Bladmusiek

Oorspronklik

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

Vertaling

Opferlied, Opus 121b. Ludwig van Beethoven. Plan. Sekulêre, Lied. Taal. Duitse. SSATB.

Oorspronklik

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.

Vertaling

Dwarsdeur sy lewe, was Beethoven obsessie met Friedrich von Matthisson se. 1761-1831. "Opferlied". Song van opoffering. Die gedig die eerste keer verskyn in 1790, so Beethoven kan die teks geken het terwyl hy in Bonn geleef. Soms, het hy gekrap die laaste reël, "Die skoonheid van die goeie. "Die pragtige aan die goeie". , In sy laat manuskripte. Die meeste aanduiding van Beethoven se bewondering van die gedig, is die feit dat hy die teks van "Opferlied" vier keer stel. Die eerste weergawe van 1794, bestaan ​​slegs in manuskrip. In 1801-2, Beethoven hersiene sy sewe-jaar-oue instelling. hierdie weergawe, bekend as Woo. 126, is in 1808 deur Simrock in Bonn gepubliseer as deel van die III Deutsche Lieder, wat die eerste weergawes van "Neue Liebe, neues Leben," Woo ingesluit. 127, en "Der Freie Mann," woo. 117. Die derde stel, vir sopraan, alt en tenoor soliste met vier-stem koor, twee klarinette, horing, altviool en tjello, dateer uit 1822 en is vir die eerste keer op 23 Desember van daardie jaar in Bratislava. Pressburg. Dit het egter nie in druk verskyn totdat 1888 as deel van die volledige weergawe van Beethoven se werke, gepubliseer in Leipzig deur Breitkopf. Beethoven hersiene hierdie weergawe van sy vierde en laaste stel van "Opferlied" te produseer. Op. 121b. , Vir sopraan solo met vier-stem koor en orkes. sonder fluite of hobo. , in 1823-4. Dit is in 1825 deur Schott in Mainz gepubliseer. Matthisson se teks toon 'n jong man in 'n OAK GROVE bied 'n offer aan Zeus. Die man vra Zeus die beskermer van die vryheid om te wees, en hom te gee, nou sowel as in sy ouderdom, mooi dinge, want Hy is goed,. Soos Beethoven se instelling vir solostem en klavier, die "Opferlied," Op. 121b, vir sopraan, koor en orkes is in E majeur en strofiese vorm, hoewel 'n paar subtiele veranderinge in die tweede vers, veral in die orkestrasie, maak "gemodifiseerde strofiese" 'n meer gepaste beskrywing. Beethoven brei die dimensies van die liedjie as dit van sy klavier en stem instelling deur die skryf van 'n baie meer aktiewe stem deel en deur 'die koor herhaal die laaste helfte van elke vers, die koor soprane die neem van die soliste' melodie. Daarbenewens het die koor weer herhaal die finale lyn van elke vers, elke keer heeltemal nuwe musiek, die verskaffing van 'n sterk gevoel van afsluiting. Wat is die mees opvallende oor Beethoven se "Opferlied" is sy byna totale diatoniese idioom. Stel in E majeur regdeur die stuk se enigste chromatiese verandering plaasvind in die middel van die vers, as deel van 'n kadens op die dominante. Omdat die koor antwoorde is letterlike herhalings van die tweede helfte van elke vers, ook hierdie nooit afwyk van E majeur. John Palmer, Rovî.