Итальянские песни (Mehrstimmige italienische Gesänge), WoO 99

Время создания: 1800 Автор текста: Pietro Metastasio
  • №1 Bei Labbri Che Amore (Hess 211)
    (beethoven-haus-bonn.de)
  • №2 Chi Mai Di Questo Core (Hess 214)
    (beethoven-haus-bonn.de)
  • №3a Fra Tutte Le Pene
    (beethoven-haus-bonn.de)
  • №3b Fra Tutte Le Pene (Hess 225)
    (beethoven-haus-bonn.de)
  • №3c Fra Tutte Le Pene (1 версия)
    (beethoven-haus-bonn.de)
  • №4a Gia La Notte Savvicina (Hess 222)
    (beethoven-haus-bonn.de)
  • №4b Gia La Notte Savvicina (Hess 223)
    (beethoven-haus-bonn.de)
  • №5a Giura Il Nocchier (Hess 221) (2 версия)
    (beethoven-haus-bonn.de)
  • №5b Giura Il Nocchier (Hess 227)
    (beethoven-haus-bonn.de)
  • №6 Ma Tu Tremi (Hess 212)
    (не полностью, beethoven-haus-bonn.de)
  • №7a Nei Campi E Nelle Selve (Hess 217) (1 версия)
    (beethoven-haus-bonn.de)
  • №7a Nei Campi E Nelle Selve (Hess 217) (2 версия)
    (beethoven-haus-bonn.de)
  • №9 Per Te Damico Aprile (Hess 216)
    (beethoven-haus-bonn.de)
  • №10a Quella Cetra Ah Pur Tu Sei (Hess 213) (1 версия)
    (beethoven-haus-bonn.de)
  • №10b Quella Cetra Ah Pur Tu Sei (Hess 218)
    (beethoven-haus-bonn.de)
  • №10c Quella Cetra Ah Pur Tu Sei Hess 219) (2 версия)
    (beethoven-haus-bonn.de)
  • №11 Scrivo In Te (Hess 215)
    (beethoven-haus-bonn.de)
В этот цикл также включают WoO 119: O care selve o cara These vocal settings were created during the years 1792 through 1801. At that time, Beethoven employed Antonio Salieri, who was a somewhat well-to-do musician, to give him free instruction in Italian song composition. Beethoven then composed these vocal pieces, mostly on texts (from the cantata La gelosia, etc.) by Pietro Metastasio (1698 - 1782), which he would submit to Salieri for appraisal and correction. While the duets, with their simple harmonizations in mostly parallel, consonant intervals, have the mark of student work, the musically rich possibilities of the vocal trio and above all the composition of the quartets reveal bewitching melodies with charm, grace, and a fully-matured beauty. It is especially fascinating to observe how much Beethoven struggled both with problems of compositional method and with musically expressing the poems, as can be seen in the various versions he would render of the same song: for example, "Fra tutte le pene" is offered in two duet versions, two trio versions, and two uniquely different quartet settings; "Nei campi e nelle selve" also is treated to two distinct musical settings for quartet; "Quella cetra ah pur tu sei" and "Giura il nocchier" each have two unique settings in different keys. Most of the simpler variations come through consideration of "meaningful" pauses in the rhythm of lines, perhaps "clipping" them for more rhythmic projection, or, conversely, creating an unrelenting on-rush of emotion. An especially subtle choice is made in the two sets of music for "Nei campi e nelle selve" where longer durations in the same tempo (quarter and half-notes within an Allegro) in the first composition are changed to notes of the same duration, but in an Adagio tempo and in a parallel minor key. Another significant change is in the coda of this tune where the first composition cadences in sustaining chords under an inverted pedal point held in the soprano voice. This goes to the other end of the expressive spectrum in the second composition, becoming a series of short hocketing rhythms. Modifications in the other songs are made in the pitch direction of the melodies, in the inner part-writing, and in some cases in the addition of significant melismatic figurations (for example, the lovely cascading scales midway through the "zweite komposition" quartet of "Fra tutte le pene"). As in the case of Goethe's poem "Sehnsucht," which Beethoven attempted four times in succession, he took up the texts here time and again, seeking better and better solutions. In some cases, a progression of musical ideas can also be observed from piece to piece; for example, the use of tripping major thirds, two per one-syllable word, in the B flat major setting of "Giura il nocchier" and its immediate successor "Già la notte s'avvicina." The single melody line for tenor "E pur fra le tempeste," with piano accompaniment by W. Hess, is also generally included with this set of pieces. ("Blue" Gene Tyranny, Rovi, answers.com)
1. Bei labbri che Amore Текст (автор текста: Pietro Metastasio (1698-1782), из La gelosia) Сочинения на тот же текст: Г. Доницетти, "Amor corrisposto", для голоса и фортепиано Д. Мейербер, "Bei labbri, che amore", 1810, для голоса и фортепиано, Sei canzonette italiane, №4. Bei labbri, che Amore formò per suo nido, non ho più timore, vi credo, mi fido: giuraste d'amarmi; mi basta così. Se torno a lagnarmi che Nice m'offenda, per me più non splenda la luce del dì.
2. Chi mai di questo core [setting text verified] Текст (автор текста: Pietro Metastasio (1698-1782), из Il Ritorno, Cantata XIV Сочинения на тот же текст: Г. Доницетти, "Ah rammenta o bella Irene" Chi mai di questo core Saprà le vie secrete, Se voi non le sapete, Begli occhi del mio ben? Voi, che dal primo istante, Quando divenni amante, Il mio nascosto amore Mi conosceste in sen?
4. Già la notte s'avvicina Текст (автор текста: Pietro Metastasio (1698-1782), из Cantate, №3 Сочинения на тот же текст: Д. Россини, "La pesca", Serati Musicali. Isabella Colbran Rossini (1785-1845) , "Già la notte s'avvicina" Georgine Schubert (1840-1878) , "Gondoliera", published 1875 [вокальное трио для женских голосов с фортепиано], сборник Lieder und Gesänge, Erste Folge, no. 7, Dresden, Hoffarth Già la notte s'avvicina, viene o Nice, amato bene, della placida marina le fresch' aure a respirar. Non sa dir che sia diletto chi non posa in queste arene or che un lento zefiretto dolcemente increspa il mar.
5a и 5b. Giura il nocchier Текст (автор текста: Pietro Metastasio, 1698-1782) Сочинения на тот же текст: Д. Мейербер, "Giura il nocchier che al mare", 1810, для голоса и фортепиано, Sei canzonette italiane, №3. Giura il nocchier che al mare non presterà più fede, ma se tranquillo il vede corre di nuovo al mar. Di non trattar più l'armi giura il guerrier tal volta, ma se una tromba ascolta, già non si sa più frenar.
7. Nei campi e nelle selve Текст (автор текста: Pietro Metastasio, 1698-1782) Nei campi e nelle selve seguivo già le belve, pascevo il gregge ancor libero pastorello, libero cacciator. Ora non son più quello: perdei la libertà. E quel ch'è peggio, oh Dio, come se il mio tormento colpa non sia di lei, mostrare al mio lamento Clori non vuol pietà.