“Bella mia fiamma, addio” K. 528

Wolfgang Amadeus Mozart (1756 – 1791) was a prolific composer of the Classical era. Regarded as one of the most influential composers of Western classical music, he contributed over 800 compositions to symphonic, concertante, chamber, operatic, and choral repertoire. Also known as a talented pianist, this virtuoso was born in Salzburg, Austria. It was here that he began performing violin and piano at the age of 5, eventually traveling through Europe as a performer and composer. His works are  recognized by elegant melodies, manipulation of texture, and unique use of timbre to invoke heavy emotions from audience members. This can be seen in his opera’s such as The Magic Flute, and Le Nozze di Figaro. Other notable works are his Requiem and Symphony No. 40.

“Bella mia fiamma, addio” is a concert aria composed for solo soprano and orchestra. In Prague of 1787, Mozart was inspired by 1772 Niccolò Jommelli’s opera Cerere placata, which is based on the legend of Persephone’s abduction and a tumultuous relationship of mother and daughter. This work is atypical of Mozart’s compositional style, straying from his beautiful melodies. In fact, it was revealed that Mozart wrote the work to challenge the soprano’s ability to sing it. The aria is written in a familiar C major, though it is anything but. The soprano is faced with dissonant intervals, quirky leaps, and other obstacles to test skills such as intonation and interpretation.  

 Joseph Marx (1882-1964)

Joseph Marx (1882-1964) was born in Graz, Austria and spent his life as a composer, teacher, and critic. He was committed to his education, studying philosophy, German studies, art history, and music. While earning his doctorate, he was credited with being the first one to use the term “atonality”. He is most well known for his contribution to vocal music, composing over 150 lieder. While his works are often played with piano, he composed a majority of them as symphonic works during the late-romantic and early modern music periods. He was influenced by both Slavonic and Italian music, influenced by the works of Alexander von Zemlinsky, Guido Adler, Richard Strauss, and Gustav Mahler. His works showcase colorful tonality, delicate lyricism, and a unique balance of jugendstil and romanticism.

“Selige Nacht” is an atmospheric piece representative of two lovers lost in their bubble of happiness on a warm summer day. The text consists of calm, flowing lines with an air of stillness while the accompaniment keeps the energy moving in a consistent dreamlike pattern, creating a sense of timelessness. In contrast, “Waldseligkeit” features a frenzied accompaniment, playing the role of the trees circling around a spiraling lover who has been left completely and utterly alone. “Und gestern hat er mir Rosen gebracht” follows a girl after she has spent the night with her lover, intoxicated by the rose he has left her with, illustrated by an upbeat melody and flowing accompaniment that drives the narrative to an exclamation of joy. “Hat dich die Liebe berührt” is tender and nostalgic, showcasing Marx’s style of impressionistic lyricism.

 Cuatro Madrigales Amatorios

Joaquín Rodrigo (1901-1999) was a Spanish composer and a virtuoso pianist, born in  Sagunto, Spain. Rodrigo lost his sight at the age of three, studying the piano and violin while using solfège as a learning tool. He studied music under Paul Dukas and Maurice Emmanuel. at the École Normale de Musique in Paris. He is most well known for his guitar compositions, which he wrote in Braille to be later transcribed. Concierto de Aranjuez, written for classical guitar in 1939, became his most recognized work. Rodrigo had a passion for teaching as well, teaching musicology and earning the position of Manuel de Falla Chair of Music in the Faculty of Philosophy and Letters, at Complutense University of Madrid. Though less recognized than his contribution to instrumental works, he composed 87 successful works for vocal and choral repertoire such as Ave Maria for unaccompanied choir (1923), Cántico de San Francisco de Asís (1982), and Cuatro Madrigales Amatorios (1948), all which are available to learn in both Braille and audio forms. Rodrigo’s vocal compositions are set in Castilian, Catalan, Galician, Ladino, French, and German. His works are inspired by his love for history and a deep appreciation for the human voice as it provided him the perfect instrument to embody historic literature and its cultural significance.   

 Cuatro Madrigales Amatorios is a collection of four songs, set by indiscriminate poets. Each song represents a powerful emotion experienced from love, ranging from complete devastation to infatuation. “¿Con qué la lavaré?” opens the set with grief and bewilderment as a woman is faced with the question of “With what do I wash myself with as a fallen woman?”. She has been used and discarded, drowning in her sorrows while others continue on with their lives. “Vos me matásteis' ' is fueled by the consumption of love, the woman losing herself in the intensity of the love that overtook her as she saw a beautiful woman sitting by a river. “¿De dónde venís, amore?” follows a jealous, yet playful woman as she questions the whereabouts of her companion. “De los álamos vengo, madre” ends with a depiction of love free of pain, a young girl excitedly returning from a visit with her companion that left her more than satisfied.   

Ricky Ian Gordon (1956-)

Ricky Ian Gordon (1956-) is an American composer of art song, opera, and music theater. He was born in Oceanside, New York and attended Carnegie Mellon University. Gordon has met much success in his compositions, commissioned by Minnesota Opera, the Utah Symphony & Opera, and Opera Theatre of Saint Louis for his operas The Grapes of Wrath (2007) and 27 (2014). Many well known artists such as Audra McDonald, Dawn Upshaw, Renée Fleming have performed his work. A major impact for Gordon was the loss of his partner from AIDS, which prompted Dream True (1998), Orpheus and Euridice (2005) and the song cycle Green Sneakers for Baritone, String Quartet, Empty Chair and Piano (2007).       

In 2010, Gordon released an album of his songs titled A Horse With Wings. The album showcased Gordon’s work in a light with no pretensions, the voice raw and honest, drawing the focus to the text rather than distinct vocal abilities. “The Red Dress” follows a woman reflecting on her journey to where she is now. As a girl, she  envisioned a grand life, symbolized by a beautiful red dress. As she has matured, she knows that it was never about the dress itself, but of the woman wearing the dress. “Will There Really Be a Morning?” reflects a conversation between oneself and the universe as one searches for answers. “A Horse With Wings” displays the ownership of one’s vulnerability and a refusal to be calloused by the world around them.     

“Bella mia fiamma, addio” K. 528
Wolfgang Amadeus Mozart
(1756-1791)

Bella mia fiamma, addio!
Non piacque al cielo di renderci felici.
Ecco reciso, prima d'esser compito,
quel purissimo nodo, che strinsero
fra lor gl'animi nostri con il solo voler.
Vivi: Cedi al destin, cedi al dovere.
Della giurata fede la mia morte t'assolve.
A più degno consorte ... O pene!
unita vivi più lieta e più felice vita.
Ricordati di me, ma non mai turbi 
d'un felice sposo la rara 
rimembranza  il tuo riposo.

Regina, io vado ad ubbidirti 
Ah, tutto finisca il mio furor col morir mio.
Cerere, Alfeo, diletta sposa, addio!

Resta, o cara, acerba morte mi separa 
Oh Dio..... da te!

Prendi cura di sua sorte,
consolarla almen procura.

Vado . . . ahi lasso! 
Addio,  addio per sempre.
Quest'affanno, questo passo 
è terribile per me.
Ah! Dov'è il tempio, dov'è l'ara? 
Vieni, affretta la vendetta!

Questa vita così amara 
più soffribile non è!

Light of my life, farewell! 
Heaven did not intend our happiness.
Before the knot was tied,
those pure strands were severed that bound
our spirits in a single will.
Live: Yield to fate and to your duty.
My death absolves you from your promise.
O grief!  United to a more worthy consort
you will have a happier,  more joyous life.
Remember me, but never let stray
thoughts of an unhappy lover
disturb your rest.

Majesty, I go in obedience to your will...
Ah, let death put an end to my raving.
Ceres, Alpheus, beloved heart, farewell!

Stay, dear heart, cruel death tears me away
O God....from you!

Look after her,
comfort her at last.

I go ... alas!
Farewell, farewell for evermore.
This anguish, this step
is hard for me to bear.
Ah! Where is the temple, where is the altar?
Dear heart, farewell forever!

A life as bitter as this
can be borne no longer!

English Translations by Anne Evans, LiederNet Archive (2006)

Selige Nacht
Waldseligkeit
Und gestern hat er mir Rosen gebracht
Hat dich die Liebe berührt
Joseph Marx
(1882-1964)

Im Arm der Liebe schliefen wir selig ein. 
Am offnen Fenster lauschte der Sommerwind,
und unsrer Atemzüge Frieden
trug er hinaus in die helle Mondnacht

Und aus dem Garten tastete zagend sich
Ein Rosenduft an unserer Liebe Bett
Und gab uns wundervolle Träume,
Träume des Rausches – so reich an Sehnsucht!

In love’s arms we fell blissfully asleep.
The summer wind listened at the open window,
and carried the peace of our breathing
out into the moon-bright night. –

And from the garden a scent of roses
came timidly to our bed of love
and gave us wonderful dreams,
ecstatic dreams – so rich in longing!

Der Wald beginnt zu rauschen,,
den Bäumen naht die Nacht,
als ob sie selig lauschen,
berühren sie sich sacht.

Und unter ihren Zweigen,
da bin ich ganz allein,
da bin ich ganz mein eigen :
ganz nur Dein!

The wood begins to stir,
night draws near the trees;
as if blissfully listening,
they gently touch each other.

And beneath their branches
I am utterly alone,
utterly my own;
utterly and only yours.

Ach gestern hat er mir Rosen gebracht,
Sie haben geduftet die ganze Nacht,
Für ihn geworben, der meiner denkt --
Da hab' ich den Traum einer Nacht ihm geschenkt.

Und heute geh' ich und lächle stumm,
Trag seine Rosen mit mir herum
Und warte und lausche, und geht die Thür,
So zittert mein Herz: ach, käm' er zu mir!

Und küsse die Rosen, die er mir gebracht,
Und gehe und suche den Traum der Nacht.

Ah! yesterday to me roses he brought,
All night was the air with their perfume fraught,
For him a-wooing whose thoughts I have,
To him then the dream of a night I gave.

Today in silence I move and smile,
Carry his roses about the while,
And wait and listen; does door but stir,
A-trembles my heart, if he it but were.

And kiss the roses that love from him speak
And go to the dream of the night to seek.

Hat dich die Liebe berührt,
Still unter lärmenden Volke,
Gehst du in gold'ner Wolke,
Sicher von Gott geführt.

Nur wie verloren, umher
Lässest die Blicke du wandern,
Gönnt ihre Freuden den Andern,
Trägst nur nach Einem Begehr.

Scheu in dich selber verzückt,
Möchtest du leugnen vergebens,
Dass nun die Krone des Lebens,
Strahlend die Stirn dir schmückt.

If Love has touched you
Softly amid noisy mankind,
You will walk on a cloud of gold,
Led safely by God.

You gaze about you
As though you are lost,
You do not begrudge others their happiness,
Only one single thing do you desire.

In shy and rapt introspection,
You deny in vain
That life’s gleaming crown
Now adorns your brow.

English Translations by Richard Stokes, Oxford Lieder (2024)

Cuatro Madrigales Amatorios
Joaquín Rodrigo
(1901-1999)

¿Con qué la lavaré 
la tez de mi cara?.
¿Con qué la lavaré
que vivo mal penada?

Lávanse las galanas
con agua de limones;
lávome yo, cuitada,
con ansias y pasiones.

With what shall I wash
the flush on my face?
With what shall I wash
as a fallen woman?

Married women wash
in lemon water;
full of woes, I wash
in shame and sorrow.

Vos me matásteis,
niña en cabello,
vos me habéis muerto.

Riberas de un río
ví moza vírgo,
Niña en cabello,
vos me habéis muerto.
Niña en cabello
vos me matásteis,
vos me habéis muerto.

You killed me,
girl with hair hanging loose,
you have slain me.

By the river bank
I saw a young maiden.
Girl with hair hanging loose,
you have slain me.
Girl with hair hanging loose,
you have killed me,
you have slain me.

¿De dónde venís, amore?
Bien sé yo de dónde.
¿De dónde venís, amigo?
Fuere yo testigo!
¡Ah!
Bien sé yo de dónde.

Where hast thou been, my love?
I know well where.
Where hast thou been, my friend?
Were I a witness
Ah!
I know well where!

De los álamos vengo, madre,
de ver cómo los menea el aire.

De los álamos de Sevilla,
de ver a mi linda amiga,
de ver cómo los menea el aire.

De los álamos vengo, madre,
der ver cómo los menea el aire.

I come from the poplars, mother,
from seeing the breezes stir them.

From the poplars of Seville,
from seeing my sweet love,
from seeing the breezes stir them.

I come from the poplars, mother,
from seeing the breezes stir them.

English Translations by Richard Stokes, Oxford Lieder (2024)