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8.554440-42 - HANDEL: Trionfo del Tempo e della Verita (Il)

George Frideric Handel (1685-1759)
Il Trionfo del Tempo e della Verità (The Triumph of Time and Truth)

The greater part of George Frideric Handel's career was spent in London, where he had first been invited as a composer of Italian opera. It was with opera that he was very largely concerned, once he had settled in England, involved with the composition and direction of such works, with casting and wide commercial control. It was when the fashion for Italian opera met difficulties, particularly with the establishment of a rival opera company by the Prince of Wales in 1733, that he started increasingly to turn his attention to other forms. While his association with the theatre continued, he developed a relatively new form, that of the English oratorio. Here he pleased his audiences with English words, although the music remained as Italianate as ever in its melodic appeal.

Handel was born in Halle in 1685, the son of an elderly barber-surgeon by his second wife. Originally destined for a more obviously secure career, he soon left Halle University to take up employment as a musician at the opera-house in Hamburg, working first as a violinist and then as harpsichordist and composer. At the invitation of the son of the Medici Grand Duke of Florence, he travelled in 1706 to Italy, remaining there for the next four years, before his appointment as Court Kapellmeister in Hanover and his subsequent defection to London, where he was soon to be followed by the first of the Hanoverian Kings of England, reigning as George I.

On his first journey to Italy, in 1706, Handel went first to Florence, but by the end of the year he was in Rome. Here he enjoyed the immediate patronage of Cardinal Colonna and of Cardinal Pamphili, as well as that of Corelli's friend and patron, Cardinal Ottoboni. He was later to be employed by the Marchese Francesco Ruspoli, created Prince in 1708. It was, however, to Cardinal Pamphili that Handel owed the text of Il Trionfo del Tempo e del Disinganno, which was performed, perhaps at the Palazzo della Cancelleria, in Lent 1707. It was reputedly on this occasion that the violinist Corelli, leading the orchestra, modestly declared himself unfamiliar with the allegedly French style of the Overture and its sharply dotted rhythms that Handel, with the confidence of youth, then proceeded to demonstrate. The original Overture, however, was replaced by an introduction more congenial to Italian taste, a Corellian concerto grosso in three movements.

It was thirty years later, in London, that Handel revised his earlier Italian oratorio, now given the title Il Trionfo del Tempo e della Verità. Introduced by its original Overture, the work was given four performances at the Royal Theatre of Covent Garden in a series of Lenten oratorios, to the delight of audiences that included the Prince and Princess of Wales. At the time Handel was under considerable pressure and in April, nine days after the last performance of Il Trionfo, he suffered a stroke. It is evidence of the strength of his constitution and of the efficacy of the baths at Aix La Chapelle that he recovered the use of the paralysed fingers of his right hand and was able to resume his career as a composer and performer before the year was out.

Twenty years had passed before Handel, in 1757, again revived his oratorio, this time with an English text, under the title The Triumph of Time and Truth. For the occasion new recitatives were added, while the translation of the text was left to Thomas Morell, with whom Handel had collaborated on other oratorios, including Jephtha and Judas Maccabaeus, the latter also revived for the Lenten season, followed by Messiah. There were further performances to open the Lenten season at Covent Garden in 1758, with arias now added for the singer Cassandra Frederick. Handel died at his house in Brook Street on 14th April 1759, eight days after attending a final Lenten performance of his oratorio Messiah at Covent Garden.

Keith Anderson

The Score of Il Trionfo del Tempo e della Verità

Until now there has been no complete edition of the score of the oratorio Il Trionfo del Tempo e della Verità (HWV46b, 1737/39). This truly astonishing circum­stance stems chiefly from the fact that the editor of the first complete edition of the works of Handel, Friedrich Chrysander, was evidently unable to see a part of the sources. The view was therefore taken that the first and last edition of Il Trionfo (HWV46a, 1707, and HWV71, 1757) contained more or less all the recitatives, accompanied recitatives, arias and choruses necessary for the complete work and an edition of the second version of 1737/39 was therefore unnecessary. He consequently limited the publication of the second version to a few remarks published in the introduction to the first version. At the same time he was obviously unable to arrange correctly the material that was known to him, since in the first volume of his biography of Handel in 1858 as well as in the introductions to the first version (1866) and the last (1865) he allocates many musical elements from the first that are necessary for the complete second version to the third. Chrysander, for example, classed the three-part structure, important for the second version, with the first, although the first version is actually in two parts. There is a similar mistake in the arrangement of choruses: contrary to his edition there are no choruses in the first version, since these were added for the London version of 1737/39. His clear preference for the first version led Chrysander further astray in his critical description of the second version and his quite harsh remarks on some of the newly composed versions of arias. Obviously Chrysander's criticisms and rejection had a wider and surprising consequence when it came to an independent edition of the second version. Il Trionfo del Tempo e della Verità, after its last performance on 3rd March 1739 at the King's Theatre in London, has had no further performance until the present and the work has remained completely unknown to audiences on the mainland of Europe.

We are grateful to the generosity of the Junge Kantorei and their supporters and the special help of the representatives of British and German institutions that have enabled us, with the aid of microfilms of sources of the score, to re-assemble this oratorio and to correlate this with the original manuscripts, the autographs and copies in London, Cambridge and Hamburg.

The conductor's score of Il Triotifo del Tempo e della Verità is in the manuscript collection of the Carl von Ossietzky Library of Hamburg University. This is the basis of the present score. Nevertheless we have not accepted this without modifications, but with the help of the suggestions of Bernd Baselt on the carillon in the second Händel-Handbuch have completed the music assigned to it and with some re-arrangement attempted to establish the three parts of the oratorio. We are grateful also to Winton Dean and Roland Dieter Schmidt for an Italian version of the text of the chorus O Baal from the conductor's score of the oratorio Deborah (HWV51) in Hamburg, since the score of Il Trionfo contains only the continuo of this chorus. Roland Dieter Schmidt has given particular help with the arrangement of the second version, for which we express our gratitude.

The acceptance of the Sonata dell'Overtura, the introductory music of the first version of 1707, as the first section of the Overture of the present edition and the introduction of the chorus Viver, e non amar may seem arbitrary. The chorus, with an English text, is included by Handel in the last version of the oratorio. There is no proof that both versions of the Overture were given in 1737/39. Since the details of the versions of 1737 and 1739 are not clear, we have taken the liberty of supplying this chorus, which is found in the second version of the Serenata Acis and Galatea (HWV49b), with its original Italian text. We were strengthened in this decision through a phenomenon that I met here for the first time and that could perhaps become the object of further research. Handel quotes from one of his own works in bars 58 to 62 of the aria FolIe, dunque tu sola presumi, No. 34 in our version. The quotation comes from Acis and Galatea (HWV49a), written for Cannons in 1718, and consists of the opening bars of the chorus Oh the pleasures of the plains, used in the place mentioned with a similar text. Clearly the music of Acis and Galatea was in his mind at the time.

We have further decided to re-introduce an organ concerto, bearing in mind the reference from The London Daily Post of 3rd March 1739 published by Otto Erich Deutsch: "At the King's Theatre... this Day... will be reviv'd an Oratorio, call'd Il Trionfo del Tempo & della Verita, with several Concerto's on the Organ and other Instruments."

Joachim Carlos Martini
English version: Keith Anderson


CD 1: Part I

[1] After the Overture from the work as performed in 1707, [2] the chorus, with an alto soloist, sings of the attractions of joy and pleasure. [3] Bellezza (Beauty) in a recitative, admires herself in a looking-glass, wishing her looks preserved in adamant rather than fragile glass. [4] In an aria, she regrets the fact that, while the glass may remain the same, she will change with the years. [5] Piacere (Pleasure) announces herself and assures Beauty that she will always be fair and the latter pledges her loyalty to Pleasure. [6] Pleasure, in her turn, urges her to banish darker thoughts. [7] Tempo (Time) and Disinganno (Disillusion) appear, introducing them­selves and declaring that Beauty is a flower that will fade and die. [8] The following aria is given to Disillusion, who stresses the temporary nature of beauty. [9] All join, resolved on a dispute to settle which of them is the strongest. [10] Beauty believes that aided by pleasures she will defeat Time. [11] Time, however, declares himself to be more powerful than rash, frail beauty. [12] He calls on graves that enclose so many beauties to open and reveal what now lies there. [13] His words are echoed by the chorus. [14] Pleasure now intervenes, declaring pleasures to be the children of youth and in a duet with Beauty, [15], points out that it is folly for the young to worry about things more fitting for the winter of life. [16] Disillusion claims that life is short and that we see only the dawn, but Beauty maintains Time is invisible and is cruel only to those who believe in him. [17] Some see Time as voracious, she continues, but others deny its dominion. [18] Disillusion tells Beauty she is a fool to deny Time who even now is devouring her beauty and asks what is now left of her forebears but bones in the grave: beauty never returns. Pleasure answers that Time is hateful to Man and Beauty adds that delight comes from not thinking of him. [19] In an aria Time explains that while Man is born to die, Time is a never-ending continuation of the past. [20] The chorus echoes Time's words: Man's life is finite; Time goes on for ever.

CD 2: Part II

[1] An Interlude is introduced by a short organ concerto, with solo violin and cello, after which Beauty and Pleasure affirm the impossibility of living without love, loving without languishing, languishing without suffering. [2] The chorus agrees. [3] The interlude ends with a short Sinfonia.

[4] In a recitative Pleasure describes her palace and shows herself in various forms: crowned with roses, a group of young people carved in white marble, one sleeping, garlanded with ivy: his hair does not grow white through pointless preoccupations; Sadness is dispatched and cares are dismissed. [5] There is a brief Sonatina for violin, followed by a second [6] for bells. [7] Beauty asks what sound she hears. [8] Pleasure tells her that a graceful young man arouses delight by his music, charming the listener. [9] Beauty adds that his playing is more than mortal, a presumed compliment of the librettist to the composer, and in an aria [10] she challenges Time to take away these delights. Life is nothing if it cannot be lived. [11] A lively chorus bids Time be gone, preferring the delights of beauty and pleasure. [12] A brief ritornello follows, leading to an aria from Disillusion [13] in which he points out that man may be deceived if he thinks that Time sleeps, but sooner or later his effects become clear. [14] Time emphasizes that he is always present and Beauty begins to realise that Time and Disillusion are taking the place of Pleasure. Indeed, warns Time, Beauty must make better use of Time and reject Pleasure. [15] He goes on, in a vigorous aria, to draw attention to her folly, if she imagines that Time does not pass for her, since Time is everywhere, in seas, mountains, rivers, cliffs, in the horrors of war and the tranquil abodes of shepherds. [16] Disillusion promises to show her the realm of Pleasure and Time offers a looking-glass that reflects the truth. [17] The four join in a quartet, Beauty promising to follow Time to see true pleasure and Pleasure warning her of the consequences. Time and Disillusion ask why, if her search is genuine, she should shun the vision of truth, but Pleasure declares that she offers happiness in the present, not some invented image of the future. [18] Time now reveals Truth that shuns adornment but is always beautiful, dressed in white, turning to the eternal Sun, while the glass shows false to the false and true to the true. [19] Pleasure, in her aria, bids her close her eyes and divert her thoughts afar, otherwise she will lose her pleasure. [20] Time now shows the three parts of her life, one passed in wrongful rejection of the Eternal Light, the present, which dies as soon as born, and the future, open to hope and good works. [21] Beauty had hoped to find Pleasure in the truth, but cannot see her now, in sorrow at her fate. [22] Pleasure, however, considers it pointless to live in sorrow and reminds beauty that she will be there if called upon, and in an angry aria [23] goes on to reproach Beauty with desertion, deserving to suffer for her disloyalty. [24] Time suggests that a sick man who cannot bear the light surely does wrong to blame the sun. [25] Beauty pensively wishes she had two hearts, one to give to repentance and the other to pleasure. [26] Disillusion would swear that Beauty has shut her eyes at the reflection of truth, but Beauty answers that she shut her eyes in fear at losing her beauty and pleasure. Disillusion points out that the Soul is more beautiful than its mortal shell and true pleasure greater than earthly pleasure. [27] For Disillusion, one who looks down from the peak of wisdom realises and detests her error. [28] Time adds that it is wrong to leave the true road, for with her are Time, Good Counsel and the Haven is at hand and in the following aria [29] points out that the helmsman who refuses to change course in bad weather is foolish, for the ship must be turned in time if it is to make port safely. [30] Beauty seems to agree, but is divided in her wishes. She needs time to make up her mind, but Time and Disillusion tell her that Time is beside her [31], and Good Counsel too, although, Pleasure interjects, the latter is the cause of Beauty's unhappiness. [32] The chorus urges repentance, before it is too late.

CD 3: Part III

[1] A Sinifonia introduces Part III. [2] Beauty admires the garden of Pleasure's palace and asks the source of the river that flows there. Disillusion tells her that it flows from the tears of the insane world, while the breeze comes from the sighs of foolish lovers. Beauty asks if it flows to the sea, but Disillusion tells her that it fails to complete its course. She asks then about the tears of the just and Disillusion tells her that what seem worthless here are pearls in Heaven. [3] Pleasure interrupts, bidding her ignore the thorn and pick the rose, before age comes upon her, in a setting written for the 1737 performance of the opera. [4] A Saraband for two harpsichords, taken from the Hamburg opera Almira follows and the inserted original setting of the words of the previous aria [5] from the work of 1707, familiar from its later use in Rinaldo. [6] Beauty now sees the Truth, which Disillusion at once offers and bids Pleasure farewell. [7] Beauty repents now and in a following recitative [8] holds the mirror of Truth and casts down the false glass, in spite of Pleasure's attempt to stop her which leads to the intervention of Disillusion. [9] He points out that one who has in the past relied on deception by tricks with roses and lilies must eventually come to grief. [10] Beauty now sees her own beauty gone, her fair hair changed to serpents and shame and sorrow in her thoughts: the day will see the end of her folly and in an aria [11] she comments that a richly laden ship may, in face of difficulties be forced to cast into the sea jewels and gold, losing all, but making port is a true recompense. [12] In an accompanied recitative Beauty truly repents, seeking solitude. [13] Time praises the tears of penitence, as lovely as the golden dew of morning. [14] Beauty tells Pleasure to look in the glass, or to be gone from her for ever and the latter in a reproachful aria [15] will go, scorned and embittered: if deceit is her only food, how can she live with Truth. [16] Beauty, now that the Truth of the Eternal Sun brings to her immortal light, resolves that good works shall match her desire. [17] In her last aria she rejects faithlessness and vain striving and, after her earlier ingratitude to God, will now hold him as the guardian of her heart, full of love. [18] A short organ concerto, written in 1735 and performed with the oratorio Athalia, to be published in 1738 as the fourth concerto of the six that make up Opus 4, is inserted. The fourth movement of this bears a similarity of subject of the final fugal, choral Alleluia [19], to which the first two movements of the concerto now lead.

Keith Anderson

George Frideric Handel

Il Trionfo del Tempo e della Verità, HWV 46b

(Libretto by Cardinal Benedetto Pamphili)




The Triumph of Time and Truth


CD 1


Parte prima


CD l


Part I



Sonata dell'Overtura, HWV 46a

(Allegro) – Adagio – (Allegro)


Sinfonia, HWV 46b

Allegro – Adagio



Sonata dell'Overtura, HWV 46a

(Allegro) – Adagio – (Allegro)


Sinfonia, HWV 46b

Allegro – Adagio



No. 1, Coro e Soli: Andante

(Alto e Tromba)

Solo al godere aspira il nostro cor,

E la gioia e il piacer lo chiaman lieti ognor.



No. 1 Chorus and Soloists

(Alto & Trumpet)

Only to delight our heart aspires,

And ever happy, joy and pleasure call to it.



No. 2, Recitativo


Qual veggo il mio sembiante

Vorrei fosse scolpito

Non in fragil Cristal, ma in Adamante.



No. 2 Recitative


When I see my image in the glass

I wish it were carved

Not in fragile crystal but in adamant.



No. 3, Aria: Andante


Fido specchio, in te vagheggio

La splendor degli anni miei;

Pur' un dì cangerò.


Tu sarai sempre quai sei.

Io qual sono e in tè mi veggio;

Sempre quella io non sarò.


Fido, etc.



No. 3 Aria: Andante


Faithful mirror, in you I dream

of The splendour of my years,

Yet one day I shall change.


You will always be as you are,

And I see in you myself as I now am;

I shall not always be thus.


Faithful mirror, etc.



No. 4, Recitativo


Io che sono il Piacere,

Giuro. che sempre sarai bella.



Ed io;

che sono la Bellezza,

Giuro di non lasciarti:

E se manco di fede,

Importuno dolor sia mia mercede.



No. 4 Recitative


I, who am Pleasure,

Swear that you will always be beautiful.



And I,

Who am Beauty,

Swear I shall not leave you:

And if I fail in loyalty

May constant pain be my reward.



No. 5, Aria: Andante


Fosco genio, e nero duolo

Mai non vien per esser solo,

Perché un sol, mille ne fà.

Chi l'impero lor non toglie

Dai pensiero.

Giorno lieto non avrà.


Fosco, etc.



No. 5 Aria: Andante


A dark spirit and black sorrow

Never come singly,

For one alone conjures up a thousand.

He who does not rid their dominance

From his mind,

Shall have no happiness.


A dark spirit, etc.,



No. 6, Recitativo


Ed io, che 'l Tempo sono



Unito al Disinganno



Discoprirò, che la Bellezza è un fiore



Che in un sol giorno è bello, è vago è more.



No. 6 Recitative


And I, who am Time



Together with Disillusion



I shall show how Beauty is a flower



That in one day is beautiful, charming and dies.



No. 7, Aria: Andante


Se la bellezza

Perde vaghezza:

Se cade, o more

Non torna più.

E un sol momento

Ride contento

Il vago flore,

Di Gioventù.


Se la bellezza, etc.



No. 7 Aria: Andante


If beauty

Loses her charm,

If she falls or dies,

She never returns.

And for only a moment

Smiles content

The lovely flower

of youth.


If beauty, etc.



No. 8, Recitativo


Dunque si prendan l'armi

E si vedrà quali più forza avranno:

Il Piacer,



La Bellezza,



Il Tempo,



Il Disinganno.



No. 8 Recitative


Then let us take up arms

And see which is the strongest,













No. 9, Aria: Allegro


Una schiera di piaceri

Posi in gaardia a' miei pensieri,

L'altra meco pugnerà.


Si vedrà,

Se del Tempo i morsi altieri

San rapir la mia beltà.


Una schiera, etc.



No. 9 Aria: Allegro


One band of pleasures

Keeps watch over my thoughts,

The other will fight with me.


We shall see

Whether the proud assaults of Time

Can take away my beauty.


A band, etc.



No. 10, Recitativo


I Colossi del Sole

Per me caddero a Terra,

E una frale beltà meco fa gaerra?



No. 10 Recitative


The giants of the Sun

fell to earth on account of me,

And does fragile beauty war against me?



No. 11, Aria: Larghetto


Urne voi, che racchiudete

Tante belle,



Se di quelle

Qualche luce in voi restà.


Ma chiudetevi.

Sono larve di dolore,

Sono scheletri d'orrore,

Che 'l mio dente abbandonà.



No. 11 Aria: Larghetto


You tombs that hold

So many beauties.


Show me

If any light of beauty

Still remains.


But close again.

They are ghosts of sorrow.

Skeletons of horror

That my teeth abbandoned there.



No. 12, Coro: Largo

Coro del Tempo

Son larve di dolor,

Son scheletri d'orror,

E nulla più restò.



No. 12 Chorus: Largo

Chorus of Time

They are ghosts of sorrow,

Skeletons of horror,

And nothing more remained.



No. 13, Recitativo


Sono troppo crudeli i tuoi consigli,

Di gioventù solo i piacer (i) son Figli.



No. 13 Recitative


Your counsels are too cruel,

Pleasures alone are the sons of youth.



No. 14, Duetto: (Andante, ma non troppo)

Bellezza e Piacere

Il voler nel fior degl'anni

Fra gl'affanni

Passar l'ore è vanità.


I pensieri

Più severi

Son del verno dell'età.


Il voler, etc.



No. 14 Duet: (Andante ma non troppo)

Beauty and Pleasure

It is vanity to wish, in the flower of one's years,

To pass the hours

In anguish.



more severe

Are for the winter of life.


It is vanity to wish, etc.



No. 15, Recitativo


Della vita mortale,

Scorre un guardo, il confine.

Pur di tempo si breve

Voi l'Aurora vedete, e non il fine,



Il Tempo non si vede;

Nacque per gioco sol di folle arciero,

Ed è solo crudel per chi gli crede.



No. 15 Recitative


The limit of mortal life

comes at a glance.

For a short time

You see the dawn and not the end.



Time cannot be seen;

Born to be just a game for a mad archer,

And is cruel only for those that believe in him.



No. 16, Aria: Andante allegro


Un pensiero nemico di pace

Fece il Tempo volubil' edace,

E con l'ali la falce gli diè.


Nacque un'altro leggiadro pensiero

Per negare si rigido impero,

Ond' il Tempo, più Tempo non è.


Un pensiero, etc.



No. 16 Aria: Andante allegro


A thought inimical to peace

made Time fickle and greedy,

And with its wings gave him a scythe.


Another pleasing thought arose,

To deny so harsh a dominion,

Where Time is no longer Time.


A thought, etc.



No. 17, Recitativo


Folle, tu nieghi 'l tempo, ed in quest'ora

Egli di tua beltà parte divora.

Dimmi? Degli Avi tuoi ora che restò?

Restano l'ossa algenti,

Che cela un'Urna breve, un freddo sasso.

Degli anni tuoi già spenti

Dimmi? che ti rimane? oh! folli inganni!

La beltà non ritorna, e tornan gli anni,



Il Tempo sempre all'Uom' è ingrato oggetto.



Con ingegnosa frode,

Quand' a lui non si pensa, allor si gode.



No. 17 Recitative


Fool, you deny Time, and now

He devours part of your beauty.

Tell me, what is now left of your ancestors?

Cold bones remain,

covered by a temporary tomb, a cold stone.

Of your years how many have passed,

Tell me? What is left? O foolish deceptions!

Beauty does not return, and the years turn on.



Time is always disagreeable to men.



With clever trickery,

When one does not think of him, then one has delight.



No. 18, Aria: Andante


Nasce l'Uomo, ma nasce Bambino:

Nasce l'Anno, ma nasce canuto.

Uno è sempre al cader più vicino,

L'altro sorge dai tempo caduto.


Nasce l'Uomo, etc.



No. 18 Aria: Andante


Man is born, but born a child:

The year is born, but with white hair.

One is always nearer to its fall,

The other emerges from time already past.


Man is born, etc.



No. 19, Coro: (Andante)

L'Uomo sempre se stesso distrugge;

L'Anno sempre se stesso rinova .

Una parte ma torna se fugge,

L'altra parte ma più non si trova.


L'Uomo sempre, etc.



No. 19 Chorus: (Andante)

Man always destroys himself;

The year always renews itself.

One returns, as it runs on,

The other never comes again.


Man always, etc.



Fine della prima Parte.



End of Part I













No. 20, Concerto per Organo, Violino e Violoncello solo e Stromenti

(Andante allegro)



No. 20 Concerto for Organ, Violin, Cello and Instruments

(Andante allegro)



No. 21, Soli e Coro: Andante allegro


Viver, e non amar,



Amar, e non languir,



Languir, e non penar,


Bellezza e Piacere

Possibile non é.



Viver, e non amar,



Amar, e non languir,



Languir, e non penar,


Piacere e Tempo

Possibile non é,


Bellezza e Disinganno

Possibile non é,



Possibile non é, no,

Possibile nou é;

Viver, e non amar .

Possibile non é

Sente nel sospirar

Un cor misto il gioir,

Suol arder e gelar,

e non sa dir perché.


Viver, etc.



No. 21 Soloists and Chorus: Andante allegro


To live and not to love,



To love and not to languish,



To languish and not to suffer pain,


Beauty and Pleasure

Is not possible.



To live and not to love,



To love and not to languish,



To languish and not to suffer pain,


Beauty and Pleasure

Is not possible,


Time and Disillusion

Is not possible,



Is not possible, no,

It is not possible;

To live and not to love

Is not possible.

A heart feels joys

Mingled with its sighs,

It burns and freezes

And knows not why.


To live, etc.



No. 22, Sinfonia: Allegro


Seconda Parte.



No. 22 Sinfonia: Allegro


Part II



No. 23, Recitativo


Questa é la Reggia mia,

Vagheggiami diviso in varie forme:

Coronato di rose,

Mira scolpito in bianco marmo eletto

Leggiadro stuol di giovanetti erranti.

Mira quello che dorme,

Ai Papaveri unite

L'edere fresche a lui fanno corona;

Molto crine (è) disciolto e non si cangia

O per pensier s'imbianca.

Poi (d)alla parte manca

Vedi il (D)olore in nera pietra espresso,

Col riso al labbro un bel garzon l'uccide;

L'altro, ch'è presso a lui, col fiero ciglio,

Guarda le soglie della Reggia, e dice:

"Ite pallide cure, ite in esiglio."



No. 23 Recitative


This is my palace,

Here you see me in various forms:

Crowned with roses,

See carved in choice white marble

A graceful band of young people wander.

See the one who sleeps,

Among the poppies,

Fresh ivy makes for him a crown;

His hair is loosed and does not change

Or grow white with thought.

Then to the left

See Sorrow set in black stone,

With a smile on his lips a handsome boy kills her;

Another boy who is near him, with proud brow,

Watches over the threshold of the palace and says:

"Begone, pale cares, begone into exile."



No. 24, Sonatina per Violino solo:

Allegro – Presto



No. 24 Sonatina for Solo Violin:

Allegro – Presto



No. 25, Sonatina per Carillons:

(Adagio – Andante)



No. 25 Sonatina for Carillon:

(Adagio – Andante)



No. 26, Recitativo


Taci: qual suono ascolto?



No. 26 Recitative


Silence! What sound do I hear?



No. 27, Aria: Andante


Un leggiadro Giovinetto

Bel diletto

Desta in suono lusinghier.

E vuol far con nuovo invito,

Che l' udito

Abbia ancor il suo piacer.

Un leggiadro, etc.



No. 27 Aria: Andante


A graceful boy

Fair delight

Arouses in flattering sound.

And, bid play again,

Charms still our ears.


A graceful boy, etc.



No. 28, Recitativo


Ha nella destra l'ali,

Anzi fa con la mano

Opre più che mortali.



No. 28 Recitative


In his right hand are wings

And with this hand

He makes works that are more than mortal.



No. 29, Aria: Allegro, ma non troppo


Venga il Tempo, e con l'ali funeste

Tolga queste

Care Gioie in sì placide rive.

Egli dorme, e (o) non ha più gli artigli.

Nò, non giovano tanti consigli

Se per vivere mai non si vive.


Venga, etc.



No. 29 Aria: Allegro ma non troppo


Let Time come and with funereal wings

Take these

Dear joys on such peaceful shores.

He sleeps and has drawn in his claws.

No, so many counsels are of no use

If one can never truly live.


Time comes, etc.



No. 30, Coro: (Allegro, ma non troppo)

O Tempo, padre del dolor,

Va lunge ormai dai nostro cor;

La gioia bella ed il piacer

Ci chiaman solo per goder;

Le frutti e fior aprico suol


Sol per noi da, bel lume il sol,

Sol gaudi (e) festa e il ciel seren

Ci porge sempre al nostro sen;

Ma chi te vuol solo ascoltar?

Le gioie tutte sai turbar.



No. 30 Chorus: (Allegro, ma non troppo)

O Time, father of sorrow,

Be far from our heart;

Fair joy and pleasure

Summon only to delight.

Fruits and flowers, the warm earth,


The sun gives us, with his fair light,

Joys and feasting and the serene heaven

He always brings to our bosom.

But who would listen to you alone, Time?

You who know how to cloud all joys.



No. 31, Ritornello:

(Allegro, ma non troppo)



No. 31 Ritornello:

(Allegro, ma non troppo)



No. 32, Aria: Larghetto (Allegro)


Crede l'uom ch'egli riposi

Quando spiega i vanni occulti.


Ma se i colpi sono ascosi,

Chiari poi sono gl'insulti.


Crede, etc.



No. 32 Aria: Larghetto ( Allegro )


Man believes that Time sleeps

When he spreads his hidden wings.


But if his blows are unseen,

Later his insults are clear


Man believes, etc.



No. 33, Recitativo


Tu credi che sia lunge, e il Tempa è teca.



Piacere, ia nan t'intendo.

Meco sempre sei tu misto d'affanno,

(Meco sempre tu sei mista d'affanno,)

E meca sempre il Tempa, e 'l Disinganno.



Quanto chiude la Terra è regno mio,

Se me veder non vuoi,

Pensa di farti in Cielo un'alma sede;

In Cielo, ov' io non giungo,

E dove bella eternità risiede.

Fà di me miglior' uso,

Che se folle Piacer già t'inganna,

Con tardo pentimento

Mi chiamerai: Ed io dirò: "Non sento."



No. 33 Recitative


You believe him far away, and Time is with you.



Pleasure, I will not hear you.

You are always with me sharing my troublea,

(You are always with me sharing my troubles,)

And with me always are Time and Disillusion.



The whole Earth is my kingdom,

If you will not see me,

Think to make a holy abode for yourself in Heaven.

In Heaven, where I do not go,

And where fair eternity dwells.

Make better use of me

For if foolish Pleasure deceives you,

And in belated repentance

You call me: then I shall say: "I hear not".



No. 34, Aria: Andante (allegro)


Folle, dunque tu sola presumi

Che non voli il Tempo per tè?

Vò per Mari, per Monti, per Fiumi;

Chiuse Racche fra bellici orrori,

Lieti Alberghi di rozzi Pastori

Solo ardito trascorro col piè.


Folle, etc.



No. 34 Aria: Andante (allegro)


Fool, will you alone presume

That Time does not fly for you?

I go over seas, over mountains, over rivers,

Strongholds amid the horrors of war,

Happy dwellings of rough shepherds,

I alone bravely cross on fool.


Fool, etc.



No. 35, Recitativo


La Reggia del Piacer vedesti? Or vieni.



Chiedi piacer sincero;

Mira, mira lo specchio del vero.



No. 35 Recitative


Have you seen the Palace of Pleasure? Then come.



Seek true pleasure;

See, see the mirror of truth.



No.36, Quartetto: Allegro


Se non sei più ministro di pene,

Per vedere ov' è 'l vero piacere

La tua scrota fedel seguirò.



Non lasciare la strada fiorita (gradita):

Tu non sai quaI sentiero t’addita.


Disinganno e Tempo

Se ti vanti Piacere sincero

Perché fuggi lo specchio del vero?



(lo preparo presenti contenti,)

E non offro un’im(m)agin di bene

Ch'agli Eroi per Idea s'inventò.


Se non, etc.



No. 36 Quartet: Allegro


If you are no longer a minister of suffering,

Then to see where true pleasure is

I will faithfully follow you.



Do not leave the flowery, pleasing way;

You do not know which road he indicates.


Disillusion and Time

If you boast you seek true Pleasure,

Why shun the mirror of truth?



(I provide contentment for the here and now,)

And offer no image of happiness,

such as was invented for the Heroes.


If you boast, etc.



No. 37, Recitativo


Se del falso piacere

Vedesti già la favolosa scena,

Del Teatro del vero

Ecco, il velo io discopro. Osserva, e mira.

Mira colei che Verità s'appella: Vedrai, che non s'adorna, e sempre è bella.

Con bianca veste cinta,

Mira come si voglie al Sole eterno,

E quello Specchio mira,

Che a frale sguardo, ed all'uman(o) pensiero,

Al falso rende al falso, il vero al vero

(Il falso rende al falso, il vero al vero.)



No. 37 Recitative


If false pleasure's

Fabled show you once saw,

Lo, I draw back the curtain

Of the theatre of truth Observe and see.

See the one called Truth: You will see she does not adorn herself, and is always beautiful.

Dressed in a white robe,

See how she turns to the eternal Sun,

And see that mirror,

That to the frail look and to human thought

Renders false to false, truth to truth.

(Renders false to false, truth to truth.)



No. 38, Aria: Andante


Chiudi, chiudi i vaghi rai;

Volgi lungi il tuo pensier.

O per sempre perderai,

Infelice, il tuo piacer.


Chiudi, etc.



No. 38 Aria: Andante


Close, close your lovely eyes;

Turn far away your thoughts.

Or for ever you will lose,

Unhappy one, your pleasure.


Close, close, etc.



No. 39, Recitativo


In tre parti divise

L'ore del viver tuo misura; e vedi;

Vedi 'l tempo caduto,

Vedi, ingrata, il rifiuto

De' Lumi eterni, e vedi il proprio errore.

E vedi 'l presente, che nascendo m(u)ore

Di là de (dal) denso velo

Ove giace il futuro,

Se il tuo sguardo (guardo) non scopre,

Il varco è aperto alla speranza, all'opre.



No. 39 Recitative


Into three parts divided

Are the hours of your living: and see;

See the time past,

See, ungrateful one, the rejection

Of eternal Light, and see your own error.

And see the present, that is born and dies.

From there, behind a thick veil,

Where lies the future,

If your look does not discover it,

Yet there is the gate, open to hope, to good works.



No. 40, Aria: Larghetto


Io sperai trovar nel vero

Il Piacer, ne il veggio ancora;

Anzi il mio Fato severo

Si contrista alla sua vista

E si perde o (e) si scolora.


Io sperai, etc.



No. 40 Aria: Larghetto


I hoped to find Pleasure

in truth, but I still do not see it;

Rather my harsh Fate

Saddens at its sight

And fades or (and) loses its colour.


I hoped, etc.



No. 41, Recitativo


Tu vivi invan dolente;

Se mi cerchi e mi chiami,

Io son presente.



No. 41 Recitative


It is vain to live in sorrow;

If you seek and call me,

I am present.



No. 42, Aria: (Andante)


Tu giurasti di mai non lasciarmi,

O il dolore che sia tua mercede.

Se risolvi di più non amarmi,

Sai la pena a chi manca di fede.


Tu giurasti, etc.



No. 42 Aria: (Andante)


You swore never to leave me,

Or sorrow would be your reward.

If you are resolved no more to love me,

Know that punishment comes to those that break faith.


You swore, etc.



No. 43, Recitativo


Sguardo, che infermo ai rai del Sol si volge,

Né (non) sostiene il gran lume;

Incolpa il Sole, ed é l'error dei sensi.

Che risolvi? Che pensi?



No. 43 Recitative


If a sick man turns his gaze to the rays of the Sun

And cannot stand the great light,

He blames the Sun, and it is an error of the senses.

What is your decision? What do you think?



No. 44, Aria: Adagio


Io vorrei due Cori in Seno:

Un per darlo al pentimento,

Al piacer l'altro darei.


Io vorrei, etc.



No. 44 Aria: Adagio


I would have two hearts in my bosom:

One to turn to repentance,

The other I would give to pleasure.


I would have, etc.



No. 45, Recitativo


Io giurerei, che tu chiudesti il lumi

Nello specchio del vero!



I lumi io chiusi

Perché timor mi prese

Di perder la bellezza, e il mio piacere.



Quanto l'Alma é più bella

Della spoglia mortale;

Tanto a piacer terreno

Vero piacer prevale.



No. 45 Recitative


I would swear that you close your eyes

Before the mirror of Truth!



I close my eyes

Because fear overcame me

That I should lose my beauty and my pleasure.



How much more beautiful is the Soul

Than mortal covering;

So over earthly pleasure

True pleasure prevails.



No. 46, Aria: Larghetto


Più non cura

Valle oscura

Chi dal Monte saggio vede

Ch'ella siede in bassa orror.


E d'averla un giorno amata

È così l'Alma sdegnata,

Che detesta il proprio error.


Più non cura, etc.



No. 46 Aria: Larghetto


He cares no more

For the dark valley,

Who from the mount of wisdom sees

It lie in base horror.


And to have loved this valley once

fills the Soul with anger,

detesting its own error.


He cares no more, etc.



No. 47, Recitativo


È un'ostinato errore

Lasciar sicuro Duce,

Che 'l Piede errante a buon cammino ha scorto.

Teco è Tempo, e Consiglio, e pres,o è il Porto

(Teco è Tempo, e Consiglio, è presto il Porto.)



No. 47 Recitative


It is an obstinate error

To leave the safe Guide

To whom the right path has led the errant step.

With you is Time, Counsel and, at hand, the Haven.

(With you is Time. Counsel and, at hand. the Haven.)



No. 48, Aria: Allegro

Il Tempo

È ben folle quel Nocchier

Che non vuol cangiar sentier

E conosce il Venta infido!


Navicella benché adorna.

Torna, torna:

Finché hai tempo, torna al Lido.


È ben folle, etc.



No. 48 Aria: Allegro


Foolish is that helmsman

Who will not change course

And knows the wind is treacherous!


Though finely decked a vessel,

Turn, turn:

While you have time, turn to the shore.


Foolish is, etc.



No. 49, Recitativo


Dicesti il vero, e (benché tardi) intesi.

Ma pur nel mio cnrdoglio,

Con riflesso di duol, voglio, e non voglio.



No. 49 Recitative


You spoke the truth and, though late, I understood,

Yet in my grief,

With the reflection of sorrow, I would and yet would not.



No. 50, Quartetto: Andante


Voglio Tempo per risolvere.



Teco è il tempo,



Ed il Consiglio,



Ma il consiglio è il tuo dolor.



No. 50 Quartet: Andante


I want time to decide.



I am with you.



And Counsel,



But counsel is your sorrow.



No. 51, Coro: Andante allegro

Pria che sii converta in Polve

Segui il Ben(e) è cangia il cor.



No. 51 Chorus: Andante allegro

Before you turn to dust.

Follow the Good and change your heart.



Fine della seconda Parte.



End of Part II





Terza Parte.



CD 3


Part III



No. 52, Sinfonia: Andante

Da Capo.



No. 52 Sinfonia: Andante

Da Capo.



No. 53, Recitativo


Presso la Reggia ove 'l Piacer risiede

Giace vago Giardino!

Ivi torbido rio si muove appena

Per aura densa e grave;

Dimmi? quel rio, d'onde deriva?




Deriva da quei pianti

Che sparge il Mondo insano,

E formano quell'Aura

Gravi e densi sospir di folli amanti.



Giunge quel rio nel Mar?



Manca per via;

Perché il suo fine, e 'l buon sentiero oblia.



Ed il pianto dei giusti?



Ha stille, che in vederle

Sembrano vili, e pure in Ciel son Perle.



No. 53 Recitative


In the palace where Pleasure resides

Lies a fair garden.

There a dark river hardly moves

In the dense and heavy breeze;

Tell me, what river is it and whence comes it?




It comes from the tears

That the insane world scatters

And that breeze is made

From the heavy, dense sighs of foolish lovers.



Does that river flow to the sea?



It fails in its course,

Because it has lost its goal and its right way.



And the tears of the just?



They are tear-drops that seem

Worthless but yet in Heaven are pearls.



No. 54, Aria: Allegro


Lascia la Spina,

Cogli la Rosa.

Tu vai cercando

Il tuo dolor.

Canuta brina

Per mano ascosa

Giungerà quando

Nol crede il cor.


Lascia, etc.



No. 54 Aria: Allegro


Leave the thorn,

Pluck the rose.

You go seeking

Your own sorrow.

White hoarfrost


Will come to you

When the heart least expects.


Leave the thorn, etc.



No. 54a, Saraband;

Improvvisazione per due Cembali

(Almira, Hamburg 1704, HWV 1,4)



No. 54a Sarabande:

Improvisation for Two Harpsichords

(Almira, Hamburg 1704, HWV 1/4)



No. 54b, Aria: Sarabanda


Lascia la Spina, etc.

(Il Trionfo del Tempo e del Disinganno, Rome 1707, HWV 46a, 23)



No. 54b Aria: Sarabande


Leave the thorn, etc.

(II Trionfo del Tempo e del Disinganno, Rome 1707, HWV 46a/23)



No. 55, Recitativo


Con troppo chiare note

La Verità mi chiama.

Disinganno cortese,

Della Specchia del Vero,

Deh! Fa ch' io veggia un' altra volta il lume.



Eccolo: è pronto.



Addio, Piacere, addio.



No. 55 Recitative


With notes too clear

Truth calls me.

Courteous Disillusion,

In the mirror of Truth,

Ah! let me see once more the light.



Lo: it is ready



Farewell, Pleasure, farewell.



No. 56, Aria: Largo poco piani (presto)


Voglio cangiar desio

E voglio dir, mi pento,

non dir, mi pentirò,

(e non, mi pentirò.)

Quando mancar mi sento,

Non voglio dar' a Dio

Quello, che più non hò.


Voglio, etc.



No. 56 Aria: Largo poco piani (presto)


I want to change my intentions

And I want to say "I repent",

Not "I shall repent"

(And not "I shall repent".)

When my senses fail,

I would not give to God

What is no longer mine.


I will change, etc.



No. 57, Recitativo


Or che tiene la destra

Vero Specchio immortale,

Tu cadrai, Vetro frale,

Ecco, ti getto, infido Specchio, a Terra.






Che tenti, ardito?



No. 57 Recitative


Now that my right hand holds

The true, immortal mirror,

You will fall, frail glass,

Lo, I cast you, treacherous mirror, to the ground.






What are you doing, foolhardy Pleasure?



No. 58, Aria: Andante allegro


Chi già fu del biondo Crine

Consigliero, al suol cadrà.

Soffra pur le sue ruine,

Se sovente egli compose

Con i Gigli e con le Rose

Tanti inganni alla beltà.


Chi già fu, etc.



No. 58 Aria: Andante allegro


He who once was a fair woman's

Counsellor shall fall to the ground.

May he suffer his own ruin

If he often made

With lilies and roses

Such deceptions for beauty.


Who once was, etc.



No. 59, Recitativo


Ma che veggio? Che miro?

Io credea d'esser bella, e son di/orme

Nelle mie Chiome bionde.

Con catena di rigidi Serpenti,

La vergogna, il dolore

Morda ne, (nei) miei pensieri, i miei contenti.

Sì, sì, cadete à terra

Ricche pompe del Crine.

Sia questo giorno ai miei deliri il fine.



No. 59 Recitative


But what do I see? What behold?

I thought I was beautiful and I am ugly

In my fair tresses.

With a band of harsh serpents,

Shame, sorrow,

Gnaw at my thoughts, my happiness.

Yes, yes, fall to the ground

Rich show of tresses.

Let this day be the end of my madness.



No. 60, Aria: Poco adagio


Ricco pino

Nel cammino

Getta al mare

E gemme et (ed) ori,

Se a lui sono inciampo al piè.

I tesori

Trova allor ch' egli disperde

Ad un legno che si perde

Trovar porto è gran mercè.


Ricco pino, etc.



No. 60 Aria: Poco adagio


A richly laden vessel

On its course

Casts into the sea

Jewels and gold,

If they impede its way.

Her treasures

she loses,

But for a ship that is sinking

To make port is a great reward.


A richly laden vessel, etc.



No. 61, Accompagnato


Sì, bella penitenza,

Mentr’ io spargo pentita amaro pianto

Porgimi irsuto ammanto:

E mentre io getto i fior, dammi le spine.

In romito confine

Vivrò, ma sempre sola,

Che deve solo in solitari Chiostri,

Mostro di vanità, viver fra i Mostri.



No. 61 Accompanied Recitative


Yes, fair penitence,

While I, repentant, weep bitterly,

Provide me with a mantle of shaggy hair:

And while I cast aside the flowers, give me the thorns.

Far away shall I live,

But always alone,

A monster of vanity, I should live

only in lonely cloisters, among monsters.



No. 62, Aria: Andante


Il bel pianto dell'Aurora

(Che s'indora,)

È una Perla in ogni Fior.

Pur men grato è quell'umore

Di quel pianto, che in un Core

Già pentito, apre il dolor.


Il bel pianto, etc.


No. 62 Aria: Andante


The fine tears of Dawn

(bathed in gold,)

Are a pearl in every flower.

Yet less pleasing is that liquid

Of those tears that in a heart

Already penitent reveals sorrow.


The fine tears, etc.



No. 63, Recitativo


Piacer, che meco già vivesti, il vero

Tu mira ancora in questo specchio, o vola

Sì lontano da mè,

Che del tuo vil natale

Io mai più non rammenti il quando, il come,

E di tè perda e la memoria, e il nome.



No. 63 Recitative


Pleasure, who once lived with me,

Look again at the truth in this mirror, or fly

So far from me,

That of your base existence

I may never more recall when or how,

And lose of you both the memory and the name.



No. 64, Aria: Vivace


Come Nembo che fugge col vento

Da tè fuggo sdegnato e severo.

Se l'inganno è 'l mio solo alimento,

Come viver posso nel vero?


Come Nembo, etc.



No. 64 Aria: Vivace


As a cloud that flees with the wind

From you I fly, angry and bitter.

If falsehood is my only food,

How can I live in the truth.


As a cloud, etc.



No. 65, Accompagnato


Or se la Verità del Sole Eterno

Tragge lnce immortale, e a me lo scopre,

Farò, che al gran desio rispondan l'opre.

(Farò, ch'al mio desio rispondan l'opre.)



No. 65 Accompanied Recitative


Now if the truth of the Eternal Sun

Brings light immortal and reveals it to me,

I shall act so that my deeds answer my great desire.

(I shall act so that my deeds answer my desire.)



No. 66, Aria: Largo e staccato


Quel del Ciel Ministro Eletto

Non vedrà più nel mio petto

Vogliu infida, e vano ardor;

E se vissi ingrata a Dio,

Ei custode del cor mio

Lo vedrà pieno d'Amor.


Quel del Ciel, etc.



No. 66 Aria: Largo e staccato


This Heaven's Minister Elect

No more shall see in my breast

Faithless desire and vain fervour;

And if I lived ungrateful to God,

So, as guardian of my heart,

Shall he see it full of love.


This Heaven's Minister, etc.



No. 67, Concerto per Organo:

Allegro – Adagio

(op. 4, 4, F-Dur, HWV 292)



No. 67 Concerto for Organ:

Allegro – Adagio

(Op. 4, No. 4, in F major, HWV 292)



No. 68, Coro: (A tempo giusto)




No. 68 Chorus: (A tempo giusto)




Fine dell'Oratorio


End of the Oratorio


G.F. Handel
London, 14th March, 1737
English version: Keith Anderson

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