Noder

Original tekst

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

Oversættelse

Opferlied, Opus 121b. Ludwig van Beethoven. Plan. Verdslig, Lied. Sprog. German. SSATB.

Original tekst

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.

Oversættelse

Gennem hele sit liv, blev Beethoven besat Friedrich von Matthisson s. 1761-1831. "Opferlied". Song of Sacrifice. Digtet først dukkede op i 1790, så Beethoven kan have kendt den tekst, mens han boede i Bonn. Lejlighedsvis, han kradsede den sidste linje, "Det gode om det gode. "Den smukke til det gode". , I hans sene håndskrifter. Mest betegnende for Beethovens beundring af digtet er, at han indstille teksten til "Opferlied" fire gange. Den første version fra 1794 kun findes i manuskript. I 1801-2, Beethoven reviderede sin syv-årige indstilling. denne version, kendt som WoO. 126, blev offentliggjort i 1808 af Simrock i Bonn som en del af III Deutsche Lieder, som omfattede de første udgaver af "Neue Liebe, Neues Leben" WoO. 127, og "Der Freie Mann," WoO. 117. Den tredje indstilling, for sopran, alt og tenor solister med fire-voice kor, to klarinetter, horn, bratsch og cello, er fra 1822 og blev uropført den 23. december samme år i Bratislava. Pressburg. Men det ikke ud på tryk indtil 1888 som led i den samlede udgave af Beethovens værker, udgivet i Leipzig af Breitkopf. Beethoven ændrede denne version til at producere sin fjerde og sidste indstilling på "Opferlied". Op. 121b. , For sopran solo med fire-stemme kor og orkester. uden fløjter eller oboer. , in 1823-4. Det blev udgivet i 1825 af Schott i Mainz. Matthisson tekst forestiller en ung mand i en eg lund tilbyder et offer til Zeus. Manden spørger Zeus til at være protektor for frihed, og at give ham, både nu og i sin alderdom, smukke ting, fordi han er god. Ligesom Beethovens indstilling for solo stemme og klaver, den "Opferlied," Op. 121b, for sopran, kor og orkester er i E-dur og Strofisk form, selv om et par subtile ændringer i andet vers, især i orkestrering, gør "modificeret strofisk" en mere passende beskrivelse. Beethoven udvider dimensionerne af sangen ud over det af hans klaver og stemme indstilling ved at skrive en langt mere aktiv stemme del og ved at have omkvædet gentage den sidste halvdel af hvert vers, de chorus sopraner tager solisterne 'melodi. Derudover koret igen gentager den sidste linje i hvert vers, hver gang til helt ny musik, der giver en stærk følelse af lukning. Hvad er mest slående om Beethovens "Opferlied" er dens næsten totale diatonisk formsprog. Set i E-dur hele forekommer det stykke eneste kromatisk ændring i midten af ​​verset, som en del af en kadence på den dominerende. Fordi chorus reaktioner er bogstavelige gentagelser af anden halvdel af hvert vers, disse også aldrig omstrejfende fra E-dur. John Palmer, Rovi.