Requiem Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht! 魏斯 安魂曲 總譜 朔特版
關於放手（關於選文） 在選文時，我讓自己受到 "放手 "這一概念的激勵和啟發。在我看來，這是死亡的一個重要方面，也是生命本身的一個重要方面。我們人類過於執著于成功的成就，無論是物質價值、理想價值還是各種關係。我們不能也不想放手，幾乎就像我們的生命依賴於它一樣。既然我們最遲在臨終時也要練習放下的藝術，或許我們可以在活著的時候就開始練習。泰戈爾用非常簡單而生動的意象描述了這一告別： "我將歸還我的門匙"。我將這段文字改編為男高音獨唱。在這裡，我想像並在樂譜的某個段落中相應地指出，主人公發現自己仿佛 "置身於 "一片聲音的 "海洋 "中，然而他並沒有被淹沒，而是沉浸在完全的放鬆之中。詩篇》第 90 篇第 12 節對 "放下 "這一現象的描述更加簡潔明瞭："求你教我們數算自己的日子，使我們的心用在智慧上"。在安魂曲的開頭，我用一個男孩的聲音獨唱了這首詩的開頭，只用了一個音符 A。作品的高潮部分是詩篇的重唱，隨後進入輝煌的 "lux aeterna"。安魂曲的中間文本以最廣闊的色彩範圍突出了放手的現象，這些文本一方面來自《安魂曲彌撒》的拉丁文禮儀（In Paradisum, Libera me, Requiem aeternam, Mors stupebit），另一方面來自約瑟夫-馮-艾亨多爾夫（Joseph von Eichendorff）、赫爾曼-黑塞（Hermann Hesse）、泰戈爾（Rabindranath Tagore）和萊納-瑪麗亞-里爾克（Rainer Maria Rilke）的詩歌。 所有文本都有一個獨特的積極因素，並將死亡視為宇宙大系統中的一個有機過程，例如赫爾曼-黑塞寫道："Entreißdich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen"（"靈魂啊，從時間中抽離自己，從悲傷中抽離自己，準備飛向期待已久的清晨"），後來又寫道 "不受約束的靈魂努力在自由的飛行中翱翔，生活在夜的魔幻世界中，深邃而千倍"。約瑟夫-馮-艾亨多夫（Joseph von Eichendorff）的詩句則喚起了一首遙遠的歌： "我的思緒飛向遠方。Flog durch die stillen Lande, als flöge sie nach Haus"（"我的靈魂張開翅膀。我的靈魂張開雙翼，飛過寂靜的國度，猶如歸途。"]在這裡，我們可以感受到一種強烈的帶有浪漫色彩的西方共鳴，但同時也伴隨著一種超越所有文化和宗教的普世精神。 萬物之初皆有聲"，在聲帶發出任何形式的詞或有意義的短語之前，聲音、振動和音調就已經存在了。這又把我們帶回了音樂。無論是在求學期間還是後來，我都是當代音樂世界的積極參與者，既是打擊樂手，也是指揮家和作曲家。我早期的樂譜有些冒險，充滿了大量的小黑點：節奏不能太複雜，音域不能太極端，和聲不能太不和諧。我潛心研究如何處理不同的參數，這些參數在序列音樂中是完全平等的： 後來，我移民到西班牙定居，多年來多次前往印度、非洲和南美洲旅行。在此期間，我多次在非歐洲國家居住。這意味著當代音樂的潮流從我身邊模糊而遙遠地掠過。我學習外語，接觸不同文化背景和風格的音樂家： 然而，當我越是遠離自己的西方音樂遺產，我的意識中就越是強烈地回溯著這些遺產。我們可以想像這樣的場景：坐在巴西叢林的某個地方，周圍是印第安人的哀嚎，突然有機會聽到貝多芬晚期的絃樂四重奏：這可能是一種令人心碎的經歷，類似於身份危機。這種經歷也可以說是一種宣洩。無論在何種情況下，我對 "老 "國家的 "重新 "投入都不允許我回到我作為一個大膽的年輕學生褻瀆所謂當代音樂的音樂參數的起點。我必須採取一種完全不同的方法：一種極其謹慎的方法，逐步回歸西方世界：一種歡迎傳統回歸的方法，嘗試展開花瓣，輕輕地為傳統注入當代生命的氣息。 雖然我知道我的這種做法不會引發一場革命或醜聞，但我還是充滿信心，因為在這首安魂曲的音樂語彙中，我正在一個軌道上旅行，在這個軌道上不會有任何壓艙物或複雜的結構，也不會有任何暗示：相反，我試圖以一個 "歸鄉者 "的天真態度在音樂中形成文本的資訊。 哈拉爾德-魏斯聖佩德羅科洛尼亞 2009 年 3 月"
作曲家: Weiss, Harald
樂器: soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra
出版社: Schott Music
曲目:
Teil I: I Lehre uns bedenken - II In paradisum - III Und meine Seele spannte (Eichendorff) - IV Requiem aeternam - V Mors stupebit et natura - VI Selig sind die Trauernden - VII Libera me - VIII Entreiss dich, Seele, nun der Zeit (Hesse) - XI Und die Seele unbewacht (Hesse) - X Herbst (Rilke) - XI Lehre uns bedenken / Lux aeterna · Teil II: XII Sanctus - XIII Veni, sanctus spiritus - XIV Lacrimosa - XV Rex tremendae - XVI Abschied (Tagore) - XVII Lux aeterna - XVIII Der Tod, dein Diener (Tagore) - XIX Kann mein Auge sehen? (Weiss) - XX Dein Bote ist es - XXI Lux aeterna - XXII Sanctus - XXIII Dies Irae / Offertorium
On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting go”. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my door”. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean” of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdom”. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeterna”. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen” [“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning”] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben” [“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold”]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus” [“And my soul spread its wings wide. Flew through the still country as if homeward bound.”]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed” occupation with the “old” country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomer”. Harald WeissColonia de San PedroMarch 2009