The Project Gutenberg eBook of Rustic Chivalry (Cavalleria Rusticana): Melodrama in One Act

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Rustic Chivalry (Cavalleria Rusticana): Melodrama in One Act

Composer: Pietro Mascagni

Librettist: Guido Menasci

Giovanni Targioni-Tozzetti

Translator: James Cartwright Macy

Release date: January 17, 2015 [eBook #48007]

Language: English

Other information and formats: www.gutenberg.org/ebooks/48007

Credits: Produced by Colin Bell, Paul Marshall, Joseph Cooper and

the Online Distributed Proofreading Team at

http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK RUSTIC CHIVALRY (CAVALLERIA RUSTICANA): MELODRAMA IN ONE ACT ***

OPERA SCORES

All the vocal scores have English text together with the foreign text mentioned below. Unless otherwise specified, these books are bound in paper.

GRAND

OPERAS

AÏDA

Giuseppe Verdi

2.50

In four acts. Italian text

BOHEMIAN GIRL

Michael W. Balfe

2.00

In three acts

CARMEN

Georges Bizet

2.50

In four acts. French text

CAVALLERIA RUSTICANA

Pietro Mascagni

2.00

In one act. Italian text

FAUST

Charles Gounod

2.00

In five acts. French text

LAKMÉ

Léo Delibes

3.00

In three acts

MARITANA

William Vincent Wallace

2.50

In three acts

MIGNON

Ambroise Thomas

2.50

In three acts. Italian text

SAMSON AND DELILAH

Camille Saint-Saëns

2.50

In three acts

TROVATORE, IL

Giuseppe Verdi

2.00

In four acts. Italian text

LIGHT

OPERAS

BELLS OF CORNEVILLE, THE;

or, THE CHIMES OF NORMANDY

Robert Planquette

2.50

In three acts

BILLEE TAYLOR;

or, THE REWARD OF VIRTUE

Edward Solomon

1.50

In two acts

BOCCACCIO;

or, THE PRINCE OF PALERMO

Franz von Suppé

2.50

In three acts

DOCTOR OF ALCANTARA, THE

Julius Eichberg

1.50

In two acts

FATINITZA

Franz von Suppé

2.50

In three acts. German and Italian text

MARTHA

Friedrich von Flotow

2.50

In four acts. German and Italian text

MASCOT, THE

Edmond Audran

2.50

In three acts

OLIVETTE

Edmond Audran

2.00

In three acts

PINAFORE, H. M. S.; or,

THE LASS THAT LOVED A SAILOR

Sir Arthur Sullivan

1.50

In two acts

SORCERER, THE

Sir Arthur Sullivan

1.75

In two acts

STRADELLA

Friedrich von Flotow

2.00

In three acts

Send for Descriptive Circular P—Oratorios, Cantatas, Operas and Operettas.

OLIVER DITSON COMPANY

Transcriber Notes:

1. The original text is dual column, with English on the left and Italian on the right, with musical scores interspersed throughout. In this version, the complete English text for a scene is shown first, followed by the complete Italian text for the scene. The musical scores are placed as near as possible to the original version.

2. The page numbering is, of necessity, quite different from the original text. Each scene and score simply has its own page number.

3. The vocal part of the score is reproduced after the score as text, the English words first, followed by the Italian.

4. The Table of Contents below was created specifically for this version, there was no Table of Contents in the original version.

5.The images of the music scores are presented in low resolution. If you click on the score, a high resolution image will be displayed.

Table of Contents

PAGE

RUSTIC CHIVALRY

1

DRAMATIS PERSONÆ. / PLOT OF THE OPERA.

2

OVERTURE (TURRIDU'S SOLO).

3

SCENE I.

5

SCENA I.

6

SCENE II.

7

SCENA II.

8

ALFIO'S SOLO.

9

SCENE III. (SCENE AND PRAYER).

10

SCENA III.

11

SCENE IV. (ROMANZA).

12

SCENA IV.

13

SCENE V. (DUET, SANTUZZA AND TURRIDU).

14

SCENA V.

15

SCENE VI. (LOLA'S DITTY).

16

SCENA VI.

17

SCENE VII. (CONTINUATION OF THE DUET).

18

SCENA VII.

19

DUET - SANTUZZA/TURRIDU.

20

SCENE VIII. (DUET, SANTUZZA AND ALFIO).

21

SCENA VIII.

22

INTERMEZZO.

23

SCENE IX. (CHORUS AND BRINDISI).

24

SCENA IX.

25

TURRIDU SOLO.

26

FINALE.

27

FINALE.

28

RUSTIC CHIVALRY

(CAVALLERIA RUSTICANA),

MELODRAMA IN ONE ACT.

BY

PIETRO MASCAGNI.

ENGLISH VERSION BY J. C. MACY.

30

BOSTON

OLIVER DITSON COMPANY

NEW YORK

CHICAGO

CHAS. H. DITSON & CO.

LYON & HEALY

Copyright, MCMXIX, by MARY EMMA S. MACY.

DRAMATIS PERSONÆ.

CHARACTERS.

SANTUZZA, a village girl

Soprano.

LOLA, wife of Alfio

Mezzo Soprano.

TURIDDU, a young soldier

Tenor.

ALFIO, a teamster

Baritone.

LUCIA, mother of Turiddu

Contralto.

CHORUS OF PEASANTS AND VILLAGERS.— CHORUS BEHIND THE SCENES.

PLOT OF THE OPERA.

TURIDDU, a young villager, is the son of LUCIA, and the lover of LOLA, (who is the wife of ALFIO; having married the latter during TURIDDU'S prolonged absence in military service). TURIDDU wins the affections of SANTUZZA, whom he wrongs; while, in the meantime, he is intimate with LOLA. On Easter morning, (the opening of the opera), ALFIO is incidentally informed, by SANTUZZA, of his wife's unfaithful actions. He challenges TURIDDU (biting the ear, as was the rustic Sicilian custom). TURIDDU, though regretting his past evil course, accepts the challenge and is killed by ALFIO.

RUSTIC CHIVALRY.

[Listen: {1min 5sec} ]

TURIDDU. (Behind the scenes.)

O Lo-la, fair as flow'rs in beau-ty smil-ing, ...

Love from thy soul-lit eyes

Soft-ly is glow-ing; ...

He who would kiss thy lips, red and be-guil-ing ...

Bliss-ful and fa-vor'd were he,

Such heav-en know-ing!...

Tho' thy thresh-old blood, crim-son, is stain-ing, ...

Car-ing for naught, I seek thee, scorning to hide me; ...

What tho' I for-feit life, thy pres-ence gain-ing?

What were the joy of heav'n, wert thou de-nied me!

What tho' I for-feit life, thy pres-ence gain-ing,

What were the joy of heav'n wert thou de-nied me.

Ah! ... Ah! ... Ah! ... Ah! ...

O Lo-la, bian-ca co-me fior di spi-no, ... quan-do t'af-fac-ci te s'affac-(cia il) so-le; ...

Chi t'ha ba-cia-(to il) lab-bro por-po-ri-no ...

Gra-zia più bel-la a Di-o chie-der non vô-le....

C'e scrit-to san-gue so-pra la tua por-ta; ...

Ma di re-star-(ci a) me non me n'in-por-ta; ...

Se per te mo-(jo e) va-(do in) pa-ra-di-so,

Non c'en-tro se ... non ve-do il tuo bel vi-so,

Se per te mo-(jo e) va (do in) pa-ra-di-so

Non c'en-tro se ... non ve-do il tuo bel vi-so.

Ah! ... Ah! ... Ah! ... Ah! ...

(Curtain rises.)

SCENE I.

A public place or square in a Sicilian village.

At right, in background, a church. At left, the inn and dwelling of Mamma Lucia.

Time, Easter morning.

(Peasants, countrymen, country-women, and children, cross the stage.)

(The church doors open and the throng enters.)

(The movement continues until the following:)

INTRODUCTORY CHORUS.

Chorus of women.

(Behind scenes.)

Ah! Ah!

Chorus of men.

(Behind scenes.)

Ah! Ah!

Chorus of women.

(Behind scenes.)

Sweet is the air with the blossoms of oranges;

Sings now the lark from the myrtles in flow'r;

Murmurs of tender song tell of a joyful world,

And of thankful hearts. Ah! gladsome hour!

(The women enter.)

Chorus of men.

(Behind scenes.)

Your spinning wheels now busily are humming,

O'er fields of golden corn the sound is coming;

We linger where the leafy shade is restful;

Of you we think, and every heart is zestful.

Oh lovely women! Allured by you and enraptured,

Like the bird by the lure held, now are we captured!

(The men enter.)

Women.

Work in the field now is ended;—

The Holy Mother mild

In ecstasy fondles the Child.

All.

(Withdrawing from stage.)

Murmurs of tender song tell of a joyful world,

And of thankful hearts.

Ah! gladsome hour!

(Enter, Santuzza, approaching Lucia's dwelling.)

SCENA I.

La scena rappresenta una piazza in un paese della Sicilia.

Nel fondo, a destra, Chiesa con porta practicabile. A sinistra l'osteria e la casa di Mamma Lucia.

E il giorno Pasqua.

CORO D'INTRODUZIONE.

(Campane interne dalla Chiesa. Si alza la tela. La scena sul principio è vuota. Albeggia. Paesani, contadini, contadine e ragazzi traversano la scena. Si apre la chiesa e la folla vi entra. Il movimento del popolo continua fino al Coro punto in cui rimane la scena vuota.)

Coro.

(Donne di dentro.)

Ah!

(Uomini di dentro.)

Ah!

(Donne di dentro.)

Gli aranci olezzano sui verdi margini,

Cantan le allodole tra i mirti in fior;

Tempo è si mormori da ognuno il tenero canto che i palpiti—

Raddoppia al cor.

(Le donne entrano in iscena.)

(Uomini di dentro.)

Coro.  In mezzo al campo tra le spiche d'oro

Giunge il rumore delle vostre spole,

Noi stanchi riposando dal lavoro

A voi pensiamo, o belle occhidisole.

O belle occhidisole, a voi corriamo,

Come vola l'augelo—al suo richiamo.

(Gli uomini entrano in iscena.)

Donne.   Cessin le rustiche opre:

La Virgine serena allietasi del Salvator;

Tempo è si mormori da ognuno il

tenero canto che i palpiti—

Raddoppia al cor.

Uomini.

(Allontanandosi.)

In mezzo al campo, etc.

Donne.

(Allontanandosi.)

Gli aranci olezzano, etc.

SCENE II.

(Santuzza, Lucia, Alfio, and chorus.)

Santuzza. Tell me, mother Lucia—

Lucia.

(Coming from house.)

It is thou? What wilt thou?

Sant. Where is Turiddu?

Lucia. For him you ask? For him, my son Turiddu!

Sant. Only for him I ask you. Pardon, but answer!

Where is Turiddu?

Lucia. Ask me not! I know not; I want no trouble.

Sant. Mamma Lucia, with weeping do I pray you!

Even as spake the Saviour to the Magdalen,

Say, in pity say, where is Turiddu!

Lucia. He's gone to bring some wine from Francofonte.

Sant. No! Last night some within the village saw him.

Lucia. What says't thou? Who told it?

Nay, he hath not yet returned.

Enter!

Sant. I may not step across your threshold,

I cannot pass it, I, most unhappy outcast!

Excommunicated!

Lucia. What of my son? What hast thou to tell me?

Sant. Ah! the torture, the heart-pain.

(Cracking of whips and jingling of bells behind scenes.)

(Chorus enters, followed soon by Alfio.)

SCENA II.

Sortita di Alfio.

Santuzza.

(Entra e si dirige alla casa di Lucia.)

Dite, Mamma Lucia—

Lucia.

(Sortendo.)

Sei tu? che vuoi?

Santuzza. Turiddu ov'è?

Lucia. Fin qui vieni a cercare il figlio mio?

Santuzza. Voglio saper soltanto,

Perdonatemi voi, dove trovarlo.

Lucia. Non lo so, non lo so, non voglio brighe!

Santuzza. Mamma Lucia, vi supplico piangendo,

Fate come il Signore a Maddalena,

Ditemi per pietà, dov'è Turiddu.

Lucia. E andato per il vino a Francofonte.

Santuzza. No! l'han visto in paese ad alta notte.

Lucia. Che dici? che dici? se non è tornato a casa!

Entra!

Santuzza. Non posso entrare in casa vostra.

Sono scomunicata!

Lucia. E che ne sai del mio figliuolo?

Santuzza. Quale spina ho in core!

(Dall'interno schiocchi di frusta e tintinnio di sonagli.

Entrano in iscena i coristi indi Alfio.)

[Listen: {2min 8sec} ]

ALFIO.

Gay-ly moves the tramp-ing horse,

Joy-ful sound the ring-ing bells;

Snap, now, the lash goes, A-hi!...

Cold may blow the wind to-day,

Rain or snow do what it may,

Naught do I care, not I!...

Gay-ly moves the tramp-ing horse,

Joy-ful sound the ring-ing bells;

Snap, now, the lash goes,

Snap, now, the lash goes! A-hi!...

Snap, now, the lash goes,

Snap, now, the lash goes, A-hi! A-hi!

Snap, now, the lash goes,

Snap, now the lash goes,

CHORUS. TENORS.

Who hath call-ing mer-rier than the life of car-rier?

Where is a jol-lier man?...

Who hath call-ing mer-rier than the life of car-rier?

Where is a jol-lier man? Where is a jol-lier man?

Where is a jol-lier man? Where is a jol-lier man?

Where is a jol-lier man, a jol-lier man than he?

Where is a jol-lier man, a jol-lier man?...

ALFIO.

Il ca-val-lo scal-pi-ta, i so-na-gli squil-la-no, schioc-chi la fru-sta, Ehi là!...

Sof-(fi il) ven-to ge-li-do, ca-da l'ac(qua o) ne-vi-chi, a me che co-sa fa?...

Il ca-val-lo scal-pi-ta, i so-na-gli squil-la-no, schioc-chi la fru-sta, schioc-chi la fru-sta,

Ehi-là!...schioc-chi la fru-sta, schioc-chi la fru-sta, Ehi-là! Ehi-là!

schioc-cha la fru-sta, an-dar di (qua e) di là!

schioc-ca la fru-sta, an-dar di (quà e) di là!

CHORUS. TENORS.

O che bel me-stie-re fa-(re il) car-ret-tie-re an-dar di (qua e) di là!...

Oh che bel me-stie-re fa-(re il) car-ret-tie-re an-dar di (quà e) di là! an-dar

di (qua e) di là! an-dar di (quà e) di là!

ALFIO.

My lov-ing Lo-la calls me!

Her gen-tle grace en-thralls me,

Ah! ... faith-ful-ly she calls....

My lov-ing Lo-la calls me,

Her gen-tle grace en-thralls me,

Ah! fond-ly I re-ply....

Gay-ly moves the tramping horse,

Joy-ful sound the ring-ing bells;

(Women of the chorus enter the scene.)

'Tis Eas-ter and home come I!...

'Tis Eas-ter and home come I!... come I!...

A-hi! A-hi! Snap, now, the lash goes, a-hi!

Snap, now, the lash goes,

Snap, now, the lash goes

Who hath call-ing mer-rier,

Than the life of car-rier,

Where is a jol-lier man?

Where is a jol-lier man?

Where is a jol-lier man?

Snap, now, the lash goes,

I come! I'm the mer-ry car-rier! I'm the mer-ry car-rier,

Who hath call-ing mer-rier than the life, the life of car-rier,

than the life, this life of mine,

A hap-pier man than I?... Where is a jol-lier man,

where is a jol-lier man?

'Tis Eas-ter, home come I, ... come I!...

Where is a jol-lier man, a jol-lier man?...

(Chorus withdraws into the church; others separate in various directions.)

M'a spet-(ta a) ca-sa Lo-la che m'a ma e mi con-so-la,

ch'è ... tut-ta fe-del-tà....

M'a spet-(ta a) ca-sa Lo-la! che m'ama e mi con-so-la,

ch'è tut-ta fe-del-tà....

Il ca-val-lo scal-pi-ti, i so-na-gli squil-li-no,

è Pas-qua, ed io son quà, ...

è Pas-qua ed io son quà ... son quà! ...

(Women of the chorus enter the scene.)

Ehi-là! Ehi-là! schioc-chi la fru-sta,

Ehi-là! schioc-chi la fru-sta, schioc-chi la fru-sta, schioc-chi la fru-sta,

O che bel me-stie-re fa-(re il) car-ret-tie-re an-dar di

(quà e) di là, an-dar di (quà e) di là! an-dar

di (quà e) di là, an-dar di (quà e) di là! di (quà e) di là.... schioc-chi la fru-sta,

Son quà! Oh che bel me-stie-re fa-(re il) car-ret-tie-re,

oh che bel me-stier, an-dar di quà, an-dar di là, an-dar di quà, an-dar di là!

E Pa (squa ed) io son quà, ... an-dar di (quà e) di là, an-dar di (quà e) di là,

E Pas-(qua ed) io son qua, ... son qua!...

(Il Coro esce, alcuni entrano in chiesa, altri prendone direzioni diverse.)

SCENE III.

SCENE AND PRAYER.

Lucia. Blest are you, friendly Alfio!

So favored, ever thus to be gay!

Alfio. Mamma Lucia, have you that rare old wine,

The same as ever?

Lucia. Not now; Turiddu has gone to buy a plenty.

Alfio. No; he is here! I saw him here this morning;

He lingered near my cottage.

Lucia.

(Surprised.)

What now!

Santuzza.

(Rapidly, to Lucia.)

Be silent!

Alfio. I will not tarry,

You will to church devotedly?

(Exit.)

Chorus.

(In church.)

Queen of the Heavens, sorrow flieth!

People.

(External chorus.)

Hallelujah!

Chorus.

(In church.)

Thy holy Son lives, nor dieth!

People. Hallelujah!

Chorus.

(within.)

From the dead He now hath risen,

Truly hath He risen.

People. Hallelujah.

Chorus.

(External. Grouping in devotional attitudes.)

We will sing of the Lord now victorious!

All the terrors of death were in vain!

Let us sing of the Christ ever glorious;

He is risen, in glory to reign!

Santuzza. We will sing of the Lord now victorious;

We will sing of the Christ ever glorious;

Pow'r of death was in vain.

Unto heaven the Lord now riseth,

Now riseth in glory to reign.

Chorus. We will sing, of the Lord now victorious!

All the terrors of death were in vain!

Let us sing of the Christ ever glorious;

He is risen, in glory to reign.

Praise the Lord.

(All enter the church, except Santuzza and Lucia.)

SCENA III.

Lucia. Beato voi, compar Alfio,

Che siete sempre allegro così!

Alfio.

(Spigliato.)

Mamma Lucia,

N'avete ancora di quel vecchio vino?

Lucia. Non so; Turiddu è andato a prov vederne.

Alfio. Se è sempre qui!

L'ho visto stamattina vicino a casa mia.

Lucia.

(Sorpresa.)

Come?

Santuzza.

(A Lucia rapidamente.)

Tacete.

Alfio. Io me ne vado, ite voi altre in chiesa.

(Esce.)

Coro.

(Interno.)

Regina Cœli, lætare—

Alleluja!

Quia, quem meruisti potare—

Alleluja!

Resusrexit sicut dixit—

Alleluja!

Coro.

(Esterno.)

(Uomini e donne entrano e si schierano innanzi alla Chiesa in atteggiamento devoto.)

Inneggiamo, il Signor non è morto!

Ei fulgente ha dischiuso l'avel,

Inneggiamo al Signore risorto

Oggi asceso alla gloria del ciel!

Inneggiamo, il Signor non è morto!

Ei fulgente ha dischiuso l'avel,

Inneggiamo al Signore risorto

Oggi asceso alla gloria del ciel!

(Tutti entrano in chiesa tranne Santuzza e Lucia.)

SCENE IV.

ROMANZA.

Lucia.

(To Santuzza.)

And why with signals would you gain my silence?

Santuzza. Now shall you know, kind mother:

Ere he went forth as a soldier,

Turiddu pledged his love to Lola,

All his faithfulness renewing

But; ah! homeward returning,

Married he found his Lola!

And, her falsity shaming—

All the old love subduing—

Loved me!

And I loved him!

With jealousy, hatefully, and with madness,

Scorning wifely duty, envious of my gladness,

Lola, in malice shameful, regains Turiddu!

Fate disgraceful o'ertakes me,

My own Turiddu forsakes me!

Lola and he in joy remain,

Having each other's love again!

Ah me! alone I weep, I weep!

Lucia. Grief is upon us!

Such dire and woeful tidings to hear this holy morning.

Santuzza. I am accursed! I am accursed!

Good mother, go pray for me unto the Saviour!

Thou'lt beseech Him for me!

I'll seek Turiddu, and pray to him

That he again may love me!

Lucia. Holy Mary be with thee—the blessed Mary!

(Lucia enters the church)

SCENA IV.

Lucia. Perchè m'hai fatto segno di tacere?

Santuzza. Voi lo sapete, o mamma, prima d'andar soldato

Turiddu aveva a Lola eterna fè giurato.

Tornò, la seppe sposa; e con un nuovo amore

Volle spegner la fiamma che gli bruciava il core

M'amò, l'amai, l'amai, ah!

Quell' invida d'ogni delizia mia,

Del suo sposo dimentica, arse di gelosia.

Me l'ha rapito. Priva dell' onor mio,

Dell' onor mio rimango:

Lola e Turiddu s'amano, io piango!

Lucia. Miseri noi, che cosa vieni a dirmi

In questo santo giorno?

Santuzza. Io son dannata.

Andate, o mamma, ad implorare Iddio,

E pregate per me. Verrà Turiddu,

Vo' supplicarlo un' altra voltra ancora!

Lucia. Ajutatela voi, Santa Maria!

(Lucia entra in chiesa.)

SCENE V.

DUET. SANTUZZA AND TURIDDU.

Turiddu.

(Entering.)

Thou here, Santuzza!

Santuzza. Here I await thee.

Turiddu. Attending not the service of Easter?

Santuzza. Not now! Thee would I speak with.

Turiddu. I seek my mother.

Santuzza. Thee would I speak with!

Turiddu. Not here, not here!

Santuzza. From whence dost thou come?

Turiddu. Why dost thou ask me?—

From Francofonte.

Santuzza. Ah, that is false!

Turiddu. Santuzza, believe me!

Santuzza. No! thou art lying!

Over yon path I beheld thee approach:

And thou wert seen to-day returning homeward

From the dwelling of Lola!

Turiddu. Ah! thou wert spying!

Santuzza. No, I do swear it!

Her husband, Alfio, saw thee

Here within the town, and told it me!

Turiddu. So thou rewardest the love I gave thee,

What though he slay me!

Santuzza. Ah! Tell me not of murder!

Turiddu. Leave me, I tell thee! leave me!

The rage within me burning—

My righteous wrath, thou canst not assuage!

Santuzza. Then, thou oost love her!

More fair than I is Lola!

False friend! Oh, curses on her!

Turiddu. Santuzza!

Santuzza. She—vilest woman, steals the love that should be mine!

Turiddu. Heed thou!

I am no slave to thy envy

Scornfully showing, jealously showing.

Santuzza. Insult and punishment I am unheeding!

Yet do I love thee,

Even though anguish my heart is rending,

E'en though in sorrow my life is ending.

SCENA V.

Turiddu.

(Entrando.)

Tu qui Santuzza?

Santuzza. Qui t'aspettavo.

Turiddu. È Pasqua in chiesa non vai?

Santuzza. Non vo. Debbo parlarti.

Turiddu. Mamma cercavo.

Santuzza. Debbo parlarti.

Turiddu. Qui no! qui no!

Santuzza.

(Parlato.)

Dove sei stato?

Turiddu.

(Parlato.)

Che vuoi tu dire? A Francofonte.

Santuzza. No, non è ver.

Turiddu. Santuzza credimi.

Santuzza. No, non mentire

Ti vidi volgere giù dal sentir.

E stamattina all' alba t'hanno

Scorto presso l'uscio di Lola.

Turiddu. Ah! mi hai spiato!

Santuzza. No! te lo giuro, a noi l'ha raccontato

Campar Alfio il marito poco fa.

Turiddu. Così ricambi l'amor che ti porto?

Vuoi che m'uccida?

Santuzza. Oh! questo non lo dire.

Turiddu. Lasciami dunque, lasciami invantenti sopire

Il giusto sdegno colla tua pietà.

Santuzza. Tu l'ami dunque?

Turiddu. No!

Santuzza. Assai più bella è Lola!

Turiddu. Taci, non l'amo.

Santuzza. L'ami, l'ami, Oh! maledetto!

Turiddu. Santuzza!

Santuzza. Quella cattiva femmina ti tolse a me!

Turiddu. Bada, Santuzza, schiavo non sono

Di questa vana tua gelosia.

Santuzza.

(Con angoscia.)

Battimi, insultami, t'amo e perdono

Ma è troppo forte l'angoscia mia.

(Troncando nel sentire avvicinarsi Lola.)

SCENE VI.

LOLA'S DITTY.

Lola.

(Behind scenes.)

Bright flower, so radiant!

Angelic thousands stand arrayed in heaven,

Yet none so fair as thou hath yet been given!

(Enters. Pauses suddenly.)

Oh! Turiddu, hast thou seen Alfio?

Turiddu. I came but this moment: I have not.

Lola.  Then at the forge perchance he awaiteth.

Here I must not linger.

And thou?

Is't here in public thou art praying?

Turiddu.

(Confusedly.)

Santuzza here was telling—

Santuzza. I was saying this is Easter!

(Meaningly.)

And the Lord all things beholdeth!

Lola.

(To Santuzza.)

Thou wilt not go to the service?

Santuzza. No, no! None shall attend but those

Who know they are not guilty!

Lola.

(Vehemently.)

In the grace of the Saviour

I bow before thee!

Santuzza.

(Bitterly.)

O, well thou speakest!—

Lola!

Turiddu.

(Embarrassed.)

(To Lola.)

Away then! Come, Lola;

Here there is naught to hold us.

Lola.

(Ironically.)

Oh, stay thou with her!

Santuzza.

(To Turiddu.)

Yes, stay thou!

(Firmly.)

I have something yet to tell thee:

Lola.

(Mockingly.)

May the Saviour assist thee!

(Going.)

So, I will leave thee.

(Enters the church.)

SCENA VI.

Lola.

(Dentra alla scena.)

Fior di giaggiolo

Gli angeli belli stano

A mille in cielo

Ma belli come lui

Ce n'è uno solo.

(Entra in iscena e s'interrompe.)

Oh! Turiddu, e passato Alfio?

Turiddu. Son giunto ora in piazza non so.

Lola.  Forse è rimasto dal maniscalco ma non può tardare!

E voi sentite le funzioni in piazza?

Turiddu.

(Confuso affret.)

Santuzza mi narrava—

Santuzza. Gli dicevo che oggi è Pasqua

E il Signor vede ogni cosa.

Lola.  Non venite alla messa?

Santuzza.

(Subito.)

Io no, ci deve andar chi sa

(Con intenzione.)

Di non aver peccato!

Lola.

(Con forza.)

Io ringrazio il Signore, e bacio in terra!

Santuzza.

(Esprimendosi.)

Oh! fate bene, fate bene,

(Con amarezza.)

Lola!

Turiddu.

(A Lola.)

(Impacciato.)

Andiamo, andiamo, Oni non abbiani che fare.

Lola.

(A Turiddu.)

Oh!

(Con ironia.)

Rimanete.

Santuzza.

(A Turiddu con fermezza.)

Sì, resta, resta,

Ho da parlarti ancora.

Lola.

(Sempre ironica.)

E v'assista il Signore,

(Con caricatura.)

Io me ne vado.

(Entra in chiesa.)

SCENE VII.

CONTINUATION OF THE DUET.

Turiddu.

(To Sant.)

Ah! how foolish! naught availing!

Santuzza.

(Coldly.)

I have spoken; 'tis well—'tis the truth.

Turiddu.

(Threateningly.)

Ah! by heaven!

Santuzza. My heart is breaking!

Turiddu.

(Approaching her.)

No!

Santuzza.

(Warding him away.)

Turiddu, ah! hear me!

Turiddu.

Go!

(Turns from her.)

Santuzza.

(Threateningly.)

False! False!

Turiddu.

(With increased rage.)

Thus I reward thee in my anger.

(Throws her down, and hastens into the church.)

Santuzza.

(In the height of fury.)

Accurs'd! accurs'd at Easter, thou false one.

(Falls, despairingly.)

SCENA VII.

Turiddu.

(Con ironia.)

Ah! lo vedi, che hai tu detto?

Santuzza.

(Fredda.)

L'hai voluto e ben ti sta!

Turiddu.

(S'avventa.)

Ah! Per Dio!

Santuzza. Squarciami il petto.

Turiddu.

(S'avvia.)

No!

Santuzza.

(Trattenendolo.)

Turiddu, ascolta!

Turiddu. Va!

Santuzza.

(Minacciosa.)

Bada!

Turiddu.

(Con moltissima forza.)

Dell'ira tua non mi curo!

(La getta a terra e fugge in chiesa.)

Santuzza.

(Nel colmo dell'ira.)

A te la mala Pasqua, spergiuro!

(Cade affranta ed angosciata.)

DUET — SANTUZZA - TURRIDU

[Listen: {2m 5s} ]

SANTUZZA.

No, no. Tu-rid-du, re-main with me yet, and for-ev-er!

Love me a-gain!

How canst thou for-sake me!

No, no, Tu-rid-du!

In-to thine arms ... lov-ing a-gain,

Say thou wilt take ... me!

No, no, Tu-rid-du!

Re-main with me yet and for ev-er!

No Tu-rid-du, Tu-rid-du re-main with me ev-er!

TURIDDU.

Why dost thou fol-low me?

Why dost thou watch me?

Why dost thou spy e-ven at the church-door?

Why dost thou fol-low,

Why watch me ev-er?

SANTUZZA.

No, no, Tu-rid-du, ri-ma-ni, ri-ma-ni an-co-ra

ab-ban-do-nar-mi dun-que tu vuo-i?

No, no, Tu-rid-du! ri-ma-(ni an)-co-ra,

dun-que tu vuo-i ab-ban-do-nar-mi?

No, no, Tu-rid-du, ri-ma-ni, ri-ma-ni an-co-ra,

no, Tu-rid-du, Tu-rid-du ri-ma-ni an-co-ra.

TURIDDU.

Per-chè se-guir-mi, per-chè spi-ar-mi sul-li-mi-ta-re

fin del-la chie-sa?

Per-chè se-guir-mi per-chè spi-ar-mi?

SANTUZZA.

Lo! here thy San-tuz-za now doth im-plore ... thee; ...

Ah! canst thou leave me weep-ing be-fore thee!

Love thy San-tuz-za!

No, Tu-rid-du! Stay, I im-plore thee!

Oh! Tu-rid-du! No, Tu-rid-du, re-main, re-main!

No! Tu-rid-du! Ah! ... No, Tu-rid-du,

TURIDDU.

Go! I re-peat it! Go! thou dost weary me!

Vain were all re-pent-ance for such of-fend-ing!

Thou shalt leave me!

Go! Go! Go! Go! ... I ... re-peat-it;

SANTUZZA.

La! tu-a San-tuz-za pian (ge e) t'im-plo-ra ...

co-me cac-ciar-la co-sì tu puo-i, la tua San-tuz-za! no,

Tu-rid-du! ri-ma-(ni an) co-ra!

Oh! Tu-rid-du! no, Tu-rid-du, ri-ma-(ni an)-cor. no!

Tu-rid-du! Ah! ... no,

TURIDDU.

va ti ri-pe-to, va non te-diar-mi, pen-tir-(si è)

va-no do-po l'of-fe-sa.

non te-diar-mi

va! va! va! va ... ti ...

SANTUZZA.

re-main, re-main, I im-plore thee, a-gain!

TURIDDU.

Go, I tell thee; vain were re-pent-ing, vain were re-pent-ing,

for all thy of-fend-ing, all thy of-fend-ing!

Go! go! go!

SANTUZZA.

No, no, no! See, thy San-tuz-za

Now doth im-plore thee,

Ah! canst thou leave me, thus weep-ing be-fore thee!

Lo! thy San-tuz-za now doth im-plore thee!

Ah! canst thou leave me?

Ah! canst thou leave me?

TURIDDU.

Go! I re-peat it! Go!

Vain were re-pen-tance for such of-fend-ing.

Go! Go!

SANTUZZA.

Tu-rid-du, ri-ma-ni, ri-ma-(ni an)-co-ra, an-cor.

no! no! no! la tua San-tuz-za va-no, do-po - l'of-fe-sa.

pian(ge e) t'im-plo-ra, co-me cac-ciar-la,

co-me cac-ciar-la tu puo-i?

La tua San-tuz-za piange (e e) t'im-plo-ra

co-me cac-ciar-la? co-sì tu puo-i

TURIDDU.

ri-pe-to non te-diar-mi, pen-tir-(si è) va-no,

do-po l'of-fe-sa pen-tir-si è va-no do-po l'of-fe-sa.

va! va! va! va, ti ri-pe-to, va, va! va!

SANTUZZA.

Wilt thou leave me thus? Ah! ...

Then dost thou leave me,

Then dost thou leave ... me?

Ah! No! Tu-rid-du!

Re-main with me yet and for-ev-er!

I im-plore thee, do not for-sake me, Tu-rid-du!

TURIDDU.

I re-peat it, Go! Ah! ...

Go! I re-peat it,

Go! I re-peat ... it! Go! ... Go!

Vain were re-pent-ance for thine of-fend-ing!

Once more do I tell thee, go!

And, for-ev-er!

SANTUZZA.

tu puo-i co-sì Ah! ... dun-que tu vuo-i ab-ban-do-nar-mi?

ah! no! Tu-rid-du! ri-ma-ni, ri-ma-ni an-co-ra,

dun-que vuo-i ab-ban-do-nar-mi. Tu-rid-du!

TURIDDU.

ti ri-pe-to va! ah! ... va ti ri-pe-to, va, non te-diar-mi va! ...

Pen-tir-si è va-no do-po l'of-fe-sa, pen-tir-si è va-no do-po l'of-fe-sa.

SCENE VIII.

DUET, SANTUZZA AND ALFIO.

(Enter, Alfio.)

Santuzza.

(Calming herself.)

Oh! doth the Saviour send thee, neighbor Alfio?

Alfio.  At what point is the service?

Santuzza. 'T is now at closing.

But I tell thee Lola has gone with Turiddu!

Alfio.

(Surprised.)

What are you saying?

Santuzza. While thou dost labor to earn an honest living,

Lola unfaithfully her love is giving.

Alfio.  Ah! in the name of heaven, Santuzza, what sayest thou?

Santuzza. The truth!

Turiddu forsakes me—and he hath betrayed me!

'T was your wife who enticed him away from me!

Alfio.

(Threateningly.)

And if thou art lying

I'll have thy heart's blood!

Santuzza. Lies, as yet, my lips have never uttered.

Prone to be truthful am I.

Alfio.

(After a pause.)

Santuzza, I am thankful that you have spoken.

Santuzza. But ah! what shame!

And I have told it thee!

Alfio.

(Suddenly, in fury.)

T'is they who are shameful!

Revenge I'll have upon them!

This day and hour my wrath

Shall fall upon them!

SCENA VIII.

(Sorte Alfio e s'incontra con Santuzza.)

Santuzza.

(Ad Alfio rianimandosi.)

Oh! Il Signore vi manda, compar Alfio.

Alfio.

(Tranquillo.)

A che punto è la messa?

Santuzza.

È tardi ormai, ma per voi

(Con intenzione.)

Lola è andata con Turiddu!

Alfio.

(Sorpreso.)

Che avete detto?

Santuzza. Che mentre correte

All'acqua e al vento a guadagnarvi il pane,

Lola v'adorna il tetto in malo modo!

Alfio.  Ah! nel nome di Dio, Santa che dite?

Santuzza. Il ver. Turiddu mi tolse, mi tolse l'onore,

E vostra moglie lui rapiva a me!

Alfio.

(Minaccioso.)

Se voi mentite, vo' schiantarvi il core.

Santuzza. Uso a mentire il labbro mio, il labbro mio non è!

Per la vergogna mia, pel mio dolore

La trista verità—vi dissi, ahimè!

Alfio.

(Dopo un poco di pausa.)

Comare Santa, allor grato vi sono.

Santuzza. Infame io son che vi partai così!

Alfio.  Infami loro, ad essi non perdono

Vendetta avrò pria che tramonti il dì!

Io sangue voglio, all'ira m'abbandono,

In odio tutto l'amor mio finì!

(Escono.)

INTERMEZZO

[Listen: {2min 31sec} ]

SCENE IX.

CHORUS AND BRINDISI.

(The people enter from the church. Lucia crosses and enters the inn.)

Chorus of men.

(sotto voce.)

Now homeward, now homeward ye neighbors,

Good cheer is awaiting there;

And wives our joy will share,

Now Easter day shall be for all a time of rest,

Without sorrow or care.

Chorus of women.

(Lola and Turiddu come from the church.)

Turiddu.  My pretty Lola! Have you not a greeting,

When honest people we are meeting?

Lola.  I must leave thee.

I must go and welcome Alfio!

Turiddu. Here he will seek thee.

Do not hasten!

(To the people.)

Meanwhile, good friends, come hither.

(All come forward.)

We'll try the merry wine!

(All take cups from the bar of the inn.)

Chorus. Welcome!

Turiddu.

(To Lola.)

To those who love you!

(Drinks.)

Chorus. Drink it!

Lola.

(To Turiddu.)

May fortune give you favor!

(Drinks.)

Chorus. Drink it!

Turiddu. We will!

Chorus. Welcome! and drink!

(All drink.)

Come, let us drink another!

All.  Come, drink; yes, let us drink another!

Hail! the ruby wine now flowing, etc.

TURIDDU.

Hail! the ru-by wine now flow-ing, Bright-ly in the cup now show-ing,

Mer-ry spell up-on you throw-ing, Like a smile from hap-py love

Hail! the ru-by wine now flow-ing, Bright-ly in the cup now show-ing,

SCENA IX.

(Tutti escono di chiesa. Lucia attraversa la scena ed entra in casa. A gruppi sotto voce fra loro.)

Coro.            (Uomini.)

A casa, a casa, amici, ove ci aspettano

Le nostre donne, andiam,

Or che letizia rasserena gli animi.

Coro.            (Donne.)

A casa, a casa, amiche, ecc.

[Lola e Turiddu escono dalla chiesa.]

Turiddu. Comare Lola, ve ne andante via

Senza nemmeno salutare?

Lola.  Vado a casa; Non ho visto compar Alfio!

Turiddu. Non ci pensate, verrà in piazza.

(Rivolgendosi al Coro che s'avvia.)

Intanto, amici, qua,

Beviamone un bicchiere.

(Tutti si avvicinano alla tavola dell' osteria e prendono in mano i bicchieri.)

Coro.   Viva, beviam! Rinnovisi la giostra!

Turiddu.

(A Lola.)

Ai vostri amori!

(Beve.)

Lola.

(A Turiddu.)

Alla fortuna vostra!

(Beve.)

Turiddu.  Beviam!

Lola, Turiddu e Coro. Beviam, beviam! rinnovisi la giostra!

[Listen: {1m 2s} ]

TURIDDU.

Vi-(va il) vi-no spu-meg-gian-te, nel bic-chie-re scin-til-lan-te

Come il ri-so dell' A-man-te; mi-(te in)-fon-(de il) giu-bi-lo.

vi-va il vi-no spu-meg-gian-te, nel bic-chie-re -scin-til-lan-te

TURIDDU.

Mer-ry spell around you throw-ing,

Like the smile of hap-py love!

Hail! ah, wine so rich-ly gleam-ing!

In thy crim-son joy is beam-ing!

All thy com-fort lend us,

With thy cheer at-tend us—

Hope and love! ...

Hail! ah, wine so rich-ly gleam-ing!

In thy crim-son joy is beam-ing!

All thy com-fort lend us,

With thy cheer at-tend us—Hope and love!

co(me-il) ri-so dell' a-man-te, mi-(te in)-fon-(de il) giu-bi-lo!

Vi-(va il) vi-no ch'è sin-ce-ro che (ci al)-lie-ta o-gni pen-sie-ro,

e (che af) fo-ga l'u-mor ne-ro nell' eb-brez-za ten-e-ra....

Vi(va il) vi-no ch'è sin-ce-ro che (ci al)-lie-ta o-gni pen-sie-ro,

e (che af) fo-ga l'u-mor ne-ro nell' eb-brez-za ten-e-ra.

FINALE.

Alfio.   Unto all of you, greeting!

Chorus.  Neighbor Alfio, greeting!

Turiddu.

(To Alfio.)

Hearty welcome!

Now join with us in revel.

(Fills a glass for him.)

Look you! drink you this measure!

Alfio.   Thank you! but I must refuse the offer!

A cup of deadly poison perhaps you proffer!

Turiddu. Then suit your pleasure!

(Throws away the wine.)

Lola.  Ah me! what now befalls!

(Some of the women consult together, and then approach Lola, saying:)

Neighbor Lola, come, haste away from here!

(Exit, all the women, with LOLA.)

Turiddu.

(To Alfio.)

Perhaps you have something to tell me!

Alfio.  I? nothing!

Turiddu. Then hear me!

You will find me at your service!

Alfio.  This moment?

Turiddu. This moment!

(They embrace, Turiddu bites Alfio's ear, viciously.)

Alfio. Neighbor Turiddu, you give a ready challenge!

And I accept it! you understand me!

Turiddu.  Neighbor Alfio!

I own thou shouldst have vengeance,

And I admit, in the name that is holy,

That I should be dealt with as a dog, by thee!

But, shouldst thou kill me—if I perish

By thine arm—yes, if I perish,—

Unhappy Santa, she whom I have cherished—

Lone, unhappy Santa, my dagger

Will embed within thy heart!

Alfio.  Good neighbor, act upon it as may suit you!

You will find me yonder in the orchard.

(Exit.)

Turiddu.

(Calling.)

My mother!

(Enter LUCIA.)

Mother! the wine-cup too freely passes!

Exciting, crazing!

Too many cups I have been drinking!

——I must leave you, good mother!

But first let me ask for a kindly blessing,

As on that day when I became a soldier.

And, mother, hear me—and heed it:

If I return not, thou unto my Santa

Must be a kindly mother!

Santa, whom I promised I would lead to the altar!

—If I return—

Lucia. Why say you this to me?

What is it? tell me!

Turiddu.  Ha—nothing!

'Tis wine—that I have drunk so freely.

—For me oh! pray to heaven,

That I may be forgiven!

One kiss, one kiss, my mother!

And yet—and yet another!

Farewell!

(Rushes off, desperately.)

Lucia. Turiddu! Ah!

(Retires to back of stage, crying.)

(Enter, Santuzza.)

Santuzza!

Santuzza.  Ah! good mother!

(Throws her arms around Lucia's neck.)

(People crowd upon the stage.)

(Excitement and agitation.)

(Enter a woman in the distance crying, "Neighbor Turiddu is murdered.")

(Several women hastily enter, terrified. One of them shrieks—)

"Neighbor Turiddu is murdered."

(All rush upon the stage.)

All.  Ah!

(Santuzza falls; swooning. Lucia faints, and is supported by some of the women.)

THE CURTAIN FALLS RAPIDLY.

FINALE.

(Entra Alfio.)

Alfio.  A voi tutti salute.

Coro.  Compar Alfio, salute.

Turiddu. Benvenuto! con noi dovete bere,

(Empie un bicchiere.)

Ecco pieno è il bicchiere.

(Troncando.)

Alfio.  Grazie, ma il vostro vino io non l'accetto,

Diverrebbe veleno entro il mio petto!

Turiddu.

(Parlato.)

A piacer vostro.

(Getto il vino.)

Lola.  Ahimè che mai sarà?

(Alcune donne nel Coro si consigliano fra loro poi si av vicinano a Lola dicendole sotto voce.)

Coro.  Comare Lola, andiamo via di qua.

(Tutte le donne escono conducendo Lola.)

Turiddu. Avete altro a dirmi?

Alfio.  Io nulla.

Turiddu. Allota sono agli ordini vostri—

Alfio.  Or ora?

Turiddu. Or ora!

(Si abbracciano. Turiddu morde l'orecchio destro di Alfio.)

Alfio. Compar Turiddu, a vete morso, a buono!

(Con intenzione.)

Cintenderemo bene a quel che pare!

Turiddu. Compar Alfio.

Lo so che il torto è mio;

E ve lo giuro nel nome di Dio

Che al par d'un cane mi farei sgozzar—

Ma s'io non vivo,

(Dolorosamente.)

Resta abbandonata povera Santa!

Lei che mi s'è data!

(Con impeto.)

Vi saprò in core il ferro mio piantar!

Alfio.

(Freddamente.)

Compare fate come più vi piace,

Io v'aspetto qui fuori dietro l'orto.

(Esce.)

Turiddu.

(Chiamando.)

Mamma—

(Entra Lucia.)

Mamma—quel vino è generoso,

E certo oggi troppi bicchier

Ne ho traccannati—

Vado fuori all' aperto—

Ma prima voglio che mi benedite—

Come quel giorno che partii soldato:

E poi mamma,

Sentite, s'io non tornassi—

Voi dovrete fare da madre a Santa,

Ch'io le avea giurato di condurla all' altare.

Lucia.  Perchè parli cosi, figliolo mio?

Turiddu.

(Con disinvoltura.)

Oh! nulla, è il vino che m'ha suggerito!

M'ha suggerito il vino—

Per me pregate Iddio,

Un bacio mamma! un altro bacio

Addio!

(Fugge disperatamente.)

Lucia.  Turiddu! che vuoi dire!

(Va in fondo alla scena a disperatamente chiama.)

Turiddu! Turiddu! ah!

(Entra Santuzza.)

Santuzza.

Santuzza. Oh! madre mia!

(Le getta le braccia al colla. La scena si popolo. L'agitazione si scorge sul volto di tutti. Che scambievolmente s'interrogano con terrore. Si ode un mormorio confuso da lontano. Una donna sola, assai lontano, gridando.)

Hanno ammazzato compare Turiddu!

(Si sentono delle voci confuse più vicine. Alcune donne entrano atterrite correndo, ed una di esse grida disperatamente.)

Hanno ammazzato compare Turiddu!

(Tutti si precipitano sulla scena.)

Santuzza, Lucia e Coro.

(Gridando.)

Ah!

(Santuzza cade priva di sensi, Lucia sviene ed è sorretta dalle donne del Coro. Tutti restano atterriti.)

CALA RAPIDAMENTE LA TELA.

THE A CAPPELLA CHORUS BOOK

Edited by

DR. F. MELIUS CHRISTIANSEN AND NOBLE CAIN

FOR MIXED VOICES   Price, in Boards, $1.00

Outstanding choral compositions of Bach, Brahms, Gibbons, Kopolyoff, Lassus, Morley, Palestrina, Pearsall, Praetorius, Purcell, Rachmaninoff, Rimsky-Korsakoff, Sibelius, Tchaikovsky, Vittoria, Wilbye, and Zolotarieff; a few folk melodies, and a negro spiritual.

This notable collection of twenty-seven choruses, one hundred and twenty-eight music pages, contains sixteen secular numbers and eleven sacred. The names of the distinguished editors are a guarantee of the high quality of the book. Care has been taken to avoid music of more than average difficulty, or of extreme vocal range.

Every number was chosen because of its intrinsic beauty as well as singableness. The interesting Foreword by the managing editor records the development of a cappella music in this country.

Unparalleled in both quality and price.

Each number is also issued separately

THE JUNIOR A CAPPELLA CHORUS BOOK

Edited by

OLAF C. CHRISTIANSEN AND CAROL M. PITTS

FOR MIXED VOICES   Price, in Boards, $1.00

Contains one hundred and twenty-eight pages of music, an elaborate and helpful Foreword, and Hints for the Singers by Dr. Hollis Dann.

Of the fifty-one musical numbers, forty-two are secular and nine are sacred. More than half are made available in a cappella form for the first time.

As the best possible preparation for acquiring independent movement of voices accustomed only to part-songs that move solidly together, the book opens with fifteen canons, rounds, and catches by Byrd, Hayes, Haydn, Hilton, Purcell, and others. These are followed by two canzonets of Morley (two-part) and three-part (S. A. B.) choruses by Shield and Ford and arrangements of folksongs. The body of the book consists of four-part madrigals, folksongs, two Negro spirituals, and other choruses. Several five-part songs are included. Morley, Weelkes, Pilkington, Bennet, Gevaert, Lully, Praetorius, Mozart, Bortniansky, Archangelsky, Sibelius, and others are represented.

While the musical standard of the editors is high, pains have been taken to selectmusic that not only is suitable in range and text for junior choruses, but is hearty, joyous, and singable.

This truly significant volume will fill a great need, and be the happiest possible introduction to the art of unaccompanied chorus singing.

Each number is also issued separately

NEW CHORAL WORKS

WRITTEN FOR

SCHOOLS

BIZET, GEORGES

Choral Fantasia from Carmen (Arranged by N. Clifford Page).50

No opera has more numbers that are known and loved for their piquant rhythms and exquisite melodies than Bizet's masterpiece. It teems with color and life. The editor has introduced all the best of these and in the logical order in which they appear in the score. Solos, trios and choruses are all present in an easy choral arrangement, which closes brilliantly with the famous Toreador March.

GOUNOD, CHARLES

Choral Fantasia from Faust (Arranged by N. Clifford Page).50

The arranger has cleverly contrived that all the best known solos, concerted numbers and chorus are included in this fantasia, in the order in which they appear in the opera. All are treated chorally, and difficulties are so treated that high schools and popular choruses may perform the work.

COERNE, LOUIS ADOLPHE

Skipper Ireson's Ride (Cantata for Mixed Voices).30

To Whittier's stirring ballad, based on a quaint incident in an old New England past, the composer has made attractive and ingenious music, especially adapted for performance by schools and amateur societies.

HOSMER, E. S.

Columbus (Cantata for Mixed Voices) (Also issued for Men's Voices).40

A short and easy work, the music melodious though not without dramatic touches. It calls for a solo baritone. The part writing makes large use of unisons, and awkward progressions have been avoided.

(Also issued for men's voices)

Send for Descriptive Circular "P"—Cantatas, Oratorios, etc.

The Ditson Novelty List is well worth while.

Ask to have your name added to our mailing list.

BOSTON: OLIVER DITSON COMPANY

NEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALY

ORDER OF YOUR LOCAL DEALER

The Clippinger Class-Method of

Voice Culture

by D. A. CLIPPINGER

An altogether sane, balanced and practical text book by one of America's eminent authorities on the voice. It contains 132 pages of instructive text, technical exercises, melodic studies, and carefully chosen songs and duets.

The author's deep study of the voice together with his long experience in solving difficult vocal problems in the studio has enabled him to rid the subject of vagary, mystery, and uncertainty, and state the principles of voice-training so clearly and simply that they may be understood by anyone.

A FEW BASIC PRINCIPLES

A tone is something to hear. Therefore, to be right it must satisfy the trained ear.

A good tone is easily produced. It is the bad tone that is difficult.

A considerable part of voice-training must be devoted to getting rid of resistance, that is, effort at the wrong point.

Good voice-production is based on the right idea of tone and right conditions of the instrument.

The study of singing should be an invigorating and inspiring form of exercise.

To sing well is an accomplishment well worth the time and effort involved.

AIM OF THE BOOK

An adequate treatment of breath-control, vowel-formation, vowel-color, tone-quality, resonance, consonants, phonetic spelling, diction, the head voice.

Ample exercises for flexibility.

An illuminating discussion of interpretation, and how to study a song.

An outline of the principles of interpretation as a basis of criticism.

Purchase of outside material unnecessary.

The book is COMPLETE in itself, with ample text, nearly 150 exercises and studies, 25 songs and 7 duets.

PRICE, $1.25

For Additional Teaching Material

Art Songs for School and Studio (FIRST YEAR)

EDITED BY MABELLE GLENN and ALFRED SPOUSE

Issued in Two Editions—Medium High—Medium Low—$1.00 each

Art Songs for School and Studio (SECOND YEAR)

Edited by MABELLE GLENN and ALFRED SPOUSE

Issued in two editions—Medium High—Medium Low—$1.00 each

Because of the success of the First Year book and the demand for a second book, a step in advance, this collection has been issued. It contains twenty-three second-year songs, including two duets, from the works of Brahms, Densmore, Franz, Fisher, Grieg, Henschel, Jensen, Manney, Schubert, Schumann, Sinding, Strickland, Tchaikovsky and Watts.

The editors have added helpful notes to each of the songs and the volume includes hints on Teaching Procedure, Diction, and the Principles of Singing.

MUSIC APPRECIATION

Based on Methods of Literary Criticism

By CLARENCE G. HAMILTON, A. M.

Music Students Library, with 263 illustrations, diagrams and music cuts. 396 pages, cloth Price, $2.50

The illustrative examples of piano pieces and songs that appear in this book are issued in a separate volume entitled:

TYPICAL PIANO PIECES AND SONGS

Size, 9½ × 12½; 144 pages; paper   Price, $1.50

A thorough and unique textbook for individual use, music clubs, classes, and educational institutions. Invaluable for those who wish to listen to music with quickened hearing and real understanding. With twenty-four portraits, twenty-eight diagrams and over two hundred music cuts.

What Educators have said regarding Professor Hamilton's

MUSIC APPRECIATION

Sumner Salter, Director of Music, Williams College:

"I am convinced of the skill and thoroughness of treatment and of the far reaching practical value of the work."

Walter H. Aiken, Director of Music, Cincinnati, Ohio:

"One of the best, in my opinion, of anything thus far in print leading to music appreciation through music analysis: telling the pupil what to study and how."

Arthur Foote, Boston, Mass.

"The scheme is a new one and seems to me of much practical value. The analyses are lucid and just the thing to teach the pupil how to think and work out such matters for himself."

H. D. Sleeper, Professor of Music, Smith College:

"Capitally planned and carried out to meet a very definite need—the awakening of intelligence regarding good music in the minds of young people of high school and college age."

Joseph N. Ashton, Director of Music, Abbott Academy, Andover, Mass., formerly Professor of Music, Brown University:

"An admirable book. The music selected as a basis of study is such as the student would be expected to be acquainted with. The scheme avoids on the one side mechanical dryness and on the other vague and valueless rhapsody. With this book sterile study is well-nigh impossible."

Mrs. Frank A. Seiberling, President National Federation of Music Clubs:

"The book will be invaluable to use in music clubs as a means of getting a fundamental understanding of the history of music and the various forms of compositions. When our next pamphlet goes out to the clubs of our national federation I shall list the book for use as a reference manual for the entire season for club study."

Dr. Percy Goetschius, Institute of Musical Art, New York City:

"I am thoroughly delighted with the book. It is an original, very sensible and practical method of approaching this important subject; it is admirably planned and its comprehensive contents admirably systematized; and it is written with a delightful mixture of simplicity and erudition that makes it both easy to use and appealing to the student."

A List of Victor Record Illustrations to accompany Music Appreciation, by Clarence C. Hamilton, A. M., Professor of Music at Wellesley College, has been prepared by the Educational Department of the Victor Talking Machine Company, and will be sent free to any address, on request, by Oliver Ditson Company.

BOSTON: OLIVER DITSON COMPANY

NEW YORK: CHAS. H. DITSON & CO.  CHICAGO: LYON & HEALY

MADE IN U. S. A.

WILLIAM SHAKESPEARE

The Art of Singing

NEW AND REVISED EDITION, COMPLETE IN ONE BOOK

THE TEXT HAS BEEN ENTIRELY REWRITTEN

Price, $2.25

Postage extra, except in first and second zones from Boston and New York

¶ This work is based upon the principles of the Old Italian Singing-masters, and deals with Breath Control, Production of Voice, and Register. The Management of the Breath, the Vocal Organ, the Jaw, Soft Palate, Lips and Face, Eyes, Attack and Legato Tone, the Three Registers of the Voice, Force, Intensity, and Expression are illustrated by many cuts and exercises.

COMMENTS OF THE PRESS

¶ We find a logical, clear, precise, and well ordered system in the work which must commend it to all who study it.—Musical Courier.

¶ This book will be made one of the useful "tools of the trade" by many intelligent and progressive teachers.—Philadelphia Public Ledger.

¶ A careful examination of contents will tend to give any earnest student an even higher estimate of the worth of Shakespeare and his famous method.—Music News.

¶ Mr. Shakespeare has for so long been regarded as one of the most capable singing teachers in England that his latest work is entitled to respect.—New Music Review.

¶ William Shakespeare has long been one of the most distinguished English teachers of singing; and this book in which he has embodied his method of teaching is highly regarded by singers.—New York Times.

¶ It is based on the principles of the old Italian singing-masters and deals with breath control and production of the voice together with exercise. A fine book for vocalists.—The Advance.

¶ In the midst of so much mystic and cryptic writing about the voice it is pleasant to come upon a book like this, which treats the topic from the practical teacher's standpoint.—Louis C. Elson in the Boston Daily Advertiser.

¶ Text-book on the vocal art by a well-known teacher of the old Italian method. Breath control, voice production, and other technical matters are lucidly set forth. This is the entirely rewritten edition of a popular manual.—St. Louis Globe-Democrat.

¶ The work in its present form has been entirely rewritten and is a clear and complete statement of the subject, from both the theoretical and the practical standpoint.—New Orleans Daily Picayune.

¶ The author's aim to make an intelligible and useful record of the old truths and conditions concerning his art has been ably carried out and the book will be of great assistance to singers.—Chicago Daily News.

The Ditson Novelty List is well worth while.

Ask to have your name added to our mailing list.

BOSTON: OLIVER DITSON COMPANY

ORDER OF YOUR LOCAL DEALER

THE ART OF A CAPPELLA SINGING

By

JOHN SMALLMAN

AND

E. H. WILCOX

VALUABLE FEATURES

1. Advice for organizing and conducting groups.

2. Instruction for the singers, to promote an artistic ensemble.

3. Sixteen representative works by Bach, Bortniansky, Byrd, Farmer, Ford, Gascongne, Gibbons, Jannequin, Lassus, Morley, Palestrina, Praetorius, Purcell, and Tchaikovsky.

4. Vocal phonetics of the text printed with the regular text in the music. With the right vocal effect in the mind's eye, good voice production comes naturally, and an artistic choral effect results.

5. No extremes in vocal range are demanded of any voice, careful provision being made for average young voices.

6. A special chapter on each of the choruses for analysis, technique, interpretation, and appreciation.

7. A complete year's course in group-singing, plus a repertoire of outstanding works.

8. For mixed choruses and classroom use in school, college, or university; or mixed vocal ensembles and choral societies, amateur and professional.

Price, in cloth, $2.00

OLIVER DITSON COMPANY, INC.

Standard Opera Librettos

All librettos have English text. Additional texts are indicated by Italic letters, as follows: I, Italian; G, German; F, French. Those marked with (*) contain no music. All the others have the music of the principal airs.

PRICE, 30 CENTS EACH, NET.

Title

Text

Composer

A - G

Africaine, L'

I.

Giacomo Meyerbeer

Aïda

I.

Giuseppe Verdi

Armide

F.

C. W. von Gluck

Ballo in Maschera, Un

(The Masked Ball)

I.

Giuseppe Verdi

Barbe-Bleue

(Blue Beard)

F.

Jacques Offenbach

Barbiere di Siviglia, Il

(Barber of Seville)

I.

Gioacchino A. Rossini

Bartered Bride

G.

Frederich Smetana

Belle Hélèna, La

F.

Jacques Offenbach

Bells of Corneville

(Chimes of Normandy)

Robert Planquette

*Billee Taylor

Edward Solomon

*Boccaccio

Franz von Suppé

Bohemian Girl, The

Michael Wm. Balfe

do.

I.

do.

Carmen

F.

Georges Bizet

do.

I.

do.

Cavalleria Rusticana

I.

Pietro Mascagni

Chimes of Normandy

(Bells of Corneville)

Robert Planquette

Cleopatra's Night

Henry Hadley

Contes d'Hoffmann, Les

(Tales of Hoffmann)

F.

Jacques Offenbach

Crispino e la Comare

(The Cobbler and the Fairy)

I.

Luigi and F. Ricci

Crown Diamonds, The

F.

D. F. E. Auber

Dame Blanche, La

F. A. Boieldieu

Damnation of Faust, The

F.

Hector Berlioz

Dinorah

I.

Giacomo Meyerbeer

*Doctor of Alcantara, The

Julius Eichberg

Don Giovanni

I.

W. A. Mozart

Don Pasquale

I.

Gaetano Donizetti

*Dorothy

Alfred Cellier

Dumb Girl of Portici,

The (Masaniello)

I.

D. F. E. Auber

Elisire d'amore, L'

I.

Gaetano Donizetti

*Erminie

I.

Edward Jakobowski

Ernani

I.

Giuseppe Verdi

Etoile du Nord, L'

(The Star of the North)

I.

Giacomo Meyerbeer

Fatinitza

Franz von Suppé

Faust

F.

Charles Gounod

do.

I.

do.

Favorita, La

I.

Gaetano Donizetti

Fidelio

G.

L. van Beethoven

Figlia del Reggimento, La

(Daughter of the Regiment)

I.

Gaetano Donizetti

Fille de Madame Angot, La

F.

Charles Lecocq

Flauto Magico, Il

(The Magic Flute)

I.

W. A. Mozart

do.

G.

do.

Fledermaus, Die (The Bat)

G.

Johann Strauss

Flying Dutchman, The

Richard Wagner

do.

G.

do.

Fra Diavolo.

I.

D. F. E. Auber

Freischütz, Der

G.

Carl Maria von Weber

do.

I.

do.

*Gillette (La Belle Coquette)

Edmond Audran

Gioconda, La

I.

Amilcare Ponchielli

Giroflé-Girofla

F.

Charles Lecocq

Götterdämmerung, Die

G.

Richard Wagner

Grand Duchess of Gerolstein, The

F.

Jacques Offenbach

H - Z

*Hamlet

Ambroise Thomas

Jewess, The

I.

Jacques F. Halévy

Königin von Saba (Queen of Sheba)

G.

Karl Goldmark

Lakmé

I.

Léo Delibes

Lily of Killarney, The

Sir Jules Benedict

Linda di Chamounix

I.

Gaetano Donizetti

Lohengrin

G.

Richard Wagner

do.

I.

do.

*Lovely Galatea, The

Franz von Suppé

Lucia di Lammermoor

I.

Gaetano Donizetti

Lucrezia Borgia

I.

do.

*Madame Favart

Jacques Offenbach

Manon

F.

Jules Massenet

Maritana

Wm. Vincent Wallace

Marriage of Figaro

I.

W. A. Mozart

Martha

I.

Friedrich von Flotow

Masaniello (Dumb Girl of Portici)

I.

D. F. E. Auber

*Mascot, The

Edmond Audran

Masked Ball

I.

Giuseppe Verdi

Meistersinger, Die

(The Mastersingers)

G.

Richard Wagner

Mefistofele

I.

Arrigo Boito

Merry Wives of Windsor, The

Otto Nicolai

Mignon

I.

Ambroise Thomas

Mikado, The

Sir Arthur S. Sullivan

*Nanon

Richard Genée

Norma

I.

Vincenzo Bellini

*Olivette

Edmond Audran

Orpheus

C. W. von Gluck

Otello

I.

Giuseppe Verdi

Pagliacci, I

I.

R. Leoncavallo

Parsifal

G.

Richard Wagner

Pinafore (H. M. S.)

Sir Arthur S. Sullivan

Prophète, Le

I.

Giacomo Meyerbeer

Puritani, I

I.

Vincenzo Bellini

Rheingold, Das (The Rhinegold)

G.

Richard Wagner

Rigoletto

I.

Giuseppe Verdi

Robert le Diable

I.

Giacomo Meyerbeer

Roméo et Julietta

F.

Charles Gounod

Romeo e Giulietta

I.

do.

Ruddigore

Sir Arthur S. Sullivan

Samson et Dalila

F.

Camille Saint-Saëns

Semiramide

I.

Gioacchino A. Rossini

Siegfried

G.

Richard Wagner

Sonnambula, La

I.

Vincenzo Bellini

*Sorcerer, The

Sir Arthur S. Sullivan

*Spectre Knight, The

Alfred Cellier

*Stradella

Friedrich von Flotow

Tannhäuser

G.

Richard Wagner

Traviata, La

I.

Giuseppe Verdi

Tristan und Isolde

G.

Richard Wagner

Trovatore, Il

I.

Giuseppe Verdi

Ugonotti, Gli (The Huguenots)

I.

Giacomo Meyerbeer

Verkaufte Braut, Die

(The Bartered Bride)

G.

Friedrich Smetana

Walküre, Die

G.

Richard Wagner

William Tell

I.

Gioacchino A. Rossini

Zauberflöte, Die

(The Magic Flute)

G.

W. A. Mozart

Boston: OLIVER DITSON COMPANY: New York

Chicago: LYON & HEALY, Inc. London: WINTHROP ROGERS, Ltd.

Order of your local dealer

Made In U. S. A.

SONGS FROM THE OPERAS

EDITED BY H. E. KREHBIEL

Bound in paper, cloth back, $2.50 each, net

In full cloth, gilt.... 3.50 each, net

In these volumes of The Musicians Library the editor has presented in chronological order the most famous arias from operas of every school. Beginning with songs from the earliest Italian productions, a comprehensive view of operatic development is given by well-chosen examples from German, French, and later Italian works, down to contemporary musical drama.

Each song or aria is given in its original key with the original text, and a faithful and singable English translation.  Each volume contains an interesting preface by Mr. Krehbiel, with historic, descriptive, and interpretative notes on each song.

Portraits of the most noted composers represented are given in each volume.

Size of each volume, 9½ × 12½ inches.

SOPRANO SONGS FROM THE OPERAS

Contains twenty-three numbers by nineteen composers. The music covers 188 pages, the prefatory matter 25 pages. Portraits are given of Beethoven, Bellini, Gluck, Gounod, Meyerbeer, Mozart, Rossini, Verdi, and Weber.

MEZZO SOPRANO SONGS FROM THE OPERAS

Contains thirty numbers by twenty-five composers. The music covers 186 pages, the prefatory matter 29 pages. Portraits are given of Auber, Bizet, Donizetti, Handel, Massenet, Saint-Saëns, Spontini, Thomas, and Wagner.

ALTO SONGS FROM THE OPERAS

Contains twenty-nine numbers by twenty-two composers. The music covers 176 pages, the prefatory matter 20 pages. Portraits are given of Glinka, Gluck, Handel, Lully, Meyerbeer, Purcell, Rossini, Thomas, and Verdi.

TENOR SONGS FROM THE OPERAS

Contains twenty-nine numbers by twenty-one composers. The music covers 192 pages, the prefatory matter 27 pages. Portraits are given of Beethoven, Bizet, Gluck, Gounod, Mascagni, Massenet, Verdi, Wagner, and Weber.

BARITONE AND BASS SONGS FROM THE OPERAS

Contains twenty-seven numbers by twenty-four composers. The music covers 188 pages, the prefatory matter 20 pages. Portraits are given of Bellini, Bizet, Cherubini, Gounod, Halévy, Handel, Mozart, Ponchielli, and Tchaikovsky.

Boston: OLIVER DITSON COMPANY: New York

Chicago: LYON & HEALY, INC.   London: WINTHROP ROGERS, LTD.

Order of your local dealer

*** END OF THE PROJECT GUTENBERG EBOOK RUSTIC CHIVALRY (CAVALLERIA RUSTICANA): MELODRAMA IN ONE ACT ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

back

back

back

back

back

back

back

back

back

back

back

back

back

Table of Contents

Rustic Chivalry

PLOT OF THE OPERA.

RUSTIC CHIVALRY.

Scene I.

Scena I.

Scene II.

Scena II.

Scene III.

Scena III.

Scene IV.

Scena IV.

Scene V.

Scena V.

Scene VI.

Scena VI.

Scene VII.

Scena VII.

Scene VIII.

Scena VIII.

Scene IX.

Scena IX.

Finale.

Finale.

THE A CAPPELLA CHORUS BOOK

THE JUNIOR A CAPPELLA CHORUS BOOK

NEW CHORAL WORKS

The Clippinger Class-Method of Voice Culture

MUSIC APPRECIATION

William Shakespeare The Art of Singing

THE ART OF A CAPPELLA SINGING

Standard Opera Librettos

SONGS FROM THE OPERAS

THE FULL PROJECT GUTENBERG™ LICENSE