ROSSINI Péchés de vieillesse • 9 (Sins of Old Age) Chamber Music and Rarities • 2 Alessandro Marangoni, Piano Laura Giordano, Soprano • Alessandro Luciano, Tenor Bruno Taddia, Baritone Gioachino from Volume III – Morceaux réservés 0 No. 2, L’esule, for tenor and piano 4:07 ROSSINI ! No. 9, Le Sylvain (Romance), for tenor and piano 8:26 (1792–1868) from Volume II – Album français PÉCHÉS DE VIEILLESSE • 9 @ No. 2, Roméo, for tenor and piano 4:41

(Sins of Old Age) Unassigned Chamber Music and Rarities • 2 # Allegretto moderato, for piano (1862)* 0:18 $ Allegretto ‘del pantelegrafo’, for piano (1860)* 0:15 from Volume I – Album italiano % Allegretto – Un rien, for piano (1860)* 0:18 1 No. 3, Tirana alla spagnola (rossinizzata), for soprano and piano 6:36 ^ Vivace, for piano (1846)* 0:14 2 No. 5, La fioraja fiorentina, for soprano and piano 4:24 from Volume I – Album italiano from Volume XI – Miscellanée de musique vocale & No. 4, L’ultimo ricordo, for baritone and piano 3:51 3 No. 7, Arietta all’antica, dedotta dal ‘O salutaris Hostia’, for soprano and piano (1857) 2:16 from Volume II – Album français * No. 8, Le Lazzarone. Chansonette de cabaret, for baritone and piano 3:26 from Volume II – Album français 4 No. 3, La grande coquette (Ariette Pompadour), for soprano and piano (1862) 4:56

from Volume III – Morceaux réservés Alessandro Marangoni, Piano 5 No. 8, Au chevet d’un mourant (Élégie), for soprano and piano 6:30 Laura Giordano, Soprano 1–7 Unassigned Alessandro Luciano, Tenor 8–@ 6 Mi lagnerò tacendo, for soprano and piano* 1:00 Bruno Taddia, Baritone &–* from Volume XI – Miscellanée de musique vocale 7 No. 3, Amour sans espoir (Tirana à l’espagnole rossinizée), WORLD PREMIERE RECORDING * for soprano and piano 6:46

from Volume I – Album italiano 1 5 7 @ & * 8 No. 2, La lontananza, for tenor and piano 5:07 Publishers: Fondazione Rossini, Pesaro, Italy – ; – ; – 6 9 No. 11, Il fanciullo smarrito, for tenor and piano 3:34 Unpublished manuscripts: Philip Gossett private collection and Private Collections #–^

Special thanks to Pierangelo Conte and Giovanni Verona (Maggio Musicale Fiorentino) Thanks to Reto Müller and Sergio Ragni Gioachino Rossini (1792–1868): been one of the foremost publishers of works by Rossini as devote yourself to archaeology and leave composition to me.’ early as the 1820s and had made a remarkable assessment He dedicated his own setting (Volume I, No. 11 9), which Péchés de vieillesse: Chamber Music and Rarities • 2 of Rossini’s late works as his ‘most illustrious period. What he imitates the characteristic tinkling of the bell, to Castellani, who When, in 1867, Rossini began organising the compositions solo numbers for soprano, tenor and baritone from the three composes daily are a series of masterpieces that seems as published it in 1881, commending it to ‘tenorini di grazie’. he had been accumulating over the previous ten years or so, albums discussed above and adds a couple of miniature gems. though it will never end.’ Émilien Pacini was also the poet behind Roméo (Volume II, which he termed Péchés de vieillesse (‘Sins of Old Age’; the In his youth, when he was writing operas, Rossini had Interestingly, none of the pieces for tenor and baritone seem No. 2 @), a despairing lament on the part of Romeo over the form of the titles given here preserves Rossini’s orthography), only ever composed when he had a definite end in mind and to have been based on the Metastasio text. All were probably presumed death of his Juliet (which Rossini also pressed into into albums, he was motivated not just by tidiness, but also by a libretto. In his old age, he also developed musical ideas directly inspired by the final poems. When Rossini had been service as an Allegro agitato for cello and piano), and the quirky a clear-cut objective relating to their publication. He intended when he didn’t have a poem available. When spontaneously composing operas, male voices had only been divided into Le Sylvain (‘The Wood-Sprite’, Volume III, No. 9 !), about a his wife, Olympe, to be able to sell the pieces to publishers on inscribing album leaves, he always drew on the words of an tenors and basses. ‘Baritone’ was a concept that only gained Silenus or faun whom the beautiful nymphs avoid because of the most advantageous terms possible after he had died. The aria from Metastasio’s Siroe, “Mi lagnerò tacendo / della mia currency around the middle of the 19th century, hence Rossini’s his savage ugliness. albums contain a varied selection of pieces – the classic dozen sorte amara …” – ‘I shall mourn in silence my unhappy fate…’. occasional flippant labelling of this voice-category as ‘baryton Both before and during the period of his ‘Sins of Old Age’, in most instances – in groupings based on content, musical (This disc includes the premiere recording of an undated moderne’. Le Lazzarone. Chansonette de Cabaret (The Idler. Rossini also noted down numerous pieces that were too short criteria and the forces required. This can be seen most clearly example 6.) He often used the same lines, stripped of any A Little Cabaret Song’) was only assigned to the baritone as to be included in his ‘publication project’. Most are album in the first three vocal albums,Album Italiano (Volume I), Album semantic connotation, to provide a syllabic underlay for more a second step, whilst L’ultimo Ricordo (‘The Final Keepsake’) leaves which, because of their nature as works dedicated to français (Volume II) and Morceaux réservés (Volume III), all of demanding compositions – a tirana, or Andalusian dance-song, remained earmarked simply for ‘Canto’ (voice). Rossini clearly individuals, neither remained in his possession nor made which feature a balanced blend of solo and ensemble pieces for example: Tirana alla Spagnola (Rossinizzata) (‘Tirana in did not wish to describe himself as a baritone, although, as a fine their way to Pesaro with the albums, instead being scattered arranged in a broadly symmetrical fashion. It is also possible the Spanish Manner, given the Rossini treatment’, Péchés de exponent of his Figaro aria, that was probably exactly his vocal around in archives and private collections all over the world. to make out patterns in the keys or the ‘stories’ that have been vieillesse, Volume I, No. 3 1). Sometimes he would ask one tessitura. In this piece (Volume I, No. 4 &), by replacing the It is possible that more could come to light at any time. Often set to music. of his house poets to write some suitable verse for music that name Elvira with Olimpia, he applies an old poem by Giovanni the lack of a specific dedication means that the recipient of the After Volumes IV to X, which are devoted to piano and other had been composed in this manner. In this case, the result was Redaelli about a dying husband to himself. In Le Lazzarone album leaf can no longer be determined. The ten-bar Vivace ^ instrumental music, comes a Miscelanée de Musique Vocale Amour sans espoir (Tirana all’Espagnole Rossinizée) to a text (Volume II, No. 8 *), to words by Émilien Pacini (whose father dated ‘Bologna, 19th March 1846’, had already formed part of a (Volume XI). Although the title betrays a less coherent collection by Émilien Pacini (‘Love Without Hope [a tirana in the Spanish was Neapolitan by birth), on the other hand, he was indulging longer composition which Rossini had dedicated to one Marietta of ten ‘surplus’ pieces, here too it is possible to make out a manner given the Rossini treatment]’, Volume XI No. 3 7). With his youthful memories of Naples (about which he had written in Lombardi on 1 January 1846. An Allegretto moderato, dated ‘G. common thread in the domestic and religious subject-matter. a few alterations to the tune and accompaniment, of course. 1815: ‘Everything is beautiful, everything astounds me’). Rossini, Paris, 1862’ # is another of his favourite pieces for In this anthology, Rossini’s autographs are presented just as Pacini also wrote some fairly free verses to fit the music for The tenor voice is given genre songs and character pieces. album leaves and visiting cards, as is the Allegretto – Un rien Olympe handed them over to his home-town of Pesaro, as La grande coquette (Ariette Pompadour) (‘The Great Coquette In La Lontananza (‘Distance’, Volume I, No. 2 8), Giuseppe (‘A Trifle’ %) with its typical upwards glissando, dated ‘Paris, dictated by his last will and testament. (Today, they are curated [Pompadour Arietta]’, Volume II, No. 3 4), which he dated ‘29th Torre, a Genoese librettist and poet, wrote a loving greeting 12th Dec. 1860, G. Rossini’. Another Allegretto $ had a specific there by the Fondazione Rossini.) January 1862’. La Fioraja Fiorentina (‘The Florentine Flower from a far-away husband, and in L’Esule (‘The Exile’, Volume III, purpose: it was to be sent by telegraph from Paris to Amiens. At Rossini had copies made of all the pieces, checking and, Girl’, Volume I, No. 5 2), one of the many ‘alms’ songs in No. 2 0) described the homesickness of an émigré. Although the foot of the work are the words ‘For G. Caselli | G. Rossini | where necessary, correcting and completing them before Péchés de vieillesse, was also composed to Metastasio’s text, Rossini rejected seditious ideas and kept out of politics, as Paris, 22nd January 1860’, and underneath the recipient added: signing them. In particular, he also added metronome markings, and its main tune can already be found in album leaves dating early as the 1830s he had had contact in Paris with many of his ‘Autograph by Gioacchino Rossini, cabled from Paris to Amiens which he never included in his own autographs unless his from 1848 and 1852. In this instance it was probably Giuseppe compatriots who had to leave Italy after the failed independence | G. Caselli’. It was the first transmission of a ‘fax’ using the publisher requested them – a clear indication that it was his Torre who wrote the new text. movements of 1831, and as this song demonstrates, he was ‘pantélégraphe’, a device invented by Giovanni Caselli that intention to create accurate, print-ready master copies that his Other pieces made the reverse journey. The Arietta well able to understand their feelings. Rossini gave Torre used telegraphy to transmit documents, and was an effective wife would only need to sell on, without having to part with the all’antica, dedotta dal ‘O Salutaris Ostia’ (‘Arietta in the antique separate copies of both the pieces on 20 August 1858. piece of publicity. Contrary to what might be expected of him, autographs. This is what she did, and a significant number of manner, derived from “O salutaris hostia”’, Volume XI, No. 7 3) The Roman archaeologist Alessandro Castellani was Rossini’s gesture demonstrates that he was in no way averse to such authenticated manuscripts survived and were acquired in is a revised version of an a cappella quartet that Rossini had another exile. In 1861 he showed Rossini Il Fanciullo Smarrito technological innovation! 1996 by Harvard University’s Houghton Library. composed for the periodical La Maîtrise in 1857. (‘The Missing Child’), a song for which he had written both While the albums in their original form certainly have a Finally, there are numerous pieces that represent direct words and music, about the search for a little boy and a bell Reto Müller raison d’être and each can deliver a varied concert programme, settings of new poems. Au chevet d’un Mourant (Elégie) (‘At to summon attention. Rossini’s reaction was: ‘My dear boy, Translation: Sue Baxter Rossini’s salon practice was to take his cue from the artists the Bedside of a Dying Man [Elegy]’, Volume III, No. 8 5) sets available, each of whom would present pieces that were lines by Émilien Pacini without any intermediate stages; Rossini suitable for them at his Saturday soirées. Modern studio dedicated them to Pacini’s sister, Madame de Lafitte. The recordings have to be organised rationally, taking account of brother and sister were among seven children whose father, the album playing times. The present recording brings together the publisher Antonio Pacini, died on 10 March 1866. Antonio had Alessandro Marangoni, piano Alessandro Luciano, tenor Alessandro Marangoni studied piano with Maria Tipo. A winner of several national and A native of Rome, Alessandro Luciano studied piano from the age of seven international awards, including the prestigious ‘Amici di Milano’ International Prize, he has and subsequently dedicated himself to composition and conducting. He soon appeared throughout Europe, America and China, as a soloist and as a chamber musician, discovered his talent for singing and began studies with Romualdo Savastano and collaborating with leading performers, including Daniel Barenboim, Mario Ancillotti, Aldo in recent years has attended courses with Giuseppe Sabatini, Ernesto Palacio, Ceccato, Valentina Cortese, Enrico Dindo, Quirino Principe and Massimo Quarta. His Raúl Giménez and Robert Kettelson. He has worked with many prestigious recordings include an album of the piano works of Victor de Sabata for the 40th anniversary conductors including Myung-Whun Chung, Daniel Barenboim, Alberto Zedda, of Sabata’s death. For Naxos he has recorded the complete piano works of Rossini [Péchés Roberto Abbado, Gianluigi Gelmetti, Donato Renzetti, and directors such de vieillesse], Clementi’s Gradus ad Parnassum [8.572325-28] and Castelnuovo-Tedesco’s as Graham Vick, Georg Asagaroff, Damiano Michieletto, Davide Livermore, Piano Concertos [8.572823]. www.alessandromarangoni.com David Pountney and Emilio Sagi, among others. He has performed at the most important opera houses and concert halls including the Teatro alla Scala, the

Photo: Daniele Cruciani Photo: Roberto Recanatesi Teatro Real de Madrid, the Opéra de Monte-Carlo, the Teatro dell’Opera di Roma, the Teatro Comunale di Bologna, the Teatro Nacional de São Carlos in Laura Giordano, soprano Lisbon, the Welsh National Opera, the Israeli Opera of Tel Aviv, the Théâtre Royal Laura Giordano was born in Palermo and made her operatic debut at a young age in the de la Monnaie in Brussels, the Art Center of Seoul, and the Gasteig in Munich. title roles of the operas I pazzi per progetto by Donizetti and Adina by Rossini at the Teatro www.alessandroluciano.com Massimo in Palermo. Her career has since taken her to leading opera houses throughout Europe and the Americas, collaborating with the most distinguished conductors, including Riccardo Muti, Riccardo Chailly, Valery Gergiev, Daniel Harding, Gianandrea Noseda, Bruno Taddia, baritone Jesús López Cobos, Rinaldo Alessandrini, Yuri Bashmet, Christophe Rousset, Jean- Bruno Taddia studied violin in Genoa, composition and philosophy in Milan, and Christophe Spinosi, Alberto Zedda, Michel Plasson, Zubin Mehta, Antonio Pappano and voice with the bass Paolo Montarsolo. After his stage debut at the prestigious Myung-Whun Chung. Laura Giordano has recorded Vivaldi’s L’Olimpiade with Rinaldo Rossini Opera Festival he began to collaborate with many of the most important Alessandrini and a previously unpublished duet by Rossini with Riccardo Chailly. She sings opera houses in the world including the Teatro alla Scala, the Royal Opera Musetta in La Bohème on a DVD recorded at the Teatro Real de Madrid, Norina in Don House Covent Garden, the Deutsche Oper Berlin, and the Théâtre des Champs Pasquale conducted by Riccardo Muti, and Fulvia in La pietra del paragone conducted by Elysées to name a few, working with conductors such as Riccardo Muti, Roberto

Photo: Rosellina Garbo Jean-Christophe Spinosi, Corinna in Il viaggio a Reims recorded for Naxos [8.660383–84] Abbado, Gianluigi Gelmetti, Thomas Hengelbrock, Jean-Christophe Spinosi and Isabella in Donizetti’s Olivo e Pasquale. www.lauragiordano.com and Ottavio Dantone, among others. www.brunotaddia.com Photo: Matilde Fassò Gioachino Rossini (1792–1868): (Elégie) – Am Lager eines Sterbenden (Elegie) (5, PdV, III/8) gedichtetes und vertontes Lied Il Fanciullo Smarrito – Das vertont ohne Zwischenstufe Verse von Émilien Pacini, die vermisste Kind (9, PdV I/11), bei dem es um die Suche Péchés de vieillesse: Kammermusik und Raritäten • 2 Rossini dessen Schwester, Madame de Lafitte, widmete. Die nach einem Knaben mit einem Aufmerksamkeit heischenden Als Rossini 1867 damit begann, seine seit rund zehn Jahren Salon-Praxis nach den zur Verfügung stehenden Künstlern, beiden Geschwister waren zwei der sieben Kinder, die am 10. Glöckchen geht. Rossinis Kommentar dazu war: „Mein Lieber, angehäuften Kompositionen, die er als „Alterssünden“ die bei seinen „Samstagabenden“ jeweils passende März 1866 den Tod ihres Vaters Antonio Pacini beklagten, des widmet Euch der Archäologie und überlasst das Komponieren (Péchés de vieillesse, fortan PdV, hier mit den Titeln in Stücke präsentierten. Heutige Studioaufnahmen müssen Verlegers, der schon in den 1820er-Jahren einer der wichtigsten mir“. Seine eigene Vertonung mit der Nachahmung des Rossinis Schreibweise) bezeichnete, in Alben zu ordnen, rationell organisiert sein und die zeitliche Kapazität einer Herausgeber rossinischer Werke war. Vom ihm stammt auch charakteristischen Gebimmels widmete er Castellani, der es steckte dahinter nicht nur sein Ordnungssinn, sondern CD mitberücksichtigen. Die hier vorliegende Einspielung die bemerkenswerte Einschätzung von Rossinis Spätwerk 1881 publizierte und den „tenorini di grazie“ anempfahl. Pacini auch eine präzise publizistische Absicht. Nach seinem Tod versammelt die Solonummern für Sopran, Tenor und Bariton als seine „glorreichste Phase. Das sind nicht enden wollende wiederum ist der Dichter von Roméo – Romeo (@, PdV, II/2), sollte seine Frau Olympe die Stücke möglichst vorteilhaft aus den drei erwähnten Alben und ergänzt sie um ein paar Meisterwerke, die er täglich komponiert.“ einer verzweifelten Klage Romeos über den vermeintlichen Verlegern verkaufen können. Die Alben umfassen eine kleine Kostbarkeiten. Interessanterweise scheint keines der Stücke für Tenor und Tod seiner Julia (die Rossini auch für ein Allegro agitato für abwechslungsreiche Auswahl von Stücken – meist in der In seiner Jugend, als Opernkomponist, komponierte Rossini Bariton auf den Metastasio-Text entstanden zu sein; alle dürften Violoncello und Klavier diente), sowie des skurrilen Le Sylvain kanonischen Anzahl von zwölf Nummern –, angeordnet nach nur aus konkretem Anlass, mit einem Librettotext zur Hand; im direkt von den vorliegenden Gedichten inspiriert worden sein. – Der Waldgeist (!, PdV III/9), ein Silen oder Faun, der sich musikalisch, besetzungsmäßig und inhaltlich konsistenten Alter setzte er auch musikalische Ideen um, wenn ihm kein Zu Rossinis Opernzeiten wurden die Männerstimmen wegen seiner wilden Hässlichkeit von den schönen Nymphen Kriterien. Am besten ist das in den ersten drei Vokalalben zu Gedicht vorlag. Für die spontane Niederschrift von Albumblättern nur in Tenöre und Bässe unterschieden. Der Begriff Bariton gemieden sieht. beobachten, dem „Album Italiano“ – „Italienisches Album“ (ein undatiertes Beispiel ist hier erstmals eingespielt: 6) hatte setzte sich erst Mitte des Jahrhunderts durch, und so nannte Vor und während der Zeit seiner „Alterssünden“ schrieb (PdV, Band I), dem „Album français“ – „Französisches Album“ er stets die Worte „Mi lagnerò tacendo | della mia sorte amara Rossini diese Stimmlage zuweilen auch schnippisch „Baryton Rossini auch zahlreiche Stücke nieder, die zu kurz waren, (PdV II) und den „Morceaux réservés“ – „Reservierte Stücke“ […]“ – „Schweigend beklage ich mein bitteres Schicksal […]“, moderne“. Le Lazzarone. Chansonette de Cabaret – Der um in sein „Verlagsprojekt“ aufgenommen zu werden. Es (PdV III), die eine ausgewogene Durchmischung von Solo- frei nach einer Arie aus Metastasios Siroe, im Kopf. Dieselben Lazzarone. Kabarettliedchen wies er erst in einem zweiten handelt sich denn auch meist um Albumblätter, die wegen ihrer und Ensemblestücken in einer weitgehend symmetrischen Verse benutzte er oft ohne jegliche semantische Konnotation Schritt dieser Stimme zu, während L’ultimo Ricordo – Das Bestimmung als Dedikationswerke nicht bei ihm verblieben und Anordnung aufweisen; auch bei den Tonarten oder den als „Silbenlieferant“ für anspruchsvollere Kompositionen. So letzte Andenken weiterhin nur für „Canto“, für „Gesang“, nicht mit den Alben nach Pesaro gelangten, sondern auf der vertonten „Geschichten“ lassen sich Muster ausmachen. Nach dienten sie ihm für eine Tirana, eine in Andalusien beheimatete vorgesehen blieb; sich selbst wollte er offenbar nicht als Bariton ganzen Welt in Archiven und Privatsammlungen verstreut sind den der Klavier- und sonstigen Instrumentalmusik gewidmeten Tanz- und Gesangsform: Tirana alla Spagnola (Rossinizzata) bezeichnen, obwohl er als Meisterinterpret seiner Figaro-Arie und von denen jederzeit weitere auftauchen können. Oft lässt Alben IV bis X folgt eine „Miscellanée de Musique Vocale“ – Tirana nach spanischer Art (rossinisiert) (1, PdV, Bd. I, Nr. wahrscheinlich genau über diese Tessitur verfügte. In diesem sich die Bestimmung mangels einer namentlichen Widmung – „Gemischte Vokalmusik“ (PdV XI), deren Titel zwar eine 3). Manchmal bat er einen seiner Hausdichter um passende Stück (&, PdV I/4) übertrug er ein älteres Gedicht von Giovanni nicht mehr ausmachen. Das 10-taktige „Vivace“ (^), datiert weniger schlüssige Zusammenstellung von zehn „überzähligen“ Verse für die so entstandene Musik, was in diesem Fall Redaelli über einen sterbenden Gatten auf sich selbst, indem „Bologna, den 19. März 1846“, war bereits in einer längeren Stücken verrät; aber auch hier lässt sich mit den familiären zu Amour sans espoir (Tirana all’Espagnole Rossinizée) – er den Namen Elvira durch Olimpia ersetzte. In Le Lazzarone Komposition enthalten, die Rossini am 1. Januar 1846 einer und religiösen Sujets ein „roter Faden“ ausmachen. In dieser Hoffnungslose Liebe (Rossinisierte Tirana nach spanischer (*, PdV II/18) mit Worten von Émilien Pacini (dessen Vater Marietta Lombardi widmete. Ein „Allegretto moderato“, datiert Zusammenstellung präsentieren sich die Autografe des Art) mit Worten von Émilien Pacini führte, freilich mit einigen gebürtiger Neapolitaner war) frönte er hingegen seinen „G. Rossini, Paris, 1862“ (#), gehört genauso zu seinen Maestros, wie sie Olympe gemäß Rossinis Testament seiner Änderungen in Melodie und Begleitung (7, PdV XI/3). Auch Jugenderinnerungen an Neapel (worüber er 1815 schrieb: bevorzugten Stücken für Albumblätter und Visitenkarten Geburtsstadt Pesaro überlassen hat, wo sie heute von der für La grande coquette (Ariette Pompadour) – Die große „Alles ist schön, alles verwundert mich“). wie das „Allegretto“ Un rien – Eine Nichtigkeit, datiert mit Fondazione Rossini gehütet werden. Der Komponist ließ von Verführerin (Pompadour-Ariette) (4, Pdv II/3) schrieb Pacini Dem Tenor sind Genrelieder und Charakterstücke „Paris, den 12. Dez. 1860, G. Rossini“, mit seinem typischen allen Stücken Kopistenabschriften anfertigen, die er überprüfte, auf die zugrunde liegende Musik recht freie Versstrophen, die zugedacht. Giuseppe Torre, ein Genueser Librettist und Poet, Aufwärtsglissando (%). Ein weiteres „Allegretto“ ($) hatte eine wo nötig korrigierte und ergänzte und mit seiner Unterschrift er mit „29. Januar 1862“ datierte. La Fioraja Fiorentina – Das dichtete ihm mit La Lontananza – Die Ferne (8, PdV I/2) besondere Bestimmung: Es sollte mit dem Telegraf von Paris versah. Namentlich trug er auch die Metronomzahlen ein, Florentiner Blumenmädchen, eines der vielen „Almosen“- den Liebesgruß eines fernen Gatten und mit L’Esule – Der nach Amiens übermittelt werden. Unter der Komposition steht: was er auf seinen eigenen Autografen nie tat, es sei denn auf Lieder der PdV, entstand ebenfalls auf Metastasios Worte, Verbannte (0, PdV III/2) das Heimweh eines Emigranten. „Für G. Caselli | G. Rossini | Paris, den 22. Januar 1860“, und Verlangen seiner Verleger – ein klarer Hinweis darauf, dass und seine Hauptmelodie findet sich bereits in Albumblättern Obwohl Rossini umstürzlerische Ideen ablehnte und sich darunter ergänzte der Empfänger: „Autograf von Gioacchino Rossini präzise Druckvorlagen erstellen wollte, die seine Frau von 1848 und 1852. In diesem Fall hat wahrscheinlich aus der Politik heraushielt, hatte er schon in den 1830er- Rossini, das telegrafisch von Paris nach Amiens übermittelt nur noch zu verkaufen brauchte, ohne die Autografen aus Giuseppe Torre den neuen Text gedichtet (2, PdV I/5). Aber Jahren in Paris Kontakte zu vielen Landsleuten, die Italien wurde | G. Caselli“. Es war die erste publikumswirksame der Hand geben zu müssen. Das tat sie dann auch, und eine auch der umgekehrte Weg wurde beschritten: Die Arietta nach den gescheiterten Unabhängigkeitsbewegungen von Übermittlung eines „Faxes“ mit dem von Giovanni Caselli bedeutende Anzahl solcher authentifizierter Manuskripte ist all’antica, dedotta dal „O Salutaris Ostia“ – Ariette nach alter 1831 verlassen mussten, und er konnte ihre Gefühle bestens erfundenen „Pantelegraf“, der für die Übermittlung von erhalten geblieben und konnte 1996 von The Houghton Library Manier, abgeleitet aus „O salutaris hostia“ (3, PdV XI/7) ist nachvollziehen, wie dieses Lied zeigt. Beide Stücke überließ Dokumenten die Telegrafie nutzte. Anders als man vermuten der Harvard University erworben werden. die Neufassung eines Vokalquartetts ohne Begleitung, das Rossini in separaten Abfassungen am 20. August 1858 dem könnte, zeigte sich Rossini mit seiner Geste gegenüber der Während die Alben in ihrer originären Form durchaus Rossini 1857 für die Zeitschrift La maîtrise komponiert hatte. Dichter. Ein anderer Verbannter war der römische Archäologe technischen Erfindung keineswegs abgeneigt! ihre Raison d’être haben und je für sich abwechslungsreiche Und schließlich gibt es auch zahlreiche Stücke, die direkt auf Alessandro Castellani; er zeigte Rossini 1861 sein selbst Reto Müller Konzertprogramme bilden können, richtete sich Rossinis ein neues Gedicht entstanden sind. Au chevet d’un Mourant From Volume I – Album italiano à m’offrir sa tendresse... has rushed to offer me his love... Je les dédaigne tous. I reject all their advances. No. 3, Tirana alla spagnola Tirana in the Spanish Manner En vain chacun m’implore, In vain they fall to their knees, (rossinizzata) (given the Rossini treatment) me jure qu’il m’adore à genoux... beg me, swear they adore me... 1 Mi lagnerò tacendo I shall mourn in silence Je veux que l’on m’admire, I want to be admired, della mia sorte amara: my unhappy fate, pour moi que l’on soupire; I want to be desired; ma ch’io non t’ami, o cara, but, my love, do not hope de l’amour que j’inspire, but I just laugh non lo sperar da me. that I shall stop loving you. de ce brûlant délire at the love and passion moi je ne sais que rire. that I inspire. Crudel! In che t’offesi Cruel one, how did I offend you Ma foi! tant pis pour eux! Heavens! that’s their bad luck! Farmi penar così? that you can hurt me so? Malheur aux amoureux! A curse on all lovers! (Pietro Metastasio, 1698–1782) (Pietro Metastasio) La perle des coquettes... The queen of coquettes... No. 5, La fioraja fiorentina The Florentine Flower Girl ...J’ait fait trembler Pompadour! ...I even gave Pompadour reason to fear! 2 I più bei fior comprate, Buy my beautiful flowers, fanciulli, amanti e spose: children, lovers and brides: A plus d’une rivale I’ve brought down son fresche le mie rose, my roses are fresh, je fus souvent fatale; more than one rival; non spiran che l’amor. their only perfume is love. ma grâce triomphale my winning charms a séduit maint galant, have seduced many a fine sir, Ahimè! Soccorso implora Alas! My poor mother coquette sans égale, as a coquette I’ve no equal, mia madre, poveretta is begging for help, qu’on n’aime qu’en tremblant. but be afraid if you fall for me. e da me sola aspetta and all she expects from me On pleure, on se désole In vain they weep and lament del pan e non dell’or. is bread, not gold. aux pieds de son idole vainement, at the feet of their idol, (Testo di anonimo) (Anonymous text) avec indifférence I love to watch j’aime à voir la souffrance with utter indifference From Volume XI – Miscellanée de musique vocale d’un cœur sans espérance, as a tormented heart, en proie à la démence driven close to madness, No. 7, Arietta all’antica, Arietta in the antique manner, implorant ma clémence, begs me for mercy, dedotta dal ‘O Salutaris Ostia’ derived from ‘O salutaris hostia’ mais sans me désarmer... but fails to move me... 3 Mi lagnerò tacendo (vedi track 1) I shall mourn in silence (see track 1) Non, je ne veux jamais aimer. No, I’ll never fall in love. Brillants Seigneurs, muguets de Cour, Handsome lords, court dandies, pour vous jamais d’amour. you’ll never have my love. From Volume II – Album français Et si vous me faites la cour, And if you decide to woo me, No. 3, La grande coquette (Ariette Pompadour) The Great Coquette (Pompadour Arietta) n’espérez nul retour. don’t expect anything in return. 4 La perle des coquettes The queen of coquettes Pour vous jamais d’amour! You’ll never have my love! ne fait que des conquêtes makes endless conquests, (Émilien Pacini, 1811–1898) (Émilien Pacini) dans ses riches toilettes dressed up in her finery, aux Menuets de Cour. dancing menuets at court. From Volume III – Morceaux réservés Pour moi tournent les têtes, I make all heads turn, No. 8, Au chevet d’un mourant (Élégie) At the Bedside of a Dying Man (Elegy) les cœurs sont pris d’amour, all hearts fall in love, 5 De la doleur naît l’espérance: Hope is born from sorrow: et je crois même qu’un beau jour and one fine day I think père adoré, pour ta souffrance beloved father, the day has come jait fait trembler Pompadour! I even gave Pompadour reason to fear! voici le jour de déliverance, on which your suffering ends, un ange, hélas! te tend les bras! an angel, alas, is opening its arms to you! Dans une belle ivresse In a haze of desire, L’écho plaintif, dans le silence, In the silence, far away, plus d’un marquis s’empresse more than one marquis répète au loin, répète le triste glas... the death knell is plaintively echoing… Hélas! hélas! Alas! alas! Mon pauvre cœur aimant My poor, loving heart O Mort! ta faulx déjà se dresse. O Death! your scythe is poised. vainement is ever consumed, Mes vœux, mes pleurs et ma tendresse Despite all my distress, dévore à tout moment in vain, en vain dans ma détresse my prayers, my tears and my tender care son tourment. by suffering. défendent sa vieillesse. tried in vain to save him from old age. Mon père, mon ami s’est endormi. My father, my friend, has fallen asleep. Indifférent, distrait He seems Sans plainte et sans alarmes Without protest or complaint, il paraît, indifferent, distracted, s’éteignent ses beaux jours his happy days have ended, et rien ne lui dirait and nothing reveals sous mes brûlantes larmes bathed in my burning tears mon secret. my secret to him. qui vont couler toujours, which will flow for ever, toujours... toujours... toujours... toujours... for ever... and ever… Une autre a donc ta foi, You have pledged your troth to another, Ah! ah! Ah! ah! o mon roi, et moi o my king, and I, A son chevet, toujours fidèle, At his bedside, ever loyal, je meurs pour toi. I am dying for you. ma faible voix en vain l’appelle. I call out softly to him, but to no avail. Ah ! c’en est fait, je meurs pour toi! Ah! my life is over, I am dying for you. Il n’entend plus, douleur cruelle, He can no longer hear, cruel sorrow, mon dernier vœu fait au bon Dieu. the last prayer I offer up to God. Cruel ! rends-moi la vie Cruel man! give me back my life Ô tendre père, âme immortelle, Gentle father, immortal soul, dans un regard, un mot plus doux. with a look, a kinder word. vers toi j’irai bientôt... I shall soon be joining you… Du cœur, qui te supplie, Acknowledge the jealous avowal Ô tendre père, âme, âme immortelle, etc. Gentle father, immortal soul, etc. comprends l’aveu jaloux. of this pleading heart. Adieu! ah! mon père, adieu! Farewell, dear father, farewell! (Émilien Pacini) (Émilien Pacini) Rayon de l’espérance Ray of hope, apaise ma souffrance, ease my suffering, Unassigned désarme sa rigueur. disarm his cruelty.

Mi lagnerò tacendo I shall mourn in silence 6 Mi lagnerò tacendo (vedi track 1) I shall mourn in silence (see track 1) Rayon si doux, O gentle ray, embrasse enfin mon cœur. envelop my heart at last. From Volume XI – Miscellanée de musique vocale Pitié de moi, de ma langueur, pitié! Take pity on me, on my grief, take pity! Qui peut toucher son cœur? Who can move his heart? No. 3, Amour sans espoir Love Without Hope (a tirana in the Spanish manner given Sans toi, que j’adore, hélas, Without you whom I adore, alas, (Tirana à l’espagnole rossinizée) the Rossini treatment) pour moi plus de bonheur, non, jamais. I can never be happy again. 7 Faut-il gémir d’amour Must I suffer from sans retour, unrequited love, Doux rêve que j’implore, Sweet dream, I beseech you, rêvant la nuit, le jour, dreaming night and day, viens donc répondre à mon ardeur! answer my ardent prayer! tour à tour? one after another? (Émilien Pacini) (Émilien Pacini)

L’ingrat ignore, hélas, The thankless man knows nothing, alas, From Volume I – Album italiano mes combats, of my struggles, j’implore en vain tout bas in vain do I beg quietly No. 2, La lontananza Distance le trépas. for death. 8 Quando sul tuo verone When, upon your balcony, fra l’ombre della sera amid the evening shadows, Il ne voit point mes pleurs, He does not see my tears, la flebile canzone the blackcap sings mes douleurs; my distress; sciorrà la capinera his sad song, pour lui la vie en fleurs for him a happy life est ailleurs. lies elsewhere. ed una pura stella and, as it gently glides nel suo gentil passaggio through the skies, la fronte tua sì bella a gleaming star crescono intorno a me; flower all around me; rischiarerà d’un raggio, illumines your fair brow, ma questo suol non è la Patria mia. but this land is not my homeland. quando il ruscel d’argento when, close by, you hear Le vergini son vaghe The girls are as fair gemere udrai vicino the murmur of the silvery stream, come le fresche rose, as the fresh roses e sospirar il vento the sighs of the wind che al loro crin compose that Love has woven e sussurrar il pino, and the whisper of the pine, Amor, pegno di fé; into their hair as a pledge of faith; ma questo suol non è la Patria mia. but this land is not my homeland. deh ti rammenta, o sposa, remember, my dear wife, che quello è il mio saluto. all these are my greetings. Nell’Itale contrade In Italy there stands Donami allor, pietosa, Take pity, then, and weep è una citta regina, a queen among cities; di lagrime un tributo, a river of tears for me, la Ligure marina her shores forever washed sempre le bagna il piè; by the Ligurian Sea. e pensa, o Elvira mia, and believe, my dear Elvira, la ravvisate? Ell’è la Patria mia. Do you know her? She is my homeland. che il povero cantor that this unhappy singer La Patria mia ell’è. My homeland is she. per mezzo lor will use it to send back to you (Giuseppe Torre) (Giuseppe Torre) t’invia sempre più fido il cor, ecc. his ever more faithful heart, etc. (Giuseppe Torre, 1822–?) (Giuseppe Torre) No. 9, Le Sylvain (Romance) The Wood-Sprite (Romance) No 11, Il fanciullo smarrito The Missing Child ! Belles Nymphes blondes Beautiful, golden-haired Nymphs 9 Oh! chi avesse trovato un fanciulletto Oh! Has anyone seen a little boy des forêts profondes, of the deepest forest, che ha bionde chiome ed’occhio zafirino! with golden hair and bright blue eyes! des moissons fêcondes, of fruitful harvests, Porta al collo un rosario benedetto He’s wearing a rosary around his neck et des vertes ondes, and of fresh, green waters, ed’ è bello che sembra un cherubino. and he’s as fair as a little cherub. vous fuyez le Sylvain you run from the wood-sprite Ha quattr’anni, si chiama Lorenzetto: He’s four years old, his name is Lorenzetto: qui vous appelle en vain. who calls in vain to you. è senza madre, il povero bambino. He’s lost his mother, poor little thing. L’heure est solitaire, The hour is lonely, Carcerato è suo padre per sospetto: His father’s behind bars, under suspicion: tout semble se taire; all seems to fall silent; Oh! chi avesse trovato il poverino. Oh! Has anyone seen the poor little boy. l’ombre et le mystère shadow and mystery Il letticciuol che l’accoglieva a sera The little bed that kept him safe at night règnent sur la terre. reign over the earth. rimasto è da tante ore abbandonato: has lain empty for so many hours: Sois moins cruel, moins cruel, Be less cruel, less cruel, chi soccorso l’avrà? chi ricovrato? has someone helped him, given him shelter Dieu de Cythère, god of Cythera, In questa notte così triste e nera... on this night so sad and dark...? c’est pour mon cœur, such hardship is too much Udite, udite il grido il campanello! But listen, they’re calling, the little bell is ringing pour mon cœur trop de rigueur! for my heart to endure! Oh! l’han trovato, Lorenzetto bello! Oh! They’ve found him, our precious Lorenzetto! Rêves d’espérance, The indifference (Alessandro Castellani, 1823–1883) (Alessandro Castellani) cette indifférence that is causing my pain From Volume III – Morceaux réservés qui fait ma souffrance, has banished you for good, vous bannit désormais. my dreams of hope. No. 2, L’esule The Exile Ô peine extrême, O utmost agony, 0 Qui sempre ride il cielo, Here the sky is always blue, celle que j’aime the one I love qui verde ognor la fronda, here the boughs are always green, n’entend pas même never even hears qui del ruscello l’onda here the stream flows mon vœu suprême. my heartfelt prayer. dolce mi scorre al piè: gently over my feet; Grands Dieux, non, non, jamais! Dear gods, no, no, never! ma questo suol non è la Patria mia. but this land is not my homeland. Ô peine extrême, non, jamais! O utmost agony, no, never!

Qui nell’azzurro flutto Here the sun is always mirrored La laideur sauvage So ugly is sempre si specchia il sole, in the azure waves: de mon noir visage my swarthy face i gigli e le viole lilies and violets semble faire outrage it seems to offend à l’Amour volage... fickle Cupid… je l’aurai bientôt suivie. into the grave I so envy. Adonis! Ta beauté Adonis! Your beauty Ô divine Juliette, O divine Juliet, pour ma divinité! in exchange for my divinity! âme éteinte, voix muette, your spirit slain, your voice silenced, Que la pâle Aurore Let pale Aurora où sont-ils ces jours de fête what became of those happy days dise aux fleurs d’éclore, tell the flowers to bloom, où le chant de la fauvette when the song of the warbler que Phœbé colore let Phoebus bring colour s’éveillait sous la fenêtre began to sound beneath our window, le vallon sonore. to the sonorous valley. avec l’aube près de naître? as day was about to break? Seul, le Sylvain, le Sylvain supplie, Alone the wood-sprite pleads, implore et nuit et jour, implores, and night and day, Ton amant voyait paraître Your lover watched nuit et jour languit d’amour. night and day, lies dying of love. dans l’azur de tes beaux yeux as a heavenly ray of light appeared Nymphes immortelles, Immortal Nymphs, un rayon venu des cieux. in the blue of your beautiful eyes. à Vénus rebelles, you rebel against Venus, Juliette, chère idole, etc. Juliet, my dearest love, etc. pourquoi donc, cruelles, why, then, cruel ones, Ô mort cruelle, viens me prendre, Cruel death, come and claim me, me percer de vos traits? do you wound me with your beauty? viens, delivre Roméo; come, set Romeo free; Ô peine extrême, O utmost agony, et toi, chère ombre, daigne attendre, and you, beloved spirit, wait, I beg you, celle que j’aime the one I love je te suis dans le tombeau. I shall follow you into the grave. n’entend pas même never even hears (Émilien Pacini?) (Émilien Pacini?) mon vœu suprême. my heartfelt prayer. Grands Dieux, non, non, jamais! Dear gods, no, no, never! Ô peine extrême, O utmost agony, From Volume I – Album italiano non, non, jamais! no, no, never! (Émilien Pacini) (Émilien Pacini) No. 4, L’ultimo ricordo The Final Keepsake & Odi di un uom che muore, Hear the last words From Volume II – Album français odi l’estremo suon: of a man now close to death: questo appassito fiore this faded flower, Olimpia, No. 2, Roméo Romeo ti lascio, Olimpia, in don. is my final gift to you. @ Juliette, chère idole, Juliet, my dearest love, ton silence me désole, your silence chills me, Quanto prezioso ei sia You know just sur tes lèvres la parole the words on your lips tu lo conosci appien; how precious it is; suit ton âme qui s’envole; follow your soul as it flies away; dal dì che fosti mia ever since the day when you were mine ne peut-elle plus m’entendre. she can hear me no more. a te l’involai dal sen. and I stole it from your breast. (Giovanni Redaelli, 1782–1815) (Giovanni Redaelli) Ombre chère daigne attendre, Beloved spirit, wait, I beg you, sous la pierre notre cendre our cold ashes must descend From Volume II – Album français froide ensemble doit descendre; into the grave together; mort cruelle viens me prendre cruel death, come and claim me, No. 8, Le Lazzarone. Chansonette de cabaret The Idler. A Little Cabaret Song car le jour est un fléau, for daylight is torture, * Au bord des flots d’azur The idler’s greatest joy plus d’espoir pour Roméo, no hope remains for Romeo, que le Vésuve au loin couronne, is sleeping beneath a clear sky non, non, non! no, no, no! dormir sous un ciel pur on a shore washed by a blue sea, c’est le bonheur du Lazzarone. crowned in the distance by Vesuvius. Dieu, pitié pour ma souffrance, Lord, take pity on my suffering, A d’autres les ennuis, Troubles are for other men, ah! je n’ai qu’une espérance: ah! I have but one hope: le vain prestige de la Gloire, as is the vain prestige of glory, la rejoindre au fond du tombeau. to join her, deep within the tomb. dans ce divin pays in this heavenly land L’adorer c’était ma vie, Worshipping her was my life, il vaut bien mieux manger et boire. it’s much better to eat and drink. à ma flamme elle est ravie; but she has been stolen from my love; dans la tombe objet d’envie I shall soon follow her Doux ciel napolitain, Gentle Neapolitan sky, que le zéphyr caresse, caressed by the breeze, chez toi quel beau destin: how happy life is beneath you: l’amour, la joie et la paresse. love, contentment and idleness. Also available Pour tous quel beau destin What a fine fate for us all, se divertir soir et matin. to enjoy ourselves night and day.

Aux chants des barcarolles Let’s dance our farandoles mêlons les farandoles, to the tunes of barcarolles; baisers, amours frivoles, kisses and frivolous affairs, charmez ce doux loisir. add your charm to this sweet idleness. Nos cœurs n’ont plus qu’un seul désir: Our hearts now have but one desire: à nous toujours le vrai plaisir. let true pleasure always be ours. Naples, Naples, Naples, Naples, Naples, il faut te chérir, we must cherish you, Naples, Naples, Naples, Naples, Naples, te voir, te voir, te voir et mourir. see Naples and die.

Zampognes et pipeaux Flutes and pipes ring out, courons danser sous la tonnelle, let’s dance beneath the arbour, et rire aux gais propos and laugh at the merry antics de notre ami Polichinelle. Of our friend Pulcinella. A nous l’amour, le jeu Let’s enjoy all the love, fun et la gaieté que Dieu nous donne, and pleasure God grants us, 8.573050 8.573107 et puis faisons un vœu and then say a prayer à Saint Janvier, à la Madone. to St Januarius and Our Lady.

Dans ce climat béni In this blessed climate, la vie est une fête, life is a celebration, qu’un fin macaroni, let a fine dish of pasta, festin des Dieux, pour nous s’apprête. the food of the gods, be set out for us.

Dans ce climat béni In this blessed climate, honneur au fin macaroni. all hail a dish of pasta! (parlé, en se léchant les lèvres) (spoken, with much licking of the lips) Oh jus! oh fromage climat béni, O sauce! o cheese! blessed climate! oh tomates! o macaroni! climat béni. O tomatoes! o pasta! blessed climate!

Aux chants des barcarolles Let’s dance our farandoles mêlons les farandoles, etc. to the tunes of barcarolles, etc. (Émilien Pacini) (Émilien Pacini)

Translations: Susannah Howe 8.573292 8.573822 Gioachino Rossini’s ambitious younger years saw his composing entirely focused on well-defined projects. In later years he developed musical ideas with or without poetry to hand, and the ‘Sins of Old Age’ heard here bring together genre songs and character pieces on both religious and domestic subjects. These include premiere recordings of album leaves that became scattered worldwide, including one sent by ‘pantélégraphe’, the first ever ‘fax’ transmission device. Gioachino Playing Time ROSSINI 67:59 (1792–1868) Complete Piano Music • 9 Péchés de vieillesse Chamber Music and Rarities • 2 1 Volume I – Album italiano: No. 3, Tirana alla spagnola (rossinizzata) 6:36 2 Volume I – Album italiano: No. 5, La fioraja fiorentina 4:24 3 Volume XI – Miscellanée de musique vocale: No. 7, Arietta all’antica 2:16 4 Volume II – Album français: No. 3, La grande coquette (Ariette Pompadour) 4:56 5 Volume III – Morceaux réservés: No. 8, Au chevet d’un mourant (Élégie) 6:30 6 Unassigned: Mi lagnerò tacendo* 1:00 7 Volume XI – Miscellanée de musique vocale: No. 3, Amour sans espoir (Tirana à l’espagnole rossinizée) 6:46 8 Volume I – Album italiano: No. 2, La lontananza 5:07 9 Volume I – Album italiano: No. 11, Il fanciullo smarrito 3:34 0 Volume III – Morceaux réservés: No. 2, L’esule 4:07 ! Volume III – Morceaux réservés: No. 9, Le Sylvain (Romance) 8:26 @ Volume II – Album français: No. 2, Roméo 4:41 # Unassigned: Allegretto moderato for piano (1862)* 0:18 $ Unassigned: Allegretto ‘del pantelegrafo’ for piano (1860)* 0:15 % Unassigned: Allegretto – Un rien for piano (1860)* 0:18 ^ Unassigned: Vivace for piano (1846)* 0:14 & Volume I – Album italiano: No. 4, L’ultimo ricordo 3:51 * Volume II – Album français: No. 8, Le Lazzarone. Chansonette de cabaret 3:26 WORLD PREMIERE RECORDING * A detailed track list can be found inside the booklet Alessandro Marangoni, Piano Laura Giordano, Soprano 1–7 • Alessandro Luciano, Tenor 8–@ Bruno Taddia, Baritone &–* Recorded: 18 April 1–7 and 24 May 8–@ 2017 at the Baroque Hall, Ivrea, Italy – Studio SMC Records, and #–* 1 December 2017 at the Teatro del Maggio Musicale Fiorentino, Florence, Italy Producers, Engineers and Editors: Renato Campajola and Mario Bertodo • Booklet notes: Reto Müller Includes Italian and French sung texts with English translations which may also be accessed at www.naxos.com/libretti/573864.htm