Partiture

Originalno

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

Prevod

Opferlied, Opus 121b. Ludwig van Beethoven. Načrt. Sekularna, Lied. Jezik. Nemško. SSATB.

Originalno

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.

Prevod

Ves čas svojega življenja, je bil Beethoven obseden z Friedrich von Matthisson je. 1761-1831. "Opferlied". Song of Sacrifice. Pesem je prvič pojavil leta 1790, tako da so lahko Beethoven znano besedilo, medtem ko je živel v Bonnu. Občasno je pisala zadnjo linijo, "Lepota približno dober. "Lepo, da dobro". V poznih rokopisi. Najbolj kaže občudovanja Beethovnove pesmi, je dejstvo, da je določeno besedilo "Opferlied" štirikrat. Prva verzija iz 1794, obstaja le v rokopisu. V 1801-2, Beethoven revidirati svojo sedem let staro nastavitev. ta različica, znana kot woo. 126, je bil objavljen leta 1808, ki ga Simrocku v Bonnu kot del III Deutsche samospeva, ki je vključeval prve različice "Neue Liebe, Neues Leben," woo. 127, in "Der freie Mann," woo. 117. Tretja nastavitev, za sopran, alt in tenor solisti s štirimi glasovno zbor, dva klarineta, rog, violo in violončelo, datumi iz leta 1822 in je bil prvič izveden 23. decembra istega leta v Bratislavi. Pressburg. Vendar pa ni bilo videti v tisku do 1888 kot del Celotno Edition Beethovnovih del, objavljenih v Leipzigu, ki jih Breitkopfa. Beethoven revidirana to različico proizvajati svoj četrti in končno nastavitev "Opferlied". Op. 121b. Za sopran solo s štirimi glasovno zbor in orkester. brez flavti ali oboi. , in 1823-4. To je bila objavljena leta 1825, ki ga Schott v Mainzu. Besedilo Matthisson je upodobljen mladeniča v hrastovem gozdičku, ki ponujajo daritev Zeus. Človek prosi Zevsa biti zaščitnik svobode, in da bi ga, tako zdaj in v njegovi starosti, lepe stvari, ker je dober. Tako kot nastavitev Beethovnove za solo glas in klavir, ki je "Opferlied," op. 121b, za sopran, zbor in orkester v E večjih in katastrofalnih obliki, čeprav je nekaj subtilne spremembe v drugem verzu, zlasti v orkestracije, da "modificirane katastrofalnih" bolj primeren opis. Beethoven širi dimenzije pesmi, širši od njegovega nastavitev klavir in govorno pisno veliko bolj aktiven govorni del in jih imajo zbor ponoviti zadnjo polovico kitice, refren sopranistki jemljejo melodijo solistov. Poleg tega zbor ponovi končno linijo kitice, vsakič na povsem novo glasbo, ki zagotavlja močan občutek za zaprtje. Kaj je najbolj presenetljiva o Beethovnove "Opferlied" je njen skoraj celotna diatonične idiom. Postavljena je v E glavna celotnem kosu je le kromatične spremembe pojavi na sredi verza, kot del kadenca na prevladujoče. Ker so odzivi Chorus so dobesedno ponovitev v drugi polovici vsakega verza, ti tudi nikoli ne oddalji od E velikega. John Palmer, Rovi.