Soul Of The Heart

Antonio Caldara (1670-1736) (Translation)

Antonio Caldara (1670 – December 28, 1736) was an Soul of my heart, spirit of my soul,
Italian Baroque composer. One of his Italian works is Soul of my heart, spirit of my soul,
The soul of the heart is the companion piece to Sebben, I will always constantly adore you!
cruel, which we are told by various sources, comes I adore you, I adore you, I adore you, I adore you
from an opera by Antonio Caldara entitled, The Constancy Soul of my heart, spirit of my soul,
In love, deception wins Always constantly will I adore you!
over Wickedness). This piece is in roughly a “rondo” Always constantly will I adore you!
musical form with many repeats of the original theme I will be contented
interspersed with varying sections. It is published in the In my torment
key of A major in the original 24 Italian Songs and Arias, If only I could kiss that beautiful lip.
and, as such, is particularly suited for a high lyric If only I could, If only I could kiss that beautiful lip.
soprano or young coloratura. But, it also suits all voice Soul of my heart, spirit of my soul,
types and is available in many different keys, of course. Soul of my heart, spirit of my soul,
Always constantly will I adore you!
Soul of the heart, spirit of the soul I adore you, I adore you, I adore you, I adore you
Soul of the heart, spirit of the soul Soul of my heart, spirit of my soul,
I will always adore you Always constantly will I adore you!
I will adore you, I will adore you, I will adore you, I will adore you
Always constantly will I adore you!
Soul of the heart, spirit of the soul
I will always adore you
I will always adore you If You Love Me
I am sorry Alessandro Parisotti (1853-1913)
In my torment
If I can kiss that beautiful lip. This Baroque Italian aria is perhaps best known as it
If I can kiss that beautiful lip, if I can kiss that beautiful lip. appears in Schirmer's Twenty-Four Italian Songs and
Soul of the heart, spirit of the soul Arias, most of which had appeared previously in the
Soul of the heart, spirit of the soul Anthology of Italian Song of the Seventeenth and
I will always love you constantly Eighteenth Centuries. The pieces in that collection were
I will adore you, I will adore you, I will adore you, I will adore you sometimes set with less than historically accurate
Soul of the heart, spirit of the soul accompaniments. In this case, even the song is a modern
I will always adore you. fabrication, apparently written by Parisotti and passed
I will always adore you Off as a song by Pergolesi.
 If you love me, if you sigh I will not follow
Sun for me, gentle shepherd, Just because the lily pleases me,
I feel the pain of your martyrs, I do not have to despise the other flowers.
O delight of your love,
But if you think that alone
I must love you again,
Little shepherd, you are subject THE MERMAID SONG
Easily to deceive you. Franz Joseph Haydn (1732-1809)

Beautiful purple rose During most of the Classical period, songs were
Today Silvia will choose, considered trifles--serious vocal writing was reserved for
Under the pretext of the thorn church or stage music. While composers generally didn't
Tomorrow then she will despise it. take the genre very seriously, in a way this made their
But of men the advice output all the more appealing, as one or two melodic
I for myself will not follow. ideas could be laid out in their simplicity, rather than
Not because I like the lily elaborated upon as opera or church music demanded.
I will despise the other flowers. Not surprisingly, composers generally selected folk-like
texts which had the same elements of directness and
simplicity, if not of literary virtue, as Haydn did for this
particular song.
The piano depicts the rippling of the water as the singer
If you love me, if you sigh bids, in a mix of imperiousness and charm, the listener
Only for me, dear shepherd, to follow her, in an enticing and insistent theme. The
I am sorrowful for your sufferings; The tone throughout is playful, and the last piano flourish.
yet I delight in your love. creates the image of the mermaid diving into the depths
But if you think that with a final sparkling flash.
I must in return love only you,
Little shepherd, you are subject Now the dancing sunbeams play
To deceive yourself easily. On the green and glassy sea,
Come, and I will lead the way
The beautiful purple rose Where the pearly treasures be.
Will Silvia choose today;
With the excuse of its thorns, Come with me, and we will go
Tomorrow, then, will she despise it. Where the rocks of coral grow.
But the advice of the men Follow, follow, follow me.
 begins a poignant modulation to the tonic minor. The
Come, behold what treasures lie strophic 'Sehnsucht' (Yearning) is set in B minor, with
Far below the rolling waves, only ornamental variation in accompaniment between
Riches, hidden from human eye, strophes as the narrator, in the form of a bird, follows the
Dimly shine in ocean's caves. woman of his desires. However, when night falls and the
Ebbing tides bear no delay, narrator becomes a "twinkling star" in the finale strophe,
Stormy winds are far away. Beethoven shifts to a bright B major.

Come with me, and we will go

Where the rocks of coral grow. Does not dry, does not dry,
Follow, follow, follow me. Tears of eternal love!
Doesn't dry, oh, only the half-dried eye
How dreary, how dead the world seems to him!
Does not dry, does not dry,
Bliss of Sadness Tears of unhappy love!
Ludwig van Beethoven (1770-1827) unfortunate love!
Does not dry, does not dry,
Bettina Brentano, a friend of both Beethoven and Tears of unhappy love!
Goethe informed Goethe that at her very first meeting unfortunate love!
with Beethoven in 1810 he performed for her two newly
composed songs, "Mignon," (op. 75, No. 1) and "Wonne
the melancholy,
Goethe. Published in Leipzig in 1811 by Breitkopf and Don’t dry, don’t dry
Härtel, Beethoven dedicated the Three Songs, Op. 83, to Tears of eternal love!
Princess Caroline Kinsky. Kinsky's husband, Prince Don’t dry Ah, how barren, how dead the world
Ferdinand Johann was one of three young members of appears
the high nobility who in 1809 established an annuity for To him who sees through half-dried tears.
Beethoven, enticing him to remain in Vienna. Here we Don’t dry, don’t dry
find the mature Beethoven, musically reflecting both the Tears of unhappy love!
fundamental meaning and minutiae of Goethe's texts. A of unhappy love!
descending staccato line evokes the image of falling Don’t dry, don’t dry
tears throughout the through-composed 'Joy of the Tears of unhappy love!
"Wehmut" (Joy of Sadness). As the narrator notes how of unhappy love!
bleak the world appears when it is not refracted through
eyes filled with "tears of unhappy love," Beethoven
 Oh! Lost Enchantment Yet sometimes I hope
Of My Dearly Beloved to give myself to another care
Stefano Donaudy (1879-1925) I go my storm a thought:
But, without him, what will I do?
Stefano Donaudy was a minor though significant I seem to life like a vain thing.
composer, he wrote mostly vocal music, dividing his without my darling.
efforts between opera and song, though he did produce
some chamber and orchestral music. Donaudy was born (Translation)
in Palermo, Sicily, on February 21, 1879. It is known
that he studied with composer Guglielmo Zuelli, a rival
Oh, lost enchantment of my dearly beloved!
of Puccini in the latter's early years. This aria is a blend
Far from my eyes is he
of baroque and romantic vocal writing techniques, and
who was, to me, glory and pride!
not only succeeds in creating a cohesive whole, but in
Now through the empty rooms
creating a particularly lovely and memorable musical
I always seek him and call him
work. It starts with a delicate, very subtly ornamented
with a heart full of hopes?
theme that is reminiscent of the arias of Caldara, echoed
But I seek in vain, I call in vain!
in the accompaniment, and then slowly rises to a
And the weeping is so dear to me,
passionate declamation as warm and flowing as any of
that with weeping alone I nourish my heart.
Verdi's or Donizetti's arias, and then returns to the earlier
theme. This haunting piece has remained a concert and
It seems to me, without him, sad everywhere.
recital favorite since the days of Caruso and Muzio.
The day seems like night to me;
the fire seems cold to me.
Oh of my beloved lost charm!
If, however, I sometimes hope
Far away from my eyes
to give myself to another cure,
who was my glory and pride!
one thought alone torments me:
Or for the quiet rooms
But without him, what shall I do?
I always look for it.1call me
To me, life seems a vain thing
With a heart full of hopes?
But I search in vain, I call in vain!
without my beloved.
And crying is so dear to me,
only tears nourish my heart.

It seems to me, without him.2,

sad every place.
Night seems to me like day;
It seems to me that the fire is ice.
 Oh! When I Sleep Suddenly my dream
Franz Liszt Shall shine! Shall shine! Ah!

Oh! Then on my lip where a flame flutters,

when I sleep Love's lightning that even God purifies,
seven poems of Victor Hugo that Liszt would set Place a kiss, and from angel become woman...
between 1842 and 1849. By far the best-known of his Suddenly my soul
handful of French songs, it contains some of his most Will awaken! Will awaken!
memorable melodic writing and showcases the ease with
which the cosmopolitan Liszt moved between languages (Translation)
and national styles; his French melodies (as is the case
with his handful of Italian songs) feel as idiomatic and Oh, when I sleep, approach my bed,
grounded in their native culture as do his much-more- as Laura appeared to Petrarch;
numerous German songs. As a body of works, Liszt's and as you pass, touch me with your breath...
songs have fallen into general neglect, but "Oh! when I at once my lips
dors' haunting melody and subtle intensity--not to will part!
mention its piano accompaniment, which is considerable
more manageable than those of many other Liszt songs-- On my glum face, where perhaps
have helped to secure a place for it, along with a few a dark dream has rested for too long a time,
other favorites, in the repertory. The first version of 'Oh!' let your gaze lift it like a star...
"when I sleep" was published in Berlin in 1844, along at once my dream
with two other Hugo settings, Children, if I were king and will be radiant!
If it is a charming lawn; the three were again
published together in their second versions in 1859. Then on my lips, where there flits a brilliance,
a flash of love that God has kept pure,
place a kiss, and transform from angel into woman...
Oh! when I sleep, come by my bed, at once my soul
as Laura appeared to Petrarch, will awaken!
And as your breath touches me...
Suddenly my mouth
Will open!

On my gloomy brow where perhaps it ends

A black dream that lasted too long,
Like a star your gaze rises...
 The Kiss (Translation)
Luigi Arditi
If I could only give you
Luigi Arditi was an Italian violinist, composer and a kiss on your lips
conductor. He began his career as a violinist and trained It would tell you all the delights of love,
in Milan, later settling in London. He was well known as Abiding to speak
a composer of operas, almost all of which have fallen a thousand joys to you!
into obscurity. He is still remembered today as the Ah, thus it would speak
composer of the Waltz Song, Il Bacio. to you along with my heart's palpitations.
The Kiss was written as a waltz song, and is I do not desire gems or pearls,
one of the few works Arditi is remembered for today. nor do I seek others' affections.
The music was set to the text of a poem by Gottardo Your look is my delight,
Aldighieri, whom the song is dedicated to. This is a your kiss is my treasure.
transcription of the song into a Valse Brillante for piano. Ah! Come! Do not delay!
On the lips if I could Ah! Come! Let us enjoy love's
sweet I would give you a kiss.
life-giving intoxication.
I would tell you all the sweetnesses of love.
Ah!
Always seated next to you,
I would tell you a thousand joys.
And I would hear the heartbeats
Praise the Lord
they respond to my heart. from Solemn Vespers of Confessors
Gems and pearls I do not desire,
Wolfgang Amadeus Mozart (1756-1791)
I am not empty of other affection.
Your gaze is my delight, Psalm 117 was a source of inspiration to great classical
a your kiss is my treasure. composers of all times. A most famous musical setting
Ah! Come! Ah come! Do not delay any longer! of the text is W. A. Mozart’s, in which it is sung by
to me! soprano solo with chorus and is the fifth of six parts of a
Ah, yes! in the ecstasy of an embrace larger piece known as the Vesperae solennes de
that I live! Solemn Vespers for a Confessor (K.339)
Ah! (K.339) is made up of musical settings of 5 Psalms and
was used in the Roman Catholic liturgy known as
Vespers. It was commissioned by the Archbishop of
Salzburg, Hieronymus von Colloredo and composed in
September 1780 in Salzburg.
 The Holy City
Praise the Lord, all you nations Frederic Weatherly
Praise Him, all peoples
Since it has been confirmed It was written by Frederic Weatherly in 1892 with music
Great in His mercy, by Michael Maybrick. The “Holy City” itself is a
And the truth of the Lord remains forever. reference to Jerusalem. The hymn 'The Holy City'
Last night I lay a sleeping.
Glory be to the Father and to the Son and to the Holy Spirit. There came a dream so fair, I stood in Old Jerusalem
As it was in the beginning, is now, and ever shall be. beside the Temple there.” And the hymn ends by quoting
And in the ages of ages. from Revelation and the future world of peace. It seems
Amen. that Jerusalem, which means city of peace, will finally
live up to its name.

Last night I lay asleep

(Translation) There came a dream so fair,
I stood in old Jerusalem
Praise the Lord, all nations; Beside the temple there.
Praise Him, all people. I heard the children singing,
For He has bestowed And ever as they sang
His mercy upon us, I thought the voice of angels
And the truth of the Lord endures forever. From heaven in answer rang,
I thought the voice of angels
Glory to the Father and to the Son and to the Holy From heaven in answer rang.
Spirit,
as it was in the beginning, is now, and forever, Jerusalem! Jerusalem!
and for generations of generations. Lift up your gates and sing,
Amen. Hosanna in the highest!
Hosanna to your King!

And then I thought my dream had changed,

The streets no longer rang.
Hushed were the glad Hosannas
The little children sang.
The sun grew dark with mystery,
The morn was cold and chill,
 As the shadow of a cross arose JERUSALEM! YOU WHO KILL THE
Upon a lonely hill, PROPHETS! (Jerusalem! You Who Kill the
As the shadow of a cross arose Prophets
Upon a lonely hill. from St. Paul
Felix Mendelssohn
Jerusalem! Jerusalem!
Hark! How the angels sing, Felix Mendelssohn's massive oratorio Paulus (1836) is
Hosanna in the highest! based on the story of Saul, the zealous Pharisee who,
Hosanna to your King! after a dramatic encounter with the risen Christ, turns
from a fanatical enemy of Christians into the most
And once again the scene was changed, influential apologist of the Christian faith. Using the New
There seemed to be a new earth. Testament, particularly the Gospels and the Acts of the
I saw the Holy City Apostles as sources, Mendelssohn wrote his own version
Beside the tide less sea. of Paul's story. Paul is by no means a replica of the
The light of God was on its streets, Baroque oratorio. Mendelssohn expressed his ideas with
The gates were open wide. great contrapuntal facility and clarity, with a technical
And all who would might enter, competence rivaling the expertise of the great Baroque
And no one was denied. masters, but his counterpoint is fresh and original. The
No need of moon or stars by night, oratorio's overture, as well as a significant section of the
Or sun to shine by day; first choral number, is based on the chorale 'Wachet auf,
It was the new Jerusalem Awake, cries to us the voice.
That would not pass away, Mendelssohn's Christ, whose voice is distant, mysterious,
It was the new Jerusalem and yet tremendously powerful, possesses an
That would not pass away. otherworldly, spectral quality, suggesting the infinitesimal
closeness and infinite remoteness of God. Mendelssohn
Jerusalem! Jerusalem! expresses an extraordinary spectrum of religious feeling,
Sing for the night is over! from dark doubt to radiant certainty. Ending with a
Hosanna in the highest! powerful double fugue, Paulus is a beautiful, profound
Hosanna forevermore! musical tribute to one of the founders of the Christian
tradition.

Jerusalem! Jerusalem! you who kill the prophets!

those you stone, those sent to you,
ones sent to you, those sent to you
How often have I not wanted to gather your children!
 and you did not want! and you did not want! chaos. The Countess, Figaro, and Susanna’s schemes to
shame the Count and reunite him with his wife have so
Jerusalem! Jerusalem! you who kill the prophets! far only resulted in the Count accusing his wife of
those whom you stone, those sent to you infidelity and becoming suspicious of Figaro. Moreover,
Jerusalem! Jerusalem! Figaro and Susanna are distracted by Marcellina’s
threats to force Figaro to marry her. Alone, and unaware
that this particular problem has been resolved, the
Countess waits anxiously for news from Susanna.
Jerusalem! Jerusalem! you who kill the Prophets,
you that stone those who are sent unto you, And Susanna is not coming!
The stones that are sent, are sent unto you. I am anxious to know
How often would I have gathered your children to Me, how the Count welcomed the proposal.
and you would not, and you would not! The project seems quite bold to me.
And to a lively and jealous groom!
Jerusalem! Jerusalem! you who kill the Prophets, But what's wrong?
you who stoned those who were sent to you Changing my clothes with those of Susanna,
Jerusalem! Jerusalem! And his like mine
in favor of the night.
Oh, heaven! to what a humble fatal state
I am reduced by a cruel partner!
WHERE ARE That after having me with an unheard mix
The Marriage of Figaro of infidelity, of jealousy, of indignation!
Wolfgang Amadeus Mozart (1756-1791) First beloved, then offended, and finally betrayed,
Let me or find help from my servant!
Mozart believed that although opera buffa was
intrinsically comic it should feature serious characters Where are the beautiful moments?
and themes. Countess Almaviva is perhaps the most Of sweetness and of pleasure?
serious and complex character in The Marriage of Figaro Where did the oaths go
She has a sense of humour Of that lying lip?
and joins in Figaro and Susanna’s schemes with Why, if in tears and in pain
enthusiasm, but also gives voice to some of the opera’s For me, everything changed,
most profound emotions – particularly in 'Where Are They'. The memory of that good
Did it not pass from my breast?
The Countess sings this aria in Act III, by which point Ah! if only my steadfastness,
Mozart's 'crazy day' is threatening to collapse into In the languishing of always loving,
 It brought me hope Since The Day
To change the ungrateful heart! from Louise
Marc-Antoine Charpentier (1643-1704)
(Translation)
In 1887, Marc-Antoine Charpentier was awarded the
And Susanna hasn't come! coveted Prix de Rome, one part of which consisted of
I'm anxious to know support for a year's study in Rome. It was there, while
How the Count accepted the proposal. living at the Villa Medici, that Charpentier began work
The plan seems to me a little rash. on Louise. The composer himself created the scenario,
And against such a quick and jealous husband! based on his own time in Montmartre; Charpentier
But what harm is there in it? maintained that he was the sole author of the final
To change my clothes with Susanna's, libretto, but research has shown that he paid the poet
And hers with mine Saint-Pol-Roux to write at least some of the text.
Under cover of night. Set in Paris in the nineteenth century, this opera tells the
Oh, Heaven! What a fatal comedown story of Louise who falls in love with her neighbour
I'm reduced to by a cruel husband! Julien. In the face of her parents’ disapproval, Louise
Who, after he had me, [gave me] an unheard-of mixture sets up home with Julien and they enjoy a bohemian life
Of infidelity, jealousy and rage! together. When her father falls gravely ill, Louise returns
First loved, then insulted, and at last betrayed, to her parental home to help nurse him back to health.
You force me to seek help from one of my maids! He quickly recovers and forbids her from returning to.
Julien. After a furious quarrel, she once again disobeys
Where are the lovely moments? her parents’ wishes and leaves them railing against the
Of sweetness and pleasure? city that stole their daughter.
Where have the promises gone
That came from those lying lips? Since the day I gave myself,
Why, if all is changed for me My destiny seems all flowered.
Into tears and pain, I believe I am dreaming under a fairy sky,
Has the memory of that goodness the soul still intoxicated by your first kiss!
Not vanished from my breast? What a beautiful life!
Ah! if only, at least, my faithfulness, My dream was not a dream!
Which still loves amidst its suffering, Ah! I am happy!
Could bring me the hope Love spreads its wings over me!
Of changing that ungrateful heart! In the garden of my heart
sing a new joy!
 Everything vibrates, of the first day
Everyone rejoices at my triumph! of love!
All around me, everything is smiling,
light and joy! What a beautiful life!
And I tremble deliciously Oh! I'm so happy! ...utterly happy!
To the charming memory And I'm trembling delightfully
From the first day from the charming memory
Of love! of the first day
of love!
What a beautiful life!
Ah! I am happy! too happy...
And I tremble deliciously
To the charming memory
From the first day Oh, the bitter sound (Oh, the sorrowful sound)

Of love! Arr. By Jovita Fuentes (1895-1978)

It is a song of Love and Courtship in a form of Dance.

was performed in public by Jovita Fuentes in 1919 at a
Since the day I gave myself concert sponsored by the Musical Association of
my destiny seems all flower-strewn Filipinas. The song is about an 'intensely romantic and'
I think I'm dreaming under a fairy sky sighing piece" distinctive of its "somber minor key and
my soul still intoxicated by your first kiss! brooding Ilongo lyrics that expresses the despair of
What a beautiful life! someone abandoned by a beloved. Written by Francisco
My dream wasn't a dream! Santiago in 1928 and arranged as a fox-trot for orchestra
Oh! I'm so happy! by Nicanor Abelardo in 1930, this song has been
Love is spreading its wings over me! recorded, sung, and arranged countless times.
In the garden of my heart
Oh oh! The difficulty, the difficulty of being left behind
sings a new joy!
Last night, the firm was established and we were together.

Everything is vibrant Oh my! The girl with no luck

everything rejoices at my triumph! None at all, none at all
All around me everything is smiling Love is happiness
light and joy!
And I'm trembling delightfully Oh blue sky, where are you?
from the charming memory Little star, captured by love
 Better to die than almost die.
I can’t remember. Who is Rosas Pandan
I have no happiness. Coming from the mountains
Let’s hang out together
(Translation) In the celebration of entertainment

Oh, what sorrow to be deserted I invested in Balitaw.

Night and day I lament for you The legacy of my parents
Oh, my hopeless fate The oldest song
Nevermore, no more joy A pride in the highland

Oh, I wonder where you are Tikading tikading tikading!

Please embrace this prisoner of sorrow Oh, in my serenade
It is better to die, much better to die Is it nice to dance?
So that I shall not experience The cold has arrived.
This unbearable sorrow
This is a Cebuano classic song. Tigadong tigadong tigadong!
Rosas Pandan is the mythic Bisaya maiden, symbol of Dodong is also sad.
rustic beauty and virtue. You looked at Inday
This song has been performed in choirs both local and Saliva gathered.
international.
Oh no, oh no, oh no!
Oh, my love song
Pandan Roses Is it nice to dance?
Arr. By Agot Espino (1957- present) The cold is coming.

Rosas Pandan is a Cebuano folk song composed by

Minggoy Lopez; with Levi Celerio as lyricist in 1973. A (Translation)
song of joy and love, it tells about a pretty mountain
maid who loves to dance the balitaw. The vibrant Here is Rosas Pandan
melody and intricate harmonies lend to a joyous Just arrived from the mountains
celebration of music which transcends differences in To be with all of you
language; such that the song also captured the taste of To celebrate the fiesta
many nations and led them into choral renditions of our
very own Rosas Pandan. This song is my livelihood
An inheritance from my parents
A most ancient song
The pride of our hill country

Ticking ticking ticking

Hey!, my song
It's nice to dance to
Like fog on a cold day

Tigadong tigadong tigadong

Look at Dodong (young man)
He's looking at the young lady.
His drool is falling

Oh oh oh oh
Hey!, my song
Is it nice to dance to
Like fog on a cold day