Text by Karl Friedrich Wilhelm Herrosee (1764-1821) Set by Ludwig

the hedge shady of beautiful emeralds. (the shady hedge of beautiful ... (descend from the high mountains to the sea,). Suoi ..... (this gladdens the alpine hunter.).
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Zärtliche Liebe (Tender love) Text by Karl Friedrich Wilhelm Herrosee (1764-1821) Set by Ludwig van Beethoven (1770-1827), WoO. 123 Ich

liebe

dich,

so

wie

du

mich,

I

love

you,

as

you

love

me,





Am



Abend





in-the



und



evening





and





am 



Morgen,





in-the

morning,

Noch

war

kein

Tag,

wo

du

und

ich

there

was

no

day,

when

you

and

I





Nicht

 

teilten



unsre

waren

 

sie



troubles.

für





leicht



zu



shared easy to (they were easy to bear;) Du

tröstest





im 



dich

und

mich

you

and

me



And were they for (And so shared between us) Geteilt



Kummer mich, 



me,

in

deine

Klagen.

I

wept

for

your

laments.

Drum



Gottes





Segen

über









Therefore,

God's

blessing

upon



Du,

meines

Lebens

Freude.

you,

my

life's

joy.





bear;

weint

  





Ich





ertragen;

you comforted in distress (you comforted me in my distress,) 





not shared our (did not share our troubles.) Auch



Sorgen.

 







 



Zärtliche Liebe (Herrosee) Page 1 of 2

dir, 

you,



Gott schütze 



dich,

erhalt

dich

mir,

God

protect

you,

keep

you

for-me,









Schütz

und

erhalt

uns

beide.

protect

and

keep

us

both.



















(Literal translation and IPA transcription © 2008 by Bard Suverkrop—IPA Source, LLC)

Zärtliche Liebe (Herrosee) Page 2 of 2

Se l'aura spira Text by an anonymous poet Set by Girolamo Frescobaldi (1583–1643) Se l'aura spira    If the-breeze blows (When the most charming breeze blows,) La fresca rosa    the fresh rose (the new rose is smiling,)

tutta  all

ridente  smiling

La siepe ombrosa    the hedge shady (the shady hedge of beautiful emerald)

A' balli, a'    To-the dances, to-the (Come happily to the dance)

sta,  is,

di  of

D'estivi caldi timor    of-summer's heat to-fear (does not fear the summer heat.)

bei  beautiful

non  not

balli,  dances,

Ninfe gradite, fior    nymphs delightful, flowers (delightful nymphs, flowers of beauty!)

Or, che sì chiaro     Now, that so clear (Now that the clear, lovely spring waters)

Se l'aura spira (Anonymous) Page 1 of 2

smeraldi  emeralds

ha.  has.

liete  happily

di  of

il  the

Dall'alto monte al    from-the-high mountain to-the (descend from the high mountains to the sea,) Suoi dolci versi    its sweet verses (the bird sings its sweet verses,)

vezzosa,  charming,

spiega  tells

venite,  come,

beltà.  beauty.

vago  pretty

mar  sea

fonte  spring

sen' va,  departs,

l'augello,  the-bird,

E l'arboscello   and the-sapling (and the sapling is in bloom.)

fiorito  flowered

sta.  is.

Un volto bello all'ombra     A face beautiful in-the-shade (May a beautiful face in the nearby shade) Sol si dia    only itself gives (boast only of having compassion.)

vanto  boast

Al canto, al    To-the song, to-the (Sing, sing laughing nymphs;) Scacciate  chase-away

i  the

venti  winds

canto,  song,

di  of

accanto  nearby

d'aver  of-to-have

ninfe  nymph

pietà.  compassion.

ridenti,  laughing,

crudeltà.  cruelty.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Se l'aura spira (Anonymous) Page 2 of 2

Le papillon et la fleur (The butterfly and the flower) Text by Vicomte Victor Marie Hugo (1802-1885) Set by Gabriel Fauré (1845-1924), op. 1, #1 La pauvre fleur disait au      The poor flower said to-the (The humble flower said to the heavenly butterfly:) Ne fuis   (Do) flee (Do not flee!) Vois  See

comme  how

Tu t'en   you away (you go away!)

loin  far

nos  our

destins  destinies

sont  are

différents,  different,

je  I

reste  remain

vas!  go!

nous  we

vivons  live

sans  without

les  [the]

hommes,  men,

que  that

nous  we

sommes  are

d'eux!  from-them!

Et nous nous ressemblons et      And we each-other resemble and (And we resemble each other and it is said that we are) Fleurs tous   flowers (both (both flowers!)

céleste:  heavenly:

pas!  not!

Pourtant nous nous aimons,     Yet we each-other love, (Yet we love each other, we live without mankind,) Et  and

papillon  butterfly

l'on  (they)

dit  say

deux!  of-us)!

Mais, |hélas, l'air t'emporte, et      But, alas! the-air you-carries-off, and (But, alas! The air carries you off, and the enchains me.) Sort cruel!   Fate cruel! (Cruel fate!)

Le papillon et la fleur (Hugo) Page 1 of 3

la  the

terre  earth

m'enchaine.  me-enchains.

Je voudrais embaumer ton vol de mon        I would-like to-perfume your flight with my (I would like to perfume your flight through the sky with my breath!) Dans  in

le  the

ciel!  sky!

Mais non, tu vas trop loin, parmi        But no, you go too far, among (But no, you fly to far away, among flowers without number,) Vous  you Et  And À  at

Tu  You

haleine  breath

des  the

fleurs  flowers

sans  without

nombre,  number,

fuyez!  flee! moi  I, mes  my

je  I

reste  remain

seule  alone

à  to

voir  see

puis  then

tu  you

tourner  circle

mon  my

ombre  shadow

pieds!  feet.

fuis,  flee,

puis  then

tu  you

reviens,  return,

t'en  go

vas  off

encore  again

Luire ailleurs!   to-shine elsewhere! (to shine somewhere else!) Aussi me trouves-tu    Also me find-you (Every dawn you will find me) Tout en   all in (in tears!)

Ah!  Ah!

pour  in-order

toujours  always

à  at

chaque  each

aurore  dawn

pleurs!  tears!

que  that

notre  our

Le papillon et la fleur (Hugo) Page 2 of 3

amour  love

coule  may-flow

des  through

jours  days

fidèles,  faithfully,

Ô  oh

mon  my

roi!  king!

Prends comme moi    Take like I (Take root like I or give me wings) Comme à   like of (like yours!)

racine  root

ou  or

donne-moi  give-me

des  some

ailes  wings

toi!  you!

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Le papillon et la fleur (Hugo) Page 3 of 3

Dolente immagine di Fille mia Text attributed to Giulio Genoino (1773–1856) Set by Vincenzo Bellini (1801–1835), from Tre Ariette, no. 2 Dolente immagine   Sorrowful image (Sorrowful image of my Phyllis)

di  of

Fille  Phyllis

Perché sì squallida mi     why so wretched to-me (why do you sit next to me in such misery?)

siedi  you-sit

Che più desideri? Dirotto     What more you-desire? Pouring (What more do you desire? I have poured my tears) Io sul tuo    I on-the your (continuously upon your ashes.)

mia,  mine,

cenere  ashes

pianto  tears

versai  have-shed

Temi che immemore    You-are-afraid that forgetful (Do you fear that, forgetting my sacred vows,)

altra  another

Ombra di Fillide,    Shadow of Phyllis, (Shade of Phyllis, rest in peace;)

in  in

riposa  rest

l'antico  the-old

finor.  until-now.

de'  of-the

Io possa accendermi ad     I could inflame-myself for (I could be enflamed by passion for another?)

È inestinguibile   it-is undying/everlasting (my love of old is everlasting.)

accanto?  near/next-to?

sacri  sacred

giuri  vows

face?  torch?

pace;  peace;

ardor.  burning/passion.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Dolente immagine di Fille mia (Anonymous)

Non giova il sospirar Text by Pietro Metastasio (1698–1782) Set by Nicola Vaccai (1790–1848) Non giova il    Not of-use/is-good the (There's no use sighing, no,) Non lagrimar per    not weep for (do not weep for me, no.)

sospirar,  sigh,

me,  me.

Tirsi più tuo    Tyrsis1 longer yours (Tyrsis is no longer yours,)

no,  no,

no.  no.

non  not

è,  is,

no,  no,

amor  love

sì.  yes.

Licori infida,   Lycoris1 unfaithful, (unfaithful Lycoris;) Godi del   you-rejoice in-a (enjoy your new love.)

nuovo  new

Troverà Tirsi   Will-find Tyrsis (Tyrsis will find)

ancor,  still,

Ninfa, se non    Ninfa, if not (a nymph, if not prettier,)

più  more

Almen di te più     at-least than you more (at least more faithful than you, yes.)

sì,  yes,

bella,  beautiful,

fida,  faithful,

sì.  yes.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

1

Tyrsis and Lycoris are common names in pastoral poetry for a shepherd and shepherdess.

Non giova il sospirar (Metastasio)

Der Jäger (The hunter) Text by Friedrich Halm (1806–1871) Set by Johannes Brahms (1833–1897), op. 95, no. 4 Mein  My

Lieb  love

und  and

grün  green

Und  and

blau  blue

ist  is

ein  a

ist  is

sein  his

ist  is

sein  his

nur sein Herz    only his heart (only his heart is too big.)

Mein  My

Lieb  love

ist  is

ist   is

Lieb  love

ist  is

Auge,  eye,

Jäger,  hunter,

er,  he,

nur  just

ein  a

will.  wants.

Jäger,  hunter,

kennt Wege und Spur,     knows paths and tracks, (he knows paths and animal tracks,)

Der Jäger (Halm) Page 1 of 2

weit.  wide.

Ziel,  mark,

Und Mädchen berückt      and girls beguiles (and he charms the girls,)

Mein  My

Kleid,  clothing,

zu  too

ein  a

trifft immer ins    hits always in-the (he always hits his target,)

so viel er    as many he (just as many as he wants.)

Jäger,  hunter,

Zu mir aber    to me however (however, to me he will come)

kommt  comes

durch die Kirchtüre    through the church-door (only through the church door!)

er  he

nur!  only!

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Der Alpenjäger (The Alpine Hunter) Text by Johann Baptist Mayrhofer (1787–1836) Set by Franz Peter Schubert (1797–1828), op. 13, no. 3, D 524 Auf  On-the

hohem  high

Bergesrücken,  mountain-ridge,

Wo frischer alles grünt,     where fresher all grows-green, (where all things grow with a fresher green,) Ins Land hinabzublicken,    into-the land to-gaze-down-upon, (to gaze down upon the valley,) Das nebelleicht   that-the mist-light (that is defused by a light mist,)

zerrinnt,  defuses,

Erfreut den Alpenjäger.      gladdens the alpine-hunter. (this gladdens the alpine hunter.)

Je steiler und     The-more steeply and (The steeper and the more sloping) Die Pfade sich    the paths themselves (the paths wind about themselves,) Je  the

mehr  more

Gefahr  danger

je  more

verwinden,  wind,

aus  from-the

So freier schlägt    the-more freely beats (the more freely beats the heart.) Er ist der    He is of-the (He is of his distant beloved,) Der Alpenjäger (Mayrhofer)

schräger  sloping

fernen  distant

Schlünden,  gorge, die  the

Brust.  breast.

Lieben,  beloved,

Die ihm daheim    who for-him at-home (who is waiting at home for him,) Sich seliger   himself more-blissfully (all the more blissfully aware.)

geblieben,  remained,

bewusst.  aware.

Und ist er nun      And is he now (And now, having reached his goal,) So drängt   so presses (in the silence rises)

sich  itself

Ein süßes Bild    a sweet image (the sweet image before him;) Der  the

Sonne  sun's

am  at-the

in  in

der  the

ihm   to-him

gold'ne  golden

Sie weben und    they weave and (weave and paint a portrait)

Ziele,  goal,

Stille  silence

vor;  before;

Strahlen,  rays, sie  they

malen,  paint,

Die er im Tal     her-whom he in-the valley (of the one in the valley whom he has chosen.)

erkor.  chose.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Der Alpenjäger (Mayrhofer)

Jeune fillette Text by an anonymous poet Transcribed by Jean-Baptiste Théodore Weckerlin (1821–1910), from Bergerettes Jeune  Young

fillette,  girl,

Profitez du temps,    let-us-profit from-the time, (let us make the most of our time;) La violette   the violet (violets) Se cueille au    one gathers in-the (are gathered in the spring.)

printemps.  spring.

La 

la 

la 

rirette, 

La 

ri 

lon 

lan 

Cette  This

fleurette  little-flower

Passe en   passes in-a (fades quickly,) Toute  all

la. 

peu  little

amourette  infatuation

Passe également.   passes equally. (passes as well.)

Jeune fillette…

Jeune fillette (Anonymous)

de  of

temps,  time,

Dans le   In the (In lovely youth) Prenez  let-us-take S'il  if-he

bel  lovely

un  a est  is

âge  age

ami,  friend/(lover),

volage,  fickle,

Rendez-le lui.   give-it-back to-him. (be the same with him.)

Jeune fillette…

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

Jeune fillette (Anonymous)

Van gli effluvî de le rose Text by Gabriele d'Annunzio (1863–1938) Set by Francesco Paolo Tosti (1846–1916), from Due piccoli notturni, no. 1 Van gli effluvî de le1    They-go the scents of the (The scent of roses from the gardens,) da le corde van    from the strings goes (the loving notes from the strings,)

rose  roses

le  the

lungi van per l'alta     far goes in the-deep (they go far into the deep night) piena  full

d'incantesimi.  of-enchantment.

L'aspro  The-harsh

vin  wine

di  of

da  from

note  notes

i  the

verzieri  little-gardens

de l'amore,  of love,

notte  night

giovinezza  youth

brilla  shines

ne le arterie umane: reca     in the arteries human: bears (in human veins; and, from time to time, the air bears)

ed  and

l'aura  the-air

a  at

arde  burns tratti  times

un tepor voluttuoso    a warm voluptuousness (a voluptuous warmth) d'aliti feminei.   of-breaths feminine. (like the breath of a woman.)

Spiran l'acque a i solitarî      Blow the-waters to the solitary (Blown across the waters to the solitary shores, they go,)

1

lidi;  shores;

vanno,  they-go,

In contemporary Italian de le, de la, and ne la are pronounced delle ,della , and 

Van gli effluvî de le rose (Annunzio) Page 1 of 2

van gli effluvî de le    go the scents of the (the scent of roses from the gardens,)

rose  roses

da  from

i  the

verzieri,  little-gardens,

van le note de l'amore     goes the notes of the-love (the notes of love from the strings,) lungi e le    distant and the (and the shooting stars.)

meteore.  meteors.

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

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Con amores, la mi madre Text by Juan de Anchieta (1462-1523) Set by Fernando J. Obradors (1897-1945), from Dos cantares populares Con amores, la mi     With love, the my (With love (in my heart), mother,)

madre,  mother,

Con amores me dormí.     with love I fell-asleep; (with love (in my heart), I fell asleep.)

Así dormida soñaba    Thus asleep, I-was-dreaming (While sleeping, I dreamed) Lo que el corazón    that which the heart (of what my heart was hiding;) Que el amor    that the love (love consoled me)

me  me

velaba,  was-hiding,

consolaba  consoled

Con más bien    with more good (much more than I deserved.)

que  than

merecí.  I-deserved.

Adormeció me el favor     Lulled-to-sleep me the favor (I was lulled to sleep by the token) Que Amor me    that love to-me (that love bestowed on me;) Dio descanso   it-gave rest/ease (it eased my pain)

dio  it-gave

a  to

mi  my

con  with

amor;  love;

dolor  pain/sorrow

Con amores, la mi madre (Anchieta) Page 1 of 2

La fe con que     the faith with which (by the faith with which I served it.)

Con amores, la mi     With love, the my (With love (in my heart), mother,)

le  it

serví.  I-served.

madre,  mother,

Con amores me dormí.     with love I fell-asleep; (with love (in my heart), I fell asleep.)

(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)

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