活页乐谱 $26.99

原文

vergehn wie Rauch. B-Flat Trumpet sheet music. Choir sheet music. Horn sheet music. Trombone sheet music. Tuba sheet music.

译文

消逝如烟. 降B大调小号乐谱. 合唱乐谱. 喇叭乐谱. 长号乐谱. 图拔乐谱.

原文

vergehn wie Rauch. Mixed choir. SSAATTBB. and optional brass quartet based on texts by German Baroque poets. Composed by Benjamin Schweitzer. For mixed choir. SSAATTBB. , trumpet in Bb, horn in F, trombone and tuba. This edition. SKR 20066. Saddle-stitch. Choral Music. Schott Chamber Choir. The acerbic and bizarre opulence of Baroque lyrical poetry sets the tone for vergehn wie Rauch. vanish like smoke. The interlinked themes running through the poems, expressed with similar linguistic devices, enables the interlacing of the various texts. Grade 5. Score. choral score. Text language. German. Composed 2010-2011. 72 pages. Duration 16 minutes. Published by Schott Music. SD.49019575. ISBN 9790001180955. With Text language. German. German baroque poetry has fascinated me for a long time. When arranging the libretto for my chamber opera Dafne. after Martin Opitz, written in 2005. , I integrated several poems by Opitz into his play, and it was also the first time for me to compose extended choir passages. After completing this work, I felt the need to explore the combination of choir and baroque texts in a longer, independent choir composition. I selected poems by Christian Hoffmann von Hoffmannswaldau, Andreas Gryphius, Martin Opitz, Georg Philipp Harsdorffer, Barthold Hinrich Brockes und Friedrich von Logau. Apart from von Logau's aphoristic Trost, the texts have been shortened and re-arranged extensively. The similar topics, using also closely related manners of expression, and the tendency to redundant structures - often, one thought repeatedly phrased in many different ways - makes it even possible exchange lines between different poems. The way the texts are dealt with changes between coherent setting and using language as sound material and structural element. An important aspect is the technique of letting words or syllables rotate through the whole choir, which - supported by different dynamic levels and an often slightly imprecise unisono - creates a panorama-like effect. The at times harsh sound of the baroque language, rich with consonants, the weighty metaphors, but also the squiggly, sometimes weird expressions are mostly put into music rather unobtrusively. Especially, a duplication of the declamatory character is avoided, while some beautiful images are picked up and transformed into sounds. The choir sound as such remains mostly "intact" in a traditional sense. the pitch material is even handled very restrictively - only one passage. the beginning of the IIIrd movement. makes use of the full chromatic scale. The abstinence from spectacular effects draws the attention on comprehensible harmonic structures, dynamic nuances, a wide range of voice and register combinations and subtle variations of the texts in the individual parts. Formally, the whole cycle of seven pieces is grouped into larger sections of several movements. The motto-like beginning is being transformed in both text and harmony into the Gryphius movement in which the choir is gradually spread from a dull medium region to more contrasting registers until the sound fades away "wie Rauch". like smoke. and turns into fine fizzling. A short interlude - the only section that features the brass quartet - leads to Opitz' Echo, that moves from a dark, weighty, dissonant sound of the male voices into a more and more lighter atmosphere, which is then taken over by the rather plain, melancholic autumn landscape of Harsdorffer. The following core piece of the cycle, based as well on autumnal poem by Brockes, contrasts heavily to the simplicity of the preceding movement. The picture of a rain shower of falling leaves, meditatively circling around itself, is transferred into an extended, complex "spiral" soundscape ceaselessly rotating in up to 16 individual parts, each of them exploring a slightly different version of the poem's text. While the choir expands to the widest range of registers and highest density of the piece, the expression, following the style of Brockes' language, remains rather unaffected. The last section resumes the motto of the beginning, exploring the two entwined Hofmannswaldau texts more thoroughly, and leads to the short epilogue which serves as an ironic comment on baroque world-weariness in form of a merry-go-round with the poem's syllables rotating wittily fast through the choir. The brass quartet's part supports, accompanies and partly complements the choir in an almost totally merging way. There is hardly a note that is not directly coupled with one of the choir's voices. However, using or ommitting the brass instruments also affects the charakter of the choir's performance - in this way, two equal versions of the piece are combined in one score, and vergehn wie Rauch may be performed 'a cappella' in both the original and today's sense of the term. - Benjamin Schweitzer. I Hofmannswaldau I. ruhig fliessend. II Gryphius. zugig. Interludium. senza tempo. III Opitz. ausserst langsam. IV Harsdorffer. massig bewegt. V Brockes. leicht. VI Hofmannswaldau II. fliessend. VII Logau. geschwind.

译文

消逝如烟. 混声合唱团. SSAATTBB. 基于文本的德国巴洛克诗人可选黄铜四重奏. 由本杰明·施魏策尔组成. 对于混合合唱团. SSAATTBB. ，小号的BB，喇叭在楼长号和大号. 此版本. SKR 20066. 骑马订. 合唱音乐. 肖特室内合唱团. 巴洛克式的抒情诗的尖刻和奇异的富裕设定了基调vergehn魏某劳赫. 化为烟. 在相互关联的主题，通过诗歌运行，表达了类似的语言的设备，使各种文本的交织. 五年级. 得分. 合唱得分. 语言文字. 德语. 由2010-2011. 72页. 时间16分钟. 出版肖特音乐. SD.49019575. ISBN 9790001180955. 与文本语言. 德语. 德国巴洛克式的诗歌迷住了我很长一段时间. 在安排的剧本我室内歌剧DAFNE. 马丁奥皮茨后，写于2005年. 我综合几首诗被奥皮茨到他的发挥，这也是我第一次作曲扩展唱诗班通道. 在完成这项工作之后，我觉得有必要探讨一个较长的，独立的合唱团组成的合唱团和巴洛克式的文字相结合. 我选诗的基督教霍夫曼Hoffmannswaldau的，安德烈亚斯Gryphius，马丁奥皮茨，格奥尔格·菲利普Harsdorffer，巴托尔德辛里奇Brockes和弗里德里希·冯·Logau. 除了冯Logau的格言特罗斯特，该文本已缩短，重新安排广泛. 类似的主题，使用表达也密切相关礼仪，以及冗余结构的趋势 - 通常，一个念头反复措辞在许多不同的方式 - 让不同的诗歌之间它甚至有可能交换线路. 的方式文本处理的连贯的设置和使用语言的声音材料和结构元素之间的变化. 一个重要的方面是让通过整个合唱，其中单词或音节旋转的技术 - 用不同的动态水平支撑和一个常略微不精确尤尼森 - 创建全景般的效果. 该次刺耳的声音巴洛克式的语言，丰富的辅音，在沉重的隐喻，也是弯弯曲曲的，甚至怪异的表情大多投入音乐，而悄悄地. 尤其，避免了诵读字符的重复，而一些美丽的图像拾取，并转化成声​​音. 合唱团的声音这样停留在传统意义上大多是“完整”. 球场材料甚至处理得非常严格地 - 只有一个通道. 所述IIIrd运动开始. 利用全半音音阶的. 从壮观的效果禁欲提请注意理解谐波结构，动态的细微差别，各种声音和寄存器组合和文本的微妙变化，个别地方. 从形式上看，七片，整个周期分为较大的几个动作部分. 座右铭一样开始被转化的文字与和谐到Gryphius运动，其中合唱团逐渐从一个沉闷的媒体区域蔓延到更多的对比寄存器，直到声音消失了“小魏劳赫”. 如烟. 并且变成细fizzling. 短暂插曲 - 即采用了黄铜四重奏的唯一部分 - 导致奥皮茨“回声，从一个黑暗的，有分量的，不搭调的男性声音的声音迁入越来越轻的气氛，然后接管较为平淡，Harsdorffer的忧郁的秋景. 下面的核心部分周期的基础以及在秋天首诗Brockes，对比巨资前面运动的简单. 的落叶，养神自己周围盘旋的花洒淋浴的画面，被转移到一个扩展的，复杂的“漩涡”声景不断旋转多达16个独立的部分，他们每个人探索一个稍微不同的版本，这首诗的文字. 而合唱团扩展到最大范围的寄存器和一块密度最高，表达，对Brockes的语言风格下，依然相当不受影响. 最后一节恢复之初的口号，更彻底地研究这两个交织在一起的Hofmannswaldau文本，并导致短跋其作为对巴洛克世界厌学的讽刺评论在旋木与诗的音节形式旋转俏皮地快速通过合唱团. 黄铜四重奏的部分支持，伴随着和部分补充了合唱团在一个几乎完全合并的方式. 几乎没有一个音符是不直接与合唱团的声音之一. 然而，使用或ommitting铜管乐器也影响合唱的表现的charakter - 在这种方式中，片的两个相等版本组合在一个得分，并vergehn魏某的Rauch可以在原始和今天的执行'清唱'这个词的意义. - 本杰明·史怀哲. 我Hofmannswaldau我. 安静流利. II Gryphius. zugig. Interludium. 永恒. III奥皮茨. 极其缓慢. IV Harsdorffer. 大规模的动作. V Brockes. 容易. VI Hofmannswaldau II. 流利. 七Logau. 迅速.