Ludwig van Beethoven / Людвиг ван Бетховен, 25 Irish Songs / 25 Ирландских песен WoO 152 Избранное

Ludwig van Beethoven / Людвиг ван Бетховен
25 Irish Songs / 25 Ирландских песен WoO 152 Избранное

Fünfundzwanzwanzig Irische Lieder für ein bis zwei Singstimmen, Violine, Violoncello und Klavier WoO 152

Время создания: 1810-1813 гг.

№1 The Return to Ulster

№2 Sweet Power of Song!

№3 Once more I hail thee

№4 The morning air plays on my face

№5 On the Massacre of Glencoe

№6 What shall I do to shew how much I love her?

№7 His boat comes on the sunny tide

№8 Come draw we round a cheerful ring

№9 Our bugles sung truce; or The Soldier’s Dream

№10 The Deserter

№11 Thou emblem of Faith (Upon returning a ring)

№12 English Bulls; or, The Irishman in London

№13 Musing on the roaring ocean

№14 Dermot and shelah

№15 Let brain-spinning swains

№16 Hide not thy anguish

№17 In vain to this desert my fate I deplore

№18 They bid me slight my Dermot Dear

№19 Wife, Children and Friends

№20 Farewell bliss and farewell Nancy

№21 Morning a cruel turmoiler is

№22 From Garyone, my happy home

№23 A wand’ring gypsey, Sirs, am I

№24 The Traugh Welcome

№25 O harp of Erin

Вокальная лирика занимает в творческом наследии Бетховенагораздо менее заметное место, чем крупные инструментальные и вокально-драматические жанры (Бетховен создал около 80 песен, 20 канонов, ряд арий и ансамблей). Песенная миниатюра мало соответствовала философским монументальным тенденциям бетховенского искусства, его героическим сюжетам. И все же к песенному жанру Бетховен обращался на протяжении почти всего творческого пути. Именно в творчестве Бетховена немецкая песня впервые заметно поднялась над уровнем бытового искусства и стала выразительницей разнообразных и сложных идей и чувств. Не только лирические образы, но и философские темы, гражданственные мотивы, сатира, юмор нашли свое отражение в вокальной лирике Бетховена.

Большой художественный интерес представляют бетховенские обработки народных песен: ирландских, шотландских, уэльских и других для голоса с сопровождением инструментального трио (1810–1823). Оставляя неприкосновенной мелодику этих песен, Бетховен в своей гармонизации проявил глубокое понимание их народно-национальной ладовой основы.

Joanna Baillie (1762 - 1851)

Sweet power of song

Sweet power of Song! That canst impart,

To lowland swain or mountaineers,

A gladness thrilling trough the heart,

A joy so tender and so dear:

Sweet Power! That on a foreign strand

Canst the rough soldier's bosom move,

With feelings of his native land,

As gentle as infant's love.

Sweet Power! That makes youthful heads

With thistle, leek, or shamrock crown'd,

Nod proudly as the carol sheds

Its spirit through the social round.

Sweet Power! That cheer's the daily toil

Of cottage maid, or beldame poor,

The ploughman on the furrow'd soil,

Or herdboy on the lonely moor.

Or he, by bards the shepherd hight,

Who mourns his maiden's broken tye,

'Till the sweet plaint, in woe's despite,

Hath made a bliss of agony.

Sweet power of Song! Thanks flow to thee

From every kind and gentle breast!

Let Erin's Cambria's minstrels be

With Burn's tuneful spirit blest!

William Robert Spencer (1770 - 1834)

Wife, Children and Friends

When the black-lettr'd list to the gods was presented,

The list of what Fate to each mortal intends,

At the long string of ills a kind Goddess relented

And slipt in three blessing: wife, children and friends.

In vain surly Pluto maintain'd he was cheated;

For justice divine could not compass its ends:

The scheme of man's penance he swore was defeated

For earth becomes heaven with wife, children and friends.

Though spice-breathing gales o'er his caravan hover,

Though round him Arabia's whole fragrance ascends,

The merchant still thinks of the woodbines that cover

The bow where he sat with wife, children and friends.

The day-spring of youth, still unclouded by sorrow,

Alone on itself for enjoyment depends:

But drear is the twilight of age, if it borrow

No warmth from the smiles of wife, children and friends.

When the soldier whose deeds live immortal in story,

Whom duty to far distant latitudes sends,

With transport would barter whole ages of glory,

For one happy day with wife, children and friends.

Though  vallour still glows in his life's waning embers,

The death wounded tar who his  colours defends,

Drops a tear of regret, as he, dying remembers,

How blest was his home with wife, children and friends.

Let the breath of renown ever freshen and nourish

The laurel which o'er her dead favourite bends;

O'er me wave the willow, and long may it flourish,

Bedew'd with the tears of wife, children and friends.

Let us drink, for my song, growing graver and graver,

To subjects too solemn insensibly tends;

Let us drink, pledge me high, Love and Virtue shall flavour

The glass which I fill to wife, children and friends.

 David Thomson

O harp of Erin

O harp of Erin thou art now laid low,

For he the last of all his race is gone:

And now no more the minstrel's verse shall flow,

That sweetly mingled with thy dulcet tone:

The hand is cold that with a poet's fire

Could sweep in magic change thy sounding wire.

How lonely were the minstrel's latter days,

How of thy string with strains indignant rung;

To desert wilds he pour'd his ancient lays,

Or to a shepherd boy his legend sung:

The purple heath of ev'ning was his bed,

His shelter from the storm a peasant's shed!

The gale that round his urn its odour flings,

And waves the flow's that o'er it wildly wreathe,

Shall thrill along thy few remaining strings,

And with a mournful chord his requiem breathe.

The shepherd boy that paus'd his song to hear,

Shall chant it o'er his grave, and drop a tear.