As for the scena ed aria, Quando inciso suquel marmo (When inscribed on this marble 16), this isobviously one of those essays in dramatic writing thatall Italian conservatories required of their students. But then theconcentrated sadness of the melody, already fullycharacteristic, lends itself all too easily to romanticassociations. Alas for legend! The autograph of Dolenteimmagine di Fille mia (Sad Image of my Phyllis 5)bears the date 1821, the year before Bellini andMaddalena became acquainted, together with adedication to one Nicola Taur. Both,says his lifelong friend, Francesco Florimo, weresettings of poems by his pupil, Maddalena Fumaroli,with whom he was by now corresponding secretly,since her parents disapproved of their buddingrelationship. It is a pleasant little ditty in thefashionable polonaise rhythm, only the minor-keyinflection of the third line presaging the Bellini to come.Īnecdote also surrounds the two pieces dating fromthe composer's years at the Naples Conservatory. La farfalletta (TheButterfly 2) is said to have been written at the age oftwelve for a childhood friend (and sweetheart, ofcourse) to words by her brother as part of a puppettheatre entertainment, she herself singing while her dollmimed the actions of one who tries to catch a butterflyto give to her boy-friend. Sometimes they suggest an orchestral reduction, asthough the composer had his eye on the theatre.Ĭertainly the operatic world is rarely far away.īellini's so-called chamber compositions aredistributed throughout his career. The poems are conventional theaccompaniments never exploit the possibilities of thekeyboard in the manner of Schubert or Schumann. His fame, of course, rests on his stage works,but, like all Italian opera composers of his day, heturned out a number of pieces for voice and piano thatvary from academic exercises to songs dedicated tosome noble dilettante or other. Within a limited technicalresource he brought to the prevailing Rossinian idiom awealth of poignant melody enhanced by moments ofexpressive dissonance to which even Wagner paidtribute. In the dawn of Italian Romantic opera the strongestvoice was that of Bellini.
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