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Menfi, Mia Patria

Francesco Cavalli
Giovanni Francesco Busanello From La Statira (1655) Act II Scene ix

 
            
    

Violin I  
           
Violin II
       

Ermosilla
         

  
Men - fi,
          
Continuo 

    

 

   
 

         
         
mia pat - ria, reg - no, pad - re, mad - re_o - ve se - te?

         
    
2

 
11
  
            

           
    

                
  
Deh le mie_a - ma - ri - tu - di - ni pian - - - - ge -

        
      

 
16
               
     

                    

 

   
        

te; lun - ge da

            
     
3
21

             
  

          
     

           
       
voi per vo - lon - ta - rio_e - si - lio, son son men - di - co di co - re,

    
        

26


             

      
          
       
        
son, son men - di - co di co - - re, e di con - sig - lio.

    
    

4

 
30
      


         


        
      
  

              
Sco - no - sciu - to, so - lin - go,

          
      


35

       

 

     
   

                 
   
Sco - no - sciu - to, so - lin - go, do - vun - que vol - go_i pas - si, in fon - ti, in

      
        
5

 
40
      
               

          
            
         
           
fon - ti di pie - tà con - ver - to con - ver - to i sas - si.

         
    

 
45
               
 

                 


          

Ciel, pro - te - ttor de'

       
     
6
49

            
  

         
   
  
               

prin - ci - pi, a te so - lo fa suo ri - cor - so fa suo ri - cor - so

   
      

53

                

 
              
        
          
un dis - pe - ra - to, un dis - pe - ra - to, un, un dis - pe - ra - to duo -

     
   

7
57
            
   

      
       
 

      
- lo.

       
 

Notes
Dressed as a maid (Ermosilla) so as to enter Prince Statira's service, Usimano, Prince of Egypt, laments his solitude and
unknown adoration of Statira.

With the exception of the addition of a modern clef for the soprano and time signatures for unequal bars,
all remains unchanged from Cavalli's manuscript.

Text
Menfi, mia patria, regno, Memphis, my homeland, kingdom,
padre, madre, ove sete father, mother, where you are
Deh le mie amaritudini piangete; ah, my bitter weeping;
lunge da voi per volontario esilio, far from you, in voluntary exile,
son mendico di core, e di consiglio. I beg of comfort, and of consolation.

Sconosciuto, solingo, Unknown, solitary,


dovunque volgo i passi, wherever I turn my step,
in fonti di pietà converto i sassi. into fonts of pity I turn the rocks.
Ciel, protettor de' principi, a te solo Heaven, protector of princes, by you alone
fa suo ricorso un disperato duolo. can such desparate pain be remedied.