46 FauneBarberini
Fauno Barberini
 
If I ask you the names of Italian composers, it's easy, isn't it? If I ask you Italian composers not known because of their operas... not that easy. And what about Italian song composers? Well, it's becoming increasingly difficult... But we all know Italian song composers! The 19th-century Italian salons weren't unaware of that fashionable entertainment and the most important opera composers (Rossini, Donizetti, Bellini or Verdi) wrote some romanze di salotto, clearly of operatic inspiration, to be performed by amateur singers and pianists with some technical background; Towards the end of the century, the canzone napoletane, originally traditional song, also became parlour songs. Neither a type of song nor the other had artistic aspirations nor, in case they were written from poems, they looked for the relationship between music and poetry that characterizes Lied, so they're not considered Art Song. Some time ago, during our summer holidays, I allowed myself to present a romanza by Paolo Tosti, Vorrei morire, that reliably proofs that we can find wonderful songs in every genre.
 
In Italy, as in France, England, Russia and so many European countries, the need for an own Art Song also arose, coinciding with a cultural resurgence. The pioneers of this genre, called lirica da camera, are the composers born around 1880, known for this reason as Generazione dell'Otanta. Today, for the first time, we will listen to an Italian Art Song (well, it only took me almost six years!): one of the songs of Deità silvane, a song cycle by Ottorino Respighi (1879-1936). The composers of the Generazione dell'Ottanta developed the new genre according to two tendencies: the most innovative, both in technique and style, represented, for example, by Alfredo Casella, and the most traditionalist, that re-elaborated the inherited musical materials; Respighi worked in this line.
 
The composer was born in Bologna, in a family of musicians, and he attended the conservatory of his place. To complete his education, he spent som time in Moscow, as the first violinist of an orchestra; during that time he studied composition and orchestration with Rimsky-Korsakov; He also lived for a while in Berlin, working as a pianist at a singing school, to learn about Lied and vocal music. Today he's well known for his symphonic works, for instance the symphonic poems Pini di Roma, Fontane di Roma and Feste Romane, but he also wrote chamber music and very successful operas.
 
Of course, he also wrote songs, about sixty. He composed Deità silvane in 1917, first for voice and piano and later for an ensemble of eleven instruments. Despite Respighi's influences, we don't hear German echoes in this cycle, but French echoes; At that time of his life, the composer was very interesting in Impressionism and Debussy. Antonio Rubino's poems are also related to symbolism so, all in all, the cycle has a French atmosphere, while still sounds Italian (what kind of Italian Song would be otherwise?).
 
The beginning of the cycle introduces us in a mythological scene, with fauns and nymphs running around the Garden of the Hesperides (at least, I think so, since we'll find there the nymph Egle). Respighi was fascinated with the rediscovery of ancient Italian music, as a musicologist he recovered many works and wrote from these pieces his three collections of Antiche Arie and Danze, and, by extension, he was also very interested in classical times. Please allow me a digression, taking advantage of our friendship: when I hear about fauns, the images of Fantasia, Beethoven's Sixth Symphony part, come to my mind, I can't avoid it; I don't think a photogram of that film is the best option to illustrate this post, so I chose instead the magnificent Fauno Barberini that welcomes us at the Munich Glyptothek. But maybe some time... Back to Respighi's cycle, the second song, Musica in horto, keeps us in the same cheerful atmosphere; the third one is the dance of Egle; The fourth, Acqua, suggests that something is changing and the last one, Crepuscolo, places us in a decadent garden, where the powerful faun has become a marble statue and the singing fountain is now dry.
 
We're listening to the first song, I fauni. We hear in the music the fountain, the fauns chasing the nymphs, the nymphs laughing, the flute of the shepherd... A really pastoral scene far from the sad end a few songs later. Our version will be that of Rosa Feola and Iain Burnside.
 
 
I fauni
 
S'odono al monte i saltellanti rivi
Murmureggiare per le forre astruse,
S'odono al bosco gemer cornamuse
Con garrito di pifferi giulivi.
E i fauni in corsa per dumeti e clivi,
Erti le corna sulle fronti ottuse,
Bevono per lor nari camuse
Filtri sottili e zeffiri lascivi.
E, mentre in fondo al gran coro alberato
Piange d'amore per la vita bella
La sampogna dell'arcade pastore,
Contenta e paurosa dell'agguato,
Fugge ogni ninfa più che fiera snella,
Ardendo in bocca come ardente fiore.
One hears in the hills the bubbling brooks
Murmuring through the dark ravines,
One hears in the woods the groan of the bagpipes
With the chirp of merry fifes.
And the fauns racing over hills and through thickets,
Their horns erect above their broad foreheads,
Drink through their blunt, upturned nostrils
Subtle potions and lascivious winds.
And, while beneath the great choir of trees,
They weep, for love of the beautiful life:
The bagpipes of the arcadian shepherd.
Happy and fearful of the impending ambush,
The nymphs flee, faster than wild gazelles,
Their ardent lips like blazing flowers!.


(translation by Emily Ezust)

 
Add comment

Comments (2)

  • Elena

    Fantàstics textos de Antonio Rubino polifacètic caricaturista i escriptor.

    Els grecs antics veien en tots els fenòmens ordinaris de la natura alguna manifestació divina: rius, arbres, muntanyes, prats…tot tenia vida i encarnava divinitats superiors. La música de Respighi respira tota aquesta vida i llebertat. En l cicle es fa sempre referència a un enamorat que s’expressa cantant o tocant un instrument, aquest bé podria ser el sàtir Silè i, com ve dius Sílvia, la protagonista d’aquests amors: Eglé. Ells dos tenen el seu propi mite.

    Eglé , la més bonica de les Nàiedes, mare de les Gràcies, etimologia del seu nom brillantor o esplendor, doncs era la néta de Helios, tenia el costum de tenyir-se la cara amb suc de mores. Silè, Reconegut com el més vell, savi i borratxo entre els sàtirs estava profundament enamorat d'ella.
    Un dia que estava ben adormit pel vi, Eglé el troba i li fa una entremaliadura: el lliga amb guirnaldes i el pinta la cara amb mores. Quan es desperta, demana ser alliberat però ella li demana que un cant a canvi d'alliberar-lo, a la qual cosa accedeix per l'amor que li té. Quan ell es posà a cantar tots els faunes i animals salvatges el van acompanyar.
    A Silè se li atribueix la saviesa dionisíaca; la força del destí i la natura, en contra de la raó, o el sentit tràgic de l'existència. Que volent trobar relació ens portaria a l'última obra del cicle: Crepuscle. On la natura ha envellit, és estèril, ha perdut tota la màgia divina; el món està cansat i la nit dels temps arriba. L'home ja no creu.
    Realitat o literatura???

  • Sílvia

    Bon dia Elena! Una bona coneixedora de Rubino i Respighi! Moltíssimes gràcies pels detalls, molt il·lustratiu. M'encanten aquestes històries mitològiques. Realitat o literatura, bona pregunta... La veritat és que quan escoltes el cicle sencer es pot "veure" a la música com el bosc es va enfosquint, va perdent la vida i la brillantor...

We talked about the composers...

and about the poets...

They sang...

and were accompanied by...

LIFE Victoria 2019

Series

The 10 saddest songs
serie tristes
The 10 happiest songs
serie felices
Ten buggy songs
serie cuques
Wilhelm Meister's Songs
serie Wilhelm
Lied goes pop
serie pop
Abecedari Liederabend
serie abecedari
The ESMUC Master's Degree in Lied visits us
serie esmuc

We use cookies to improve our website and your experience when using it Learn more

I understand