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Date: 1880
Text: ::-‘*e: \\{\§._\\.\\ --\,-~.. ~. . ‘ ‘ 5 ‘_,_s.. -~.s‘,‘\~..\y\\\\ 3‘: \\\\:-\“=:‘ \‘\“=x - ~ s\\ss\\\. \\“~.‘.\ \\\‘\\ ;,:. -. Prin; MUSiC 4._;aa.a.s-w VASSAR COLLEGE POUGHKEEPSIE. NEW vonx Prize Composition, Cincinnati Festival of 1880. RESPEOTFULL Y DEDIUA TED TO THE Po ET. SBENESFH[lMLUNBFELlﬂW’5GULIIENLEIEEN. Symphonic Cantata‘ FOR Solos, Chorus and 07°C/ieszimifc, BY’ DUDLEY BUCK. CINCINNATI, Published by JOHN CHURCH & oo., 66 West Fourth so Copy ight, 1880, by John Church & Co....
Show more::-‘*e: \\{\§._\\.\\ --\,-~.. ~. . ‘ ‘ 5 ‘_,_s.. -~.s‘,‘\~..\y\\\\ 3‘: \\\\:-\“=:‘ \‘\“=x - ~ s\\ss\\\. \\“~.‘.\ \\\‘\\ ;,:. -. Prin; MUSiC 4._;aa.a.s-w VASSAR COLLEGE POUGHKEEPSIE. NEW vonx Prize Composition, Cincinnati Festival of 1880. RESPEOTFULL Y DEDIUA TED TO THE Po ET. SBENESFH[lMLUNBFELlﬂW’5GULIIENLEIEEN. Symphonic Cantata‘ FOR Solos, Chorus and 07°C/ieszimifc, BY’ DUDLEY BUCK. CINCINNATI, Published by JOHN CHURCH & oo., 66 West Fourth so Copy ight, 1880, by John Church & Co. CONTENTS. ‘ SCENE. PAGE 1.——-PROLOGUE, .................................... ..“Hasten, 0 ye Spirits!” and Chorus,..., ......... .. 7 II.-—-RECIT. AND AIR, (Tenor,) ......... .... ..“I can not sleep,” ........................................ .. 21 _ III.—-DUO AND ENSEMBLE, ................... ..(Bass, Tenor, and Chorus,) ............................. .. 27 IV.-—-UNACCOMPANIED QUARTET, ....... ..“ O gladsome light,” ..................................... .. 41 V.—SOPRANO SOLO, ............................. ..“ My Redeemer and my Lord/’....,.,.,.,.,................ 45 T VI.—FOR ORCHESTRA ONLY, ................ ..“ The Pilgrimage to Salerno,” ......................... .. 50 , VII.———DRINKING SONG, .......... .; ............... ..(Bass, and Male Ch0rus,) ......................... VIII.—FOR ORCHESTRA ONLY, ............... ..“The Revel, and appearance of the Abbot,” .... .. 64 IX.——SOPRANO SOLO WITH CHORUS, .... ..“The_night is calm and cloudless,” .................. .. 68 X.—FOR ORCHESTRA ONLY, ................ ..Barear0le, ..................................................... .. 72 XI.—CHORUS OF SAILORS, .................... At Sea,” .................................................... .. 75 XII.-—-DIALOGUE, ..................................... ..(Prince Henry, Elsie, Lucifer, and Cl10rus,)...,... 84 XIII.~—DUET, SOPRANO AND TENOR, ....... ..‘f Behold the llill-‘tops all aglowl 9]. XIV:-EPILOGUE AND FINALE, .............. ..“ O beauty of holiness!” ................................ .. 96 CHARACTERS REPRESENTED. ELSIE ................................................................................... ..Soprano. PRINCE_HENRY OF HOHENECK ................................................ .. Tenor. LUCIFER ._. ....................................................... . .‘. ................ ..Rm'zone. CHORUS OF SPIRITS, THE BELLS, ATTENDANTS, ETC. N. B.—The orchestral parts to this work may be obtairied in manuscript from the pubttshers. Of the piano- score, numbers 2, 4, 5, 7, 9, 11, and 13, may be had SEPARATELY, together with the three orchestral num- bers arranged for pianqforte, four hands. Copyright, 1880. by J elm Church & Co. SCENES FROM LONGFELLOEFS “GOLDEN LEGEND.” The Selection of Words by permission of the Poet and his Publishers. VOICES. Onward! onward! With the night-wind, Over ﬁeld and farm and forest, Lonely homestead, darksome hamlet, Bhghting all we breathe upon! SOEN E I. (PROLOGUE) The .9})tre of Strasburg Cathedral. Night and storm. LUCIFER, with the Powers of the air, trying to pull down the Cross. LUCIFER. Hasten! hasten! 0 ye spirits! From its station drag the ponderous Cross of iron, that to mock us Is uplifted high in air! VOICES. (Female Chorus.) 0, We can not! For around it All the Saints and Guardian Angels Throng in legions to protect it; They defeat us every-where! THE BELLS. (Male Chorus.) Laudo Deum verum! Plebem voco! Congrego clerum! LUCIFER. Lower! lower! Hover downward! Seize the loud vociferous bells, and (llasliing, clanging, to the pavement Hurl them from their windy tower! VOICES... All thy thunders Here are harmless! For these bells have been anointed, And baptized with holy water! They defy our utmost power. THE BELLS. Defunctos ploro !‘ Pestem fugo! Festa decoro! LUCIFER. Aim your lightnings At the oaken, Massive, iron-studded portals! Sack the house of God, and scatter Wide the ashes of the dead! VOICES. 0, we can not! The Apostles And the Martyrs, wrapped in mantles, Stand as wardens at the entrance, Stand as sentinels o’erhead! THE BELLS. Excito lentos! Dissipo Ventos! Paco cruentos! LUCIFER. Baffled! baﬁled! Ineﬂicient, Craven spirits! leave this labor Unto Time, the great Destroyer! Come away, ere night is gone! [They sweep away. Organ and Gre- gorian Chant] CHOIR. Nocte surgentes Vigilemus omnes. -—-o-o}o{oo——-— SCEIN E II. Castle of Vautsberg on the Rhine. A chamber in a tower. PRINCE HENRY alone, ill and restless. .Mz'dn73ght. PRINCE HENRY. I can not sleep! my fervid brain Calls up the vanished Past again, And throws its misty splendors deep Into the pallid realms of sleep! A breath from that far-distant shore Comes freshening ever more and more, And wafts o’er intervening seas Sweet odors from the Hesperides! (‘ome back, ye friendships long departed! That like o’erﬂowing streamlets started, And now are dwindled, one by one, To stony channels in the sun ! Come back, ye friends whose lives are ended, Come back, with all that light attended, Which seemed to darken and decay When ye arose and Went away! They come, the shapes of joy and woe, The airy crowds of long ago, The dreams and fancies known of yore, That have been, and shall be no more. Best! rest! 0, give me rest and peace! The thought of life that ne'er shall cease Has something in it like despair, A weight I am too weak to bear! Sweeter the undisturbed and deep Tranquillity of endless sleep! ———<>o>o<o<>——— SCENE III- A ﬂash of lightning, out of which LUCIFER ap pears, in the garb of a traveling Hzgsician. LUCIFER. All hail, Prince Henry! PRINCE HENRY [startz'ng]. Who is it speaks? Who and what are you ? LUCIFER. One who seeks A moment’s audience with the Prince. PRINCE HENRY. VVhen came you in? SCENES FR OM L ON GFELL OW ’ S “ G’ OLDEN LE 0 END.” LUCIFER. I , A moment since. I found your study door unlocked, And thought you answered when I knocked PRINCE HENRY. What may your wish or purpose be? LUCIFER. The storm, that against your casem ent drives, In the little village below waylaid me, And there I heard, with a secret delight, Of your maladies physical and mental; And I hastened hither, tho’ late in the night, To p_roffer my aid! . . . . . . ‘What is your illness? PRINCE HENRY. It has no name. A smoldering, dull, perpetual ﬂame, As in a kiln, burns in my veins. Even the doctors of Sa.lern Send 1ne back word they can discern No cure for a malady like this, Save one which in its nature is Impossible, and can not be! LUCIFER. What is their remedy? PRINCE HENRY. You shall see; Writ in this scroll is the mystery. LUCIEER [reading]. The only remedy that remains. Is the blood that ﬂows from a maiden’s veins, Who of her own free will shall die, - And give her life the price of yours!” The prescription you may well put by. Meantime permit me to recommend My wonderful Catholicon ! Behold it here! this little ﬂask Contains the wonderful quintessence, The perfect flower and efﬂorescence, Of all the knowledge man can ask! PRINCE HENRY. VVill one draught suffice? _ LUCIFER. If not, you can drink more. PRINCE HENRY. Into this crystal goblet pour So much as safely I may drink. INvIsIRLE CHoRUs or‘ ANGELS. Woe! Woe! eternal woe! , Not only the whispered prayer Of love, But. the imprecations of hate, Reverberate For ever and ever through the air Above! 4 I This fearful curse Shakes the great universe! LUCIFER [disappearing]. Drink! drink! And thy soul shall sink Down into the dark abyss, Into the inﬁnite abyss. " PRINCE HENRY [clrinking]. It is like a draught of ﬁre! Through every vein I feel again The fever of youth, the _soft desire, Ojoy! Ojoy! Ifeel ' ” "’ The band of steel uplifted: My weary breast At length ﬁnds rest. CHoRUs. Touch the goblet no more! It will make thy heart sore To its very core! Beware! O, beware! Sickness, sorrow, and care, All are there! I With ﬁendish laughter, Hereafter, This false physician Will mock thee in thy perdition. PRINCE HENRY. Golden visions wave and hover, Golden vapors, waters streaming! I am like a happy lover Who illumines life with dreaming. Brave physician! Rare physician! Well hast thou fulﬁlled thy mission. CHORUS. Alas! alas! ‘ Like a vapor the golden vision Shall fade and pass, - And thou wilt ﬁnd in thy heart again Only the blight of pain, And bitter, bitter contrition! —-——oo@o-o——— SCENE IV- ELSIE comes in with a lamp ; MAX and BERTIIA follow her; and z‘./Leg all .sz'ng the E'vem“ng Ibcng on the lighting of the lamps. ' ( Quartet, unaccompanied. ) O gladsome light Of the Father Immortal, And of the celestial C Sacred and blessed Jesus, our Savior! Now to the sunset Again hast thou brought us; And, seeing the evening Twilight, we bless thee, Praise thee, adore thee! Father omnipotent! Son, the Life-giver! Spirit, the Comforter! Worthy at all times _ Of worship and wonder! ————o-o',;o.’_oo———- SCENE V- ELsIE’s chamber. Mghit. ELSIE prayin-g. My Redeemer and my Lord, I beseech thee, I entreat thee, Guide Inc in each act and word, That hereafter I may meet thee, Watching, waiting, hoping, ‘yearning, With my lamp ‘well trimmed and burning! Interceding, With these bleeding Wounds upon thy hands and side. For all who have lived and erred Thou hast suﬁ"ered, thou. hast died, Scourged, and mocked, and cruciﬁed, And in the grave hast thou been buried! SCENES FROZII LONGFELLOW’S “GOLDEN LEGEND." If my feeble prayer can reach the O my Savior, I beseech thee, Even as thou hast died for me, More sincerely Let me follow where thou leadest, Let me, bleeding as thou bleedest. Die, if dying I may give Life to one who asks to live, And more nearly, Dying thus, resemble thee! ._—oo§:0<oo——-- SCENE VI- The Pilgrimage to Salerno. (For Orchestra only.) Onward and onward the highway runs to the distant city, impatiently bearing Tidings of human joy and disaster, of love and of hate, of doing and daring. PRINCE HENRY. I-Iark! What sounds are those whose accents holy Fill the Warm noon with music sad and sweet ? ELSIE. It is a band of pilgrims, moving slowly On their long journey with uncovered feet. PILGRIMS. Urbs coelestis, urbs beata, Supra petram colloc-at-a, Urbs in portu satis tuto, De longinquo te saluto! SCENE VII. The Convent of Iiirschau in the Black Forest. The Refectory. Gaudiolum of monks at mid- night. LUCIFER disguised as a frtar. FRIAR PAUL sings. (Drinking Song and Chorus.) Ave! color vini clari, Dulcis potus, non amari, Tua nos inebriari Digneris potential 0! quam placens in colore! O! quam fragrans in odore! O! quam sapidum in ore! Dulce linguae vinculum! Felix venter quem intrabis! Felix guttur quod rigabis! Felix os quod tu lavabis! Et beata labia! CHORUS or MoNKs. Funde vinum, funde! Tanquam sint ﬂuminis undae, Nec quaeras unde, Sed fundas semper abunde! [TRANSLATXON (yon 1-ms wonx) BY EDMUND C. STEDMA1\'.] (Drinking Song and Chorus.) Hail! thou vintage clear and ruddy 1 Sweet of taste, and ﬁne of body, Thro’ thine aid we soon shall study How to make us glorious! O! thy color erubescent! O! thy fragrance evanescent! 0! within the mouth, how pleasant! Thou the tongue’s praetorius! Blest the stomach where thou wendest! Blest the throat which thou distendest! Blest the mouth which thou befriendest, And the lips victorious! CHORUS OF MONKS. Pour the wine, then, pour it! Let the wave bear all before it! There ’s none to score it, So pour it in plenty, pour it! —?oO:=®:,'C>o—._ SCENE VIII- The Revel, and appearance of the Abbot. (For Orchestra only.) What means this revel and carouse? Is this a tavern and drinking-house? Are you Christian monks, or heathen devils, To pollute‘ this eovent with your revels? ——————o-o',>©:,'0<>—- SCENE IX- At Genoa. Night. ELSIE coming from her chamber upon the terrace. The night is calm and cloudless, And still as still can be, And the stars come forth to listen To the music of the sea. 'l‘hcy gather, and gather, and gather, Until they crowd the sky, And listen, in breathless silence, To the solemn litany. It begins in rocky caverns, As a voice that chants alone To the pedals of the organ In monotonous undertone; And anon from shelving beaches, And shallow sands beyond, ’ In snow-white robes uprising, The ghostly choirs respond, Christe eleison! -——-—<>o,':0'{O0-——- SCENE X. (Barcarolle-——for Orchestra only.) The ﬁsherman, who lies aﬂoat, With shadowy sail, in yonder boat, Is singing softly to the Night! A single step, and all is o’er; A plunge, a bubble, and no more; And thou, dear Elsie, wilt be free From martyrdom and agony. ———oo)o<oo—-— SCENE XI. At sea. CHORUS OF SAILORS. -The wind upon our quarter lies, And on before the freshening gale, . That ﬁlls the snow-white lateen sail, Swiftly our light felucca ﬂies. . v Around, the billows burst and foam; , They lift her o’er the sunken rock, 8' SCENES’ FR OM L ON GFELL OW ’S “ G OLDEIV LEGEND.” They beat her sides with many a shock, ELSIE [wtth2‘n]. glrllgytggigeuggﬁ ﬁllféraﬂvevlgytlléregceggﬁ, Farewell, dear Prince! farewell! ‘I 7 ' Ha! that is the ﬁrst dash of the rain, Unba” the 010°“ With a sprinkle of spray above the rails, . Just enourrh to moisten our sails, It - t 1 t 3 And niakei them ready for the strain. IS 00 a e Now keep her head toward the south, ' It Shall not be t00 late! And there is no danger of bank or breaker. Burst the door 0139113 Rush in! With the breeze behind us, on we go; , Not too much, good Saint Antonio! ——°°?©<°°‘*— SCENE XIII- The Return. Castle of Vautsberg on the Rhine. PRINCE HENRY and ELSIE on the terrace at SCENE XII. . em,-,,g_ The College of Salerno. LUCIFER dz'sgu2'sed as PRINCE HENRY AND ELSE‘ a friar. Enter PRINCE HENRY, ELSIE, and Behold! the hill-tops all aglow their attendants. With purple and with amethyst; While the whole valley deep below PRINCE HENRY. Is ﬁlled, and seems to overﬂow, \ With a fast-rising tide of mist. LUCIFER. ——«>o:©=:o<>—- Can you direct us to Friar Angelo? PRINCE HENRY. LUCIFER. _ _ _ The evening air grows damp and chill; He stands before you. _v Let us go in_ - ELSIE. PRINCE HENRY. Ah! not so soon. I am Prince Henry of Hoheneck and this . S d ﬁ - v I < The maiden that I spake of in my letters. sieve’ 31513;, ,0;l§I.' thlg éistggnmﬁﬁif BOTH. It is a very grave and solemn business! / It glimmers on the forest tips Does she of her own free will consent to this? And through the dewy foliage drips / I 1'ttl ' ‘ l=tc f 1'<_‘i t , PRINCE HENRY- Arilnd mealele‘s_u’theel_i)eai']tei]ii, love with night. Against all prayers, entreaties, protestations, In hfeys dehghtw In ‘leath’? dismay» uh - . . In storm and sunshine night and day 5 e. W111 not be persuaded In health and sickness: in decay, , LUCIFER [to ELSIE} Here and hereafter, I am thine! Have you thought Well of it? , _..o;@;oo\. ELSIE SCENE XIV- I come not here To argue, but to die. Your business is not To question, but to kill me. I am ready, . y . . . impatient to be gone. . . . . . _ . I must fulﬁl my pu1.pOSe_ 8fpSOeVl‘fé§‘(.):)%eIt£,fl.c}%/)11el{$lSeSéSOf lowlinessl [To her attendants.] I Whose very gentleness and weakness Weep not, my friends! rather rejoice with me. Are like the yielding’ but irresistible air! I shall not feel the pain, but shall be gone, In Char-&Cte1’S Of gold, And you will have another friend in heaven. That never Shall gI‘0W Old, The deed divine PRINCE HENRY. Shall burn and shine . . Th ° h 11 th . Believe not what she says, for she is mad, “yiltcflugoftaeﬁ-,,1§e:§rceeS! And comes not here to die, but to be healed. O God! ytis thy indulgence E _ That ﬁlls the world with the bliss Lem’ . Of a good deed like this. Alas! Prinee Henry! Lo! over the mountain steeps ° ac mess in e i g Come with me; this way, As a storm-cloud 1urid_with lightning; [ELsIE goes in with LUCIFER, who thrusts And a cry Of 1am‘:’“t‘}t‘°“* PRINCE H/ENRY back and closes the Repeated and agam lepeated’ d0O,._] , peep and loud, _ _ Eiwells and rolls away in the distance. , PRINCE HENRY. _ It is Lucifer, the son of mystery. Gone! and the light of all my life gone with her. 0 beauty of holiness, _ [TO the attendamm] _ eS(E%Ef;-ef((l)l'§’i£3‘ﬂ"1rlll(:1eSS, of lowliiiess! Why did you let this horrible deed be done? Shall burn and shine \Vhy did you not lay hold on her, and keep her Through all the ages. From self-destruction? Angelo! murderer! ‘ runs. (EPILOGUE AND FINALE.) 0 beauty of holiness, ./ "e. Eli‘ p‘ -, SCENES FROM THE GOLDEN LEGEND. SCENE I’.--PROLOGUE. T/w spire of Strasburg Cathedral. Mght and storm. I/Lccifer, with the powers of the air, trying to _ pull down the cross. Allegro con Fuoco ed Agitato. -3- \ » .__._—»—$-/ Corni. jg .. P//1/V0, .5: 1" Viola. ceuo. P » ’ —? $ W Timp. ;: 13 Bassi. ,'..g- ' C01-ni. "‘ ff , kl Trombe. 1 Trom boni. Tuba" f Molto arcato. ff 1- a. 4-- ° 3-9- I Poco Cries. do. 'l‘empo,I. 2% '6- '9' Fl. Ob. Clar. Fag. LUCIFER. olto Energlco. Hast - en! hast - en! Hast-‘en, oh, ye_ spir - its! 0b_ J/4-—_— ”J From its’ sta. - tion drag that to mock . b is up-lift-ed, ' up-lift - ed high .3 SOPR. I ¢ II. Sf J‘ Sf }' Chorus of Spiriis. ‘ Oh, we can not! For around it ALIO & /T- sf the saints guar - dian an-gels Throng in le-gionsto pro- sf They de - feat us, de - feat >- >— >- ff TENORS. “ The Bells.” Mlzle CYIZOTMS. BAssEs. >’ g/Ew gr-1.. Con - gre-go cle . downward! clang - ing, sf T Hurl Low - er! ff’ the loud, . . Clash-ing, )- Seize vocif’rous bells, Tromboni. sf >—>—>— Sempre Forte. 0 0 to the pave - ment hurl them! }-p SOP. I «I: II. Chorus of Spirits. AI/l‘0 I & II. them from their windy tower! >==~—- are lmrm—less! For these bells have been a.-noint 1 ed, And V baptized with .5. +- Celli. Fag. - Iy wa - ter! They de-fy ut.- most p0w’r! >— >~ >- Dlm. 1: Hit. 12 1 A”"\ 2 __"_‘ JD w‘‘‘’‘1 '‘ l. ‘ . l\""‘%~""“'l."ll+'l€‘l«”"‘ , V_ K‘ A TEKOB I & II. Poco Moderato. “ The Bells.” De — func - tos plo - ro BASS I & II. > nl_f . . P n Poco Mode T Pod. * f >'l‘exnpo lmo. _[ f_>- Tempo lmo. LUCIFER. ff pg _A _ "“"‘°°- . Aim your lightnings at E, - A---P ~:‘.§~“§»-1'} ‘T ; Pooo rail. Z'*\ O- A tempo lmo. oak-en, mas-sive, i - ron-stud-ded por - talsl Sack the house of God . . ‘ff Colla Voee. > ’ '\ Molto ritard. . .the ashes of the dead! and scatter wide . /§ A tempo. Motto rit. _\ PP SOP. I & II.f Chorus of Sp1”tS' O We cannot! we can not! AI/1'0 I dz II. > >- }- Mar- tyrs, wrapped in man-tles, Stand as war—ders,§ Stand as war - ders at the )- . Stand as sen ti-nels 0’er “ The Bells.” BNO}! I & f.x- ci-to Dis-si-po BASS 1 a 11. __.,;’ mf LUCIFER. baf - ﬂed! In - ef-f1-cient,C-r’a-ven spil‘-its! _ F1. Ob. Ciar. Poco a poco 1-! leave this 12. - bor Un - to Time, 0 —— Man-cato. 3* Allegro lmo. De - stray - er! Come a — way! come a -‘ way, 333: . - j’ mf Cor. Tromboni. Fag. iu——: Senna I-It. night is gone ! . > P Ciar. _..%-': Fag. 1 2 1 Chorus of Spirits. On - ward! on - ward Wit-h . . the night - wind! 0 Vet ﬁeld mf }- farm . . and for - est, ly home-stead, dark some ham - let, 4* 1y homestead, dark - . some hamlet, 'Bli,<,rlat-ing all . .we breathe up-on.’ Then on - ward,on-ward, With . .thenight-wind, >- > > ' -1- -0- ver field and farm . .and for - est, Lone - ly h0me— stead, 3 P I y homestead, some ham - let, Bllght-ing all we breathe up-on! Blight-ing >' some ham-let, Blight.-ing all breathe up-on! Blight-ing we breathe -r -0- Soprano and Alto in unison. . sf (They 37055? away) On - ward! on — ward! ** .35. %*+ -L___:__ .._,.. W9- s0PR!lN0. ndante poeo Maest-oso. T —: l\oc - te sur - gen _-< R“"""“° within the Chthedml. Organ Gregorian C'h(mt..) TENIDR. —< >- Noc — te Rallent-. Andante pooo Mat-stoma. with voices, ad lib.) Vi - gi -le - mus Vi - gi -le - mus Strings. Fag. Str. Pizz. /.?:...__$ . ,——. -F- -+- ff Ped.; Pea.;" Ped.; Ped. ‘Pea. Vi - gi-1e—mus om - nes! - gi—le-mus om - nes! - gi - le - mus om - ,...-.-._-_¢\_M_.__.,_.__.__..f.f..\- ___ A‘ A__A AA - Vi - gi-le - In US! vi — gi-le - {nus P ~..-<=._._.<...r < I A _ «cc.-"2-c—"..4 . “N 4%. vi—gi-le - mus! vi-gi-le-mus '§ )1: 3 ﬁ Corni. bi * Organ meet from this point. 7 *# SCENE 11. Castle of Vautsberg on the Rhine. Chamber in a ‘tower. Prince Henry alone, ill and restless. ]lI.’d~ night. Andante espressivg. '\ . Cor, >- mfceli-3 « A A A CF08. ed accei. } > >>> Poco agitamo. >.>->- PRINCE HENRY. m anon‘ conanima. —/5 I can not sleep! my fer-vid brain . . Calls up the vanished Z‘ 7’ . Collavoce. | /——\ Moderate in Tc-.mpo.__=:-——-" P 1 Past again, And throws its mis - - ty, misty splendors deep Into the pa1—1id realms, the , . Tem 0. . . . 0&1/o * The recitative portioxis of this work must be taken as nearly in strict time as possible. pal - lid realms of sleep!‘ A breath . . .u_'p_.I § 0 0 n 0 . '?" .,_. F1. Ob. Clar. ,..\ 3 J/‘_J_ Str. ‘X‘Ped. . from that far t shore Comes fresh’ - ' R Sempre piano. .>.-. 5 Ped.-r more and more, And wafts . . . 0’er in—ter - ven-ing seas § -¢f_0f;»92- 2 Z . +—+—- 635? Sweet sweet 0 - dors from the - ning ev - er Hes—per — i- CI-es. ye friendships long de - part - - That like 0’er-ﬂow / ‘ . ‘\ ~ _ streamlets start - ed, And now\are dwin - chan - nels in Come back! ye friends, whose lives are f; — ed, Come back, with all thatlight at-texld - ed, VVl1ich seemed to darken {Ze--$ ’ mf ‘ }— de - Cay, When ye 3 - rose and went a - way! \ >— -\ *\ M,» . ‘}r'~.,£ , f_,,..«£»-ML‘ Poeo An I mato. &—_—_.2 Fl. 0 b. Clnr. Poco A n i mato. Zjx ff ‘ ‘ >'=- they come!_ the shapes . . of joy and woe, sempre piano. Celli. Fag. ‘ V Cor. Ped. “:53 air - y crowds of long a-go, The dreams and fan-cies known of yore, That 3 _V:_[4~I~a~.r~I~ao~I~’> wvv-oAovvv~aoo&wa&~o¢.-rorvv Ay l~I\'~ f have 7 been, Sva ¢-~¢-» Ht,-b—71 '9? F Rest ! Tempo lmo. and peace! Recitante. Molto a con pans! no. The thought of life Pot-0 ran. _shall cease Has something in am too weak to bear! A weight I it like des - pair, Lento. Clar. Fag. Cor. . Sweet - er the un -dis-turbed ‘ﬁr’ Tempo lmo. e; and deep tranquil - i-ty. . . . un - disturbed and deep Tran- (—\ quil - i - ty — — less sleep ! 0 give me rest! SCENE III. ‘(A ﬂash qf lightning, out qf which Lucifer appears, in the garb qf a traveling Physician.) A negro con fuoco. Sva.» . . > _ . LUCIF ER. PRINCE HENRY, (starting) 215 Prince Hen - ry! VVho is it speaks? Who and what i LUCIFER. who seeks a mo-ment’s and-ience with the PRINCE LU Prince. VVhen came you in? A mo-ment since. I found your stud-y door un- locked, And thought you an - swered when I knocked. mf .4 PRINCE HENNRY. «¥;F.-—.‘.-—"F,-H- TZCDJ V / If g\[ ‘- 1." Vvhat may your wish or I ' ' - - 5 H L ‘ . F i ’ 4 : = : ‘ ! .0 : = 7 E _‘L'&v“1*%'—3—"-‘f—":L"-‘:1-L-.5-t""ﬂ g V {'1 I \- 0 E I Cres- ‘-4- -L a—o ,— \‘ . b _ . . q 7 " . 7 . ' .1 ‘I - 12% 7 . 4. I 0 PL I l I ‘I —-e: A LUCIFER. .\ The storm, that a-gainst your case—ment. drives, In the village below way- ‘ -\ laid me. And there I heard, with a. secret de—Iight, Of your maI- a.-dies phy- si—ca1 and L“ - tal; And 1 has-tened hith - er, tho’ late . . . in the night, PRINCE HENRY. prof - fer my aid. What is your ill - ness? Ob. Clar. 2‘./x Andante esp:-essivo. (Tenn del No. 2.) no name. A smoul - d’ring, perpet-ual .. Ped. sempre. As in a. kiln, in my veins. \ . - /._....:_.\ sempre piano. T E - ven the doc—tors of Sa - lern Send me back word they can discern No cure—— J\ _ 0 0 i 9 N for *3, mal - a- dy like this, L LUCIFER. PRINCE H. one which in its na-ture is Im-pos - si-ble, and can-not be! VVhat is their rem-e - dy? You shall Sf LUCIFER, (read/ing.) . _3 - yVrit in this scroll is the mys - te- ry. “The on - ly rem-e - dy which re-mains of herown free will shall die, And give her life as the price of yours!” The pre - scrip - tion you may well put ores. f . o . Mean -while per-mit me to re - com-mend My won?-der-ful Ca- -'O- . V P Pizz. * 8Ve§..o~o~r.rv\I~.ov~avv\o~ tho- li-con! Be-hold it here! Be-hold ' this lit—tle ﬂask Con-tztins the _.____..§ Won-der-ful quint-essence, The per—fe,ct ﬂower of ef- ﬂo -rescence, Of all . . . . the linowledge ’_IO’_ }. no '0 f— 0 O /— M-7‘ 1’ INCE HE RY. LUCIFER. can ask! Will one draught sufnﬁce? If not, you can drink 8I’aaAn Fl. Clar. Lucxmm. SOPR. V ALTO. of angels hovering in the air PRIN HENRY. In - to this crys - tal gob - so much as Z-.—.._.._.....$ let pour V LUCIFER. > Drink ! shall sink Down . in”- to the dark 31- byss, the l f Con fuoco. ’Tis|ike a draught of ﬁre! byss! (Chorus remain seated throughout this number.) 11 al w'0e ! P Tromboni. safe- 1y I may drink I and thy in - ﬁn-ite a- —+- "' Pizz. Th ro’ ev - ’ry . I whis - per’d pray’r, the whisper’d pray’r whis - per’d pray’r, the whisper’d pray’r whis- per’d pray’r, the whisper’d pray’r 0 joy 1 Re - ver - be-rate, re — ver Re - ver - be-rate, re — ver ..Re - ver - be~rate, re - ver feel a — gain . The fe - ver of youth, the soft de - sire: the im- pre-ca — tions - ‘U’ of love, the im - pre-ca. - tions the im - pre-ca. - tions feel the band of steel up - lift. be - rate he - rate L. fear - ful curse- —e f x fear - ful curse- _._p/ fear - ful curse- e f My wea—ry breast at last ﬁnds rest! thro’ the air thro’ the air thro’ the air Shakes the great 7’ Shakes the great I’ Shakes the great I’ :———— ni - verse ! ni — verse ! ni - verse! :>>— 70 (With ecstacy-.) en visions wave ’ hov - er, LUCIFER. Drink! drink! and thy soul’ shall sink mf Semi-Chore’-‘ ——————j .. Sormmos and Amos. (Altos oni y.) VVith ﬁend ish laugh - tel‘, -797’ Sopmuro. Touch the Touch e Touch the PP mf /-x Ped.¥ * som-pro. Er . 3 * This Semi-Chorus to consist of eight to sixteen voices, weakly proportioned to general chorus, and equally divided in Sopranos and A os. Down, down in —to dark a—byss, e in -ﬁ-nite a—byss! Here - af - ter, This false phy-si cian, this false phy- more! Touch the gob - let ——+« Z‘ more! Touchthegob - let Touchthegob - let stream - ing, . . am likea hap soul shallsink, y soul shall sink! In — to the in — — nite n- W I 1*" 5 u'T,'E' thee thyper-di - tion, in thy per- more ! more ! :3 In -lu '- mines. life byss thy soul shall sink! in - to the in - ﬂ - nite, It will make thy heart will make thy heart will make thy heart dreaming! phy - si — eianl . /"""\ dark abyss! Drink! drink! and thy soul di - tion! phy - si - cian! O beware ! 0 . beware ! O beware l T V 4: 4- in — to the V M in thy per- phy- . shall sinlgthysoul shallsinkin-to the f“ V . phy- O beware ! O ‘beware! 0 beware l si - clan! Wellhast thou . . . . ful—ﬁlledthy mis dark a.—byss! si - lcianl ' ell hast thou Sick-ness,sor - row and care, - All, 0 Sf . §:._.._Z S1ck—ness, S01‘ - row and care, All, . . . . Sick—ness,sor - row and care, All, Thy soul shall sink in~to the dark a- Sop. therell 4 A - las! Like a. Va. - por the gold hen vi - sion Shall &__J a there! . . . A - las! . . . Like a va. - por the gold en vi - sion Shall ' Dim. there! A - las! A - las! The gold -en vi — sion Shall }--/‘.$ T e a va - porthe en visions wave Drink! dripk ! and thy soul shall sink! Drink 1 drink! *2 \./ - — h,ﬁendishlaugh - ter ere - af - ter, This false phy «si - cian, fade and . And thou shalt fade and pass! And thou shalt ﬁnd ‘fade and pass! "And thou shalt 2% -P- -5- My wea - ry breast ‘ at last ﬁnds shall sink in - to the dark 3. - byss, in - to the heart a-gain - ly theblight heart ly t.h'ehlight heart a-gain ly the blight thee, a.-byss,the in - will mock bit - ter, and bit - ter 3; J”; bit - ter, and bit - tel‘ bit - — - ter con-tri bit - ter, bit - ter, and bit /- ter I and >- con - tri joy! . . . . . byss ! per - di con - tri con — tri K . con - tri SCENE IV. QUARTET VVITHOUT ACCOMPANIMENT. Ekie comes in with a lamp; Max and Bertha, follow her, and they all sing the “Evening Song" on the lighting Q)‘ the lamps. Con Mot-o. SOPRANO. (E1sie.) ALTO. (Bertha.) TENOR. (Max.) BASS. (G0 ttlieb.) (Ton M an). Intro- ductlon. Tromboni. gladsome light! glad - some light! >‘ O gladsome light! {Th - some light,O gladsome light gladsome light I glad - some light,O gladsome, gladsome light l > 3 ‘fr?’ gladshme light of the Father, 3-’:- gladsome light of the Father, of the \ of the Fa — N Fa-ther Im - mor - ta], And of the ce — les - tiail, Sa-cred and bless—ed Je — sus, ——<>:’ —-<>. Fa — ther Tm - mnr - tal, And of the Ce’ - les - tial, Sa - cred and b1ess~ed Je - sus, >-’ ‘ Tranquillo. bless — ed Je - sus, Our Sav ior! Tn", u,",,_ Now ‘Now . . to the sun-set, the bless - ed J0 — sus, Our .sun—set a.-gain hast thou broughtus, a. - gain . M . . . hast thou brought 7? '5' a - gain hast thou brought us, a. - gain hast thou brought f >_/\. >4. Thou ' to the sun - set hast brought mf /_._.._.\ to the sun-set a.-gain . . . hast thoubrought 1’ - ning twi-light, we bless thee, see - ing the eve - ning see - ing the eve _- ning twi—light, we [bless thee, see — ing the eve - ning twl - hght, we bless thee, Praxse . . thee! twi —light, we bless thee, Praise . . .' ' thee! he mr Fa - ther om —’ni - po-tent! Son, the Life-giv - er! Spir - it, the Com -fort-er! mr Fa. - ther om - ni - po-tent!.Son, the Life-giv - er! Spir - it, the Com- fort‘-er! - thy of wor-ship and won-der! Wor - thy at all ff Wor - thy at all times of wor - ship and won-der! Wor - thy at all /\ ,— 9 won —der, At all, 1..-._ ___p.__- times of wor - ship and won 0 glad-some times of wor - ship and won derl O gladsome light! times of wor >— - ship and won 0 lad-some ff light! 0 gladsomelight! 0 glad-some light! -<ff O gladsome light, gladsome light! 0 glad - some light I Xi -< ff Dim. P >- _ O gladsome light, gladsome light, Og1a.dsome,gladsome light, gladsome light ! 4:5 SCENE V. Elsie’S C’/Lamber. Night.‘ Elsie praying. A ndante espressivo. E-LSIE. My Re- A My Re - deem mf I be - seech thee, _¢< _{ Guide me in each act and word, Thathere-af that here- /“ ‘T ‘T .._c-’‘‘ Watch - in g, /T I may meet thee; UVII ox } hop-ing, yearn - ing,With4my lamp well-trimm’d, we11—trimm’d and ' -+—+- 7' §'O"0r 1 ‘W colla voce. : 0 [In poco piu moto. In-ter-ced - - M ing with these‘ bleed — ing wounds; these K {Tn poco pin mono. Fag.Vio1a. / \. P / \ / \. 2:‘. ,T=> ‘ )- bleed - ing wounds up-on thy hands and side, For all 7 who have lived and D. Bass. Fag. } err -A - ed Thou liast suf - fer’d, thou hast died, thou hast {Tune ‘ f> Paco suf - fer’d, thou hast dieil. . Scourged, Vand mocked, and Aceel. ‘e (.__‘ /,..+__ -F .s..,.u..~,-N, Poco fall. :5) ii’ 7 ‘ Molto ritard. >_. the grave hiast thou been btir - ieii! Molto ritard. IIIOZZII V000 . Tempo lmo. TI - ior, If my fee- ble prayer can reach thee, Oh, my Sav Tempo lmo. a a"r16;_ a el tranquillo. I _' /‘ “\ II I hﬁempr HJ HIT ‘\ /-‘ ‘ll. PI’ j 11 .. ll :3 .u I 1 I I 4 V a‘ nu ‘IN C‘ .' b___a’ 9%.’ sempre Pea I n for I be - seech E - ven as thou hast died 5 thee, more sin - cere - ly, .. 197’ T . More sin - cere low where thou let me fol bleeding as thou bleed‘ - est, if dy-ing I -may Die, me, Let to one who asks to live, Andmore near~ _\ re - sem - ble thee! more near - ly, ' more near ~ 2*‘ - ing ¢hus,re-sem - ble thee, - ble thee- 50 SCENE VI. The Pilgrimage to Salerno. (FOR ORCHESTRA ONLY.) “Onward and onward the highway runs to the distant city, impatiently bearing Tidings of human joy and disaster, of love and of hate, of doing and daring. Hark! what sounds are those, whose accents holy Fill the warm noon with music sad and sweet? PRINCE HENRY. { 4 ELSIE {It is a band of pilgrims, moving slowly, ‘ On their long journey with uncovered feet. Urbs cwlestis, urbs beam, Supra petram collocatai, mbs in porto satis tuto, De lorngtinguo te salute.’ ” PILGRIMS. ‘Tempo di Marcia. Poco mode:-ato. PIA/V0. spy, Ob. Ula r. Fag. mf “ Urbs cw - les - t/is, urbs Str. pizz. mf (Wind.) Ores. sempre. . O Trumpets. Tromboni. >- Poco pin Mosso. Corni. Clar. Ob. Trombe. Corni. f %celcl-;ra_n,«1l‘nB 4‘ rom 0111. u a. Tfomboni, in-uendo. P Poeo All t-gro. Cor. Fag. Celli. Espressivo. -—r- D.Bass. y CIDII Sven. Tempo (lmo) dl Marcia._$ (Wind ins't's.u' Tromboni. Poeo ores. Poeo All fr Celli. Viola. Fag. F1. Ob. Clar. Tempo lmo. 4 H9- Pot-0 Allegro. Tempo lmo. , Fag. Celli. A 1 I K1 l"'-~ HI“- :‘%&; ﬁ:*J.37;=*‘ , wa . d‘r|. ’ ‘ ' q ‘H Espressivcnp 44.-H ' A 7, . *: a7 ,**d I-‘I M. M 0 M M m m T Cor. Fag. (Wind.) > > Allegro Molto. 59 SCENE VIL (DRINKING SONG.) The Refectory. Convent qf Hirschau in the Black Forest. Gaudiolum qf monks at midnight. I/et— ezfer disguised as 'a friar. Friar Paul sings. Allegro con Fuoco. W 0 '9'. FRYAR PAUL?‘ f k‘ 3-‘ -9-. Con abandon. ' . . _ A - ve co - lor vi - ni cla - r1, Dul - c1s po-tus non . . a.-ma, - r1, THail,. . thou vintage, clear and rud V) dy, Sweet of taste and ﬁne . . of bod - y, Z_ Tu a nos ‘in - e - bri-a. - ri, Dig I ne-ris T111-0’ . . thine aid we L . . . shall stud - to make _ Y } g+Cres. Th 0 "to *This part may bevsung’ by the singer of the role of " Lucifer." 1 English translation (for this work) by’Emwxw C. STEDMAN. . A W , P V H E TENCIRS. Uhorus of Monks. un - de vi - num, fun - de! fun—de! Tunquam sint ﬂuminis Pour the wine, then, pour it I pour it ! Let the wave bear all be- /T N BASSES. ff> ‘ -¢54|- -9- J5 ten — ti~ a. Fun - de, funde vinum, un - ! glo - rious. Pour the wine, 0 pour 1t! pour it! ' \ . '5 un - dse, Nec quse - ras, nec quaeras un - fore it! There’s none here, none here to score it >. >_ >- >. >.. >- ec qua: - ras, nec quaeras ;I‘here’s none here, none here to per a - bun — dc! - ty, pour" it! un - de, score 1t, fun - das, sed n - das sern pour it in plen-ty, in plen \ N /____ $4‘ ,., FRIAR PAUL‘ (With exaggerated portamento.) /-'1 . quam pla - cens . thy col - or slmlll. « O! . . quam frag - rans O . . thy fra - grance h-:—-:1:-j-¢.$ poco run. >- > . quam sa. - pi-dum in o - .. . ce lin - quae with-in the mouth how pleas the tongue’s prae- >- > > Chorus 0fMOI1kS. - - de,vi - nnm, fun - de! the wine, ‘then, pour it! .-£-J J de, fun - de vi - num, fun - de! fun - del thewine, Opour it, pour it! pour it! \ "'\ "\ Tan - quam sint ﬂu - mi - nis un - due, Nee‘ quae - ras, nec quae-ran Let the wave bear all be - fore 1t! There’s none here, none here to >. >. nec quae - ras, nec quae-ras un - de, fun - das, There’s none here, none here to score it! Pour it in >- >- >- >- . . ' ' I Sed fun - das, sem — - - S0 pourit in plen - - - per a-bun - de! - ty, pour it! FRIAR PAUL. N T Fe - lix ven - tor Blest the stom - ach quem in - tra. - bis! - lix gut ~ tut‘ quod - - ri - ga - bis! where thou wend - est! the throat which thou . . . . dis - tend - est! _ /_j____. L- /A Fe - - liox os - - quod tu - - la-Va. - bis, Et . . . be—a - ta, be- Blest the mouth . . . which thou . .i . be-friend-est, And . . the lips, . . . the a - ta, be-a - ta la lips, . . . the lips Vic - to Chorus of Monks. > Fun - - evi - uum, fun - de! fun - del Tan-quam tﬂu - min -is un- dae, Nec Pour the wine, then pour i pour it! Let the wave bear all . . be - fore it! There’s 2- > '-«"4 -0- Nec quae - ras, nec quae-ras un — de, it! There’s none here, none here to score in! quae -ras, Nee quaeras un - de, none here, Nonehere to score it, pour it! Sem - - per a.-bun-de‘! Sem - per a. - burn-de! Pour i 0 pour it! C U 6-3: _ SC EN E VI 1 1. The Revel, and appearance Q)" the Abbot. (FOR ORCHESTRA ONLY.) “ What means this revel and carouse‘? Is this a tavern and drinking house? Are you Christian monks. or heathen devils, To pollute this convent with your revels?” ff? Allegro Bacchanale. Con Molto Brio. COI'Ili. >- Viola. Clar. >- 2* >- > mp / ‘\'I‘r0mboni. 3*’ mf > ffﬂolmo mareato. F1. Ob. Ciar. Mareato. rm ' _ ' _ Cel1i.Fag. ff Paco stringendo. Cor. Fag. ‘Vcelli. recitando poco rall. moon v-all. j’ Temlio. P 1'" . Trombe. >2--5 Tromboni, Viola. Clar. 11 t d . ra en an 0 ]__—-§ Adng_io_ Tromboni. ea SCENE IX. At Genoa. A terrace overlooking the sea. Elsie co1ningfl‘om her chamber. Andante moderato. / , o '_ c K /——§ P/A/V0. ’ P Vla. Vcell. .7 _g'_ ‘ ‘ The night is calm and cloudless, — — still as still can be, And the stars come forth to lis-ten, To the Inn - sic of the . f f‘ 7t -9* f-/---\ sea. They gaLh—er, and gath - er. and gath — solvr. Alto. “‘;<- h 553 Chri - ste Ten or. PP!’ Chri - ste Bzue. PPP *.Cl1orus remain seated throughout this number. they Crowd the And lis—ten in breath-less si-lence, ~0- i- son, Chri-ste e - Ie i - }— i-son,Chri - stee-,le - - i- /:- (Organ.) It be-gins rock—y cav - erns, As a voice that chants a - - - Chri-‘Ste e - Organ ped. sustains. To the ped — 9.13 of the or - gan, In mo- no -tonous un - der- sempre piano. And a-non from shelving beach ~es, And shal low sands be- Chris - te, __< snow — white robes up - ris-ing, The ghost ly choirs re- Vcello. Fag. ff Chris - tel Chris - Le e - le ~ i—son, y - ri-e, e - 1e - 1-son, e - le f y - ri-e, e - le - i-son,e - Cros. ‘C f i-son, e - le Christe! Christe e- 1’ Chris - te.I Chris-tie ! Chris - te e - __< Chris - te I Chris - te I Chris - te e - I. '72 SCENE X. Barcarolle. (won ORCHESTRA ONLY.) The ﬁsherman, who lies aﬂoat, With shadowy sail, in yonder boat Is singing softly to the Night! is 7% ~>=,« as ale are A single step, and all ia‘o’er; And thou, dear Elsie, wilt be free From martyrdom and agony. Allegro Mode:-ato e Tranquillo. -—=:.<}‘-—-<’<}- ? sves ad lib. “‘ Two (moderately slow) beats to the measure. Tromboni. Corni. 3 -—+- /\ (Strings. )# '/..—_..__§ 9-1} N-< > F1.C1ar. ob." n. «av Strings unis. Ei- Wlf 4-O- (jor, 1«‘-.1g_ Canto sempre man-cato. 8\'a ~v~¢¢-v~m~v -0- 1‘, n passi one. 2 Poco rall. ./ _.___....__....._\ SCENE XI. At Sea. (CHORUS OF‘ SAILORS.) Allegro con Spirlto. Trombe. Tromboni. P/A/V0. TENOR I. The wind 'rENon II. > up-on BASS I. The Wind 1; A ss II. >- up-on our quar - ter lies, our quar - ter lies, be - ore the fresh’ning e, And on, be- on, and on, . . and on be-fore t.heI're.sh’ninggale, And on, . . and on be- and on be - fore the fres'h’ningg2Lle, And on, fore the fresh’ning gale, . . > - fore the fresh’ninggale, That fore the fresh’ning gale, . . . be - fore thefresh’ningga1e, That > :’ _Z——j——:_ be - fore the That ﬁlls our ' 3 H5 our snow - white lat-een sail, swift - ly ﬁlls ouranow-white lat een sail, Swift-ly, swift - ly ' white l_at~een sgil, ly our light fe ‘ca ﬂies; our light fe — luc - swift ly our light fe ca ﬂies, our light ﬂies, our light ie e bil - lows burst and round ‘— the billows burst and foam, } . >- A - round the billows burst and }— lift her - thesunk - en rock, They beat her sides, They beat her >- >- . They 1-ift. her o’er the sunkenrock, They beat her sides, they beat her ,..__...$ ' > Ped. sempre. sides, they beat her ‘sides with ma -- my a. shock, sides, they beat her sides with ma. 4 ny a shock, shock! shock! '79 * —< f And then, up-on their ﬂowing dome, They poise her, they > >- _ f And then, up—on their ﬂowing dome, They poise her, they _< ise her, poise her, ie like a. weath-er-cock. Now all read-y, eaweath-er-cock. Now all is read-y, good Saint An - to blow! . . . . . . . . . good Saint An - to Hal that is the that is the min first dash, the ﬁrst dash of the rain! Witll a sprin - kle of spray, > } >’ >- mp ﬁrst dash, the first dash of the rain! With :1 sprin - kle of spray, spray a-hove the rail, spmy a-bove Lhe rail, And make And make them make them read - - y /-— 3 y for the ét1'ain1. y for the strain. the strain. .< Just e - nough, > Just, e - nough, >‘ them read - y read — for the to mois - ten our sails, . to Innis - ten our sails, . . . . K ‘ And the strain, and make them read — _v for the strain, and make them strain, . . . and make them how she leaps w en the blasts 0’er—take her, And V >- >— > > how she leaps when the blasts 0’er—t:xke her, And >~ >- F 82 _.._..K.___ speeds 3 zi-way With a bone in herxuomh. speeds a.-way with a bone in her mouth. Now keep hex-head t0- - 3 . mf Now keep her head to - ward. A’ Now keep herhead to - ward the South, m f Now keep her head to - ward, to - ward the South, j — ward the South, toward the South, Now keep her head to -ward the South, South, her head toward e South, there is no dan—ger of bank or of breaker,’ there is I : VVith the there is no dan-ger of bank or of breaker, there is With the _i-'——‘ Col. Sven. ff breeze, the breeze be—hind us, On we go, we go! Not too ff breeze, the breeze be-hind us, No: 100 >- much too much not too much ) , 1 I >- too much, not too much, . good Saint An - to - - good Saint An - to - 84. % SCEN E XII. [The ‘College qf Salerno. Lucifer disguised as a Friar. Enter Prince Henry, IEls1'e,:rand—£heir attendants. A n «Ian ta. nu derato. Dolente. "PRINCE HENRY. LUCIFER. A,,,,_ ,,,,,,,,,,.,,t,,. Can you di-rect. us to Fri - ar . He stands be - fore you, Z.‘ 3 Ana. moderalo. fl’ /" PRINCE HENRY. Deciso. 'I am Prince Herky, of H011-en-eck, am} this the (B1339-) P (Ires. 5. LUCIFER. maid-en that Ispakeof in my letters. It is aver—y grave and S01 - emn >- (Str.-) Sf Pizz.l PRINCE HENRY. business. Does she, ofher own free will consent to this? Against all px-avr’s, en- /? ‘ senuore piano. . . -4- -r LUCIFER (to Elsie.) >- >>. treaties, protest-a-tions, She will not be persuad-ed. Have you thought well ofit? ELSIE. >- Al come not here to A F1. Ob. Clar. 1) (>00 nlarcato. —-’—~*"n"""sf ar- gue, but to die. busi-ness not to question, but to kill / so 1'. PP!’ —< >- .l‘»0- . 0 (Chorus seated.)A pr0-test- A-gainst all p1-ay’rs, >_- ies, Ten or. (Chorus seated.) pp]? A-gainst all pray’rs, — ies, W pro—test— Bass. Chorus of Attendants. am read y, im-pa-tient to be gone. must ful- - ‘d’ Ga -tions, She will not be per - suad a-t-ions, She will not be per - suad :e ( To her attendants.) my pur - pose! Tromboni. Tuba. not, my friends! rather rejoice, rejoice with me; PP . '* . . Against all pray’rs, en - treat - les, pro-test-a - tlons, PP _ ‘Against all pray’rs, en - treat - ies, pro - test- a. - tions, PP .—\ I .-< shall not feel the pain, against all p1'ay’rs against all pray’rs Ball. in heaven. 3 3 friend, an-oth-er fbiend mad,aml comesnot here to die, but to be healed, but shall be gone, And you willl1avean—0Lh—er V 2 ‘she will not be per - suaded. she will not be per -, suaded. PRINCE HENRY. Con Passi 0 ne. Believe not what she says, for she is but to be healed! LUCIFER. > Prince Hen — ry! this way! 1>Im'm«‘, HFNRY. Am, ante-. _‘ Dolente. _ _ (zone! gone! _ and thehght of all my l1f'e. A"da"te. I {tuj - 7 C V . /.\ },_ on somma passione 3 . gone w?th her! Why (lid you let this l1o1'—ri-ble Allegro Assai. < ‘#1’ 'd' 'd' Agitato. I >- deed bedrme? VVh_v did you not lay h01d on her, and keep her from self— e-struc - tion? Mur - der-er! ( Chorus nse will), this mews-'u,a‘e.') 89 ELSIE ‘ (from ,within._) Fare - well, . . farewell, earPrin(:e,fare— F . I I V ‘derer I P RIN HENRY. f farewell! ' the doori. . } Mnr - der-er! Fjj. N____._. _..‘Y"._;L_J-‘.2 ___.__.___. F-;___ j . ' 9‘ 6 ‘ l ' Mur - der—er! ' Un- 1 . LUCIFER. the door! the dgor, Un the door! PRINCE HENRY. Poeo rail. 0 Tempo. shall not be late! It shall not, be gendo. too late I shall . not be too late! a. [boon strin- t shall not be too It shall not be too poco a poco strin- ocoa ocost i - D >_D rn Burst the door 0 - pen! ff too late ! f pen l Burst, the door 0 - Burst the door ff ' rush in ! 91 SCENE XIII. The Return. Castle qf Vautsberg on the Rhine. Prince Henry and E lsie on the terrace. Evening. Allegro non troppo. .ﬁ. ' Q? 0 PIA/V0. mf Trombe. ELSIE. Animato. nim %..—____——... EE :3?- K - ple and with arm - e - thyst; . . . . While . . . the whole val - ley *2 eep be— low . . Is ﬁlled, . . . and seems to ov - er-ﬂow . . \Vith . . a fast ris - ing Is ﬁlled, . . . and seems to ov- er—ﬂow With a fast ?_ P01-0 cres. tide of mist, A '. - ingtide, a ris - - ingtide, a tide ris - - ingtide,a. ris - - ingtide, a ris - - ingtidepé a tide / PRINCE HENRY. The evening _air grows damp, grows damp and chill, Let us go in, . . . let us go in. T /‘ 0 ‘K 0 .ﬁ O ELSIE. i not so soon, seeyon-der ﬁre, see yon-der ﬁre! It is the moon " - ing, slow ris ‘Paco a poco creé. ing o’er the East It glim - mers o’er the /R glim — mers o’er theifor-est tips, And thro’ the dew-y f0 - liage drips, fox: - est tips, And ithro’ . . . .the déw—y fo-liage drips In lit- tle riiv -1.1—1ets of ,._——-—.S/_&,4——S/__\ ./ I . ’ In lit - tle, lit - tle riv - u-lets of light, And makes the heart light, lit.- tle riv — u-lets of light, And makes the heart A J night! ~g:. ff- In life’s ff de - light, in (1e:l.til’S dis - may, night‘ and day, . . In health, and sick-ness, 4-§ in de - bay, . and here-af - am thine, and here-af - ter, I’ i 6 . _ and sun — shine, e i J Here, and hex-eaf - ter, j >?- am thine, yes, f . e ‘T 95 :>=— am thine ! am thine I In death’s dis-may, mf -<";" In life’s de — light, Here and here- » >>> Hefe and here- ca-es.““~"-< sf 2 ‘ Mo] Animate. sew SCENE XIV. Epilogue and Finale. SOPRANO. Andante, lnolto maesloso. Andante, molto maestoso. ff Man-cato. - 1i—ness, Of self - for - get - ful-nesis, E!’ - - li-ness, Of self - - for-get—fu1ness, P - ness, Of self - for - get - ful-ness, of ,f‘,/‘ ./‘f‘ K“ /" low - liness! of meek - ness, Whose ver - ygentleness and low - linessl of meek - 11ess,Wl1ose gen - - tleness and P Whose ver - y gentleness and _ mess Arelike the yield ~ but ir - re-sist - i- ble air! _.—/ . weak - ness Are like the yield ' " ir re~sisL — i — ble (_. H l D’ B I“ I, - 1 Q n L l V J L beau - ty of 110 — liness! O pow’r meek - ness! beau -ty of ho -' liness! O ‘pow’r —=< 8veS l9wv¢vo (Org. Ped. sustains.) ‘ﬁe x « a~ ha 98 g 1:?’ Allegrqilnon troppo. 111 char - ac—ters of mf In char - ac-ters of gold, gold Allegro non troppo. deed, the eed di - vine deed, the di - vine That nev - er shall grow old, That nev - er shall grow old, Shall bu rn, shall burn and shine Sh-all burn, shall burn and shine Thro’ all, thro’all the Thro’ all, thro’ all the ges ! Thro’ char - ac -ters of ges ! char - ac -ters of all Th at That — ges! nev - es shall grow - ges! er shall nev - grow 8V (9go-Iv~o~r~’~o~Iv~ovv-ov- I ges! _l.._.__ The deed, the deed di — vine Shzlll burn, slmll burn and - ges! —<."“» d The deed, e deed di - vine, . . . Shall burn, shall burn and ff Shallshinethro’ all . . . ' a - ges VVitl1 soft - ful - gence! shine thro’ -———j/’d’_’____ f ‘T Shall shine thro’ all . . . a - ges VVi1,hsoft ef - ful — gencelO . "'15 _____>—_ f Shine 0 God I 1 O O 5___ - gence That ﬁlls tl1e\vorl«,l with thebliss, the bliss of 3. good rlul — - gence That ﬁlls tlmworld with t‘l1ebli:=.s,‘ the bliss of a good dul - - gence That ﬁlls . . . . . . the world withthebliss of 21 good . _\ . . T mm 1‘) 0 . ‘“‘— ;j|%j.J::3Sa,:_"”“— ii“'0“#’-“UV? T3!‘ - len - - tando. ' I I 4 I --1 I .‘ I ~4 r”l‘”E”‘l v»}<T-~+-H ' -3- -U- is v (}§’4~&v~l~r A n¢l:unt<- IEl.'l0§I0§I¥. OV - or the mount - air) Stoops, T s z‘- A ntlant nines! 050. >>-f gi-gan-tic shad — ow sweeps, >- . }- }— storm-cloud lu - Ijid with light-ning, >- I and a-gain re - peat—ed, }- peat - peat - ed and a-gain re - peat-e.d, >- mp >_ > A black-ness, inwardly brig11t’ning, IT 3 of la - men - ta - {ion of la. - men- ta - tion Re- Sv e§«--.m¢~vqv\~vv Deep, Deep, deep and loud, mf Deep, deep and’ loud, eep and loud, K Swells and rolls f Swells f Swells and A rolls 2” »--—\ Swells the dis - tance. dis — tance. the dis - tance. Lu - ci—fer! /5’- beau - ty of ho - 1i—ness,.. of K. /T») beau - ty of ho - Ii-ness,.. of L’ istesso Tempo. self - for - get - ful-ness, of li-ness! for - get - fu1—ness, low li - ness! self - for - get - ful-ness, of low - /- /- /* /* of meek -ness 1 of meek-ness ! the deed di - vine the deed di - vine . .2. '1' ff Alk-gro A.-isai. The deed, the deed di- ff The deed, the deed di- ff Ailegrro Assai. 45' vi‘ , 5.’ fl ‘ ‘ ‘ V I . if, ‘ ‘ W ‘ 8 shall burn and . . shall burn and Z"?-'_-'-T . ‘ shine, shall bum shine thro’ >- >- > sen: ]) 1'13 shine, shall burn shine thro’ _\ ﬁﬂlpl‘€ 9,, .. u._‘_x.M.._,.....),.w...,.w.;.u.1m@, . THE LEADING MUSICAL worms. For Singing Schools and Conventions. THE EMPIRE OF SONG,. . . . .. . . . . . By Geo. F. Root. OUR SONG WORLD, . . . . . . . . . . . . . By Root & Case. V THE REALM OF SONG, . . . By Geo. F. Root. CASE'S CHORUS COLLECTION, . . . . . . . . By C. C. Case. - PALI/IER’S CONCERT OHORUSES, . . . . . . . By 1:1. R. Palmer. TEMPLE OF SONG, (Shaped Notes,) . . . . . .60 By A. J. Showalter. THE SONG HERALD, . . . . . . . . . . . . .75 - By H. R. Palmer. THE CROWN OF SONG, - . - - - - - - - - - .50 By M. L. McPl1a.il. For Day Schools and Institutes. THE REPERTOIRE, . . . . . . . . . . . . .$l.0O By Geo. F. Root. INTERNATIONAL DAY SCHOOL SINGER, . . . .50 By Nlurray & Pontius. 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IDEAL ANTHEMS, . . . . . . . . . . . . . By H‘. P. Danks. For All Instruments. INSTRUCTORS FOR ALL INSTRUMENTS. Send for Complete Descriptive Catalogue. lnstruction4o:e=13'ooks. A NEW MUSICAL CURRICULUM,. . . . . . . $3.00 For Pia.no—-By Geo. F. Root. MODEL ORGAN METHOD, . . . . . . . 2.50 By Geo. F. Boot. « SCHOOL OF SINGING, . . . . . . . . . . . . 3.00 For Voice—--By F. W. Root. LEBERT AND STARK SCHOOL, each. - - For Piano. Part 1. Part 2. Part 3. URBACH’S PRIZE METHOD, For Piano—Tx-zmslated by Theo. Presser. DeBERIO'I"S METHOD, Part 1, . . . . . . . . 1.50 For Violin——By Ch. DeBeriot. Collections of Music. MODERN CLASSICS, . . . . . . . . . . . . $1.00 For Piano—Medium Diflieulty. MODERN SOPRANO SONGS, . . . . . . . . . . By the Best Composers. ' MODERN JUVENILE CLASSICS, . . . . . ., . For Piano——Easy Grade. " ‘ MODERN VOCAL DUETS, . . . . . . . . . . Choicest of their kind. FIFTY SONGS FOR BASS VOICE, . . . . . . . A Superb Collection. 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Date: 1881
Text: MUSIC LIBRARY VASSAR COLLEGE Poucumttosrc, «cw vonx \\ . To my fr'1erﬁl A.E . S UMN E R.M.D. / Broofo Z}/V7z.17/.1.’ / '2?- '76. Poem from Longfellgw‘ "Saga ofKingU|af." MALE CHORUS AND BARITUNB AND THNUB SOI.0S Accomp”t.m°Pi $16 Ohiigato Reed Or*gan.and Strin _Uu'mtet%adlib. ~ ‘ K BY ‘ Voice Pa Ms. T /VB. Z/zeflrzzzylhrlx//“&r]4"’4zzd Z F’/227/2'/z liala Welly I//idfﬂiz//K/&6lS.S)77Zﬂ]’5€' oélzzm ed 177 1, 115.‘ of Z7wZ’zz&ZL'.r/...
Show moreMUSIC LIBRARY VASSAR COLLEGE Poucumttosrc, «cw vonx \\ . To my fr'1erﬁl A.E . S UMN E R.M.D. / Broofo Z}/V7z.17/.1.’ / '2?- '76. Poem from Longfellgw‘ "Saga ofKingU|af." MALE CHORUS AND BARITUNB AND THNUB SOI.0S Accomp”t.m°Pi $16 Ohiigato Reed Or*gan.and Strin _Uu'mtet%adlib. ~ ‘ K BY ‘ Voice Pa Ms. T /VB. Z/zeflrzzzylhrlx//“&r]4"’4zzd Z F’/227/2'/z liala Welly I//idfﬂiz//K/&6lS.S)77Zﬂ]’5€' oélzzm ed 177 1, 115.‘ of Z7wZ’zz&ZL'.r//oe/7 . ‘ \ ,/ /SNEW YORK~.Z.\ L~/ fc;.‘.scHIRM_+:®7\/ ‘/3 5 Unions qu m:'c.\J’ _ _ (Iupyriq]\t1B81b' (‘ ‘>'c11irmer, » \ /E Ex\ //c:_EN7/‘<: LR /d ‘:N£E\ /E ‘:\H/<:‘ V r. &_...-J /1 0 J\: ,-/[ya éyi/w mzzzej/zzzim/~"THE N U N 0 F N I-D'“A R 048"/2"////1/ale) 6/zmar /ma!‘ fve/M/" JWO. \‘e>iC4/2 .. ~ \\ 3 I KING OLAFQS CHRISTMAS. ti/"/‘rm IA}//(///(l‘//I)/I‘:\‘ ",.\L»/(i',/ /ll" /:i].Y(:' //LIP. t. .\l llrontheim, ()lat' the l{in_;' Heard the hells of Yule-tide rin;,", As he sat in his hanquet—hall, lll'll|l\'iH§:‘ the nut-hrown ale, With his hearded l3erserl\'s hale ' And tall. 'l'hree (lays his Ynle—tide t'ea’sts He held with Bishops and Priests, And his horn, tilled up to the brim; lint the ale was never too stronf.',', .\'or the S:1;:a-iii:u1’s tale too long‘, For him. (Yer his drinking" horn the .\lf.',‘H ll-e made oi‘ the eross divine, .\s he dranl\',:md muttered his prayers; But the llerserlxs evermore i ' ;\l:_1de the sign} «it the llamnier ot' 'l‘hor, (Iver theirs. The ;_~'leams ol' the |'ii'i‘li;:lit danee lipon helmet and hanherl; and lanee, And l:ui;:l1 in the eyes of tlie l{iIi_;;'; And he eries to llalt'red the Seald, tiray—hearded,v~'rinl\led, and bald, "Hiii;;!” "Silt: me sonir divine, VVith a sword in ever)‘ line, And this shall he thy re\\-'ard."' And l1e loosened the helt at his waist, And in t'ront ol‘ the sin;:er plaeed llis sword. .;. .;. ,2‘. Then the Seald tool; his harp and szinq‘, And loud tln'ong‘l1 the music rang‘ The sound of that shining’ word; And the ll:ll‘])—Stl'lltf_’,‘S a elan;:'or made, As it" they were struel; with the Made (if a sword. # «:1: : 0 And the Berserks round about Broke forth into a shout That made the rafters rin;,": They smote with their t'ists on the hoard, And .sl1o11ted,“lmn;.:' live the Sword, And the King!” But the King,‘ said,“0 my son, I miss the bi-i;:l1t word in one tit" thy measures and thy rliynies.” And llalfred the Seald replied, “in another ’twas multiplied Three times. Then l{in;: (Hat raised the hilt (lt' iron,eross—sliape(l and gilt, And said, “Do not ret'use_; (‘onnt well the gain and the loss, 'l‘hor’s hannner, or Christ’s eross: Choose!” And Hall'red the Seald said,“'l‘his In the name of the Lord I l\'iss,. VVho on it was erueil‘ie<ll” And :1 shout went round the board, "In the name of Christ the Lord, Who died!” Then over the waste of snows The noomlay sun uprose, 'l'hrou;;'li the driving" mists revealed; Like the lil'tin;:' ot' the Host, I3)’ ineense—elouds almost Coneealed. (la the .-hinin;.;' wall :1 Vast; And sliadow_V cross was east From the hill of the lifted sword; .\nd in l’o:unin;:; cups of ale_ U The Iierserks drank_“Was-haell To the Lord!” 1]. W. I,0NGri:Li.0\\'. Km; ULAF’S CHRISTMAS. Um,» /LII//_//,/2'//.12/M ~ M021 0/‘ I.'1_\'/; /2/,, //«r ) _ !)l'l)Ll‘I\' l3‘H'iLH5:..S6. Allc;_;-ro, pow \'1\':m‘.(J: 126. K -' Hvcd ()r,L',':111. AAllegr0,poco vivace.(J=120.) ,~ > \ Piano. 7 ;;_1/‘ 1} la (¢(1m}mm*[[(I. In-1'lluntrV'. ‘Rm. mm: LII. ‘fab. ;\llt‘;:'r<> lH()(l1'l‘.'|l(>.( , “::i’% ,j<)"' A_;,_$__" V. 7' T l)1'un1—h<'im. U — I:«l' lrhr l\inj_*' -2 ? ,9’ p I , ,,,f'ﬂ:.,,_f ‘"2’ Drum! mu. 0 - Mr (undo./\ /\Allegro Pratq. (J .7 92.) . ) 'Hu- 11<,qu<.n1 111<,*11o}1()1111( u1!1at1Qx1s 111 1111» pun mum not be ton l11m';zI'ly Inierprc-t«-d. 'l‘hoy an-, sunply clvslgrxlml to nuclu-ntv ihv :Ippmx11na1c, hm ¢-.\' ~ trcxncly fwv and e1a.s11<: T4-mpo (1'0.s'11‘t*d by the author. - - (mg /‘/2;/;/I'/"///// /88] /1// /1'. S?’/I/DI’)!/I’]’. (7///1. '-. .. A a.) l’<m<> pii1vivz1co.(J:1m.) () h.-|:u-d-4-rl A »_ " '. lw:n'4l— ml Ht‘l'.\:—t‘1‘kH i- ‘ >- mu, halo l’if1\'i\':1('0..(J= 120.) “US Il(,'\‘ - U1‘ 3‘ ,3: BASS I.II. 1’il‘1\'i\‘:m'.(J= «I 20.) Pin‘: vivace.(J : 120.) \\:v.s- lH'V-1'!’ 100 m‘11'r»11g‘. .;- S.'1— ;_;':uu:ufs , nu\'— or too .s‘1l‘n1l{.',‘, ml .w'I}I,1/I-re. TENOJE I. TENOH II. BASS I. BASS II. — Vt-1' his drink 11;: horn. drinking," hnrll. 0]" f1’/'/mv/ . 1114- o'I'm,~ Hu- (']'0.\‘,\'. /f‘///m/ . Bilartl. 0 B /\/T-;\ his — — V(‘]‘ <lrinl\'in::' lwrn.1 hix 11kin;:'lmrn.I 1|n- si}_"n 'lll«'l(I(‘, is drink — vcr :1’ lmrn W" his <H'ink—inj4'lmrn..._,_ >iu'n W m.'ul:- lllllxlv Pin‘: Lvnlo. (J = I00.) M hr Ju- ;l' 1:1’ W rlrzlmk ngul Inﬁll dm 1: k . H11‘ 7 nlim-ViI1:7.(;,4_; he} llI‘11l:;i‘;1(]”iJi:»7 ' Piil Lento. (J =100.) 1! 1'1: 11 k , d1':I11kf ml 1nu1—1:-1-‘rI— his p1'::_\")'.s, -1<>)"d his mut- It-M, 1nu1—1«-1"«l. and drzunk, _ and mu! — tvﬁl, pr:ay’rs; 111-111 — 14-1-‘cl, p1'ay"1'.-; 1n'.'I_v1-‘s and mu! — I4,-My. and mm — 1<-1'11. anal mu! - 1'<l ]n':1_V'1's;. mu! — 1<-r'<I. mul — 1<-1"d, and mu1- H-I'll his przI_v’1's; {\ V ‘ /11W’/. _ vv— ]'—IlIHl‘1'.\I1Mt‘ 1 ,<i;,"n 01' ﬁlm Hum or ml‘ 'I'hm', of T1101". > , I I [T (3 M‘-e1‘—1nru':~ Mzulvt sign: of 1hr Huxmnvr of Tlmr, 111:‘ ’ ']{:un — 0f'l‘}101',u_v4‘r > , / H<'1'm’)'ks vv-e1'~n1m'v .\'I:ul<,- sign: of 1114- "1l]mIl1‘]'()f T1101‘, the sign) .ut'll1vH:u11 nl"l‘hm',0—ve1' [T > l¥<*1'wx'I(s vv—¢>1'—1nm'<2 Made ' :Illlll1I‘l‘ M’ T1101‘, ﬂw sigll nflhv ll:11I1x11v1‘nfThm;0-vol" II('('(’/. //‘T ncrfﬂ a cc/zl . 10 AHeg‘1'0 \'i\*ac(‘.(J=l20{j A > flu-11's, ihcirs, 1l1.ci1'.s' , 1l1vi1-s. 1 0g.:'1'0 \'i\':1ro llogro viva '1‘I«:Nm1 11. mss 1. BA " I10] - 0 - V91‘ 1l1«.‘i1's, g L *1--'—"’7W7 J L F L __ -2’ -ex /4:» V V \ _/Z /Z .3’ I /' /' Qmrtwl . _ .(J:120.) ¢ > D M_1'n0 All(*g:;1'n. (J: I’”’'” 7'” ' 1'11-1-11;.»-1.1 <l:1m*1- "(Y prim) 1'0] 1 . Mano A111: _0. (J 2112.) . 11-bvrk and 1111100, Reed Organ tacet.’ :'lvzuns l§.\.\'H I. ;:ln':In1.\ IMHH IX 01' Ihv fiI'¢‘—“,',"]I1 d:mw* ..r 1111- >fz’{CTiz:A1.1 .mm-.- ,3, l:\u;_'h. iuu;:‘l1 l§uIIj.:'l1. luug'l|. l:1u;_:‘l1. /\ 2628 ’l'ln 1' tlln-King’: lw ;:J«-zuus. ﬂu- ul' ihv K_i11;:: 'l'h<- nf IE Wiﬂillgr Tlw . and l:uIj_:'l1 l:u1_;'l1.:u1<l Izlllglx hl “W 1-_\'cs, in 1114' v_\‘v.~. 4*y:*s 4'(\'<.‘S v_\'vs _<_-‘lv.'11ns ‘:1:-zunns gin-211115 g‘l«*::111.x'. luv] - mm and m'w.w- hvl—x11vt Hm C'l’f.j'(’. and (.‘7'(?.S‘£‘ . ' fire ~ Ji_;'l11 ' llw fin: - li;:'h1 ;:l«-:nn.s‘ of 1114- King" King‘: uJwrk :u1<i Jzznm-. hzcn—|Jcx'k and lunm-. (In 1111: «in mm dz: now And A ml l'i1'<* — lijxln (l:lll('(*.I)]l Anrl And lﬁimuj; King‘: ' lu- 'nml lnllgzh > }:ll1;.’.'l1 . ._._ l2Iu:.:'||. zmrl he-Lmvl and !,'l’f,’.\’(" OH and Jnu_-_"h u ;,;'h Izum-,. in 1110 11m AIM hm-1 zuullnnuln-1'k and lzum,-, 2'/aw-. In-hm*1 and lmuln-rk:1n<l l:m('<', _ r'rrzv('. In-I-luv! and on Andante. vrivs 10 .'Il— ml 1 (‘l‘i('.\' 1- 1'1’:-II 1 H:I]—I'rt'¢l llw (‘l'i1'.s' Ila]-1'n:(l tho- (‘l'il’N ndante. V lzum-.011 }:om'o, And .I' Scnld . .‘s’r:Il¢l .v (}1'n_v Sm ltl, Stflllfl , 12 ¢ ‘ , .. A1le}.’;1'o poco maest0s0.(L100.) 7’lf(l7’(/. ‘|)l’1ll'(ll-.‘d_.Wl‘iIlk(‘d, and bald, I “S:"3"'” A1leg,'1'o poco maesto.so.(J : 100) Organ. .y/- ’ / All maest0s0.( A00.) 23 1 J ‘ V /-’—“"T "ifi [mm 7-it? l3.\l{I'l‘()NI'} SOLO. 24$ Sing: .sm1j." I’ Tmg1]Io_. -mp # S\‘\'()l'(l )'///I/'(/. “H3 - ‘ _ .' (‘ml lhv hvh :11 his calla vow,-. Tam]/0 /7////'/2/. f1'm1to1‘1 .~'i11g'<_*1' V placer! his (I tam 0. nu/la mm’. 1’ ; ﬂ I I _| l .s‘:llI"', ‘ I11 _ smnjma > /W'/»>/'II//- > thrn’ ilw siv 11111;: ~ . lhv sound 01' [T "/\ calla W101! . .9 \ l‘I'(3.S'(/'. I '1 'l ‘.S'( ' r/M/z//22/z/11/0. harp - strings clangor made, ilgf molly dim. ilu-yw<'n-, .s'1ru(-k with hJ:1<l«- 01".‘: ,s'wm'«l, ' >'\’V0l‘d3 m//r/ 17 ('/‘raw. V P11} Vivace. (J: 120 .) E TEN.I. ,l.[,\, H And the B01‘-‘.‘s'v1'ks round :1~h0u1 ' Broke forth in-1'0 :1 slmut ’l‘lm1 Imarlv tlw 1'.'If'1-01'.» BASS I. ‘ And tlw Iivr-.s‘c1'ks1'(>11n¢l 11-bout - Broke forth in- to :4 .~‘hnut'l'l1a1’ mudv 1114* mrmx-57 BASS II. ' Pit‘: viv:1cc.(J:120.) Piﬁ vivace.(J : 120.) Eh Hirlm para mi]. All t11aest L100. * Kin}_r'sni:l. " . , HKWV W; ' _' 1114-an-survs All ma 1’ TEN. SOLO And (I ‘I'll! (IS 0 . P1111. .s‘mn}n'(‘ //pro /1///. IAMRITONE SOLO. — 1' 1‘:1i.\(*(l the [mm 7-2.’ . — 11111, l‘1'0.s',s‘ s}1:1pod gilt, A111! said, ’’Do 1101 —1'11s<>,,- (‘(111111 _ 1111-g'z1i11 2111111111‘ 1141111 -111121‘, ' <11‘ (,‘l11~is'1"s TENUR A1111 1'11-vi Srulcl /'.v///'/am‘/'2'/), VV \./ I/rm ~ .s'/VII)»-0 ])]I x.z ‘ > shout wont mum! 1.ln- bozml, .\'h<)I11 vwnt rnuml the l)n:u’d, the name ('rm'i - H:-<1, )2]! In 1h<,-nznnc of tho‘ Allegm) Vivace . the nzunv of the m'u—('i — fimll And an .s]1()lIlW(’n1 round thv lm.-ml, Alleg,‘1'0 Vi\':lC1‘ . Allegro vivaoe. L AH‘)mode1'ato (-<nne1ILa.J=:J2. /7‘/. ///(I//(1 I’ I//I//, _ who r/1.2/1/W” ” ’/"”" of (‘llm-1 who div<l.‘~' é 121' Chl’i:~‘t. M’ ''"'W P '/W‘ A11‘? model-atu come i1£“,J=92. ]’ Wt‘ "mu" ” m‘ All‘? modem 0 l”_“‘J= 92. nf .9mnpre PW]. ‘fa. #&_.? I ‘ /—-5 "0011" ll)’ noun — clay - (lay xlriv - iny; n1i.<1.x' ' walctl, .» iliv rlriv n}_" n1i.\‘1s' walvrl, Lilw I110 1'rv>¢', 'J'h1'n‘1hz3 nlriv - in;,"1nis1.~ '- \<-aim], - 11“. nmm - 412:)’ M11] up raw 'J'l11*<f111i.s1.< ‘ \'vuINl., . Likv the ' "UM, " ' — ('t‘ll.\'«‘ - vlomls ‘ nmsl Hm, ' ('4-nsv — ("lauds 111051 H-nlml . ‘ /‘\ /T — ' nmxt ('4-ulwl. I»- ('v1m- _ [']()lll[S 1/ /11] . ('(':l](‘4l. ‘ umxl _ . > 4"‘II1l'4|. 1//pi. ,, "_(IV_ V Hum‘. mngj l'('1llt‘1l. 1///II ' "m_g1 A max] ('¢'.'l1N] . Hm — (‘4':Ilml . 2628 Fnnn thv hilt. ‘fab. " m0t0.(J=11fi) svmrd . Andin liuun — — iIl;.:'(?1l[)S -? Pifx moto. (J 2116) Piix moté0.(J =u6) .-a§*nn- lift - - ml ml RM‘ L .w1']\’s dm11k"\\'::.s' «l1'.'mk"Wus I’/rm .6‘/I‘/'//y/'/It/0. 11:: 01 11214-1! To the Lord !" — Inn-J! l2>-- . Lorcl! \V:xsl1zu*]! > \\2m- 1*]! /l(’(} .3’//'2'//_(/. ('0 .5-tringmzrlo ,- T Lord !" Loni!" haul! gas hm-J! .- - . Wzls-11:10]! Y hurl! Wat hzwl! “Gus hzu-J! f-—— \_ //“T Hwy :lruul\' 1.0111! Lm-«I! \\':I.~'—l1:u‘l! hzu-H ‘V New Songs and Duets, Selected from the Catalogue of Sc/iirmer, New York G. ALLITSEN, FRANCES, A Song of Thanksgiving (with Organ ad lib.) High, medium or low. — I know a little Rose. (Ich weiss ein Rﬁslein roth.) M.-Sop. —— Eight Heinrich Heine Songs: A Pine-tree standeth lonely. (Der 1*‘z'cIzz‘e7zI2azmz.) Two Sapphires those dear Eyes of thine. (Sap/zire sind die Augen deiiz.) Diamonds hast thou and Pearls. (Du /mst .Dz'amm2ten zmd Perlen.) King Duncan's Daughters. (Die Botsc/raft.) Since my Love now loves me not. (Seit die Lielzsie war emfernt.) Fathoms deep may drift the Snow. (Magda d1'au.s.s'e7zSc/mee sic/1 t/:z‘ir71ze7z.) Oh Death, it is the cold, cold Night. (Der Tod das ist die kit/zle Nac/it.) Katherine. (I(atluzrz'nc.) Complete in one Volume. AMBROSE, R. S., One sweetly solemn Thought. Sacred Song. High or low. BARTLETT, HOMER N., Come, see the Place where Jesus layl Easter Song. High or low. — 0 Little Town of Bethlehem. Christmas Song. With Piano and Violin obl. High or low. :— Sayonara. M.-Sop. BLACK, JENNIE P., 3 Songs for M.—Sop: No. 1. Storm, the King! “ 2. The Rosary. “ 3. The Violet. BROCKWAY, HOWARD, Op. 22. Two Songs: No. 1. Would thy Faith were mine. Sop. Lend me thy Fillet, Love. M.-Sop. BUCK, DUDLEY, Boots and Saddles. (A Soldier's Farewell.) Ten. (Original) C; Bar. Ab. — O, Saviour ofthe World. Offer- tory. High or low. — Until God’s Day. low. — Why Love is King. High or low. net (6 2' High or BURLEIGH, H. T., Plantation Melodies, Old and New. CAMPBELL, G., For one sweet Smile. M.-Sop. CASTELLO,GEORGE E., 4 Songs for Sop. (or Ten.): To the West Wind. Could’st thou but know. Du b-ist wie eine Blume. sweet as any Flower.) Sehnsucht. (Yearning.) CLAY, FRED, The Sands o’Dee. Sop. (Ah. 150-75 .50 .50 .50 .50 .60 .60 .40 .60 net 1.00 .50 DE KOVEN, REGINALD, Abide with me. Sacred Song for Alto. Barcarolle: “You are the Moon, my Love.” Sop. Battle Grey. M.-Sop. —— Love’s Trinity. Alto. —— My Nightingale. Sop. DENZA, L., In Shadowland. High or low. FREY, ADOLF, Over the Way. Sop. GOLDMARK, RUBIN, Op. 5. Four Songs for M.-Sop. (or Bar.): No. I. Ode. “ 2. Spring Rains. “ 3. The old, old Song. “- 4. A Love Symphony. GRAY, HAMILTON, The Golden Pathway. High, medium or low. —— Purple Heather. High or low. d’HARDELOT, GUY, In Bracken- time. Sop. HASTINGS, FRANK S., Fair Helen. (Old Scotch.) High or low. — For Love of You. High or low. —— Rose dark the solemn Sunset. High or low. pl-IAWORTH, C. 13., At Last. High or low. HOMER, SIDNEY, Eight Poems by Tennyson: Break, break, break. Gm. Sop. Bbm. Crossing the Bar. Sop. E. Sweet and Low. M.-Sop. Db Sop. E. Thy Voice is heard. M.-Sop. Eb Sop. F. Home they brought her Warrior dead. M.-Sop. Fj$m., Sop. H1. M.-Sop. M.-Sop. Db, The City Child. M.-Sop. Eb Sop. F. - Minnie and Winnie. D, Sop. Eb. Enid’s Song. M.-Sop. Bb, Sop. Db. LAER, C. E. van, Crossing the Bar. Sop. LEHMANN, LIZA, Mother Sleep. High or low. MASON, DANIEL GREGORY, I love him. M.-Sop. -— Shall I upbraid or praise her P NEIDLINGER, W. H., Life and Death. Bar. F; Bass D. —— Thy Face. Baritone. NORMAND-SMITH, GER- TRUDE, Four Songs for M.-Sop. (or Bar.): Auf der Heide. (On the Moor.) Das Hiiterkind. (The Shepherd Child.) Sunnenwendnacht. ( S o l s t i c e Night.) Der Geworbene. (The Recruit.) M.-Sop. $0.60 .50 .60 .60 .50 .60 .50 .60 .40 .50 .60 .5o .60 PRICE, C. E. B., A Few more Years shall roll. — My Father for another Night of quiet Sleep and Rest. Sacred Song for Bar. (or Bass). RODNEY, PAUL, Clang of the Forge. BarF; Bass Eb. ROGERS, JAMES H., “Moods.” Four Songs: No. I. Not from the whole wide World I chose thee. High or low. “ 2. Years have ﬂown since I knew thee ﬁrst. Sop. “ 3. You. High or low. “ 4. Who knows E‘ High or low. SAAR, LOUIS V., Hark, hark, pretty Lark. Sop. With Violin. —— Lilian. Sop. With Violin. SARJEANT, _I., Blow, blow, thou lVVinter Wind. High, medium or ow. STAHLSCHMIDT, ARTHUR E., Concita. A Serenade in Seville. Ten. (or Sop.). — It I were loved. M.-Sop. (or Bar.). STERN, LEO, Soupir. (A Sigh.) Valselente. High or low. THOMSON, SYDNEY, I heard the Voice of Jesus say. Sacred Song for Alto (or Bar.). TSCHAIKOWSKY, P., Pilgrim’s Song. Bar. (or Bass) E; Alto D. WARREN, SAM’L P., Faithful. M.-Sop. —— Waiting. M.-Sop. WHITE, MAUDE V., How do I love thee. M.-Sop. (or Bar.). WHITING, ARTHUR, Barrack- Room Ballads (by Rudyard Kip- ling). (Damn/1)eever. Mandalay. Sacred Song for Bar. $0.75 .60 .50 .50 .50 Soldier, Soldier. Fuzz)/— I/Vztzzy. net 1.00 “ Floriana.” Poems by Oliver Hereford, from “Overheard in a Garden.” For Solo Voices and Piano. VOCAL DUETS. ALBUM ofsixteen Sacred Duets for various Voices. DVORAK, ANTON, Echoes from Moravia. (Klange aus Mahren.) I3 Two-part Songs for Soprano and Alto. g. e. RUBINSTEIN, A., Eighteen two- part Songs : g. e. Paper. Cloth. net 1.50 net I.00 net I .oo I.00 2.00
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Date: 1893
Text: MUSIC LIBFIAEY _ VASSAR COLLEGE '°“C'""9""“"-"I. ."'!TW vonx F2 1 ‘L ? . “\ /F J emc Redda||,BrookIyn,N.Y. Smuncnnmm:InnmunIunjnnnmltnnmH.H(® \« ﬂacksmliﬂm _\ /J F 2;“ HWLONGFELLOW ZBari’rone orfﬁass Solo —--—+€PsBY@.—~—— W7 BU@K 79». 65 C5. ARTHUR R. SCHMIDT. Bosfon. Lenpgug. NewYor‘r<. féiﬁnu/57m5r. ]i5]7If'7;/7A1/gzm/5. “ 7 v-L-E7|Il|\E1IlllIllE1II|||lllEJ|IIHHDIHI'4 l ‘ 7:1IHDlnnur:nm!:I::mH|uI:1un HIIDIIIIIIlEIl||lIHCIllHlI|E...
Show moreMUSIC LIBFIAEY _ VASSAR COLLEGE '°“C'""9""“"-"I. ."'!TW vonx F2 1 ‘L ? . “\ /F J emc Redda||,BrookIyn,N.Y. Smuncnnmm:InnmunIunjnnnmltnnmH.H(® \« ﬂacksmliﬂm _\ /J F 2;“ HWLONGFELLOW ZBari’rone orfﬁass Solo —--—+€PsBY@.—~—— W7 BU@K 79». 65 C5. ARTHUR R. SCHMIDT. Bosfon. Lenpgug. NewYor‘r<. féiﬁnu/57m5r. ]i5]7If'7;/7A1/gzm/5. “ 7 v-L-E7|Il|\E1IlllIllE1II|||lllEJ|IIHHDIHI'4 l ‘ 7:1IHDlnnur:nm!:I::mH|uI:1un HIIDIIIIIIlEIl||lIHCIllHlI|E}lll|K To Mr. F’r6der2'o Reddall, Brooklyn N. Y. THE VILLAGE BLACKSMITH. P b M N M b ' H.W. L0(1)\?é‘rnFE}}rLLOW. DUDLEY} B%ICK. With spirit and vigor. _._-_/-\ ___-_ mf >~ Un—der aspreading chestnut tree The village Smithy stands. > The smith- a mighty /T man is he. large and sin - ew—y hands: And the muscles of his brawny arms _ > f >>> strong; as i-ron bands. His hair is crisp, and black, and long, His > 7. 7 CTESO . A.P.‘S. 3185-7 A Copyright 4893,by. Arthur P.Schmidt. His brow poco ritard. looksthewhole worldinthe face, For he owes not any 601.711 00 Week .in,week out, from morn till nig‘ht,You can hear > poéo m'arca'to. ' rail. s}. hear him swing his heav_y sledge,With measured beat and slow; /‘all . dimefn. - A.P.S. 3185-7 is wet, with honest sweat, He earns what e’er ‘ he can. his bellows blow, You can ssempre can 9%. tranqemlo. sex - ton ringuingthe vi1—lage bell, When the eve - ning poco marcato. Tenderlg/. Q K3 And the childremcominghome from school, L001; in at the open K", 101’ asaf 52»? .h @a]9 Resume tize quicker time. # They love to see the flam — ing f0rge,And hear the bellows # > > 7'6 0 I71”? .5-em re uoco. f ‘ \\ , . . _ 5:? And catchthe burning sparks which fly Like chaff 8 A.P.S. 3185-7 _ (The same Tempo, not too slaw];/.) th1“3Sh‘m8' ﬂ001'- --—-— (T/as (Jleoral Melody well accented, but not tooloudly.) /3 — —— '_ Pry agn- wit/tout’ Pad. W» (Instm-t time.) He goes on Sun-day to the chuI',c[h,_?And sits among his boys: if pm. 9* wit/aout Ped. He hears the par — son pray preach, He hears his daugh-ter’s voice #_ Singing inthe village choir, And it makes his heart re — joice. ' _ "E"L"E."'=T A.P.S. 3185-J7 It_ sounds to him like her mother’s voice- La) Slower,.a.nd.9oftl3/. , /ﬁx , mo Singing in Par — a-dise! in ‘L ’\ X . ﬁx Pia? Modt.0 M pp calla voce. needs must think of her once more, grave she Tempo [730 I’ And with his hard,rough hand hewipesA tear > # A.P.S. 3185-'7 eyes. (/lolmtra. Onward thr u’ life he /3 /\ sor '- row-ing, Each eve-ning; sees it close: earned a night’s re - pose. A.P.$. 3185-7 Toil — ing, re—joi — cing, g'O€’/S; Something attempt ed, some Jzhing done, Has morning sees some task he- f Thanks,thankstothee,e my wor - thyfriend,For the lesson thou hast taught, 8 J. ‘ crew. >Br0adZ,?/> Thu-s on the f1a—ming forge of life Our f0r.tunes must be Wrought: Thus on the sounding > mil. calla voce. > > > > £1‘ >> an—vi1 shaped___..___.__ Eachburning deed each.burning deed Z?‘ thought, molto vivace. ‘Ea; A.P. S. 3185-7 N. Good Bye. Ab (eb——f) . . . . Love’s Messengers. Bb (f-—g) . Darthula. Db (db—al>) W. Apmadoc. I thought you loved me. F (c—f) . . . . Days gone by. Bass. Dmin. (d-—a) . . . Only a face at the window. Sop. or Tenor G (d——e). Alto or Bass Db (ab~—bb). - E. K. Bailey. , Fleeting Days. Waltz Song. Sop‘.Ab(d—-a‘b) -— Alto F (d-—g) Love where art thou? — Alto Bb (c—-—eb) — Mez. Sop. C (d—e). — . . . . . . . . Guard me through the night. Sop. or Ten. F (d—f). Cont. or Bar. D (b—d) . . Humbly before Thy throne. Sop. or Ten. Bb (d—g). Cont.orBar. G(b—e) . . Throw wide the Portals. Christmas. Sop. or Ten. F (e—-f) . . . . . . . . -—- Cont. or Bar. D (cll——d). . . . . . My Love and l. Mez. Sop. A (c#—c) . For thee I wait. Sop. C (d-—g) . . — Cont. G (b—e) . . . . . . . . . Mrs. H. II. A. Beach. Ariette. Gb (cit-fit) Twilight. Eb min. With Violets. G ( The Four Brothers. Jeune Fille et Jeune Fleur. Cll min. (cl!-—f) When far from her. Gmin. (c—g . . . . My Luve is like ared, red rose. Bb (bb——f) Dark is the Night. Emin. (e——-b) . . . . The Western Wind. G (f#—-a). . . . . . The Blackbird. D (e—g) . . . . . . . . Empress of Night. G (fll-—g) Graduale (Thou Glory of Jerusalem). G (e——bb) Wand’ring Clouds, sail through the air. Aria A min. (git (low) or c—g or bb). , . Song Album. Containing thirteen selected songs. Edition Schmidt No.23. . n. W. L. Blumenschein. Come unto me. Sacred. Eb (lib-—d) . . . Op. 40. A Mother’s Lullaby. F (f—f) . . Op. 96. The Violets. Concert Waltz Song. Ab J. Hyatt Brewer. Supplication. Sacred. D (c#—e). F (e—g) . 0. 3. Brown. 0 that thou liadst hearkened. Bb (d—f) . Therefore the redeemed of the Lord. Eb (e—e) What are these that are arrayed. Cont. or Bar. Bb (a—d) " --Sop.orTen. Db ( f) . . , . . . All’s well. Mez. Sop. Db (eb—db) . . . . J. 3. Campbell. Op. 32 No. 1. The two Roses. Ab (gli-ab) No 2. I heard three maidens sing. F (c—f or ab) 3. Dream on, my heart. nade. Eb (eb-—g) . . . 1. , my heart. (db—ab) .2. 3. .4. The Fishermen. Bass. bb—eb . . . . . . . . . Awake, Beloved! Serenade. F (c—-e) . . . . . . . . May Song. Bb (eb-——f) . . . Theo. chandon. A Home Song. Mez. Sop. or Cent. 0 (a—d) An old Love Song. Mez. Sop. G (d-d) Mrs. G. I-‘. Ghiokering. In the night she told a story. D (d——-ft) . J. 3. Cornell. Before the Spring. Eb (d——eb). . . . . . With the Spring. C (d—e) . . . . . When we are old and gray, Love. D (d-fl?) Mary Bradford Grownlnshield. Thy h§.rtfsha)ll know me. Alto or Baritone. There is a landﬁniinae eye hath‘ seen. . Sop: or Ten. in G (d-—g) . . . . . . . . — Cont. or Bar. in Eb (bb—eb) . . . . . The Star of Bethlehem Db (c—eb) . . . Via Crucis. Ab o-—f) . .o- . - - o .oo- Benj. Gutter. Christ Arisen. Sop. or Ten. G (d-—g) . . — Alto or Bar. D (a—d . From the cross uplifted high. F (f--f) . . Just as I am. E (e—f# or gt). . . . _. . ‘ Henshaw Dana. Ave Maria. E (b-a) . . . . . . . . . . Beside the Summer Sea. Emin. (b--f) . . A bird was singing clear one day. F (c-f) It was a knight of Aragon. Cmin (g—-e) . O Salutaris. Eb (bb——f) Salve Regina No. 2. F (bb-—g) . . . . . Up to her chamber window. F (c—a) . . Whether the world go up or down. Ab (c~ab) At rest. Flhnin. (gt--d) At last. Amin. (g-——g) 0 heart, my heart. F (d—g It was with doubt and trembling. Bbmin. f—ab) . . . . . . . . . . . . . . The Bl(ackbird sings in the Hazelbush. D (e——f# or a) Where go you, pretty Maggie? F (cli--g). Somebody watches and waits for you. Ab (c—f or ab) . G. 1'. Dennée. My Love’s Jewels. Sop. or Ten. F (f——a or bb) — Cont. or Bar. Db (a-f) So fair and pure. Sop. or Ten. D (d-—g) . — Cont. or Bar. Bb (bb—eb). . . . . . Frank G. Dessert. Serenade (Good Night). E (e-—g'll) . Consolation. G (e—g) Phillis, the Fair. D( f) . . . . . I Seek a Fair Flow’ret. G (g—g) . The Country Lassie. G (e—g). . . S. 0. Downs. A group of songs of the 17th century. Phyllis. Medium voice My true love hath my Heart. Medium voice . . . . . . . . . . . . . The spring is coming o’er the mead. Medium voice . . . . . . . . . Steph. A. Emery. Op. 19. Good Night. F (a—d) . . . . . Op. 22 No.1. Where are the eye of the lovely one? C (c——f). . No. 2. Sleep Baby, sleep. Eb (eb—eb) No.3 Nae shoon to hide her tiny toes. G (d’—g) Op. 24 No.2. Naebody. F (f——f) . . .. . Op. 28 No. 1. Lullaby. Eb (eb—eb) . . . No. 2. When eveningtwilight closely falls. F (e-f or a) . . . Op. 30 No. 1. 0 Love, my Willie. Eb (d—eb) No. 2. Little Bud Dandelion. F (c or f——eb or f) Op. 31. The spray leaps high on the jutting crag. Sop. Cmin. (c~—f) . . . . . . — Alto. Amin. (a—d) . . . . . . . . . Op. 33 No. 1. Pomegranate Blossom. G (g--a) -~ F (f—g . . . . . . . . No. 2. Burst, ye Apple buds! Bmin. , (ft -33) _ ’ Op. 36. Skating Song. Baritone. Bl» (bb—d) Op. 39. Seven times three. Eb (eb—c). Violin Obligato . . . . . . . . . . . Alex S. Gibson. Oh my Luve’s like the red, red rose. G (e———g) Love Song (I will not reason). Eb (d—f) . ‘W. ‘W. Gilchrist. Flow down, cold Rivulet. F (f—-f). . _. . Once there was a little Voice. F (a "f) . Love’s Beginning. G (d-—g . . . . . . . Lost. Cilmin. (git [low]—fll) . . . Quiet. Fmin. (c—f) A Love Song. F (e—i) . The Voice of the Sea. ' . (d-—g). . . The dear Long Ago. Gmin. (a [low] —g) . Waves of the far away Ocean. Gmin. (g—a.) Golden Rod. A (a—f) . . Autumn Song. F (a-—f). . . . . . . . . Irene Hale. Mystery. D(e-g). . . . . . . . . . . Maisie. Db (eb——gb) . . . . , . . . , . . . We'll go no more a’roving. Eb (<1-—-f) . . E. W. Hanloom. Lullaby. Contralto with Violin obligate and Male Quartett ad lib. H (gt [low] -118) A Song Secret. G (e—g) . . . . . . . . Go, Rose, and in her golden hair. Bb (d—() W. I‘. Easoall. Op. 15 No. 1. Unto Death. Eb (eb—ab or bi»; No. 2. KyrieEleison. Dmin.(d—fora No.3. A G-reyport Legend. Emin. b-c . . . . . . , . . No. 4. The Bells of Lynn. G. (d——g) Op. 16. Under the Guns. C (g or low c—d) Benj. Henry A Ditty, Eb (eb——f) V A Widow Bird sat mourning. Gmin. (fl$——f) The Sea hath its Pearls. D (e—fil) . . . Georg Eensehel. The Brook sings. D (d—fi¥) . . . . When all the world is young. G (d-- g) I once had a sweet little doll. F (d—g)— Come away, Death. Dmin. (ct-—d). . . Spanish Serenade. Cont. or Bar. D —— Sop. or Tenor. F (e—-a) . The Sunny Beam (Sonnenblicke). Soprano. A (e——g). Alto. “F (c—e)_ . . . . There was an ancient king. Emin. (a—f#) My -Sweetheart. G (d—e) . . . . . . . . To my Turtle Dove. Eb (d-—f) . . . . . Bird in you Forest. E (git-—g3) . . . . . Consolation. Eb (f—f) Helen Hood. Shcpherdess. A Disappointment. The Convert. E (e—e) . . . . . . . . . The Violet. Flimin. (cii—f#) . . . . . . . Message of the Rose. A (dil—e). . . . . Daisy Time. D (fit-—a) A Quandary. Bb (d-—f) . . . . . . . . . A Summer Song. A gii—g) . . . . . . . A Cornish Lullaby. b(db——eb . . . . . Expectation. Sop. Bl» (d—g). Cont. G(b—e) A Slumber Song. Cont. G (a—e) . . . . Jan. E. Rowe. In Heavenly Love abiding. Db (bb-—-eb) . . He is thy Lord. Cmiu. (c—-eb) . . . . . His love is everlasting. Bb 3bb——d). . . . Glory to Thee. Dmin. (a———- ) . . . . . . 0p.8 No.1. A Day in the Woods. E (dll—gt). Violin or Cello obligate. No. 2. A Night in the Woods. F (c—-a). Violin & Violoncello ad lib. No.3. The Cricket. G (e——g). Violin and Violoncello obligate . . . . . No. 4. Summer Song. (c—-0 Violin and Violoncello ad lib. II. 1!. Russ. They that sowintears. Alto or Bar. C(a-—e) The Ballade of the Song of the Syrens. Sop. or Ten. Ab (eb—f) . . . . . . . . The Jess’mine Bush. F (e-——g). . . . . . Just like a lovely Flower. Bb (f—-f) . . . Spring. 0 (c—-a) . . . . . . . . . . . . Stephen E. Jeoko. Art thou weary, art thou languid? Eb (d—g) Jennie’s Wooin’. F (o—-f or a) The Moorish Love Song. Dmin. (Cll——f) . The Sunbeam. F (c—f) Jules Jordan. Nydiafs Love Song. Eb (bb [low] —f) . . . Sigh on, sad heart. Db (ab or f [low] —db) Drink to me only with thine eyes. D (e——a) If on the Meads. B (dll—gil) ‘A Life Lesson. Sop. Ab (eb—f) . . . . . —— Alto. F (c-d) 'l‘he Bedouin’s Prayer. Sop. or Ten. G (deg) — Mez. Sop. or Bar. F (c—- -— Alto or Bass. Eb (bb—-eb) . . . . . . Japanese Lullaby. Mez Sop. orTen. F(b—e) -—- Alto or Bass. D (g#——c#) Sleep, Beloved. Ten. F c—g). Bar. D(a—e) Attraction. E (b-e) An Old Song. D (c#—c#) . . . Triumphant Love. F (b-—f) . Walter Kennedy. Whether my heart be glad or no. Db (ob--Ii). V
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Date: 1893
Text: :H|1.H(l2 ) J \/ I %a@ks;mj1ﬂ‘m ——~Qf—Po em by @»———— E“ T} ’ L ” Baritone orIBass8oIo —————»@ABY.J<)~——-— I@JI@K; ................ w_s’“@.z»___. ,A£{rHUR P. SCIIJWIDT. BOSTON, l_E|pz‘G NEW YORK, I20 Boylston St. - || west 36th St by ' -tZzurf'.7mm1m_ [:7 m7:u1:canmnummncummuuu L \ 4. 4, I.|l||II|Il(|/null-1 n||nIu\ émmm ¢ F GHAND E" . 505'“ ‘-'''“''V 22: UVlNGﬂY“-G: §$f:s.:c;g|'<(i33; N. v. ¥ﬂ$SAR COLLEGE To Mr. Frederic Reddall,...
Show more:H|1.H(l2 ) J \/ I %a@ks;mj1ﬂ‘m ——~Qf—Po em by @»———— E“ T} ’ L ” Baritone orIBass8oIo —————»@ABY.J<)~——-— I@JI@K; ................ w_s’“@.z»___. ,A£{rHUR P. SCIIJWIDT. BOSTON, l_E|pz‘G NEW YORK, I20 Boylston St. - || west 36th St by ' -tZzurf'.7mm1m_ [:7 m7:u1:canmnummncummuuu L \ 4. 4, I.|l||II|Il(|/null-1 n||nIu\ émmm ¢ F GHAND E" . 505'“ ‘-'''“''V 22: UVlNGﬂY“-G: §$f:s.:c;g|'<(i33; N. v. ¥ﬂ$SAR COLLEGE To Mr. Frederic Reddall, Brooklyn N. Y. THE VILLAGE BLACKSMITH. P b i Mus’ b" L0(i\IeérnF}§LLOW. DUDLESECBQICK. With spirit and Vigor. — —. L /\ ; . mf > Un-der aspreading chestnut tree The village smithy > The smith_ a mighty man is he, With large and sin — eW—y hands: And the muscles of his brawny arms- > f >>> strong as i—ron bands. His hair is crisp, and black, and long, His face . is like the > 7 7 07‘886‘ . A.P.S. 3185-7 Copyright 1893,by. Arthur P.Schmidt. International Copyright Secured... His brow iswet, with honest sweat, Heiearnswhat e’er poco ritard. looksthewhole worldinthe face, For he owes not any mah. mftempg. Week .in,week out, from morntill nigl1t,You can hear his bellows blow, You can \_ » 2 no/‘:0 m'arca'to. ' hear him swing his heav-y s1edg'e,With measured beat and slow; iazz. dimm. _ sempre con ‘IR. A.P.S. 3l85-7 franqmllo. sex - ton ring-ing the vil —lag‘e bell, When the eve — ning poco marcato. Teizderly. And the childremcoming; home from school, 7 Look in at the open PP \'/1' 7 ea? ea? ' ea? Resume ﬂee quicker time. door; They love to see the flam — ing forge,And hear the bellows # > > / « 017110 .5-em re Temp 2’ >>> > > > >> %. - . .* And oatchthe burning sparks which fly Like chaff fr oma . ' 8--. -------------------------------- —-, ‘Ea A.P.S. 3185-7 _ (Tile same Tempo, not too slowly/.) th1'9Sh'mt‘5' ﬂ00I'- ———j ‘ (Tim Choral J[eI0rlg/ well aocrmt6d,bbut not tooloudlg/.) U VLF wit/zout Pad. mf CIn‘.9'tr2'ct tz'm6~.) Z-3 7 He goes on Sun-day to the church,___ And sits among his boys: , mf_ , Ef ‘ 12' 11;:/2‘. 9* witlz out Pad. He hears the par — son pray and‘ preach, He hears his daugh-teI"s voice WU mf eeen.‘-“A/Féae Singing inthevillage choir. And it makes his heart re - joice. ' vqaw A.P.S. 3185-7 It sounds to him _ like her mother’s voice _ Slower andsofﬂg/. 7 hsinging in Far — a-disc! in 2'h'\ ‘ /\ 1010 calla voce. needs mhst think of her once more, How grave she Tempo 17220 f And with his hard,r0ugh hand heWipesA > .mf # A.P. S . 3185-7 T011 — mg‘; re-joi — cing, «-‘<~.Q¢r.’~$r:&Ha'~é.'.‘§'-;:r;5'dw~v.‘-{.71.-: .:. .A., . sor - r0w—ing, Onwardthrdlife "he goes; Each -morning sees sometask be- /a /-\ Each eve-ning sees it clozez Something attempt-ed, some —thing done, Has earned a night’s re 4 pose. A.P.S. 3185--7 : .A».\<'«-:’é.>:e—k*s.'9'~;:/:—g:~~«a-.-4;.a ;, ._... . .r A ‘ f Th'zu1ks,thankstothee, my wor - thyfriend,For the lesson thou hast taught, 8 f cresc. > B’.°‘“"'»’ > Thus on the f1a—ming forge of life Our for-tunessmust be Wrought: Thﬁs onthe sounding “ ‘.1-’__ mil. calla vase. marcato. ' _ > >_ > > b} > > an.vi1 shapédQ__;;_ -Eacbh burning deed each burning deed thought . ff’ molto vimce. €21. A.P. S. 3185-7 The Summer Wind.. E E E E THE SHooGY- Snoo.” "“"""""‘ wh" .7 lull: by 'I'AL1II‘l.IAnlIn. . J.W. axscnon \WIrm"wP PM-‘W0 Pm Ammoss’. Andante con ON,‘ voxcn‘. Soft . ly the sum-mar- do he think- ing las-sie, of the .old days now; For Liltea lick . le '1 }' ohl your hair is tang- led gold a - bove your 1. rish brow; Copyright no: by Arthur E Schmidt. hue: P»:/onum Fenmlled. ' . (‘ 530-811. Wad: [run the ¢‘M;- look by %./‘d/’ J5 gf‘ hrwiuiu 0] In-I01 8.51;” and CL A.P.8. guoa (hpynghl moo by ARTHUR P SCHMIDT Public Pbrfonn Pornimd. hlnnh luv! INVICTUS I arise from dreams of thee % % E n i BRUNO HUHN Plmcv Bvssuz SHELLEY Complete Copy, 60 cents wnuunnxsrhnzmv J. W. BISCHOFF Andante rise_. from dreams of f bcnaarcnta Out of theniglnl that cov.ersme, Black as (he pit from pole to pole, first... sweet sleep thank what-ev.er god: may be Whentlie winds arebreath-ing low I71 8”.‘ launch mo I1_ mm nu-an hterallnu-I owyvlnhn annual “NH EEIIIK Pllllﬁ Complete Copy, 50' Cents. mm mmmnm‘
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Date: 1898
Text: Music LIBRARY VASSAF? cc L :5: noucmrscw.-us new Yomq To _ 'THE APOLLO CLUB, BOSTON, MASS. Paul Revere’: Ride a 1 —-“ My country, ’2‘z's of thee I sing ”— Cantata for Men’s Voices with Tenor and Baritone Solos and Or- chestral Accompaniment. Poem by H. W. LONGFELLOW T/56 /I/uric éy DUDLET BUCIC R Vocal Score, 75c. Full Orchestral Score, $5.00 net Full Orchestral Parts, $5.00 net NEW YORK G. SCHIRMER Copyright, 1898, by G. Schirmer 1’U/JLIS//E/J BY G. SC}/1/x’/I/ER. A LIST OF WHJRKS...
Show moreMusic LIBRARY VASSAF? cc L :5: noucmrscw.-us new Yomq To _ 'THE APOLLO CLUB, BOSTON, MASS. Paul Revere’: Ride a 1 —-“ My country, ’2‘z's of thee I sing ”— Cantata for Men’s Voices with Tenor and Baritone Solos and Or- chestral Accompaniment. Poem by H. W. LONGFELLOW T/56 /I/uric éy DUDLET BUCIC R Vocal Score, 75c. Full Orchestral Score, $5.00 net Full Orchestral Parts, $5.00 net NEW YORK G. SCHIRMER Copyright, 1898, by G. Schirmer 1’U/JLIS//E/J BY G. SC}/1/x’/I/ER. A LIST OF WHJRKS FOR MEN'S VOICES B Y DUDLEY BUCK A .— W it}; A cm/zzpz‘. . “ The Nun of Nidaros.” Cantata, with Tenor Solo. (Accompt. for Piano ob- ligato and Reed Organ. Additional parts for Flute and String Quintet may be had from the publishers in MS.) . “King O1af‘s Christmas." Cantata, with Baritone and Tenor Solos. (Ac- compt. as above.) . “ Chorus of Spirits and Hours,” from P. B. Shelleyls “Prometheus Unbound," with Tenor Solo. (Accompt. as above. Full Score published.) . “ 'I:he Voyage of Columbus." Cantata, 111 Seven Night-Scenes. (Full Orch. Score, Orch. Parts, Vocal and Piano Score. English and German.) “Bugle Song,” from 'l'ennyson’s “Prin- cess,” “The Splendor Falls.” (Ac- compt. as in No. 1, with two Comets obligato behind the Scenes.) “ Paul Revere’s Ride." Cantata, with Baritone and Tenor Solos. (Accompt. for Piano obligate, Flute, two Clarion- ets, two Horns, and String Quintet. Also, in defaultof Horns, an adaptation for two Cornets. Full Score, ()rch. Parts. Vocal and Piano Score.) In Vocal Combat" (Piz1noAccompt.). on the themes, “Then Youlll Remem- ber Me,” and “Rocked in the Cradle of the Deep.” Z?.— Wil/mu! Acca//zpl. . On the Sea. . Twilight. . The Signal Rcsounds. . In Memoriam. , . The Spring is come, Huzza! HARMONISATIONS. . Robin Adair. . Annie Laurie. . Blue Bells of Scotland. . Ever of Thee. . When the Corn is Waving. . Home, Sweet Home. PAUL REVERE’S RIDE CANTATA For Men’s Voices POEM BY H. W. LONGFELLOW MUSIC BY DUDLEY BUCK Listen, my children, and you shall hear Of the midnight ride of Paul Revere, On the eighteenth of April, in “Seventy- ﬁve ;” Not a single man is now alive Who remembers that famous day and year. He said to his friend, “If the British march By land or by sea from the town to-night, Hang a lantern aloft in the belfry arch Of the North Church tower as a signal light,—— One, if by land, and two, if by sea; And I on the opposite shore will be, Ready to ride and spread the alarm Through every Middlesex village and farm, For the country—folk to be up and to arm.” Then he said, “Good night!” and with muﬂled oar Silently rowed to the Charlestown shore, Just as the moon rose over the bay, VVhere swinging wide at her moorings lay The “Somerset,” British man-of-war; A huge black hulk, that was magniﬁed By its own reﬂection in the tide. Meanwhile, his friend, through alley and street, Wanders and watches with eager ears, Till in the silence around him he hears The sound of arms, and the tramp of feet, And the measured tread of the grenadiers, Marching down to their boats on the shore. Then he climbed the tower of the Old North Church, To the belfry—chamber overhead: Then paused to listen and look down A moment on the roofs of the town, And the moonlight ﬂowing over all. Beneath, in the churchyard, lay the dead, In their night-encampment on the hill, W'rapped in silence so deep and still That he could hear, like a sentinel’s tread, The watchful night-wind, as it went Creeping along from tent to tent, And seeming to whisper, “ All is well 1” But suddenly all his thoughts are bent On a shadowy something far away, VVhere the river widens to meet the bay,— A line of black that bends and ﬂoats On the rising tide, like a bridge of boats. Meanwhile, impatient to mount and ride, On the opposite shore walked Paul Revere, And gazed at the landscape far and near. And 10! as he looks, on the belfry’s height A glimmer, and then a gleam of light! He springs to the saddle, the bridle he turns, But lingers and gazes, till full on his sight A second lamp in the belfry burns! A hurry of hoofs in a village street, A shape in the moonlight, a bulk in the dark, And beneath, from the pebbles, in passing, a spark Struck out by a steed ﬂying fearless and ﬂeet; That was all! And yet, through the gloom and the light, The fate of a nation was riding that night; And the spark struck out by that steed, in his ﬂight, Kindled the land into ﬂame with its heat. It was twelve by the village clock When he crossed the bridge into Medford town, And felt the damp of the river fog, That rises after the sun goes down. It was one by the village clock, \ /’hen he galloped into Lexington. And the meeting-house windows, blank and bare, Gaze at him with a spectral glare, As if they already stood aghast At the bloody work they would look upon. It was two by the village clock, When he came to the bridge in Concord town, And felt the breath of the morning breeze Blowing over the meadows brown : And one was safe, and asleep in his bed, \Vho at the bridge would be ﬁrst to fall, W'ho that day would be lying dead, Pierced by a British musket-ball. You know the rest! And so through the night rode Paul Revere; And so through the night rang his cry of alarm ' A cry of" deﬁance and not of fear, And a word that shall echo for evermore! For, borne on the night-wind of the past, Through all our history, to the last, The people will waken and listen to hear The midnight message of Paul Revere. To the APOLLO CLUB: I)’()SI‘0I1. IWu.\‘.s‘. Paul tReVere’s Ride. - pm In by (“Nly (-.m1ntr,\‘, ‘fix of’ thee I s1'11g‘."‘ M .0 by 9 us1, DUDLEY BUCK. H. VV. LONGFELLOVV. Animate, ma Maestoso.(J = 88) L9.) sempre mgzrcato Moderate, recihmte. BARITONE SOLO. —=;—;: tempo (‘*-ui"$. f3 and you shall hear._._.___ Of the mid-night List — en, my children, f.\ * N. B. The aceompt. is for Piano obligate, Flute, two Clarionets, two Horns, and String -- Quintet. These parts and full score may be had from the publishers. Also, in default of the Horns, an adap - tation for two Cornets. /14099 Cnpyrzgrlzf, /8.98, by G. Sclzirnzer. On the eighteenth of A- pril, in “Seven—ty—fiVe:” Not a sin—g1e is now a - 1ive__. \Vho re- Tempo di Marcia. A TENOR I & 11. 7. 75"” 7"]. BASS I 8: 11. mem—bers that fam ous day and year.- Tempo di Marcia.(J : 92) to his friend, A he Brit— ish__ march by land or b sea from the (7'I’f.’S(T. _ —> _ 7 _ /'\ a to his friend, “If the Brit- ish__ march by land or by sea from the ff . . 710 to night,Ho1d 21 Ian — tern a—1oft the f -arCh,Of the > . -. ’ 7 to nig}1t,H6ld a lan —ter11' — fry-arch,Of the O. f NorthChurch er 5 sig _ nallightz 1\'0rthChurcht0wer as a Sig — 1a11iEht: if by 1 and , and two ,_ f I__onthe op - posite shorewill be, Read - yté) risc .3‘ . the op — posite shore will be, Read - y to r1se /.\ 3 /’—‘\ J gjtl 11099 ff.> _> spre ad the a—1arr." Thro’ ev - ry Middle-sex > . — larm Thro* ev _ ry Midd1e—seX vil-lage For the c0un0—try folk to be Sf ‘f "P000 Ada '0 tr NOR H Then he S aidf‘G0od— BASS I. S 3' an 0 m0 150- P000 Ada i0 tran ui110.( =63) - El,‘ > ‘ V’O€110. ‘ ed oar, with muf — - fled oar, Si—lent-léy 7 ZT ” and wxth muf — ed oar, i—1ent—1y e said, -night! and withmuf — fled oar, Then he said, “Good-night!’l___. i~len y rowed to the Charlestovm shore,__ 0 Charlestown sh ,_ 4 ::?..>_.—- 7 . to the Charlestown shore,__ --““-———:'L'.::_~'_-—_=.. Si-lentl y rowed to the Charlestown shore,__ BASS I. C to the Char1es—toWn shore._ BASS II. shore . C TENOR I. TENOR H_ as the moon rose as the moon rose .5’ as the moon rose 0 — Ver the bay, rose e moon rose the bay, __.__..______ the the bay, Where swing ing wide er moorings lay, The the bay, Where swing ing Wide er moorings lay, The - > ver the bay, VVhere swing ing wide ' er moorings lay, The > . . 9 1’ Where ' ing Wide her moorings ay, The “Som — er.set;’ - er—set’,’ “bon1— er.set’,’ ritish of — war. “Som— —set’,’ “ m—er—sét’,’ ri sh of _ war. “Som — er—set;’ “Som — er_set’,’ British of - war. Piil moto. A uge black 111 blackhulk, a huge black hulk huge black hulk,___:_. uge___________ black hulk H'l0t0. : 80) /3x 72‘//‘ L2 7 dim. huge black hulk, that was In - fied, By its ulk, ni - fied, B ‘_ ofvn r_e that was mag - By__._.__ its own hulk, that was ni — fied, 10, Term 0 di Marcia. flection ‘ tide. flection flection ec 1011 own re—flec-t1on 11 e tid Tempo di Marcia.(_J:92‘,> I) 67630. 8 D Tenor Solo. - 772 . - Mean—vvhi1e,his iend,thr'o’ a1—1ey and street Wan - ders andwatch—es with 3 ea-g~ er earé, Till in the si - lence a -round him e hears he sound of arms,.__________.. and he tramp Corni. f M12115 re p Tenor So1o.P BASS 1_ 11_ A March — ing, marching And the me:-.15 -ured tread of e gren—a - diers, Ma Ch—i11gdo\vnto their down to e_§hore,March—ing'down to the shore. .___.._._ b0 3 on the shore. ‘TENORS Chorus. BASSES climbed the tower of the Then he climbed e tower of >>E e be1- frv - cham-ber 0 e be} — fry - cham~ber /\ h TENOR II. — Then Then paused then look down a moment, on the roofs of then look down a moment, on e roofs of 0 ma mnmcmn@H____ Old North Church,_________ Ver — head: .273 TENOR I. to sten, to listen, the toWn._ Tenor Solo.- _ Moderate. (J:72..) ~, /,7 And the moon - light flow — /"\ /"\ TENORS 3“ BASSES - (*9 P. Adagio molto. (J_=s3.) neath, e churchyard la the _.._..__:_.______ In their neath, in the ch.u-rhchyerd lay the p .dolem‘e night-en campment on the hill;_ night — en campment on hil1;__ C1ar.Vio1a. fp W7 (it) The proper effect of this passage depends upon the 'conduct0r’s securing a true balance of Vocal parts in the pp low chords. They must sound sap?/[okra], but not “'7/M/dd?/3’ TENOR 1. se 6’ Wrapp’d VVrap ' si— lence ‘Wrapp’d ' si - lence rapp’d ' si— lence } 3 P§«h___,/ Piﬁ moto. he could hear, ‘ tine1’s tread, The — he cou1dhear,cou1d hear, iike a sen inel’s tread, The 4;“: e could hear, could hear, like a sen tine1’s tread, The he could hear, could hear, _.:________ like a sen_ti-ne1’s tread, a Piﬁ moto. J: 73. without Ped. watch - ~ ful night Watch — — fu1_ watc — — f 111 __ night sen- ti-ne1’s tread, the night - T ' creep — ing /“\ /‘R: Creep..ing a - long._ from —-_._—'i Creep ing from Creep—ing a - long from i—.4__i_T.' — ing a — long 1’ crest. seem- ing _ seem- ing whis - per And seem—ing whis - per /5 F A119 Vivace. well!” ell!” well!” well!” Fvzlxllegro Vivace. = 130. ' ' n. /3 . 2 1 Tenor Solo. _13 [0 Tempo di Marcia.(J:92.) .8..._ But sud n1y_ all s > >I07Ig. thoughts are bent ow _ y something far «zf ' L 10 ¥—_-"/J ILL- ga g If]. F? Ff I17 1 I Y I M .L . Where he riv _ er BASS I. II. unison. P A 14 TENOR I. II. 19 M0 derato. rec2'tam‘e _;whi1e, impatient . __ Tempo di Marcia. > shore Walked Paul sempre 19 like T 0 mount and ride, And 3. Baritone Solo. /\ gazed on the landscape Chorus. BASS 1.1]. 271’ But most - ly he watch’d with dim. , eager search The bel _ fry-tower of the old North Ch Baritone Solo. And lo! /gas he looks, 0% the be1- fry height 0 Moderate. +<) /—~\ @000 MI]. > >> :> glimmer, and then a gleam of light!_-_____ #3 calla ‘U008 Vivace. springs to the saddle, 3, bridle he turns, f ,> 3 > ' ' *<) The Baritone Soloist must not "shout” this note. The “light” was probably a tallovweandle. 14099 16 M/9d\erat0. f Vivice. b O A ‘V pogo Ht. ling. ers, and gaz - es, tihll full‘ on his sight A second lamp in the be1-fry 8 """"""""""""""""""""" K5 .1" ~52" .g/’ Moderate. /"T burns! - Allegro con fu0c0.(J:‘102.) Z('5.’\ A hurry of hoofs ' village street,‘ A 10 /_,r\ A hurry ofhoofs ' village street,__ mpﬁ“ Ki“ /3“ /.s>’\ /3“ 5‘ Tenor I auses. shape_ themoon1ight,a bulk in the dark;_ > _ > a bulk in the d;irk;_ /5 TENOR 11. And be- neath,__from the pebbles, in passing, And be— neath,_ from les, in passing, TENOR I. by a steed Struck out _> .> I Struck out by :1 steed /\ That was all! That was all! 3 a 3 spark __ spark __ That was That was 0’ e gloom and t e light > : thro’ e gloom * and the light, 1121 - tion was rid _ ing that night:___ fate of a ma- tion was rid — ing that night:__ And the spark struck out by that said in hlS flight __ And the k struck out by that steed in 1118 flight, . . > IX 5 jzoco cmsc. — rcia. Tempo di twe1ve___ by the village sf Kind — led the Kind — led the U11 poco piil moto.(J:M6) (Clock strikes.) VI 3 -5‘ _d eello,Vio1a. 1opBaSSi_ Baritone Solo. Sill when he cross’d the bridge iin-to poco sc. Med — ford town, TENORS. Chorus. BASSES. And Piix moderate. the the } . damp of felt the damp of the Pifl m0derat0.- riv — er— fog, 77) riv _ er— fog, Allegro moderato. Baritone Solo. It was one by the vil-lage — C o r clock when he ga1—1oped ' LeX—ing—t0n . F1. & Clar. VJ Chorus. BASS I. II. M’. e meeting-house win — dows, /‘\ \/ /\ VV1"Ihout- Pod. . &' Basso. 723]’ _ and bare__ Gaze him With a spec-tralglare, Chorus. TENOR II. BASS 1.11. (TENOR I. IWLIISBS.) b /'3 TEN.II.&B. 1. WJ B' H stood dz’-In . blood y work t ey would look up— on. > . dim -;_--_-—-___§_= At the blood y work 1 ey “'0 1d look up — on. Baritone Solo. by the Village came to thebridge in Con - cord town: 10 -—~-‘—-—_:_.__‘’ -ngf dim. (}h0ruS_ morn-ingbreeze, b1ow- ing 0 -_ ver 7 un. And felt thebrgaath of emormingbreeze, bow— mg 0 - ver the «tr Tenor Solo. molta Mtard. 1)-/’”‘T Moderato. (J = 78.) > safe, and a — sleep bridge would ly — ingdead, VVho that day Pierc’d ____. P57? mofo. 5 You know the Pa’ 12 moto. know e rest! L know the rest! Ch’-orus. ‘hm’ > sem re c/resc. 7 mght thro’the night __ thro’ the semjwe can ‘fz/000 night rang his C - larm-,___ night rang his cry a — 1arm;_ a word thatshall fi - ance, and a word thatshall /\/\'_\ 8 1-4099 mwrcato past, Thro’ wind the past, Thro’ .96/npre marcata the last; will wa - ken, and /‘\\ > >. wi 11 W21 _ ken, Vivace. V9 I‘€‘ . A__ _,__é. {T V8 re . — _,__-,_.._,ﬂ.__ Vivace. Jr‘/‘ 8141 bassa .................... J x, m V C WLWVM. . . f e . ‘ «N M; 4 wﬁmk. ..MM..w5KRn..uﬁm.uvvn ,, ORATORIOS AND CANTATAS PUBLISHED BY G. SCHIRMER, NEW You (FOR MIXED VOICES, UNLESS OTHERWISE MENTIONED) / ANDERTON, TH., The Wreck of the Hesperus, . BACH, j. S., A Stronghold Sure, . . . . -—-—- All they from Saba shall come, . . . . BARNBY, _IOS., Rebekah, . . . . BARTLETT, H. N., Autumn Violets. (Women’s Voices.) . . . . . . . . . -—- The last Chieftain. (Men’s Voices.) . . BECKER, _IUL., The Gypsies, . . . . BENDALL, W., The Lady of Shalott. (Women’s Voices.) . . . . . . BERLIOZ, H., Childhood of Christ, . . . -——- The Damnation of Faust, . . . ———— Scenes from “ Fall of Troy," . ~—- The Flight into Egypt, . . ——- Re uiem, . . . —— Te eurn, . . . . . BRAHMS,_j0I-1., Song of Fate, . BRUCH, MAX, Arminiu . ——- Fair Ellen, . . . . . . —--— Odysseus, . . . . . . . BRUCKNER, A., Te Deum laudamus, . . BUCK, D., Centennial Meditation of Columbia, ———- Christ the Victor, . . . . . . ———- The Coming of the King, . —-—-— Hymn to Music, . . . . . —-—~ The Story of the Cross, . . . . —~-— The Triumph of David, . . . . . —— Chorus of Spirits and Hours. (Men's Voices.) —-——- King Olaf's Christmas. (Men’s Voices.) . ———- The Nun of Nidaros. (Men‘s Voices.) . . -—- ’I‘he Voyage of Columbus. (Men’s Voices.) COOMBS, C. W., Hymn of Peace, . —— The Vision of St. John, . . COWEN, F. H., Saint Ursula, . . DAMROSCH, DR. L., Sulamith, . DVORAK, A., The American Flag, . GADE, N. W., Christmas Eve, . . . —-—- Holy Night, . . . . . . GAUL, A. R., The Holy City, . . . —— Ruth, . . . . . . . . GERNSHEIM, FR., Salamis. (Men’s Voices.) GILC!-IRIST., W. W., Prayer and Praise, . -—-‘ 46th Psalm, . . . . . . . —— The Rose, . . . . —— The Uplifted Gates, . . . . . . . -—— The Sea Fairies. (Women’s Voices.) . . . —— An Ode to the Sun. (Men's Voices.) . . . ~--—-- The Legend of the Bended Bow. (Men's Voices.) GOODRICH, J. W., Ave Maria,. . . . GOUNOD, CI-1., Gallia, . . . . —-— The Redemption, . . . . GREGER, C., Spring and Love, . GRIEG., E., Scenes from “ Trygvasson,” . HANDEL, G. F., Messiah, . . —— Utrecht Jubilate, . . . . . HARRISS, CI-I. A. E., Daniel before the King, . HAYDN.]OS.,vTheCreation, . . . . . -—--The Seasons, . . . HEUBERGER, 12., Art thou glad, then think of me. (Men’s Voices.) . . . . . . . . I-IILLER, F., Easter Morning. (Men's Voices.) . HOFMANN, F. H., The Pilot, . . . . . I-IOFMANN, HElNR., A Romance of Love, . . -—- Song of the Norns. (Women’s Voices.) . HUMMEL, FERD., Columbus, . . . . —~—- The Queen of the Sea. (Women's Voices.) JACKSON, A. H., Lord Ullin’s Daughter, JENSEN, AD., The Feast of Adonis, . . JORDAN, JULES, A Night Service, . KRUG-WALDSEE, J., King Rother, -‘ . LACHNER, V., The 100th Psalm, . . LISZT, F., The Bells of Strassburg, . . MACFARREN, G. A., May Day, . MASSENET, J., Eve, . . ———- Narcissus, . . MELAMET, D., Columbus. (Men’s Voices.) MENDELSSOI-IN, F., Athalie, . . . . o n o o o u a S §E?'x’ 8‘&$%88§83‘:B’«o?‘ 53358 8 ’&8‘&."E3‘~$§’r 2% S 838% 2 8%’ 8? ~———— Elljah, . o . - -—- Loreley. . . . . . . . .-——- St. Paul, . . . . . . . . ~——— As the Hart pants. Psalm 42, . . . ———- Come, let us sing. Psalm 95, . . . . . -——- When Israel out of Egypt came. Psalm 114, . -——— Hear my Prayer, . . . . ——~ Hymn of Praise (Lobgesang). . . . —— Lauda Sion, . . . . MERCADANTE, S., The Seven Last Words, . . MOI-IR, I-1., ’1‘o the Genius of Music. (Men’s Voices.) MOSENTHAL, _]OS., Thanatopsis. (Men’s Voices.) OWST., W. G., Communion Service in A, . . PARKER, H. W., The Ballad of a Knight and his Daughter, . . . . . . . . . ——- Dreamkin and his Love, . . . . . . ———- Idhe Holy hild, . . . o o u o .8S828%383‘538i%§§8?§88$E$’u8S§§88¥ . .\o n ylle. (Goethe) . . .' . . . RAFF, 1., A Song of Freedom. (Men's Voices.) . REED, C. 1-1., The Birth of the Opal. (Women’s Voices.) . . . . . . . . . REINECKE, C., Evening Hymn: “ O’er all is quiet reigning,” . . . . . . . . . RI-IEINBERGER, jOS., Clarice of Eberstein, . ————— Harold, . . . . . . . . -—- King Eric, . . . . . . . . —— The Mermaid, . . . . . . . —— Morning Dew, . . . . . . . ———- The Daughter of Jairus. (Women's Voices.) ROSSINI, G., Stabat Mater, . . . . RUBINSTEIN, A., The Tower of Babel, . . SAINT-SAENS, C., Christmas Oratorio, . . . ——-- The Deluge, . . . . . SC HUBERT, F., Miriam‘s Song of Triumph, . . SCHUMANN, R., Scenes from “Faust,” . . . ~— The Pilgrimage of the Rose, . . SCI-IUTZ, 1-1., The Seven Words of our dear Re- deemer and Saviour, . . . . . . SHELLEY, H. R., The Inheritance Divine, . . SMART, H., The Fishermaidens. (Women’s Voices.) -—- King René’s Daughter. (Women’s Voices.) . STAINER, 101-1., The Cruciﬁxion, . . . —~—- The Daughter of Jairus, . . . . , VERDI, G., Requiem, . . . . . VOGRICH, MAX, The Captivity, . . . —— The Diver, . . . . . . . . --— The young King and the Shepherdess, . . WEBER, C. M. van, Life's Happiness, . . WHITING, GEO. E., The Tale of the Viking, . ).A D-it-5 I-1|-'- 388 o n u o IOIOIO 5-‘ 5-‘ # S8 3388 8§ <*3"x‘c’§§ 8‘$:% 88? 88888%8§z8 88 8 put £3333-‘S§88§88% S8S83’c§S8§2¥E€E>'«’8§ 8% 5323888
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Date: 1900
Text: VASfSA:"Z C-QLL-ZGE MUSIC LIBRARY‘ Clflp Cﬁebeemet C-jfaacretv ﬁofo, from Che Waoféénﬁegcnb. . 1" % 222 6 ll by ﬁmgfeﬁfom. I (mu:-ic lag Eubfeg ‘lﬁuck. V ...$c>m Voice. ’b;i ﬁvbice F,Xo§5vnC¥1wrcF1. fimwyxxqye «-——-—-«--=-- ' {,’lm(.am;LIu, ‘f'fMi‘ﬁW- W '1/aw; W'ra‘!< ,1?/\{€"§i9» ,fuvni)g;rn.« - "% G. SCH IRMER, 35 UNION SQUARE, NEW YORK. Ck. w N , \ My Redeemer and my Lord. From the“G01den Legend’; Scene V. E1sie’s Chamber. Night. Elsie praying....
Show moreVASfSA:"Z C-QLL-ZGE MUSIC LIBRARY‘ Clflp Cﬁebeemet C-jfaacretv ﬁofo, from Che Waoféénﬁegcnb. . 1" % 222 6 ll by ﬁmgfeﬁfom. I (mu:-ic lag Eubfeg ‘lﬁuck. V ...$c>m Voice. ’b;i ﬁvbice F,Xo§5vnC¥1wrcF1. fimwyxxqye «-——-—-«--=-- ' {,’lm(.am;LIu, ‘f'fMi‘ﬁW- W '1/aw; W'ra‘!< ,1?/\{€"§i9» ,fuvni)g;rn.« - "% G. SCH IRMER, 35 UNION SQUARE, NEW YORK. Ck. w N , \ My Redeemer and my Lord. From the“G01den Legend’; Scene V. E1sie’s Chamber. Night. Elsie praying. (Law Voice.) Poem by H.W. LONGFELLOW. Music by ‘DUDLEY BUCK. Andante espressivo . Sempre c072 Pea/’. 012'//2. : TWM r'~w>. ~w Copyright MDCCCC by The John Church Company. International Copyright. Entered according to act of the Parliament of Canada in the year MDCCCC by The John Church Company in the Department of Agriculture. my Re — deem — — er ,an.d‘ nfy Smaa’ I25. I be — seech Thee, I en - treat me in each act and word, T j That here — aft . that here — aft - _ er I may meet Thee, ./‘\ Watch - ing, wait - ing, Ad - ing,with my lamp well - trimm’d', We11_trimm’d and burn _ PP >' P calla woe. pf " mosso. In _ter —‘ ced — _ ing with these bleed — ingwounds, these " mosso. I’ Z” T bleed - ingwounds up-on Thy hands and side, V For all who havellived and — ‘ F - ‘ed, Thouhhvast suf — fer’d,Thou hast died, Thou hast yaw accel. fer’d~, Thou hast died. Scourged, and mocked, and 77000 ml!‘ molto M2‘. L2 . ' _ ci_fied, __ And in the grave has.t.Thou been bur- iedl Tempo I. mezza 22006. If my fee _ ble prayer can reach Thee, .9677),/are 2‘rmzgm'!/0. ﬂ?-€Ill}07'8 pm’. F /’*_',:d’»"§__:”“‘$ I . be _ seech Thee, I be _ seech /‘\ (/7'6-5’6'. _g L E - ven as Thou hastdied for me, More sin — Qere - ly, Let me fol - L > _ lowwhere ou ead - est, b1eed-ing as Thou if dy-ing I may give &/ L And more near _ dy_ ing thusj_.__ re-sem-b1e Thee! more near _ 1y, more near - 1y, Ts - ingthus re-sem - ble Thee, re - sem _ ble Thee!
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Date: 1900
Text: MUSIC uannnv VASSAFI COLLEGE POUGHKEEPSIE, new vonu 13 ‘Hemmer anb ‘mp 201%. gvacreb 590%, Tf from Ch: Q3ol’écn ﬁcgcnb. . 2.17orb:3 1 by Xongfcffom. i Clﬂtuzaic % big Eubfeg %11Cf’~+ E A‘;/‘ I . ‘V - -,v 9' J , (.1 ' A / 15195 Vmce. J<>5”'U’“*"h ﬁmpmw Gwcimm a/TL. (.f?1",£‘1,“""' 1/Lew/1} ark ivwst C. on Ron. My Redeemer and my Lord. From the“G01de11 Legend’; Scene V. Elsie’s Chamber. Night. Elsie praying. (Low Voice.) Poem by H.W. LONGFELLOW....
Show moreMUSIC uannnv VASSAFI COLLEGE POUGHKEEPSIE, new vonu 13 ‘Hemmer anb ‘mp 201%. gvacreb 590%, Tf from Ch: Q3ol’écn ﬁcgcnb. . 2.17orb:3 1 by Xongfcffom. i Clﬂtuzaic % big Eubfeg %11Cf’~+ E A‘;/‘ I . ‘V - -,v 9' J , (.1 ' A / 15195 Vmce. J<>5”'U’“*"h ﬁmpmw Gwcimm a/TL. (.f?1",£‘1,“""' 1/Lew/1} ark ivwst C. on Ron. My Redeemer and my Lord. From the“G01de11 Legend’; Scene V. Elsie’s Chamber. Night. Elsie praying. (Low Voice.) Poem by H.W. LONGFELLOW. Music by DUDLEY BUCK. Andante espressivo. S6?7lj77‘6 0072 Fed. dz’////. -7-WM r~ W). ‘W Copyright MDCCCC by The John Church Company. International Copyright. Entered according to act of the Parliament of Canada in the year MDCCCU by The John Church Company in the Department of Agriculture. my Re - deem — 8”.“ rm’ 125. be — seech Thee, me in each act and word, That here — aft that here — aft - - er Imay meet Thee, /T. \VéIch _ ing, yearn - /\/"\ — ing,with my lamp well - trimm’d‘,v we11.trimm’d and >burn _ >’ P co/la woe. pp VF 13234-7- " mosso. In -ter _’ ced — - ing with thesé bleed _ / ingwounds, these " mosso. bleed _ ing wounds up-on Thy hands and side, V For all who have lived’ and . Thoulhast suf - fer’d,Thou hast died, Thou hast /zoco acce/. suf - ’ fer’d, Thou hast died: _ Scourged, and mockéd, and /zoco mil. M0110 HZ Lg . - ci_fied, _.._ And in the grave hastThou been bur- ied! Tempo I. mezza voce. If my fee - ble prayer can reach Thee, S6’/7}/)7'6’ /ra72guz'Z!0. E1’-67)/])7‘6.’ per/. ”x be _ seech Thee, I be - seech /\ {Liz L- E - ven as Thouhastdied for me, More sin - cere - ly, more sin _ Let me fol _ T _ lowwhere hou ead - est, b1€ed—ing as Thou if dy-ing I may give who asks to And more near _ 9 6"/'6’.S'(}. dy- ing thus________ re-sem-b1e Thee! More /\ f more near _ ly, more near - ly, es — ingthus re- sem - ble Thee, ble Thee! , u. , u .\
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Date: 1908
Text: MUSIC uannnv VASSAR COLLEGE poucuxsrrsnchusw yomgi ‘I119 ‘Hemmer Cﬂlb 2013. ﬁacteb §>¢f0, fmm 53656115 9 7)) 29 by 2o§§re?rom. I Qﬂuyaic big 911617213 ‘}511Cf’~+ S‘ V 'C‘. ’:®ig§'g)0~;Ce. The John Church Company ~01)? 01 c Cincinnati New York London MUSIC” c...THE HOUSE DEVQTED TO THE PROGRESS OF AMERICAN 7|/3 nef IN U.5.A. My Redeemer and my Lord“ From The “G01d+-11 Legend’: Scene V. Elsié’s Chamber. Night. Elsie praying. (Higlz Voice.) Poonl by H.W. LONGFELLOW. Music by DUDLEY...
Show moreMUSIC uannnv VASSAR COLLEGE poucuxsrrsnchusw yomgi ‘I119 ‘Hemmer Cﬂlb 2013. ﬁacteb §>¢f0, fmm 53656115 9 7)) 29 by 2o§§re?rom. I Qﬂuyaic big 911617213 ‘}511Cf’~+ S‘ V 'C‘. ’:®ig§'g)0~;Ce. The John Church Company ~01)? 01 c Cincinnati New York London MUSIC” c...THE HOUSE DEVQTED TO THE PROGRESS OF AMERICAN 7|/3 nef IN U.5.A. My Redeemer and my Lord“ From The “G01d+-11 Legend’: Scene V. Elsié’s Chamber. Night. Elsie praying. (Higlz Voice.) Poonl by H.W. LONGFELLOW. Music by DUDLEY BUCK. Andante espressivo. O- S/1/2;/1/=e ('07! Pm’. 117/12. 12.11. In ‘1 Copyright MCMVIII by The John Churoh Company. International Copyright. Entered am-orxling to act ofthe Parliament of Canada in theyear MCMVIII My Re — deem - h * I Tbe_seech Thee,‘ I en —treat ‘ Thee, me in each act and word, That here-aft L (1 ’thatThere-aft _T I may meet Thee; O O (“T I 0 \_ dz’/2/. V / wgf wait — ing, 9']?/’.S’(}. _— ing,With my lamp well wel1—trimm’d and burn - no!/(1 zroce. / mz [3060//512721050. In_ter - ced — .— ing with these bleed ingwounds,these ma 12000 I-aiiuzzolo. bleed - ingwounds upon Thy hands and side; : Fof all ' who have lived and _ ed, Thou hast suf - fer’d,Thou hast died, Thou hast / I ll-l;‘U 41 f 12000 (20061. } suf - fer’d., Thou hastldied. I Scourged, and mocked, and N Z]. V- /70 w_ M 7210110 ‘Mt. _ ci ; fied, 772.6550 ‘€006. If /my fee’ - ble prayer can reach Thee, Tempo I. ‘ /\ /_\ /'\ . /-\ /\ /'\ / sew]; 7"e z‘m7zgm'// , 19- /'? /T semjzre Pea’. ior, I be—seech. Thee, I be—seech /5 asThou hast died for me, More sin - cere - 1y, {-3 Q. And in the grave hastThou been bur.ied! ‘ more sin - /-k _ 10wwhereThou lead - est,~ b1eed-ing as Thou if dy_'1ng I may give And more near - /1 Dy -ing thus,____ re-sem-b1e Thee! /"“':\ > ngf f more near - 1y, , more near — ly, - ingthus,re-sem - ble Thee, - sem — ble Thee! /\ /“‘—-T The Most Famous Grouping: of Distin- guished Song Collections Ever Published ﬁn Authenticated Record Disclose: a Sale of Two Hundred and Fifty Thousand Copies-250,000 Eaeh Individual Volume diacriminately edited for an especial purpose and for a particular voice. FJMOUJ J‘O1VGJ‘. Edited l;y . E. Krehbiel. Four volumes. One each or J‘oprano—.0lto—Tenor-Bass. The best 5 of Bach, Beethoven, Becker, Bohm, Brahms, Cho in, Dvorak, Fesca Frans, Godard Gouhydd, Grieg, Haydn, Hotfmann, Holmes, Jensen, Liszt, ewe, Massenet, Mendels- sohn, ltioaart Pergolesi, Purcell, Raﬁ’, Rubinstein, Saint-Saens, Schubert, Schumann, Scarlatti, Binding, Spohr Sullivan, Taubert, Tschaikowsky, Thomas, Tosti, Wagner, Weber, and others, are represents , together with the favorite folk-songs of the various nations. OPERJ J‘0JVGJ‘. _ Four volumes. One each for Soprano-—.IIlto—Tenor—Base. These four books comprise classiﬁed groups of the best known arias, scenas etc. from the standard operas. The numbers contained in each volume have heen selects with the idea of furnishing each of the four voices with a versatility of material and {or all practical purposes the songs are set down in their original key . JONG CL.ﬂJ‘J‘ICJ'. Edited by Horatio Parker. Four ()0 lumes. One each for .l‘oprano—.ﬂlto—'1'enor—8au. These collections of the most notable lyrics in German, Italian and French have been prepared to meet the needs of our large an ever increasing class ofearnest as irants to true artistry. The songs are presented always with the original text in order that t eir full ﬂavor and signiﬁcance may be preserved, and because a poem which does not sutfer by translation is a thing hardly conceivable. cause or .sw'r1,Qw1'r. Edited by Dr. one Neuzel. no volume. This anthology of song, collected and edited by one of the greatest scholars of music of modern times, ‘presents a work of unusual interest to voice teachers, singers and music students ener ly; in contrast to the elphemeral character of the average anthology. The ‘amount 0 material used and the carefu ness of the research indicated b the selections, mark this volume as one of essential value to all who are really interested in t e “Art of Song." JZECRED J'OIVGJ'. Edited by w. J. Henderson. Four volumes. One each for .l‘oprano—.ﬁito—‘I'enor~—8ase The group of songs contained in this set is the reatest contribution yet made to collective sacred songs, and cannot fail to make a very powe ul appeal to the interests of all sin rs. Mr. Henderson has here collected the very best of sacred song literature produce during a period covering two hundred years-—from Bach to Cowen. on./rronzo J’OJVG.l'. Standard Oratorio Songs in their original keys, with the accompan lng Recitatives. Four volume . One each for.!‘oprano——.lilto——Tenor- as . . _ The series is a grand ensemble of the best Oratorio Songs of the greatest masters from Johann Sebastian ach to Sir Arthur Sullivan. The contents of these admirable volumes is so widely recognised‘ as the highest type of ~ pure music, that further description is unnecessary and praise superﬂuous. JJCRED DUETJZ Edited by ivilliam Jhakespeare. ‘hoe volumes. One for two high voices. One for one high and one low voice. Becogilsing the demand for collated material for two-part. singing in the service of the Church, t e editor of these volumes, mindful of the fact that the ‘efficiency of good music is not caused by its novelty, has here com iled standard duets from many sources and from all- eras of -music- The volume for two high voices is suitable for two sopranos, two tenors or soprano and tenor; the volume forone ifh and one low voice is practicable for soprano and site‘, for tenor and alto or for" soprano an baritone. O » ‘ens volume Beautifully Printed and aou¢.m.u.¢q pun. news. page
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Date: 1908
Text: C1119 ‘Hemmer cmb ‘I111? 201%. §acteb $030, Tf fmm Cheﬁofbm gems, by s.’£§’%from. ‘ Cmwaic 1 big Eubfctg ‘Buck. - , ., , 31’/w 518$ V01C9- E3o$vnCf3nwrcFn Cympwqg 10117 Voice. “ ,s:ayi'$o;x4.“*’“”' 772 NET My Redeemer and my Lord. From the “Goldvn Legend’: Scene V. E1sie’s Chamber. Night.E1sie praying. ‘ (High Voice.) Ptwnl by H.W. LONGFELLOW. Music by DUDLEY BUCK. Andante espressivo. ¢ Sm/r/Ire P0)! Pen’. 7 0 Con (Inn. 1317. Copyright MCMVIII by The John Churéh Company....
Show moreC1119 ‘Hemmer cmb ‘I111? 201%. §acteb $030, Tf fmm Cheﬁofbm gems, by s.’£§’%from. ‘ Cmwaic 1 big Eubfctg ‘Buck. - , ., , 31’/w 518$ V01C9- E3o$vnCf3nwrcFn Cympwqg 10117 Voice. “ ,s:ayi'$o;x4.“*’“”' 772 NET My Redeemer and my Lord. From the “Goldvn Legend’: Scene V. E1sie’s Chamber. Night.E1sie praying. ‘ (High Voice.) Ptwnl by H.W. LONGFELLOW. Music by DUDLEY BUCK. Andante espressivo. ¢ Sm/r/Ire P0)! Pen’. 7 0 Con (Inn. 1317. Copyright MCMVIII by The John Churéh Company. lhternational Copyright. Entered accord ing to act of the Parliament of Canada in the year MCMVIII by TheJ(>|1n(‘|1urch Company in the Department of Agrir-uhure. I be-seeCh Thee, in each act and word, that here — aft - é a’/'///. My Re — deem - /5 I en — treat - er and my That here-aft _ \ — er I may meet /4""—'_\ Thee; 8 -------------------------- -- . I (3/'€.S'('. VVatch _ ing, wait — ing, '- ing,With my lamp well trimm’d, /‘\ r0//a woe. / hop — ing, ‘Z . I C \\'e11—trimm’d and burn — yearn - L- ma poco,/4/z‘z2 molo. In_ter - ced ~ — ing zmpoco/iz’/52 moto. ‘I’ bleed — ingwounds upon Thy hands and side; Thou hast suf - fer’d,Th0u suf - fer’d., Thou hast died. /_;$7I_cf with these bleed ingwounds,these For all ‘who have lived and /'_ — hast died, Thou hast D f poco acne/. > Scourged, and mocked, and ' 1!. ﬂow rd /Izolto r2’/. _ ci _ fied,____ And in the grave hastTh0u been bur—ied! 71/6554 'L'0(-'6’. If my fee - ble prayer can reach Thee, Tempo I. T} 86/Il]I7'6 z‘rmzqu2'// .9e27zl/are Pea’. ior, I be—seech. Thee, I be—seech /T asThou hastdied for me, V More sin - cere - ly, more sin- . _ u ‘ /'1 'cere _ 1y, L j—j—;"[ - 1owwhereThou lead -éest, b1eed-ing as Thou if" dy-ing I may give And more near _ /‘\ 1323B~7 Dy - ing thus, ,j"\ more near - ly, - ingthus,re—sem _ ble Thee, 4 re - sem-ble Thee! > ngf more near - ly, L"; sem — ble Thee! lkhhbl Living unto Thee JOHN ll-I-lR’|'0N C. HUGO GRIMII Moderate sun! Un-veiled ere-A - tlonlies; Anson]; an Thine; we must not say_._ That these are dad who pass CI;yr|gM,llCIl XV, I] In John Quin tunpuny Inlvnnﬁunll Copylgll ‘Weep’ not for me Ham ronsnn: HARRIET wuz: Adagio aontenuto When the por-tals of For I shall see Wish mine own eyes,:._. as Ihro’\nns- ﬂWW.IClxlV 9; m man man I-«mun comm Send Out Thy Light C. B. IMVILEY - in; streams,Wben hen ~ ed in hppijll lCllhXV Dy TII-Hslﬁuuhhnpny I praise the Lord FREDERICK PLMARTENS CHARLES GILBERT SPROSS Will: I praise the I praise the Lord,_._? whose com-mand earth 11- news__ its niir - a-cle of golden With wav-ins Cnqrblﬂ ICXXIII 6! Thu mucus CCIOIW Inhvull-U 0-by-‘M
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