lntermedio I, 1589La grime mic, i cbc vi mn:cncu: ~ Lidia, 3himC-, vcggo rIWJcarmi. L'idol mio,...

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EMILIO DE' CAVALIERI (1550-1602)

Madrigal: Dalle piu alte sfere lntermedio I, 1589

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Dalio piii alto sforo Di celesti sirenc amica scorta Son l 'armonia ch 'a voi venEo mortali, Poscia, chc fine al ciel baru:ndo l'ali L 'alta 1iama n 'appona. . Che mai si nobil coppia 1 sol non vido Qua! voi nova Minerva e fort'Alcide.

GIOVANNI DE' llA)WI (1534-1612)

Cavalieri, Daile piu alte sfere

From tho highest spheres of the heavenly sir<:ns, a friendly escort, I am Harmony, who comes to you mortals. since even high in the sky, bearing its wings 1

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that never so noble a couple the sun did see as you, new Minerva and brave Hc:rtulcs.

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Lidia. ch• r:int • Jdoro. PerchC un gu:mio pietoso. mimi:. mi donO. 11 pacerno rigor l'impriggionO. Tr:i due mur:i rincruusa · Sci la ~lb innocence. Dove giunger non puO ~o di sole, E quel che piu mi duole Ed accresc'il mio mal. tonnenti

e pcne, E che per mi2 agionc Pmva male ii mio bene. E voi )umi dolentL non piangctc! La grime mic, i cbc vi mn:cncu: ~

Lidia, 3himC-, vcggo rIWJcarmi. L'idol mio, chc anco :idoro. Sci colci m duri marrni Per cui spiro e pur non moro.

Sc la morte m'L; gndia, Or chc son privo di spcnc, Dhe. togliecemi b via \V< ne p~go) :isp~ mi• pene.

M.:a bcn m' :i.ccorgo, che per cormcnarmi M:iggiormcncc. la sorce Mi nieg; anco l.:a mortc. Sc dunqu' C vero, o Die, Che sol del pi:mto mio, 11 rio destine h.a setc.

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My teJr•>. whot holds you back. why don't }"OU give vent to the li.crcc pmt that r.akc:s away my breach .md "vcighs on my hc;U't?

Licili.. \vhom I 3dore so much. becwc of che pitying glance. alas. chac she gave me. paternal severity has imprisoned her. Locked up between tw0 W>lls. remains chc innocent be::i.uty. where no r.i.y of sun c:an teach. and what pa:ins me most and increases my dllcomfort. torments.

and anguish. is dut because of Tnc my beloved suffen. And you. pained eyes, weep not! T<>n, whot holds you ba<:k1

Lidia. abs. [ fed myself failing. My idol. whom (" ado11: so much mm.ins between hanl marble wall$. For her l •igh. ycc [ don't die.

If dc:i.ch suits me. now due l am deprived oihope. Oh. take aw;iy my life--I beg you-my bincr-suffcring.

Scill I reilizc that to connc:nt me the more:. destiny even denies me death. It is mic then. 0 God, tlut only !Or my tean

does cruel face thint.

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DIETERICH BUXTEHUDE (cA.1637-1707)

Praeludium in E Major, BuxWV 14ll cDs j

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Dietrich Buxtehude, Siimtliche Orgelwerk.e, 2:79-84, ed. Josef Hedar. Copyright © 1951 (Renew-ed). Edition Wilhelm Hansen A.5 Cop"Dhagen. All Rights fo, US & Canada controlled by G. Schirrner, ln~ (ASCAP). lntcrnational Copyright Secured. All Rights Reserved. Reprinted by permission.

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71 DIETERICH BUXTEHUDE Praeludium in E Major, Bux WV 141

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This toccata, like most of Buxtehude's, is designated in the manuscripts simply as Praeludium; it contains four fugal sections, each preceded by free figurative exordia or transitions. The longest free section is the first; the internal ones are transitional. The piece begins v.ith a three-measure flourish in the right hand, a grand upbeat to the first E-major chord, which is the goal also of the eight-measure harmonic explo­ration that follows. The first fugue (measure 13ff.) has two full expositions in the four voices, in Buxtehude)s favorite order of soprano, alto, tenor> bass. After an episode built on the tail of the subject that modulates to the dominant, there is a further, incomplete exposition (measure 36ff.). The free section.that ensues is full of exuberant runs that take the pitch to the highest point in the piece; it features two "long trills"-so marked in the score-in the pedal part (measures 51 and 53). The second fugal section, marked Presto, breaks up into imitations of a short figure after only two entries; by means of a brief s-e.spenseful transition it reaffinns the tonic for an informal three-voice fugue v.ithout pedal in 'if gigue-time (measures 75--86) on a subject that is derived from the first one. A transitional Adagio leads to the final, quite formal exposition of another subject deriYed from the first The form of the piece may be summarized as follows:

1 13 47 60 75 87 91 104 110

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87 j OHN GAY The Beggar's Opera

POLLY: And are you as fond as ever, my dear?

MACHEATH: Suspect my honour, my courage, suspect anything but my love. May my pistols miss fire, and my mare flip her shoulder while I am pursu'd, if I ever for­

sake thee! POLLY: Nay, my dear, I have no reason to doubt you, for I find in the Romance you

lent me, none of the great Heroes were ever false in love.

Air XV

@] MACHEATH

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My heart was so free, It rov'd like the Bee, 'Till Polly my passon requited; I sipt each flower, I chang' d every hour, [I sipt each flower, I chang'd every hour,] But here ev'ry flower is united.

,.,. ,.,, .tf/r11·1·r..'1

Come Fair one be kind, You never shall find,

. A Fellow so fit for a Lover; The World shall view, My Passion for you, The World shall view, My Passion for you,

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But never your Passion discover. -PILLS TO PURGE MELANCHOLY,

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POLLY: Were you sentenc'd to Transportation, sure, my dear, you could not leave me behind you-could you?

MACHEATH: Is there any power, any force that could tear me from thee? You might sooner tear a pension out of the hands of a Courtier, a fee from a Lawyer, a pret­ty woman from a looking-glass, or any woman from Quadrille. But to tear me from thee is impossible!

27

I '

87 j 0 H N GAY The Beggar's Opera

POLLr. And are you as fond as ever, my dear? MACHEA1H: Suspect my honour, my courage, suspect anything but my love. May my

pistols miss fire, and my mare flip her shoulder while I am pursu'd, if I ever for­

sake thee! POLLY: Nay, my dear, I have no reason to doubt you, for I find in the Romance you

lent me, none of the great Heroes were ever false in love.

Air XV

@] MACHEATH

MACH.EATH

My heart was so free, It rov'd like the Bee, 'Till Polly my passon requited; I sipt each flower, I chang' d every hour, [I sipt each flower, I chang'd every hour,] But here ev'ry flower is united.

55:3S

.'f"lf'll't'/'.'• II ·• Jltfn/.

Come Fair one be kind, You never shall find, A Fellow so fit for a Lover; The World shall view, !Illy Passion for you, The World shall view, My Passion for you, But never your Passion discover. -PILLS TO PURGE MELANCHOLY,

Vot.4

POLLY: Were you sentenc'd to Transportation, sure, my dear, you could not leave me behind you-could you?

MACHEATH: Is there any power, any force that could tear me from thee? You might sooner tear a pension out of the hands of a Courtier, a fee from a Lawyer, a pret­ty woman from a looking-glass, or any woman from Quadrille. But to tear me from thee is impossible!

27

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No. 1 SINFONY

Gr~vc d,-~

VlOUNI O.li.etl,ll

V10UN II

YlOLA

CONTINUO

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.\lo. 27 .ACCOMPANIED REGTATlVE L~rghctto

·:JQLINS : -* I/

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1 'f; ".1 -- J ' '

82 JOHANN SEBASTIAN BACH

Durch "4danis Fall1 B WV 63 7

a) Chorale melody

<I •: J J '' •:

Durch A -danu Fall ist pnz ver ~- derbt ~ensch • Das ;elb Gift ist aui uns ge - ert>t. D:>SS

~ ~ -., - ., ?!

Ohn Got - tes Trost. der uns er - 1051 H>t

• . ' · I • ,, .: I

Ii Ch .~, . cur ilnd -we· ·sen; wlr nicht moch-ren g'ne sen

: " I • :

t.

u von dem gros- sen Scha - den

Dar • ein die Sdllang' Hie - nam be-zwang. Glltts Zam :iuf sich. zu 1:1 - den.

b) Organ chorale

@] " ":" ' : '

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498

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·-- .. • ... • .. a) Text by Lazarus Spengler. Geisel"'" Lieder J<<jfs """ 5ebormr :Wittemberg: Joseph King, 1535), after Johannes Zahn. Die .Helodien der deulS,hrn evonge/isclien !Cirdienlieder IGiite"loh. 1892), -1, No. 75-19.

1 c'-.1 \.) J

,, ..

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Durch :\dams Fill is ganz verderbt Menschlich Narur und Wesen; Dasselb Gift ist auf uns geerbt, DaB "~r n.icht mochcen g"nesen Ohn Gottes Trost, der uns erlosc

~

Hat von dem grossen Schaden, Darein die Schlang' hienam bezwang Gotts Zorn auf sich zu laden.

-LAZARUS SPENGLER

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Through Adam"; raJJ J.Te entirely spoiled both human narure md character. The same venom was by us inherited. so chat we could noc recover from it without God's sol..ce. \vruch saved us from great harm: for the serpent somehow managed to take unto icself God"s anger.

As in the ocher chorale preludes of the Orgelbiichlein (little Organ Book), which Bach compiled mostly in Weimar (1716-17) but never finished, the chorale melody of Durch Adams Fall (Through Adam's fall) is heard once, in complete, continuous, and readily recognizable form. The rune itself (a) is in Bar form, consisting of a repeated section (two Stollen, each \Vith two lines of text) and a closing section (Abgesang of four lines).

Bach's arrangement of the chorale Durch Adams Fall is one of his most ' graphic representations. A jagged series of dissonant leaps in the pedals

depicts the idea of "fall," departing from a consonant chord and falling into a dissonant one-as if from innocence into sin-while the rwisting chro­matic lines in the inner voices suggest at once temptation. ;orrow, and the sinuous writhing of the serpent.

,~- -.

~ ' 1!......11•~

I

166

6

Style and scoring sugi<St 1h:i.t Cl)nctrto new iexpres1ivc CdHtdl:rllc type of me­No. S In D-major must bt: chc one whkh lady. Thar applies even more to the w:n composed last. h h ii "Concerto by A/lcrruoJo middle movement In which 1roups" like Nos. 2 ::11nd 4 In which the flute and violin coll:.bor;1.te with thi: Tutti was kept in 1hu:c part5 in Kochen, obliiiatoiy harpsichord. achieving tnu: for reasons alrc:ady axplaincd. The solo- chamber-music-like unity. A fuiiuc c·ondu~ btle 1roup consists of violin, flute and des the Concerto as It did ln Nos. l :11nd harpsichord. Badi. vcnturtd upon 1hat 4. Its Jolly first subject ln the manner of unusu.;il combination .;ind thereby cre:uied • Gi1ue is treated by 1C1loius and or· the first Concerto fiJr Clavier. The C.i· dicstra In coll:1boratlon; It leads to a lrce dcnxa of 65' bars for H:upsidlord solo thematic development. A most siniiular In the first movement nearly . bunts effect Is crcJtcd by a middle sc-ctlon In throu1h the fr:iimework of the iiroup, thus B·minor the coHtnbile melody of whidi crcatine the imprculon of a Conccno for seems to .:stablhh a uecond contrast sub· Clavier alone. That movcmc-nt also anti· jcct. However, it soon reveals its lrue n:1· dpatcs 1urprl1in11Y 1hc '"sinrine Allcrr.J·· ture :11 a masterly transfom1:1tlon of the o~ 1hc future. The lntcrwcavine of solo· main 1ubject. Thus, the music returns IJts and 1trin11 resulrs Jn a sonorous without rupturr. into lu homc•w:1tr.r1 and tissue of ovcrwhdmine beauty in whidi concludc1 with a vla:orous Tuul. the transveuc flute (which appears here for the first time) conespondJ with a Jena, September 19'6

Heinridl Beucler

(translated by Hans Ferdinand Redlidi)

EDITORIAL NOTE

Except for titles of compositions all edito· Additional accidentals. supplied by the rial additions arc dearly m;uked as such in editor at his own discretion (i, c. orhcr the volume itself: li:ttcn by italics, other than such accidentals which become signs throuith smaller or fainter print. nec.:Hilry throuBh adherence 10 1he rules Therefore all lcuen cont:1incd in 1he of modern musical spellina) are printed au101raph score, including dynamics such above the note; only in the basso conrlnuo as f, p etc., arc here rcpr1Jiduced in normal parts arc chicy put into brackcu and print· print. Accidentals arc introduced accord· cd before the note, In order to exclude Ing to the ruloi?s of modern musical spcllina:. any confusion with the &iured Dau.

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.J • $, 13,.._~ I Concerto v

BWV 1010

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' I I I

I I I

I

I I I I I I

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_,Chorus I Chorale

Kcmmt, ihr TOchter, helft mir klagen, Sehet, den Br!utigam, sehet ihn als wie ein Lamm!

Sehet seht die Geduld,

Se ht auf unsre Schuld;

Se he t ihn aus Lieb und Huld Holz zum Kreuze selber tragen!

"'\Come, you daughters, ..,1help me lament,

See the Bridegroom, See him so like a lamb!

See See the patience,

See At our offence;

See him, from !Ave and kindness the wood cf the Cross he himself bears!

0 Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet,

Allzeit erfunden geduldig llievohl du varest verachtet.

All Sdnd hast du getragen, Senst mdssten vir verzagen.

0 Lamb cf God unspotted, Upon the Cross Thou art slaughtered.

Forever found patient although you were despised,

All sin have you borne, Or ve must despair.

. Chorus II

Wen?

iiie?

Was?

llohin?

Se he t ihn aus Lieb und Huld Holz zum Kreuze selber tragen!

Whom?

How?

lihat?

llhere?

See him, from Love and kindness the wood of the Cross he himself bears!

167

JOHANN SEBASTIAN BACH

Mass in B Minor, BWV 232

Credo: Symbolum .\ficenum

a) Et in Spiritum san_ctum Dominum @]

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Reprinted by permission of Barenreirer-Verlag Kassel. 3aseL Tours. London ii-om]. S. Bach • . \ieue Ausgabe samt/icher Werke, ed. Friednch Smend (Kassel, 1954), pp. ; 9i>-215.

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190

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• rum, COil•

- cum ba - pli - ..... ill re- mis-ii- o ---•

u • um ba - pti - nm.a-

ia

ba • pti-1111.1. in re: mis-ii. - o - - ncm pee-ca • to -

pee-

rvm,am-fi · - ·te-or

. rum---t-

u • .awa. ba- pti-sma in rt-mi.-si • o -

COil • fi.

1n l"l'· -

• t& - or,mn-fi.

- ana prcc:a • to -

...... pe-c - ca-

192

121

...1 ..... Ad a.g10

Ill ~ to

•

g ~ .• "'

'

~ ··-•b11..1' p"i.: •'t::i. -. " .

:r

.

pt:C: - " .

to •

130

re-sur-re-cti ·-• 5ur. rc-cti

o • nem.

n.m. Et_ -. '""'· Et_ F

·.e...- • -to •um. Et_ ..... -to •

rum. !?= ~ . """ Et--

o--nem mer-tu 0 a

o - nem

mar • tu·

o- • nem mar • tu.-

• cto

ex - pc- • cto

.

J55

-... !·pc • ""· .. po- f. · cto_ -... r pc ""· .. pc. I ..., ...

I.pc . ' - • I ... . ·""'· .. ~cto re· 111r - re cti •

' •- • I

"'. • pc . =-·· ~·cto ~· 1ur • n . c:ti •

·~ . ~- l - •'

... • pc • . = .. pc •

-

- "-

l"'f'-sur- R'·eti - e>-nemmor-aa 0.

-cti-o-

•SW' ~-eti·O•

- Mal mar- tu

re•sur- mor-tuo·

rc"·ltlr • R' • - cti • o-nemmor-t1.1- o •

19

c) Er expecro resurrecoonem

t46@] Vivace e Alie ro Tromba I

Tnnnba m

Fl.am trawna U

°""" l

Violino I

V"aolillD D

Viob

S.,...01

rw:a., et Cir. pe • CCOt a: . pr . -cm.a.-~-

..,.. .. a

n. a- pt· -~a pe. . ""' R-tur• l'C.

Alto

r ·c:to,a. · pe..cta l"l!'·SW'•

Tenon

ctez-pe- - c:to,Q. pe .

laao

- cto. ex · pecto rt•SW' • re -

.. ..

19:

-Cti·D•

,.. -

•

cti a -

.. -·

--o-ncm mor-tu -

•

• •

. -... ~ .....

"""' ... II. • ...

196

..

l Q'":' vi

197

ZR

& • ;:::

tt• JW'• ". cti .. · rum,

. .

• • Miii rDO,..N • O • • nzm, ttex-pe· · etc, ca·

-nem, 1:t. cs - pc·

• :-::za, ctcz·pC· • eto. CJC - pt · etc, ca·

Ct CZ· pt• • CtD. CS· pt·

"""· ct C'llll • pt' •

• •

199

19

•• •

'" .. ( -

-.. .. .. . . . -·· -- . .~ - • I , .,

1 .

- .

~~· .... • • • • -

.. - - - - . - _ .. ·- • •

pe - -ctn r"P-n1r-1rt--

cto,C'x - pC' - cto rt-sur - re- - eti o-n~ mor-tu a • ........ _. •••

cto, rx • pc· - eta re - sur • l'f-ai - o · • ncm mor·t1.1 • o •

,, . ' ' ... . r •

20C

') 01 '- J..

jJ

-• Ctl • 0 •

___ •!!·•~ .... ... t~~

~ ... • I! •

t •••

- n!'m mar- tu • o •

cti· a. nern

ai · a - nrm mar-tu •

o nem. mor ua o

· nrm.. rr: · sur • tt • c:ti. O• ncm 1nor-tu . o ruin

-

.. •

202 _.._.,,...

•

..

j

203 j

84

(~ i m ..

.,

-1!! • .. c:

~ ~

. .. . - • 1!!

.. •

. .

~ ~ ~ -

-.

~ ~ ...

.

~ - --

-..

~-I II •• vi - . . .......... ... -ri- .. . . . . "" . . ..

.. Yl . . . -t.am'f'ltll.· ... . ri .. . ... . Ii. ven-tu- ri ... .

riJ r r -:~ . - +- •

tu - ri SC • a.I •

1 1, V>. - bllt. 'ftft ' "' . . ri .. . . . . r:u:-!i,

-. - tam vtn ! tu- ri IC' • cu • Ii. •i . . ·tfm ~· "' . . :i ... . . . -- _:-...

VI • . . ·tam~n-tu . ri_ IC· 1:1i· Ii, vtD. • tu . ri_ ... . .

- .. • ~

- --·-.

-

•

..

..

• ..

• ..

.. ·- · men • .i..

• arli. • • • m£Q,

.. · mrn,

• • • cu.- • IL, ven· tl.l• ri ... ·cu-Ii, a •

•

•

• <ll•

- mm. a - - mC"n. "n · tu· ri K • • <ll•

- mrn,n~n- tu - ri .. . • <II •

206

x.cg..l.i, ......... •·

Ii, ......

• ri IC• c:u0 li. l•l!IWCI. a · - ..._ a- •mtn,

92

:;: "

-· mrn. a · -men.a -

· men. a .

• lllCft, I •

. -

• l'DCD,

· mfn,

.......

- mc:s.

. - · mra.

ril11 ..... (

)~~ {~~~~~~~~

• lnCft.1.• S(-C\l·l\, a•

- - men, a·

·-~. • •• • po. • Cto vi • tam TC'n•bl· ri IC• CU•Ji, &•

-.. · nKn, .a - · ~n.. \"Cft·lU • ri SC• ~-Ii, a· ...... • ..

For a cranslanon ofche Credo, see NAW\\ 49.