Итальянские песни (Mehrstimmige italienische Gesänge), WoO 99

Время создания: 1801-03 гг.
Автор текста: Pietro Metastasio

1. Bei labbri, che Amore, WoO 99 №1, Hess 211
2. Sei mio ben, WoO 99 №4, Hess 231
3. Scrivo in te, WoO 99 №11, Hess 215
4. Fra tutte le pene, WoO 99 №3a
5. Salvo tu vuoi lo sposo? WoO 99 №12b, Hess 228
6. Ma tu tremi, WoO 99 №6, Hess 212
7. Giura il nocchier, WoO 99 №5b, Hess 227
8. Per te d'mico aprile, WoO 99 №9, Hess 216
9. Fra tutte le pene, WoO 99 №3b, Hess 225
10. Quella cetra ah pur tu sei, WoO 99 №10b, Hess 218
11. Chi mai di questo core, WoO 99 №2, Hess 214
12. Già la notte s'avvicina, WoO 99 №4b, Hess 223
13. Nei campi e nelle selve, WoO 99 №7a, Hess 217 (версия 1)
14. Nei campi e nelle selve, WoO 99 №7b, Hess 220 (версия 2)
15. Fra tutte le pene, WoO 99 №3c, Hess 224 (версия 1)
16. Fra tutte le pene, Hess 210 (версия 2)
17. Quella cetra ah pur tu sei, WoO 99 №10a, Hess 213 (версия 1)
18. Quella cetra ah pur tu sei, WoO 99 №10c, Hess 219 (версия 2)
19. Giura il nocchier, Hess 230 (версия 1)
20. Giura il nocchier, WoO 99 №5a, Hess 221 (версия 2)
21. Già la notte s'avvicina, WoO 99 №4a, Hess 222

Heidi Person, сопрано
Peter Maus, тенор
Ralf Lukas, баритон
Christina Klopsch, сопрано
Astrid Pilzecker, контральто
Joachim Vogt, тенор
Günter Beyer, бас
Gisela Fetting, сопрано
Wolfgang Wagner, тенор
Siegfried Hausmann, бас
Hella Weigmann, контральто

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

автор текста:  Pietro Metastasio (из La gelosia)

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]

автор текста: Pietro Metastasio (из Il Ritorno, Cantata XIV)

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

автор текста: Pietro Metastasio (из Cantate, №3)

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

автор текста: Pietro Metastasio (из кантаты "La gelosia")

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

автор текста: Pietro Metastasio

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.