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Antonio Salieri Lieder ANTONIO SALIERI LIEDER Ilse Eerens Sopran Annelie Sophie Müller Mezzosopran Ulrich Eisenlohr Hammerflügel 02 Antonio Salieri (1750 – 1825) Lieder und Duette mit Klavier 03 1 Sonetto – Il Genio degli Stati Veneti [02:58] Antonio Salieri war längst auf dem Höhepunkt Einen durchweg unterhaltenden Charakter weisen incanto 11 . Einzelne Nummern der Sammlung seines europaweiten Ruhmes als Opernkomponist die 1803 beim Wiener Verleger Thadé Weigl veröf- rücken in Opernnähe, etwa die von einem Rezita- Divertimenti vocali [38:26] angekommen, als er begann, sich mit kleineren fentlichten Divertimenti vocali auf. Diese 28 kur- tiv eingeleitete, ausdrucksstarke Szene der kartha- 2 12 Deutsch V. Pastorella io giurerei [01:46] Formen der Vokalmusik zu beschäftigen. Dem Bio- zen Arien, Duette und Terzette mit schlichter Kla- gischen Königin Dido oder die Duette Spiegarti 3 X. Ch’io mai vi possa [02:05] graphen Ignaz von Mosel zufolge hatte er „bereits vierbegleitung basieren fast alle auf Texten des non poss’io 10 und Niso, che fa il tuo core? 16 , die 4 II. Già la notte [02:28] seit dem Jahre 1794 angefangen, jene, theils liebli- einstigen Wiener Hofpoeten Pietro Metastasio, man durchaus als Opern en miniature bezeichnen 5 VII. Bei labbri [02:59] chen, theils launigen kleineren, selbstständigen von dem Salieri als Jugendlicher persönlich in der könnte. 6 XXVI. Abbiam pennato, è ver [02:40] Gesangstücke zu componiren, welche als Duette, Deklamation italienischer Verse geschult worden 7 XXII. Caro, son tua così [02:41] Terzette, Canons u. dergl. mancher Gesellschaft war. Auch Salieris Schüler Ludwig van Beethoven Einer „echten“ Oper entstammt die Cavatine Pensi- 8 XIV. Conservati fedele [02:26] von gebildeten Musikfreunden zur angenehmen und Franz Schubert vertonten unter Aufsicht ihres eri funesti 17 , die Salieri für den berühmten Kastra- 9 XI. Numi, se giusti siete [02:15] Unterhaltung aus dem Stegreife dienen, da sie Meisters Texte Metastasios, um die Grundzüge ten Luigi Marchesi als Einlagearie komponiert hat. 10 XXIV. Spiegarti non poss’io [03:32] leicht auszuführen sind, und keine Ansprüche we- italienischer Prosodie zu erlernen. Zum Teil setzten Der Sänger verzauberte die Wiener 1785 in der 11 VIII. Hà negl’occhi [01:55] der auf ungewöhnlichen Stimmen-Umfang, noch sie sogar die gleichen Verse in Musik wie ihr Lehrer Oper Giulio Sabino von Giuseppe Sarti. Marchesis 12 IX. Vedi quanto t’adoro [03:08] auf besondere Kehlenfertigkeit machen.“1 und orientierten sich dabei unüberhörbar an der enormer Stimmumfang wird in dieser Arie voll 13 XVII. Tornate sereni [02:25] Faktur der Divertimenti. ausgeschöpft, üppige Verzierungen und Kadenzen 14 III. Vuoi per sempre [02:17] Eine vergleichsweise große Zahl dieser Gelegen- legen Zeugnis von der enormen Geläufigkeit des 15 XVI. Ombre amene [02:25] heitswerke – insbesondere jene mit Klavierbeglei- Zentrales Thema dieser Sammlung ist die Liebe in Mezzosoprans ab. Viele Jahre später hat Salieri 16 XXVII. Niso, che fa il tuo core [03:24] tung – wurde zu Salieris Lebzeiten gedruckt. Die ihren verschiedenen Ausprägungen. Schmachten- eine Fassung der Arie für Gesang und Klavier an- meisten davon entsprechen Mosels Beschreibung; de Treueschwüre und bewegende Abschiedssze- gefertigt, eines der beiden überlieferten Autogra- 17 Cavatina – Pensieri funesti [03:52] sie sind auf gehobene Unterhaltung hin angelegt nen finden sich hier ebenso wie fröhliche Lobge- phen trägt die Aufschrift „[…] composta per il fa- oder weisen einen didaktischen Charakter auf. Mit- sänge auf das Landleben. Salieri präsentiert sich moso Marchesi […] Weidlingau 1814“. Gedruckt 18 Ode – Deh, si piacevoli [05:57] unter finden sich jedoch auch Werke mit aktuellen mit einer Vielzahl von Formen, die von der einfa- erschien die Komposition 1820 im zweiten Teil der politischen oder gar persönlichen Bezügen darun- chen Cavatine bis hin zur ausgedehnten Soloszene Wiener Pianoforte-Schule von Friedrich Starke. In questa tomba oscura [03:34] ter. Obschon Salieri bereits als Sechzehnjähriger reichen. Die Musik der Divertimenti zeigt dabei 19 1. Fassung [02:18] seinen Lebensmittelpunkt in Wien gefunden hatte, stets die erfahrene Hand des weithin gerühmten Von der Sphäre der Opera seria beeinflusst zeigt 20 2. Fassung [01:16] blieb er im Herzen seiner Geburtsregion, dem Vene- Tondichters Salieri, dessen oberste Maxime es war, sich auch die Trauerode Deh, si piacevoli 18 ,die Sali- to, treu. Für den patriotisch gesinnten habsburgi- den Inhalt eines Textes adäquat in Klänge umzu- eri zum Andenken an seine Schülerin Marianne 21 Appel à l’amour schen Hofkapellmeister war es daher eine Ehrensa- setzen und den Wortsinn musikalisch zu beleben. Auenbrugger verfasst hat. Er ließ das Werk Ende aus: „Trois Romances“ [03:14] che, das Sonett Il Genio degli Stati Veneti all’Entrata Er bedient sich gerne beliebter musikalischer Topoi 1782 zusammen mit einer Klaviersonate der jung 1 delle Truppe Austriache in Venezia zu vertonen. wie der am Hörnerklang orientierten Jagdmotivik Verstorbenen – „Primo et ultimo di Lei Prodotto“ 22 Der Zufriedene [01:25] Konkreter Anlass für die Komposition war die Be- zur Schilderung ländlichen Lebens im Duettino heißt es auf dem schön gestochenen Titelblatt 2 freiung Venedigs von der französischen Besatzung Pastorella, io giurerei oder der seit dem Barock – beim renommierten Verlag Artaria veröffentli- 23 Meine höchste Wonne [02:43] und die Angliederung an Österreich im Januar beliebten, dunkel gefärbten „Ombra-Szene“ 4 , 15 . chen. Salieris anrührende Komposition ist wie eine Lieder | 1798. Das Lied wartet im ersten Abschnitt mit An den fröhlichen Gestus der seinerzeit populären kleine Kantate aufgebaut: Zwei kurze, in ihrer er- 24 Maylied [02:04] opernhaft-dramatischen Gesten auf, die in man- Polacca erinnert das Lied Abbiam penato è ver 6 . habenen Schlichtheit an Gluck gemahnende Arien chem Detail an Salieris französische Musikdramen umrahmen einen rezitativischen Mittelteil. Die 25 An die zukünftige Geliebte [03:02] erinnern. Der lyrische zweite Teil besingt in strah- Der heiter-anakreontische Zug der Divertimenti Einwürfe des Klaviers wirken eher orchestral als lendem C-Dur die wiedergewonnene Freiheit unter schlägt bisweilen auch ins Ironisch-Karikierende pianistisch gedacht und weisen in ihrer Faktur 26 Andenken [02:13] habsburgischer Herrschaft. um, wie in der koloraturreichen Ariette Ch’io mai vi bereits auf die orchesterbegleiteten Rezitative in possa lasciar d’amare 3 oder dem mit Buffa-Ele- Salieris großen Pariser Opern voraus. TOTAL TIME [67:14] 1 Ignaz von Mosel, Ueber das Leben und die Werke menten angereicherten Lied des Anton Salieri, S. 154f. Hà negl’occhi un certo ANTONIO SALIERI ANTONIO CHAMBER 04 Ilse Eerens Sopran 05 Über die kuriose Entstehungsgeschichte von Salie- menen Romanzen kommen als schlichte Stro- Die belgische Sopranistin Ilse Eerens begann ihr ris beiden Vertonungen des Gedichtes In questa phenlieder daher, die dritte hingegen – Appel à Gesangsstudium im Alter von 14 Jahren am Lem- 19 20 21 tomba oscura , berichtete das Journal des Lu- l’amour betitelt – folgt einer Da Capo-Form und mens-Institut in Louvain (Belgien). Nach Abschluss Deutsch xus und der Moden im November 1806: „Durch ei- weist einen elaborierteren Klavierpart auf. ihres Studiums wurde sie 2002 an der New Opera Deutsch nen musicalischen Scherz wurde vor einiger Zeit ein Academy in den Niederlanden aufgenommen und Wettstreit unter einer Anzahl sehr berühmter Com- Das heitere Lied Der Zufriedene 22 erschien erst- schloss dort 2004 bei Jard van Nes mit dem Bache- positoren veranlaßt. Die Gräfin Rzewuska improvi- mals 1816 beim Wiener Verlag Mollo. Ein Kontinu- lor und dem Master ab. sirte eine Arie am Claviere; der Dichter Carpani im- um aus Sechzehntel-Triolen unterstreicht den hu- provisirte sogleich einen Text dazu. Er dachte sich moristischen Gehalt des Textes von Christian Zu ihren jüngsten Opernengagements gehören die einen Liebhaber, der aus Gram, keine Erhörung ge- Ludwig von Reissig, der u. a. auch von Beethoven Titelrolle in Janáčeks Das schlaue Füchslein an der funden zu haben, gestorben ist; die Geliebte bereut und Schubert vertont wurde. Opéra National de Lyon, der Sopranpart in Lady ihre Härte, sie benetzt sein Grab mit ihren Thränen, Sarashina von Péter Eötvös an der Polnischen Nati- und nun ruft ihr der Schatten des Liebhabers die Salieris Bouquet aus deutschen Frühlingsliedern onaloper und Gilda in Verdis Rigoletto beim Festi- Worte zu: In questa tomba oscura […]. Diese Worte 23 – 25 wurde Ende 1810 oder Anfang 1811 in Leip- val in Alden-Biesen. An der Brüsseler Oper La Mon- sind jetzt von Pär, Salieri, Weigel, Zingarelli, Cheru- zig gedruckt. Die Texte stammen aus Reissigs An- naie spielte sie vor Kurzem die Rolle der Noémie in bini, Asioli und anderen großen Meistern […] in Mu- thologie Blümchen der Einsamkeit. Das heiter-be- Massenets Cendrillon, die der Antigone in Marti- sik gesetzt worden […]; in allem sind gegen funfzig schwingte Maylied in Strophenform wird von zwei nůs Oedipe sowie die der Amanda in Ligetis Le beisammen, und der Dichter will sie in Einem Hefte durchkomponierten Liedern umkränzt, die Salieris Grand Macabre; die letztere Rolle sang sie auch dem Publicum mittheilen.“2 Qualitäten als Melodiker aufzeigen. Die Zeitung am Teatro Colon in Buenos Aires, am Teatro für die elegante Welt rezensierte Salieris Lieder dell’Opera di Roma und beim Adelaide Music Festi- Die letztlich insgesamt 63 Kompositionen wurden gemeinsam mit einem Opus von dessen Schüler val in Australien. 1808 veröffentlicht und dem
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