Three Anthems for St. Francis Cathedral For choir with soloists and organ Melbourne

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1 Australian Music Series MDA08 Three Anthems for St. Francis Cathedral For choir with soloists and organ Melbourne Paolo Giorza Milan, 182 Seattle, 1914 Edited by Richard Divall Music Archive Monash University Melbourne

2 2!! Information about the MUSIC ARCHIVE series Australian Music And other available works in the free digital series is available at This edition may be used free of charge for private performance and study. It may be freely transmitted and copied in electronic or printed form. All rights are reserved for performance, recording, broadcast and publication in any audio format Richard Divall Published by MUSIC ARCHIVE OF MONASH UNIVERSITY Sir Zelman Cowen School of Music Monash University, Victoria, 800, Australia ISBN ISMN The edition has been produced with generous assistance from The Australian Research Theology Foundation The Marshall-Hall Trust

3 ! Introduction Born in Milan in 182, Giorza was one of the interesting number of Italian composers who came to Australia from the Gold Rush period onwards. The first of the notable Italian musicians and dancers were the Carandini Family. [Count] Gerome Carandini ( ), dancer and singer and his English wife, the soprano Maria were regular performers on the Sydney stage for many years. Others amongst them are the writer and composer Raffaello Carboni ( ), who wrote the book on events on the Eureka Stockade, where he had been a prominent participant. In Italy he published a volume of songs, choruses and keyboard music entitled La Ceciliana. There was also the Neapolitan pianist and composer Cesare Cutolo who had been a pupil of Saverio Mercadante. Born in Italy in 1825/6, Cutolo died in a shipping accident in Melbourne in A member of the well-known music publishers Spagnoletti, Ernesto Spagnoletti ( ) arrived in Sydney in 185 after studies with Sir Henry Bishop and composed the Garibaldi Polka in honour of the visit to the Australian Colonies of the Italian patriot. Like Isaac Nathan, Spagnoletti is buried in the cemetery at Newtown, where he lies between his two colleagues from the Royal Academy of Music, the celebrated harpist and composer Nicholas Charles Bochsa and his fellow pupil Louis Lavenu. Paulo Giorza studied at the Royal Conservatory of Music in Milan, and achieved some considerable success with his ballets, the first of which, il Giucatore was premiered at the Teatro della Canobbiana in Milan in 185 followed by a season of his second ballet Un Fallo which was staged at La Scala, Milan in the following year. Giorza s first opera Corrado, Console di Milano was an unmitigated disaster at La Scala in The composer toured widely with various opera troupes and after a season in the Sandwich Islands (Hawaii), Giorza arrived in Sydney in 1871 with the Agathe States Company, staging Rossini s Il Barbiere di Siviglia to approval from the audiences. Dame Nellie Melba s teacher, Pietro Cecchi also arrived with that Company and who stayed on in Melbourne until his death in From then onwards Giorza also stayed in the Colonies and carried out conducting work for the theatrical firm of J C Willamson. In 187 and 1874 Giorza was the organist and choir director at St Francis Church, Lonsdale Street, Melbourne, which then served as the Roman Catholic Cathedral prior to the building of St Patrick s Cathedral on Eastern Hill. He composed several pieces for the choir, three of which are the works contained in this volume. Returning to Sydney Giorza was engaged as the music director of the Sydney International Exhibition where he composed the Cantata to the text of Henry Kendall for the opening of the Exhibition on 17 September Kendall s verses were not entirely inspiring as the following four lines would suggest. Shining nations! Let them see How like England we can be, Mighty nations! Let them view Sons of generous sires in you. Giorza departed Sydney in 188, though not before composing his Adieu Waltz, which is dedicated to a prominent Italian family who built up a considerable business in that city. Like Stephen Hale Marsh, Paolo Giorza lost many of his manuscripts in the fires that followed the San Francisco earthquake and after some years teaching died in

4!! Seattle in 1914. He composed some sixty ballets which were staged in many houses in Italy, and a few operas.

4 4!! Seattle in He composed some sixty ballets which were staged in many houses in Italy, and a few operas. His unabashed musical style is that of the period from Donizetti to middle Giuseppe Verdi. His contribution to sacred music was also large and no less than nine Masses are cited of which Mass No. 1 is held in the National Library of Australia and his Mass No., which was printed by the Italian firm of Lucca and dedicated to the Roman Catholic Archbishop of Australia, John Bede Polding. There is a manuscript of Giorza s Messe Solennelle No. together with these three Anthems that is held in the State Library of Victoria. They were originally in the holdings of the St Francis Choir. The first two Anthems are set to the texts of the Salve Regina, and the Hymn Tantum Ergo of St Thomas Aquinas for the Benediction of the Blessed Sacrament. The third is a Christmas Anthem set to the text Welcome our Lord the Hope of Israel. The author of the text remains unknown, but the music is joyful, and in a robust theatrical style. Giorza s sacred music lies more in the realm of Italian opera than of Victorian period music for the Liturgy. Paolo Giorza Taken by Bardwell in Ballarat

! 5! The cover page of the song Land of the Sunny South by Paolo Giorza Sydney - 1879 ACKNOWLEDGMENTS I would like to acknowledge the support of the Australian Research Theology Foundation and the

5 ! 5! The cover page of the song Land of the Sunny South by Paolo Giorza Sydney ACKNOWLEDGMENTS I would like to acknowledge the support of the Australian Research Theology Foundation and the assistance from the Marshall-Hall Trust and my fellow Trustees, Sir James Gobbo AC, Lady Primrose Potter AC, Professor John Poynter AO OBE and Associate Professor Therese Radic. I express my deep appreciation to Allan and Maria Myers AO, to the Rector and Provost of Newman College, The University of Melbourne. And especially to Professor Ed Byrne AC, the President and Vice-Chancellor of Monash University, to Professor John Griffiths and the Head of the Sir Zelman Cowen School of Music, Associate Professor Rob Burke for their support and assistance of this project. I greatly appreciate the assistance of our Editorial Coordinator Mitchell Mollison. Richard Divall July 2014

6!! The exterior of St Francis [then] Cathedral, Melbourne. c. 1850 s CRITICAL NOTES There are no editorial notes.

6 6!! The exterior of St Francis [then] Cathedral, Melbourne. c s CRITICAL NOTES There are no editorial notes. The Editor Frà Professor Richard Divall AO OBE is a Vice-Chancellor s Professorial Fellow at Monash University, an Honorary Principal Fellow in Music at The University of Melbourne, and Visiting Professor at The University of Malta. He is Chairman of the Marshall-Hall Trust and is a Knight of Malta in Solemn Religious Profession. He was awarded a D.Lett. (Hon Causa) in 1992 by Monash University, and a Doc. Univ. (Hon Causa) by the Australian Catholic University in He holds a PhD in Theology from the University of Divinity on eighteenth-century sacred music on Malta that includes an edition of the complete sacred works of Nicolò Isouard ( ), and is an Honorary Research Fellow at the same university. Richard Divall has edited early Australian music since 1967.!

7 Soprano Solo Moderato Spiritoso Three Anthems for St. Francis Cathedral, Melbourne I 'Regina Caeli' b c Paolo Giorza Edited by Richard Divall Alto Solo b c Tenore Solo bc Basso Solo b c SOPRANO [Choir] bc ALTO [Choir] b c TENORE [Choir] bc BASSO [Choir] Organ c b c Moderato Spiritoso b b p b c n j Ó j Ó # # 2014 Richard Divall j j

8 8 8 b b b b J Ó ff b Re b b b b f b # # ff - gi-na cae- li, lae - ta - re! Al-le - lu - ia. Re - gi-na cae- li, lae j w J Ó Re - gi-na cae- li, lae - ta - re! Al-le - lu - ia. Re - gi-na cae- li, lae ff J Ó Re - gi-na cae- li, lae - ta - re! Al-le - lu - ia. Re - gi-na cae- li, lae ff j Ó Re - gi-na cae- li, lae - ta - re! Al-le - lu - ia. Re - gi-na cae- li, lae J j J

9 9 17 b b b b b ta J J Ó J - re! Al-le - lu - a. Al - le - lu - ia, al - le - lu - ia. Ó b b b ta re! b b J n J Ó n J n J Ó ta ta - re! Al-le - lu - a. Al - le - lu - ia, al - le - lu - ia. - re! Al-le - lu - a. Al - le - lu - ia, al - le - lu - ia. # - Al-le - lu - a. Al - le - lu - - ia, al - le - lu ia. J # # n Ó J Ó j Ó w j J J J n Ó j n n b n J b Ó

10 10 25 b n j # j Re - gi - na cae - li, lae - ta - re. Al - le - lu Al - le - lu - ia. Quia quem me ru b b # - - is - ti por b n j # j Re - gi - na cae - li, lae - ta - re. Al - le - lu Al - le - lu - ia. Quia quem me -ru - is - ti por b # b b b b b b p b b # b j j j j j j j j j j j j

11 11 2 b j ta-re, al - le - lu - ia, Al - le - lu - ia. b b j ta-re, al - le - lu - ia, Al - le - lu - ia. b b n j # j Re - gi - na cae - li, lae - ta - re. Al - le - lu Al - le - lu - ia. b Re - gi - na cae - li, lae - ta - re. Al - le - lu Al - le - lu - ia. n j # j b b b Re - gi - na cae - li, lae - ta - re. Al - le - lu Al - le - lu - ia. Re - gi - na cae - li, lae - ta - re. Al - - le - lu - ia. j j n b j j j b J J J J J J # J J n j # j n # #

12 12 9 b b b b Ó [f] Al - le-lu Al - le-lu R # R j Re-sur-rex - it si-cut di - it, re-sur - rex - it si - cit dix - it p b Qui b p Qui # cresc - a quem me # - a quem me n # Ó # cresc - ru - is te - ru - is te - por - ta- re, Al-le-lu - por - ta- re, Al-le-lu [f] Al - le-lu Al - le-lu [f] n # j Ó Al - le-lu Al - le-lu b b b p Qui # cresc - a quem me # [f] n # Ó - ru - is te - por - ta- re, Al-le-lu Al b J J J Ó n - le - lu - Ó # Ó # j J j J Ó [f] Al - le-lu Al - le-lu j j # Ó j j j Ó

13 1 47 b b b pp # R J # J Ó O - ra pro no - bis, o - ra prono - bis De - um. Al - le lu - f b pp b O f r j j Ó - ra pro no - bis, o - ra prono - bis De - um. Al-le-lu b pp O r j j Ó n Ó - ra pro no - bis, o - ra prono - bis De - um. Al-le - lu f b b b pp # R # Ó J J O - ra pro no - bis, o - ra prono - bis De - um. Al - le lu - # j p [f] # # b Ó f f n J Al - le - lu Al - le - lu n n n Ó b b J... b b p Ó

14 14 56 b b b R b b b b R Gau - de et lae - ta - re, gau - de et lae - ta - re, vir - go Ma - ri - a, vir - go Ma-ri - a, b b b Ó b p Al - le -lu - ia. Al - le-lu - ia. b b b b b Al - le - b b b b b b b j b J j J b b j b J j J b b j b b J J J b b bb b b j b J J b J b fij b <b n n j Ó fi j b j J J J

15 15 64 b b r Al le b qui Ó r r b # b - -lu - ia. Al - le-lu - ia, qui - a re - sur - re - xit Do - a re - sur - re - xit, qui - a re - sur - re - xit, qui - a re - sur - re - xit Do f - mi-nus ve - ro, f # - mi-nus ve - ro, b # b qui b b qui - a re - sur - re - xit, qui - a re - sur - re - xit, qui - a re - sur - re - xit Do r Al n # - le-lu - ia. Al - le-lu - ia, qui - a re - sur - re - xit Do - a re - sur - re - xit, qui - a re - sur - re - xit, qui - a re - sur - re - xit Do b lu Al - le - lu Al le Ó - - lu Al - le - lu Al - le f # f - mi-nus ve - ro, - mi-nus ve - ro, f # # r r b # b # - mi-nus ve - ro, f ff - lu Al - le b bn # # # b ## f b

16 16 7 b ff r Ó b Al b ff Al - le-lu - ia. R - le-lu f Ó n j Re - gi - na cae - li, lae - ta - re! Al - le - lu Al - le - b b Al b b b lu ia! b ff ff Al - le-lu - le-lu f Ó n j Re - gi - na cae - li, lae - ta - re! Al - le - lu Al - le r Ó n j ff Al [ff] b R R - le-lu f Re f - gi - na cae - li, lae - ta - re! Al - le - lu Al - le Ó n j Ó Re f Re - gi - na cae - li, lae - ta - re! Al - le - lu Al - le n Ó - gi - na cae - li, lae - ta - re! Al - le - j J # j j j j j j - - -

17 80 b Ó Al - le - lu - Al - le b 17 b# j b lu # j Ó J J Gau - de et lae - ta -re vi - go, vir - go Ma-ri - a. Al b pp - le-lu b # j b lu b # lu ia! b Gau de b# j b lu # j Ó j j - et lae - ta -re vi - go, vir - go Ma-ri - a. Al - le-lu j Ó Gau - de et lae - ta -re vi - go, vir - go Ma-ri - a. Al - le-lu b# j b lu # j Ó Gau - de et lae - ta -re vi - go, vir - go Ma-ri - a. # j j - Gau - de et lae - ta -re vi - go, vir - go Ma-ri - a. Al - le-lu Al - le-lu # b # b j # j j j j j j j

18 18 86 b lu [cresc] b b b b J dim n Al - le - lu - Al - le - lu Al - le - lu Al - le - lu b b cresc J J J J Al b b b b J - le-lu Al - le-lu Al - - le - lu - Al - le - lu dim n b b b [cresc] j j j j Ó b n j w Al Al - le-lu Al - le-lu Al - le - lu Al - le - lu [cresc] j j j j Ó b b j w - le-lu Al - le-lu Al - le - lu Al - le - lu b b j j b Al b [cresc] - le-lu ia! - Al - le-lu Al - le - lu Al - le - lu dim b b b bb b n b b b b b J n w

19 19 92 b ff Ó Ó -ia! Al b Al b b Ó ia! b -ia! Al b ff ff ff Al - le - lu Al - le - lu Al - le - - le - lu Al - le - lu Al - le - - le - lu Al - le - lu Al - le - - le - lu Al - le - lu b ff j Ó Ó ia! Al b b Ó ia! Al - le - lu Al - le - lu Al - le - ff j Ó j Ó j - Al ff Al ff - le - lu Al - le - lu Al - le - - le - lu Al - le - lu Al - le - - le - lu Al - le - lu [ff] b J j Ó j Ó Ó Ó Ó Ó Ó J

20 20 97 b w lu b lu b b lu U b Al - - le lu b w U lu U b w b lu lu ia! ia! ia! b Al - - le lu U w U w w U w w U U ia! ia! ia! Ó Ó Ó Ó Ó Ó Ó Ó b b b 4 b b b 4 b b b 4 b b b 4 b b b 4 b b b 4 b b b 4 b b b 4 b b b wu w b 4 U w b b b 4

21 21 1 [Andante] II Tantum Ergo bb b 4 bb b 4 b b b 4 b b b 4 bb b b b b 4 Tan 4 Ge n j j j n - tum er - go Sa - cra - men - tum, Ve - ne - re - mur cer - nu - i, et an - # # j j j # - ni - to - re ge - ni - to - que, laus et ju - bi - la - ti - o, sa - lus, b b b 4 j j j Tan - tum er - go Sa - cra - men - tum, Ve - ne - re - mur cer - nu - i, et an - b b b 4 J j j Ge ni - - to - re ge - ni - to - que, laus et ju - bi - la - ti - o, sa - lus, b b b b b b 4 4 n# n # n# # n

22 22 10 bb b bb b b b b b b b bb b j ti j - quum do - cu - men - tum no - vo ce - dat ri - tu - i, prae - stet fi - des sup - ple - b b b # j # ho j - nor, vir - tus quo - que sit et be - ne - dic - ti - o, pro - ce - den - ti ab u - b b b j n ti - quum do - cu - men - tum no - vo ce - dat ri - tu - i, b b b J ho - nor, vir - tus quo - que sit et be - ne - dic - ti - o, b b b b b b # n# # j n J # n j n n n

23 2 20 bb b bb b b b b b b b bb b b b b j men tro J J - tum sen - su - um de - fec - tu - i, prae - stet fi - des sup - ple - men - tum sen - su - j J j n J j n n J n J n - que com - pat sit lau - da - ti - o. pro - ce - den - ti ab u - tro - que com - par b b b n b J prae - stet fi - des sup - ple - men - tum sen - su - b b b b b b b b b j n pro - ce - den - ti ab u - tro - que com - par n j # # n n b J n nn j J b b

24 24 0 bb b n n n c bb b n n n c b b b n n n c b b b n n n c bb b um de - fec - tu - i. A - men. A men. n n n c b b b sit lau - da - ti - o. A - men. A men. n n n c b b b b b b um de - fec - tu - i. A - men. A men. b b b sit lau - da - ti o. - A - men. A men. n n n c n n n c b b b n n n c n n n c

25 1 c [Allegro] III Christmas Anthem 'Welcome Our Lord' Chorus Soprano I 25 c c c c Chorus Soprano II c Chorus Altos c c c [Allegro] [f] c Ó Ó Ó Ó b # # # # # # # # b R

26 26 10 w b b R J # J # n # J J J w b b # b b # # pp w J f # #

27 27 17 Ó r R r Wel come Our Lord, Wel-come Our Lord, the hope of Is - rael's Ó r R b r r Wel come Our Lord, Wel-come Our Lord, the hope of Is - rael's Ó r r r # Wel come Our Lord, Wel-come Our Lord, the hope of Is - rael's # # # b# # # # ## b# Ó Ó

28 28 25 # Ó r R R r Ó # R race, the mes - sen ger of truth, of peace, of truth, of peace and grace; Your pp r R hearts in j Ó r R r # r r r r race, the mes - sen ger of truth, of peace, of truth, of peace, of peace and grace; Your hearts in ho - j Ó r r r # r j r # # n r # r n r race, the mes - sen ger of truth, of peace, of truth,ofpeace and grace of truth, of peace and grace; Your hearts in pp pp ## Ó J J Ó J

29 29 2 # # R R Ó b b R n R ho - ly, in ho - ly right - eous ness pre - pare; be-hold, be - hold, be-hold, be f n # r # j b r - lyright-eous ness pre-pare, yourhearts in ho - ly right-eous ness pre-pare. Be-hold, be hold, be-hold your long'd ho - ly, in ho - ly right - eous ness pre - pare. Be-hold, be - hold, be-hold, be f f j r j r r # j Ó b r b j r b j b b b Ó b f b j j n b b J

30 0 7 J r J # J R J Ó hold your long'd for wish, re-demp - tion near, re - demp tion near, re -demp - tion near. J r J J r j Ó for, your long'd for wish, re - demp - tion near, re - demp tion near, re -demp - tion near. j r J b j r J Ó Ó j hold your long'd for wish, re - demp - tion near, re - demp tion near, re -demp - tion near. The glo - ry burst - ing j Ó # J j Ó # # j j j p j j j j j

31 1 44 Ó r And fix a - r j # j r r j from the az - ure skies, O'er Ju-dah's bles - sed, bles - sed land ef - ful - gent rise. J # j j j j j j # J # n j j

32 2 51 # n r # # j Ó midst her hillsandplains, its soul, its soul; When truth, when truth and jus-tice, graceandmer - cy meet, # When truth and # # j j j j j j j j # j #

33 58 # The hea - then gloom Our Lord shall chase a- way, and ush - er # r Ó Ó r j Ó when grace and mer-cy meet. Shall chase a- way, j r # grace,when grace and mer-cy meet. Ó Ó r j Ó Shall chase a- way, j # J [f] p j r j j j j J j j j # j j j j #

34 4 65 j J J in a new and glo -rious day, glo-rious day, and from His own great sa-cri-fice and will the pro - mised grace to Chris - tian and # n Ó j J from His own great sa-cri-fice and will, the pro - mis'd grace to Christ -ian Ó r Ó Ó r a new and glo-rious day, great sac-ri-fice and will Ó j j j j j J J J J j j j

35 5 71 j j j # R n # R n men ful- fil, from His own great sa - cri- fice, from His own great sa - cri- fice, the pro - mised grace to Chris -tian rall n b j # j b j Ó n j Ó b b men ful - fil, great sa - cri-ficeandwill, the pro mis'dgrace, the pro - mis'd # j Ó j Ó j the pro - mis'd grace, great sa - cri-ficeandwill, the pro - mis'dgrace, the pro - mis'd Ó # j # # J R J # n # b n J # # n # rall n b n J J b # #

36 6 [a tempo] 78 rall p dim Ó J men ful -.fil, grace to Chris- tian men ful - fil, to # U J R b Chris -tian men ful - fil, and from His own r j Ó great, great sa-cri-fice and will, U Adagio U U j U Ó w grace, the pro-mis'd grace to Chris- tian men ful - fil, ful - fil, and from His own j Ó Ó r # # j Ó grace, U j r j r dim b r j Ó great, great sa-cri-fice and will, r j to Chris-tian men ful - fil, ful - fil, and from His own great, great sac-ri-fice and will, thepro-mis'd U U [a tempo] w j U Ó u ẇ j j rall bn j j Adagio b j j j Ó [f] # # # # Ó [p] wu Ó u b J J J p

37 7 86 a tempo [Allegro] r b J Ó the pro -mised grace to Chris-tian men ful - fil. r b # j Ó the pro -mised grace to Chris-tian men ful - fil. b j Ó grace to Chris-tian men ful - fil. bw Ó b j Ó b w w a tempo [Allegro] j R J R J R f J b J # n R J R R # J R b J ff b J [dim] b Ó J

38 8 9 U b 4 Ó r He saw the U b 4 U b 4 U b 4 U b 4 U b 4 U b 4 U b 4 b b [p] b J b j b b # b U 4 b b # # U j b 4 j j j j

39 9 99 J r r n J J b na - tions lie all per - - ish - ing in sin, and pi - tied the sad state the great world was b b b b b b b b b n # j J J j j j j j j J J J

40 b n n J in, the great was in, Ah! b b b b b r J R Ar - ray'd in mor - tal flesh He like an an - gel stands, hol - ding e - b b b b n n... J b # # j... j nb j J.. # j j J j

41 41 11 b b b b b R J r Give thanks a loud R J R - to God, to God the Heav'n - ly King, and let the b ter - nal, hol - ding e - ter-nal peace. b b b b # b j j j j J J j j J j j J j n j n

42 b b b b b R # r j Ó r spa The - cious earth His great mer - cy sing. b Ó r r n # To Him with joy, we bow in Him u-ni - ted, u - ni - ted stand. b b b n..... J. b j j j j # # n# # #. # # #... # #. J.

43 128 b n J r R J r Ah! To Him with joy we bow, To 4 b b b b li r # j R # j n J r R J r - ving tem - ple grows and owns its ma - kers hand. Ah! To Him with joy we bow, To b n J r R J r Ah! To Him with joy we bow, To b b b b #. #... J.. n #..... # # J # J n n J R n

44 44 17 b R J R j R j Him u - ni - tedstand. The li - ving tem - ple grows and owns its ma -ker's hand. Give thanks a - loud to God, b b b b R J R j Ó r # Him u - ni - tedstand. The li - ving tem - ple grows and owns its ma -ker's hand. Give thanksa b R J R j Ó Him u - ni - tedstand. The li - ving tem - ple grows and owns its ma -ker's hand. Give thanksa b r # b b b # J R n fij n fi j # n n j J # #

45 b R j r b R J R R n J R R J R togod the heav'n - ly King, give thanksa-loud to God, give thanks a-loud to God, to God, and 144 affretando e cresc b 45 b b b r # r j n r J # R loud to God, to God the heav'n-ly King, give thanks a-loud give thanks to God, give thanks to God, b r # loud to God, to God the heav'n-ly King, give thanks a-loud give thanks to God, give thanks to God, r j r j r j b b bn n fi j # # n b j r n n j r # j r b n #

46 a tempo 1. b R r j R let,andlet the spa cious earth, His great mer cy - sing. Give thanks a - sing. b 2. piu mosso j Ó R Ho b b b j j r j Ó n R and let the earth, and let the earth His great mer cy Ho - sing. sing. n b - san - na. b r n and let the spa - ciousearth His great mer - cy sing, sing. Ho -san - na. b j b r b b b b a tempo R r n b j n fij J b b n piu mosso bn b n b bn

47 b n # Ó n r san - na, Ho -san - - na, Ho-san - - b b b b Ó # r Ho -san - - na, Ho-san - - b Ó r Ho -san - - na, Ho-san - - b b b b n n b b n b n b [mf] [f] [f] bn bn bn b bn

48 b U na in ex - cel sis. U b U U b U U b U U b U j na in ex - cel sis. U b U U b U na in ex - cel sis. U b U U b b U n U [ff] R R r U r U

In Memoriam Dame Nellie Melba

Australian Music Series MDA011 In Memoriam Dame Nellie Melba For Three Female Voices Melbourne, March 1931 Fritz Hart Kent, 1874 Honolulu, 1949 Edited by Richard Divall Music Archive Monash University