Beethoven’s song “La Partenza” or “The Parting” (WoO 124) is set to a text by Pietro Metastasio, a prolific writer of libretti for operas and oratorios. Metastasio was born in Rome but came to Vienna as court poet in 1730, and he lived there until his death in 1782.
Pietro Metastasio was befriended by composer Antonio Salieri, who came to Vienna from Venice in 1766. Salieri gave his composition students (including Beethoven) texts by Metastasio as exercises for working with Italian prosody, a necessary skill for writing Italian opera.
The instruction Beethoven received from Salieri wasn’t systematic or regular, mostly involving setting Italian texts: “verbal accent and expression, rhythm, metrical articulation, subdivision of thought, mood, singableness, and the conduct of the melody.” (Thayer/Forbes, p. 149)
It seems that Beethoven received some help with the Italian prosody while setting “La Partenza,” and it’s likely that it was Salieri that helped him. The poem describes “that cruel moment” when a lover must depart. “I shall always live in torment … never again know happiness.”
“La Partenza will never be a first-favourite among Beethoven’s songs. It lacks the personal intensity of utterance which is the hallmark of his best work, and is merely an exercise, albeit a successful one, in the Italian manner.” (Paul Reid, “The Beethoven Song Companion”)
#Beethoven250 Day 68
“La Partenza” (WoO 124), c. 1795–96
This seems to be an audition in Valencia, Spain, prefaced by a few words, perhaps including a translation of the lyrics.
#Beethoven250 Day 68
“La Partenza” (WoO 124), c. 1795–96
A recital by Rose Frazier in which “La Partenza” is followed by two other Beethoven lieder.
#Beethoven250 Day 68
“La Partenza” (WoO 124), c. 1795–96
A recorded performance by the great Barbara Hendricks.