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Originalno

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

Prevod

preminejo kot dim. Trobenta notno B-Flat. Zbor note. Horn note. Pozavna note. Tuba note.

Originalno

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.

Prevod

preminejo kot dim. Mešani pevski zbor. SSAATTBB. in neobvezno medenina kvartet, ki temelji na besedilih nemških baročnih pesnikov. Sestavljen Benjamin Schweitzer. Za mešani zbor. SSAATTBB. , Trobenta v Bb, rog v F, pozavna in tuba. Ta izdaja. SKR 20066. Sedlo-šiv. Zborovska glasba. Schott Komorni zbor. Acerbic in bizarno razkošje baročnega lirike določa ton za vergehn wie Rauch. izginejo kakor dim. Medsebojno povezanih temah, ki teče skozi pesmi, izražena s podobnimi jezikovnimi napravami, omogoča prepleta različnih besedil. Stopnje 5. Ocena. zborovsko ocena. Besedilo jezik. Nemško. Sestavljen 2010-2011. 72 strani. Trajanje 16 minut. Izdala Schott Music. SD.49019575. ISBN 9790001180955. Z besedilom jeziku. Nemško. Nemški baročni poezija me je očarala že dalj časa. Pri urejanju libreto za moje komorne opere Dafne. Po Martin Opitz, napisana leta 2005. Sem vključil več pesmi Opitz v svojo igro, in to je bilo tudi prvič, da sem sestavil razširjene zborovskih odlomkov. Po zaključku tega dela, sem se počutil, da je treba preučiti kombinacijo zbor in baročnih besedil v daljšem, neodvisno zborovske sestave. Izbrala sem pesmi Christian Hoffmann iz Hoffmannswaldau, Andreas Gryphius Martin Opitz, Georg Philipp Harsdorffer, Barthold Hinrich Brockes in Friedrich von Logau. Razen von Logau je aforističnih Trost, so besedila skrajšati in preuredijo obširno. Podobne teme, ki uporabljajo tako tesno povezane načine izražanja in nagnjenost k presežnim struktur - pogosto, ena misel, večkrat izraženo na različne načine - naredi še mogočih izmenjave med različnimi pesmi. Tako besedila so obravnavane spremembe med skladen nastavitev in uporabo jezika kot dobrega materiala in strukturnega elementa. Pomemben vidik je tudi tehnika najemnin besede ali zloga vrti skozi celoten zbor, ki je - po različnih dinamičnih ravni podprtih in pogosto nekoliko nenatančen unisono - ustvarja-panoramsko kot učinek. Na trenutke oster zvok baročnem jeziku, bogata s soglasniki, s tehtnimi metafor, ampak tudi vijugasto, včasih čudni izrazi so večinoma dana v glasbi precej nevsiljivo. Še posebej se izognili podvajanju z declamatory značaja, medtem ko so nekatere lepe slike pobral in preoblikoval v zvoke. Zbor zvok kot tak ostaja večinoma "nedotaknjeno" v tradicionalnem pomenu besede. igrišče material tudi ravnati zelo restriktivno - samo en prehod. začetek gibanja IIIrd. omogoča uporabo celotnega kromatične lestvice. Abstinenca od spektakularnih učinkov opozarja na razumljivimi harmonskih struktur, dinamičnih nians, širok razpon glasu in registracijo kombinacije in subtilne različic besedil v posameznih delih. Formalno je celoten cikel sedmih kosov združeni v večje odseke več gibanja. -Moto kot začetek se pretvori v besedilo in harmonijo v gibanju Gryphius, v katerem je zbor postopoma širijo iz dolgočasno srednje regiji za več kontrastnih registrih, dokler zvok izgineva "Wie Rauch". kakor dim. in se spremeni v fino fizzling. Kratek razmik - samo del, ki je opremljen z medenina kvartet - vodi Opitz "Echo, ki se giblje od temno, tehtnega, neubrano zvokom moških glasovih v bolj in bolj lažja vzdušje, ki je nato prevzel precej navaden , melanholična jesenska pokrajina Harsdorffer. Naslednji osrednji del cikla, ki temelji tudi na jesensko pesmi Brockes, močno razlikuje enostavnosti prejšnjega gibanja. Slika deževno prho padca listov, meditativno krožijo okrog sebe, se prenese v podaljšanega kompleksa "spiralno" zvočni pokrajini neprestano vrtljivo v do 16 posameznih delov, vsakega od njih raziskuje nekoliko drugačno različico besedila pesmi je. Medtem ko se je zbor širi najširšemu krogu registrov in najvišjo gostoto kosu, izraz, po slogu Brockes 'jezika, ostaja precej nespremenjena. Zadnji del se nadaljuje moto začetku, raziskuje dva prepletena Hofmannswaldau besedila bolj temeljito, in vodi do kratkega epilog, ki služi kot ironičen komentar na baročno svetovnega naveličanost v obliki merry-go-round s zlogov pesmi z vrtečim duhovito hitro skozi zbor. Pihalnega kvarteta del podpira, spremlja in delno dopolnjuje zbor na način skoraj v celoti združuje,. Tam je komaj opomba, ki ni neposredno povezan z enim od glasove Zborov. Vendar pa uporaba ali ommitting instrumentov medenina vpliva tudi charakter uspešnosti zborovska - na ta način, sta dve enaki različici kosa združeni v eno oceno, in vergehn Wie Rauch se lahko opravi "a cappella" v tako izvirno in današnji smisel izraza. - Benjamin Schweitzer. Jaz sem Hofmannswaldau. tiho tekoče. II Gryphius. zugig. Interludium. brezčasna. III Opitz. zelo počasi. IV Harsdorffer. masivni poteze. V Brockes. enostavno. VI Hofmannswaldau II. tekoče. VII Logau. hitro.