

_...

zu

co-metk un

i
_,_

4!

..

denn

tkee,

....

kommet her

f)

ioi'J

l'l

.A

o- mg
King

~
I

de in
thy

sa- lem, denn sieh,

ru - sa- lem., he- hold,

ru -

I'J

"

t:_...r

.....

--

l
1

..

..__..../

'
/

~~

[/

Ia.
1"""

Edition Peters.

rlr

cfr

---~

::.----

r-

...
[

~~

....-

r-

__.._
__I"""

cfr

~-

_f: ~- ~ __.

toot:~

J___!d

./J.
r-"

I.....

up---

-.
I

J'

....

f
-...

...

116

Rezitativ und Arie

des Micha a us ,Samson"

(1741) [2.,gekiirzte Fassung.]

(Newburgh Hamilton nach Milton.)

25.)
~

eJ

eJ

Cembalo

_I

0 Wechsel
0 change

e.

un- er - hort,
beyond re - port,

ach,
thought

Jn -er - schaut!
or he - lief!

p1.(J-

!,#:

Seht, wie er
See,~ how he

_......

-e-..___

/''J'JI

,._

liegt
Ues

..

"

mit schwe - rem Haupt,

wt"th lan - guz's){d head,

r ~~os,
haltun-propt,

.r

.,

"= ne Trost!
ohpast. all hope P

ver - las- sen,

a - han-don'd,

f)

""

!.

,.-..._

i~~

hrl

"-6:.

__.-6-

~~

~'ttr

131?)-

hl'l
~

fl

_l

r-\

--Ist

e.

Can

das
this

--noch
be

~.~~.

rHeld ~
he- roic

er?
he?

Sam- son?
Sam- son?

den
whom

..

nicht

Man- nesno strength of

f)

!L

f!

_f:

.. ~

LL.ol

'U

.~:

f)

'""
@)

,.--_

'----'~

..."'

....
kraft,
man,

das
nor

!\

"

"

"

...

'./

Wti- ten
fu - ry

nicht des
the
of

~ild- sten Tiers

fier - cest

be- zwang!
beast could queU.I

l -I

'

..

!Rt~

-~

Edition Peters.

n:.o'l

~~
- - f--

+----------

.-

10013

P"y-

- -_....
-er wiirg-te

h_.-1

who tore the

117

fl

-o-wen,
r

Jie der Lo- we

as tke li - on

li - on,

....

\.!.V

.....
stiirzt'.:af-fun- los auf erz-..be-~:hr-t"'
ran weap-on - less on ar- mz'es clad t'n

,_

wiirgt das
tears tke

Lamm!
kid.'
17~

1"-&

li-G-

"'
~

t.

!.
r
Scha- ren,
i - ron,

... ...

"'

Schild
steel,

brauchte nicht Helm und

use - less tke tem-per'd

.,-

....,..

v-

"lm-

!.,.,

Largo

Ok

Ab- 6i1d
mir-ror

-...

.,-

....:

..

..

v ~+' .,
,~~
faJ - lig - keit,
state,
fie - kle

l'c..f

...

\-"

I.

_....

q..

---

.........-

v~-

faJ fz'c I

t..

.._,

---

+''

~--

....

~-

"t

Edition Peters.

Durch Stamm, durch Kraft,

strength,
t:n birth, in

1r "" .. U'
\.!..V

.,

- lig _
- kle
I

"I"
...

1.,

.,r

,.,

--...

~L:':

Hin-:our

der
of

"'-....

Ab- ~ild
mir- rcn-

Gei~ren

keit!
state!

f.

ok

.,

@)

f.

,.,.,_

uni;:_senza:i~. per tutJ)

----

_l

fJ

Hin
our

r r

f.

fl

........

der
of

Cembalo

l
fl

"@.

...

,.,

"t-

"'

noch Pan - zer - kleid!

or coat of
mall.'

: r ""

II

...

"I"'\

---

Cern b.

durch Tat wie

in deeds !tow

r10011

- "r
.....

groB,
great,

r
-

durch Stamm,durch
t'n ln:rtk, tn

r
I

I"'".._....

118
~

....,."""
u-

@J

r.
Kraft,
durch Tat w1e
strength,
in deeds how

.,.fl

I
~

-r,!IN"-v rT

-v

grol3!
great!

..

Geigen

['i

---,::

..-.-.

"""Z:""'i"

--..

17

---

Ab- bild _ _
mt"r- ror ___

'\

..
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f'l

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ll'_

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I
n

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111"!:1~

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I

."10

lA

... .

Edition Peters.

... ...
I

-- --

r- r -

-...

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Szene und Arie der Nitocris

aus ,Belsazar"

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aus ,Heracles" (1744).
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Arie aus ,Judas Maccabaus"

(1746).
(Thomas Morell.)

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141

Arie des Othniel

aus ,Josua" (1747).
(Thomas Morell~

A tempo di Gavotta, rna non troppo presto.

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147

Rezitativ und Arie des Didymus

aus ,Theodora"

(1749).

(Thomas Morell:)

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Druck- te
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LIEDER- UND ARIENSAMMLUNGEN

A L T E MEISTER DES BEL CANT 0 (Landshoff)

KIRCHENJAHR IN LIED ERN (Losse)

Arien, Kanzonen und Kanzonetten von Caccini, Cadssimi, Stradella, Scarlatti, Monteverdi, Pergolesi, Porpora
u. a.

6o Gesange verschiedener Zeiten mit Beitdigen von Ambrosius, Erdlen, Grabner, Knab, Pfitzner u. a., hoch, tie

Ges.ange fur Sopran

I o Gesange fur Alt (Mezzosopran)

KLASSIKER DES DEUTSCHEN LIEDES

29

3348a
3348b

ALTE MEISTER DES BEL CANTO (Landshoff)

I2. Arien fiir Sopran, ein obligates Streichinstrument und
Klavier von Cesti, Pasquini, Bononcini, Scarlatti, Handel

~a.

3481

ALTE MEISTER DES DEUTSCHEN

LIEDES

xoo Meisterlieder

Band I: Albert his Schubert

Band II: Mendelssohn bis Wolf
Ausgabe fiir hohe Stimme
Ausgabe fiir mittlere Stimme
Ausgabe fur tiefe Stimme

4545a/b

45i8a/b
457sa/b

KOLORATUR-ALB U M (Marchesi)
22

46 Gesiinge des 17 und 18. Jahrhunderts

fur mittlere Stimme

3495

A R I E N -ALBUM (Dorffel)
Klassische Arien aus Opern und Oratorien
fiir Sopran 58 Arien
fiir Mezzosopran 19 Arien
fiir Alt 52 Arien
fiir Tenor 40 Arien
fiir Bariton und BaG 54 Arien

OPERN -ARI EN (Soldan)

fiir Bariton 30 Arien
fiir BaG 34 Arien

737

BACH, J. S.

3335a/d

BACH, J. CHR.

4319

OPERN-ARIEN RUSSISCHER
UND SOWJETISCH ER MEISTER (Petzoldt)
fiir Sop ran 2 I Arien
fiir Alt und Mezzosopran
fiir Tenor 20 Arien
fiir Bariton 19 Arien
fiir Ba6 16 Arien

17 Arien

6o Lieder, hoch, mittel, tie

UNTERRICHTSLIEDER

BASS-LIEDER UND -ARlEN

2817

HANDEL
30 Gesiinge fiir eine Frauenstimme aus Opern und Oratorien (Roth)
3493
HEITERE LIEDER (Losse)
fiir Mannerstimme (Bariton)
fiir Frauenstimme (Sopran)

4234
4235

47.11
4722
4723
4724
4725

UNTERRICHTSLIEDER (Losse)

12

25 Gesange

2074

LEBEN IN LIEDERN (Losse)

6o Gesange verschiedener Zeiten mit Beitriigen von Grabner, Knab, Pfitzner, Strauss, Weismann, Wetzel, Zilcher
u. a., hoch, mittel, tie
4299a/c

794

735
736

Konzert- und Opernarien (Landshoff)

fiir Sopran (Tenor, Mezzosopran)

beliebte Koloraturarien fiir Sopran

734

Arien aus Kantaten (Straube/Schneider)

fiir Sopran, Alt, Tenor, BaG. 4 Bande

422.9a/b

4671

4674

4458a/c
Neue Folge (Losse)

40 Gesiinge aus der neueren Zeit bis zur Gegenwart

467za/c
hoch, mittel, tie
VERDI
Opern-Arien (Soldan)
fiir Sopran 30 Arien.
fiir Mezzosopran (Alt)
fifr Tenor 23 Arien
fiir Bariton 20 Arien
fiir BaG I 3 Arien

Biinde

7 Arlen

4246ajb
4247
4248

4249
4245

WAGNER
KIRCHEN-ARIEN UND -LIEDER (Gobler)

23 Gesiinge von Bach, Beethoven, Reger, Wolf u. a.

fiir Sopran oder Tenor mit Orgel

2451

3 Operngesange fiir Sopran (Soldan)

4241

19 Operngesiinge fiir Tenor (Soldan).

15 Operngesange fiir Bariton (Soldan)

4244

EDITION PETERS LEIPZIG

4143