Bladmusiek $26.99

Oorspronklik

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

Vertaling

verbygaan soos rook. B-Flat Trumpet bladmusiek. Koor bladmusiek. Horn bladmusiek. Tromboon bladmusiek. Tuba bladmusiek.

Oorspronklik

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.

Vertaling

verbygaan soos rook. Gemengde koor. SSAATTBB. en opsionele koper kwartet gebaseer op tekste deur die Duitse barok digters. Saamgestel deur Benjamin Schweitzer. Vir gemengde koor. SSAATTBB. , Trompet in Bb, horing in F, tromboon en tuba. Hierdie uitgawe. SKR 20066. Saddle-steek. Koormusiek. Schott Kamerkoor. Die skerp en bisarre weelde van barok liriese poësie stel die toon vir vergehn wie Rauch. soos rook verdwyn. Die verbind temas wat deur die gedigte, uitgedruk met 'n soortgelyke taalkundige toestelle, in staat stel om die interlacing van die verskillende tekste. Graad 5. Telling. koor telling. Teks taal. Duitse. Saamgestel 2010-2011. 72 bladsye. Duur 16 minute. Gepubliseer deur Schott Musiek. SD.49019575. ISBN 9790001180955. Met teks taal. Duitse. Duitse barok gedigte my vir 'n lang tyd gefassineer. Wanneer die reël van die libretto vir my kamer opera Dafne. nadat Martin Opitz, geskryf in 2005. Ek geïntegreerde verskeie gedigte deur Opitz in sy spel, en dit was ook die eerste keer vir my uitgebreide koor gedeeltes te komponeer. Na voltooiing van hierdie werk, voel ek die behoefte om die kombinasie van koor en barok tekste in 'n langer, onafhanklike koor samestelling te verken. Ek gedigte deur Christian Hoffmann van Hoffmannswaldau, Andreas Gryphius, Martin Opitz, Georg Philipp Harsdorffer, Barthold Hinrich Brockes en Friedrich von Logau gekies. Afgesien van von Logau se aphoristic Trost, het die tekste is verkort en herrangskikking omvattend. Die soortgelyke onderwerpe, met behulp van ook nou verwant maniere van uitdrukking, en die neiging strukture oortollig - dikwels, een gedagte herhaaldelik verwoord in baie verskillende maniere - maak dit selfs moontlik ruil lyne tussen die verskillende gedigte. Die manier waarop die tekste behandel veranderinge tussen samehangende stel en die gebruik van taal as klank materiaal en strukturele element. 'N Belangrike aspek is die tegniek van die verhuring van woorde of lettergrepe draai deur die hele koor, wat - deur verskillende dinamiese vlakke en 'n dikwels effens vaag Unisono - skep 'n panorama-agtige effek. Die by tye harde geluid van die barok taal, ryk met konsonante, die gewigtige metafore nie, maar ook die kronkel, soms vreemde uitdrukkings is meestal sit in musiek eerder stilweg. Veral, is 'n duplisering van die Deklamatoriese karakter vermy, terwyl 'n paar pragtige beelde opgetel en omskep in klanke. Die koor klank so bly meestal "ongeskonde" in 'n tradisionele sin. die kolfblad materiaal selfs hanteer restrictieve - slegs een gedeelte. die begin van die IIIrd beweging. gebruik maak van die volle chromatiese skaal. Die onthouding van skouspelagtige effekte trek die aandag op verstaanbare harmoniese strukture, dinamiese nuanses, 'n wye verskeidenheid van stem en registreer kombinasies en subtiele variasies van die tekste in die individuele dele. Formeel, is die hele siklus van sewe stukke gegroepeer in groter dele van verskeie bewegings. Die leuse-agtige begin word omskep in beide die teks en harmonie in die Gryphius beweging waarin die koor is geleidelik versprei van 'n dowwe medium streek meer kontrasterende registers totdat die geluid vervaag weg "wie Rauch". soos rook. en draai in fyn fizzling. 'N Kort tussenspel - die enigste artikel wat kenmerke van die koper kwartet - lei tot Opitz' Echo, wat uit 'n donker, swaar, dissonante geluid van die manlike stemme in 'n meer en meer ligter atmosfeer beweeg, wat dan oorgeneem deur die eerder plain , melancholiese herfs landskap van Harsdorffer. Die volgende kern stuk van die siklus, gebaseer sowel op herfs gedig deur Brockes, kontraste swaar aan die eenvoud van die voorafgaande beweging. Die beeld van 'n reënbui van vallende blare, meditatively sirkel rondom hom is, in 'n uitgebreide, kompleks "spiraal" sound onophoudelik draai in tot 16 individuele dele oorgedra, elkeen van hulle verkenning van 'n effens ander weergawe van die gedig se teks. Terwyl die koor brei uit tot die wydste verskeidenheid van registers en die hoogste digtheid van die stuk, die uitdrukking, na aanleiding van die styl van Brockes taal, bly eerder onaangeraak. Die laaste gedeelte hervat die leuse van die begin af, die ondersoek van die twee verstrengel Hofmannswaldau tekste meer deeglik, en lei tot die kort epiloog wat dien as 'n ironiese kommentaar op barok wêreld-moegheid in die vorm van 'n merry-go-round met die gedig se lettergrepe roterende geestig vinnig deur die koor. Die koper kwartet se deel ondersteun, vergesel en deels komplimenteer die koor in 'n byna heeltemal samesmelting manier. Daar is skaars 'n noot wat nie direk gekoppel aan een van die koor se stemme. Maar, met behulp van of ommitting die koperblasers raak ook die charakter van die koor se prestasie - op hierdie manier, is twee gelyke weergawes van die stuk gekombineer in een telling, en vergehn wie Rauch kan uitgevoer word 'n cappella 'in beide die oorspronklike en vandag se sin van die woord. - Benjamin Schweitzer. Ek Hofmannswaldau ek. stil vlot. II Gryphius. zugig. Interludium. tydlose. III Opitz. baie stadig. IV Harsdorffer. massiewe beweeg. V Brockes. maklik. VI Hofmannswaldau II. vlot. VII Logau. vinnige.