活页乐谱

原文

Opferlied, Opus 121b. Ludwig van Beethoven. Piano. Secular , Lied. Language. German. SSATB.

译文

Opferlied，作品121B. Ludwig van Beethoven. 计划. 世俗的，利德. 语. 德语. SSATB.

原文

Throughout his life, Beethoven was obsessed with Friedrich von Matthisson's. 1761-1831. "Opferlied". Song of Sacrifice. The poem first appeared in 1790, so Beethoven may have known the text while he lived in Bonn. Occasionally, he scribbled the last line, "Das Schöne zu dem Guten. "The beautiful to the good". , in his late manuscripts. Most indicative of Beethoven's admiration of the poem is the fact that he set the text of "Opferlied" four times. The first version, from 1794, exists only in manuscript. In 1801-2, Beethoven revised his seven-year-old setting. this version, known as WoO. 126, was published in 1808 by Simrock in Bonn as part of the III Deutsche Lieder, which included the first versions of "Neue Liebe, neues Leben," WoO. 127, and "Der freie Mann," WoO. 117. The third setting, for soprano, alto and tenor soloists with four-voice chorus, two clarinets, horn, viola and cello, dates from 1822 and was first performed on December 23 of that year in Bratislava. Pressburg. However, it did not appear in print until 1888 as part of the Complete Edition of Beethoven's Works, published in Leipzig by Breitkopf & Härtel. Beethoven revised this version to produce his fourth and final setting of "Opferlied". Op. 121b. , for soprano solo with four-voice chorus and orchestra. without flutes or oboes. , in 1823-4. This was published in 1825 by Schott in Mainz. Matthisson's text depicts a young man in a oak grove offering a sacrifice to Zeus. The man asks Zeus to be the protector of liberty, and to give him, both now and in his old age, beautiful things, because he is good. Like Beethoven's setting for solo voice and piano, the "Opferlied," Op. 121b, for soprano, chorus and orchestra is in E major and strophic form, although a few subtle changes in the second verse, particularly in the orchestration, make "modified strophic" a more appropriate description. Beethoven expands the dimensions of the song beyond that of his piano and voice setting by writing a much more active voice part and by having the chorus repeat the last half of each verse, the chorus sopranos taking the soloists' melody. Additionally, the chorus again repeats the final line of each verse, each time to completely new music, providing a strong sense of closure. What is most striking about Beethoven's "Opferlied" is its nearly total diatonic idiom. Set in E major throughout, the piece's only chromatic alteration occurs at the middle of the verse, as part of a cadence on the dominant. Because the chorus responses are literal repetitions of the second half of each verse, these also never stray from E major. John Palmer, Rovi.

译文

纵观他的一生，贝多芬迷恋弗里德里希·冯·Matthisson的. 1761-1831. “Opferlied”. 牺牲之歌. 这首诗最早出现在1790年，使贝多芬可能知道的文字，而他住在波恩. 偶尔，他潦草的最后一行，“美约好. “美丽的向好”. 在他后期的手稿. 最具指标性的诗贝多芬的钦佩的是，他成立的“Opferlied”四次文本的事实. 第一个版本，于1794年，只存在于手稿. 在1801-2，贝多芬修订后的他7岁的设置. 这个版本，被称为宇。 126，发表于1808年由Simrock在波恩的德意志III艺术歌曲，其中包括“NEUE LIEBE，的Neues LEBEN，”呜第一版本的一部分。 127，和“明镜柏林自由曼，”呜。 117. 第三个设置，为女高音，最早是在布拉迪斯拉发进行的12月23日这一年的女低音和男高音独唱四个声部合唱，二单簧管，圆号，中提琴和大提琴，建于1822年. 普雷斯堡. 但是，它没有，直到1888年贝多芬的作品，由Breitkopf发表在莱比锡的完全版的一部分出现在打印. 贝多芬修改这个版本产生“Opferlied”他的第四个，也是最后的设置. Op. 121b. ，为女高音独唱四个声部合唱和乐队. 没有长笛或双簧管. , in 1823-4. 这是发表于1825年由肖特在美因茨. Matthisson的文字描绘了一个年轻男子在橡树林祭宙斯. 该男子问宙斯是自由的保护，并给他，现在和他的晚年，美丽的东西，因为他是好. 就像贝多芬的设置独唱和钢琴，在“Opferlied，”作品。 121B，为女高音，合唱和乐队在E大和一部曲式，虽然在第二段一些微妙的变化，特别是在业务流程，使“修改strophic”更恰当的描述. 贝多芬写一个更积极的声音部分，通过让合唱重复上次各占一半诗句扩大超出了他的钢琴和语音设置的歌曲的尺寸，合唱团女高音采取独唱“旋律. 此外，合唱团再次重复每一节的最后一行，每一次全新的音乐，提供封闭感强. 什么是最引人注目的关于贝多芬的“Opferlied”是其几乎完全音阶成语. 设置在E大调整，片唯一的彩色改变发生在诗的中间，作为一个节奏上的主要部分. 因为合唱的反应是每一节的后半段文字重复，这些也从来没有从E大调流浪. 约翰·帕尔默，乐威.