chi 7 Sla ber KALMUS VOCAL LIBRARY 9148 Giovanni Marco Bordogni THIRTY SIX VOCALISES for soprano CCsdagni Mewidi : | seg Mt ingcon | ; Mic hule, Suede ‘Bhan ihe dase pn ee nenaIULIO._ MARCO BOR~ DOGNI, equally famed as a dramatic tenor and as.a teacher of vocal art, was born at Gazzaniga," 2. Pledmontese village near Bergamo, Italy, in 1788. He was trained in sing- ing and in musical theor the eminent pedagogue Johann Simon Mayr, in the School of Music then recently established at Bergamo, His first appear- ance on the operatic stage was in 1813, at Milan, in Rossini's Tancredi; this début was brilliantly sccessful, and for six years he con- tinued to sing with increasing popularity in various cities of his native country. In 1819 hhe accepted an engagement for leading tenor roles. at the Theatre italien, Pari, where his artistic success was so pronounced, that only year later he was appointed. professor of singing at the Conservatory. ‘The onerous duties attaching to this post of honor, how- ever, interfered’ so seriously with his’ stage career, that he felt obliged to resign the po- sition after only afew years, He now devoted himself wholly to the stage, on which he re- mained one of the most prominent and ap- lauded figures 33. Then, yieldin to Cherubini’s insistent and oft-repeate: solicitations, he definitely abandoned the vo- cation of an opera-singer, and again joined the Conservatory faculty,” of which he re- mained a distinguished member for more than twenty years. During this long period, his Fenown as a. singer and instructor. attracted hosts of aspiring ‘students from. all parts of Europe; and he enjoyed the enviable distinc tion of numbering among his pupils many of the greatest singers ofthe epoch, among whom may be mentioned Henriette Sontag, Mme, Dorus-Gras, Mme. Rudersdorff, Mario, and Balfe (who was a fine baritone stage-singer, as Well a an accomplished, compose!) vices were duly recognized by the State ‘was a.Chevalier of the Legion of Hono and of numerous other orders.” He died at Paris, on July 3t,, 1856, jordogni's Success, both on the stage and in the study, was due less to the power and brilliancy of his voice (For i described as having been lim= ited in volume), or the fas- ination of histrionic art (for he * ‘was nota great actor), than to the easy grace and refinement of his ‘vocalization, more par- ticularly with regard to his wonderful coloratura-singing. His voice was under perfect control, and the effects which he produced are said to have been marvelous. And it should not be fore gotten that, although the art of coloratura now~ a-days occupies by no means the same proud eminence that it did half a century ago, a.com- plete control of the voice is stil as essential for the effective interpretation of modern dramatic or lyric compositions as for the airy arabesques of Rossini or Donizett While futfiling the duties of his professorship, Bordogni found’ time to embody the results of his experience in a series of practical vocal studies, which were soon adopted as.standard instruction-books, not only in the Paris Conservatory, but in leading music-schools throughout the world, “These ‘ Vocalises” may, ‘unquestionably, take high rank amon; the ‘best’ vocal text-books ever published,! and, fully deserve, fom, every “point of view, the celebrity to which they have at-; tained. They not only promote rapid and even technical development, but are, in their way, models of pure vocal style, especially on. theside of clean and elegant phasing, ° The graceful, charming melody is so attractive as to render their study a delight ; for no teacher understood better, than Bordogni, how to pre- sent the most. difficult tasks of coloratura- technic in pleasing and thoroughly vocal forms, and (9 invest with real interest those exercises in agility which are so apt to become dry and ‘wearisome. No wonder, then, that his vocal études, and, in particular, these ‘Thirty-six Vocalises”, “are sung wherever the art of iging is’ taught, and have been printed in, many editions; of which it is intended that this, ‘the newest edition of all, shall also be the ‘best.7 ‘To his pupil, Madame de Coussy. Thirty-Six Vocalises for Soprano or Tonor. Andante 6) Sempre legato ¢ portando la ove.) fe — 9 1. The commas (0) are breathing -marke BELWIN MILLS PUBLISHING CORP. PRNTED IY USA bor ooan| \ 2 = - ~ a | ee @ piacere a | as a a mt canto a tempo | Sapaa Allegro vivace. (d= 120) leggiero,: : 1 | ——_ beillante,, ai In f qiont 2a ME apf PAP =p I ig Sed orese. eee ao ~a tempo. — Sere ee 5 Sf ral, - RS ste @ piacere. col canto. _|a tempo. laf deciso a a (a =sempreleggeroAllegro.cd= 180) 7 oe : deciso, eel i it 4— 2 trillaiteSeal canto Flo eee “uf'a tempoAndante.cdiae> 4sempre legato» Patenpo. col canto, aptacere. — patenpo.erg a piteore, Kip, CE Pino. 3 = Ee P briltante,valle dim, cot cantois Ht 8 lp & S ®24 Andante sostennta, (2)cantabite. Nae ae | eee OE BS | eee Pa piacere, tempo. oe oe 2th thy = mee 2 Jat Allegretto. (J = 100.) jee éme Un poeo mosso. P._biaderate. den) 10.a pae 36 Allegro. (d116.) 2 a p sanipre legato ¢ leggiero.cal canto.= vEF| = eee FPP S| tr eae ! r= S35a oH rr += * igAllegro spiritoso. (d = aa.) a) Uegatissimo..1 pep ba Bi a SSS did Fea tempo. we atenp. ~~, F gu oe ~ way — ff[Popa AD aS == f=he pee eee { —tetectet — teenie —]col canto. a lenpo, Py ‘a tempo. abi peta thee c eA o ere bet Peel eaue Py hpop Err Ea S elPp brillante. va Pa =Andante sostemito.@=n i eee eceeets Ayer eaep Be ppp ee ST) pe , i ie bel Petrie ta te is ee i e = aed poe oo Pa Bee = ate at(eee aaa Te 60 Allegro non tanto. (4 =90) molto Legato. — = dolee. =Sf visaluto. Sf, Leqnto.spar mars ences© of Cantadilo.c@-ce) ‘P con express.deotso.! @ piacere, col canto,Allegro non troppo. d= 100) - —— PT SS maT > p molto legato e leggero. r— Pee eeea tempo, EiojosD. @ piacere. col canto.3 aS ot @ piacere, ‘ol canto,08 Andante espressivo.(d: ea)a tempo. ‘dinin. idinintcol canto, Andaiite sostenuto, (d =72) P mesto,7) 2, @ piacere. got canto.ma; Allegro, (d= 100) t { meee :vitard. = == SS ve § SSS) bey yp a Fj} Se HEP EEE | tp eee EEE pias —— E SS 4} wes oo® Andante sostenuto. (-60.) = a——> a piaccré.a piacere cot canto, ahr4 tompo. o leggicro.“Sf @ piacere. (ea= ( * colcanto. = Pry nrt d NS a ce Se ie84 Adagio amoroso, @:52Bpo it Hyatt a * col canto. [Siete 620. =87 Allegro. (= 108) ae p con brio p staccatoseer aan pai britlante =brittante ‘apiacere SF col canto a tompo, tf Sf a tenporisotutocof canto risoluto fyout canto | ne a tempo h pratt. | BP col canto cantabileope = % a tempo ~ ahvo ae aa ihr a tempo A = preow abbandont=———= bpp ps Allegretto spiritoso. (2112) 3 me > yf con briocol canto=a con espressione104 = Fe . OFORE: f a as | : i a tempo dolee108 Allegro non troppo. na mossa voce ben ritmato peeastaeey p ben ritmalo britdante@ tempo, boa ty lp oleh, ? 5: =} z | sitet AOE ti hte Tonto, ene = crc ae foc Hina he a tengo, , On sempre leggero. ey f | Carrerae Sa Poa p> =f 7. 3 3 '-ut Andante. @ = 50) PSE P cantabile EEE 2. may re »ee 2 pes ape An eeilegretto.¢d. _ Allegretto S18) = if eteeiaas oar theta P gigonopre z a of LES fe110 Andante. = 61) ia tempo. DPWF 8 eae raltent, rallent, > briltante[yok a4 alempo. P eT ~~ &a lompo yy tenpo EN hoe phe wah eee oe ‘erese. f re124, Andante sostenuto. ) :19) ie ire a ee ca ae bth) LJ dolce, | Se [RR ee eee PS ===Allegro, (0. 146) co mn brio e ben ritmato. = oe ubrra err aeeery B427, LTia Ef joie i ; ik pe fe Pp poco a poco eresa, Brillante,430 ‘Tempo pastorale. (100)___auimate wn poco. ~ ee "ral. dolee.Allegro. (d= 120.) Ley . S decisotoahallo rittent. = PAP Paar, walto Fallent Sed ae eeAndante. 80)| Attogro mmrsinte, sien) s oe ite { Ferri fg epee ben marcato.140 . a tompo. er gl Ze| ' | we | ‘Allegro vivace. (@: 104.) a 5 i ‘sohersoso. ree ere ‘molto erese. molto lorese. a piacare: Ae peat canto.@ piacere. AP & piacere Bob cante. a tempo “Sagi nes L an PAndante. D112) wees ed) iG bb an il these) nf decito. SS ee , op aig jp 36. af a —_ % leggiero.tar ps? =148 col tanto