Dichterliebe

出版社:Songburd Music
商品描述:
ROBERT SCHUMANN was a German pianist, music critic and one of the great composers of the Romantic Period who, in an earlier part of his career, was generally critical of the compositional works for piano and voice of his day, and consequently the greater number of his compositions throughout the 1830s were written mostly for piano.  Then came the year of 1840, considered to be Schumann’s liedarjahr (year of song), when he composed nearly half of his life’s best-known works, featuring some of the greatest liederkreis (song cycles) ever written for voice and piano.  One of his widely celebrated song cycles is the well-known Dichterliebe, Op. 48, which is based on a fanciful story of a knight who experiences rejection and love lost, giving us an insight into Schumann’s interests as a ballad writer, melding dramatic irony with his introspective nature and musical style.   Schumann’s talent for combining dramatic lyrics with pleasing melodies is clearly seen in the moving lieder (songs) of his repertoire, and his Dichterliebe (A Poet’s Love) is thought to be the paramount work among his song cycles.  Achieved in part by drawing upon the lyric poetry of Heinrich Heine, a German author, poet and literary critic whose political activism among the Junges Deutschland (Young Germans) of the 1830s and 1840s instigated at one point the banning of his works in Germany, leading him to become an expatriate who spent his final years living in Paris, France.   Notably, the Romantic Period in Germany is thought to have had its roots in the Sturm und Drang (Storm and Stress) of the late 1700s and was certainly influenced to some degree by the French Revolution, which contrasted itself to the rationalism of the fading period of the Age of Enlightenment.  Thus, the ideological movement of the Young Germans, and its reactive stance to the Romanticism of the era, adds some contrast to Heine’s lyric poetry, which expressed personal emotions and the irony of love, solidified in his Buch der Lieder (Book of Songs) that was published in 1827.   Divided into five sections, Heine’s Book of Songs dealt with issues of unrequited love, romanticism, and introspection, and it was from the more than 60 poems of the lyrical cycle Lyrisches Intermezzo (Lyrical Intermezzo) that Schumann found inspiration for his noteworthy song cycle, selecting 16 of Heine’s lyric poems for his Dichterliebe.  For this arrangement, German lyrics are included to assist the performer in connecting the music to the thoughts, feelings, and specific moments expressed in the words that might otherwise be lost if not aligned with the music.  Noting that changes in mood or tone of the music are better understood when aligned with the words, and by including the lyrics, the performer can phrase a passage while having a guide to see the end of the musical line.   Romantic lieder allows for rubato in performance, as playing the piece exactly as written on the page will result in a less inspiring rendition.  To match the horn’s register with the vocal line, the piano part required alterations by moving some notation higher in the register.

羅伯特-舒曼是德國鋼琴家、音樂評論家，也是浪漫主義時期的偉大作曲家之一。在他職業生涯的早期，他對當時的鋼琴和聲樂作品普遍持批評態度，因此在整個 19 世紀 30 年代，他的大部分作品都是為鋼琴而作。 1840 年被認為是舒曼的 "歌曲年"（liedarjahr），舒曼在這一年創作了他一生中最著名的近一半作品，其中不乏為聲樂和鋼琴而作的最偉大的歌曲集。 其中廣為傳頌的一首是著名的《Dichterliebe》，作品 48，該曲改編自一個關於騎士遭遇拒絕和愛情失落的奇幻故事，讓我們瞭解到舒曼作為民謠歌手的興趣所在，他將戲劇性的諷刺與他的內省性格和音樂風格融為一體。

舒曼善於將戲劇性的歌詞與悅耳的旋律結合起來，這一點在他動人的敘事曲（歌曲）中體現得淋漓盡致，而他的《詩人的愛》（Dichterliebe）則被認為是他的歌曲集中最傑出的作品。 海涅是德國作家、詩人和文學評論家，他在 19 世紀 30 年代和 40 年代的 "德國青年"（Junges Deutschland）中的政治活動一度導致他的作品在德國被禁，他也因此成為僑民，在法國巴黎度過了晚年。

值得注意的是，德國的浪漫主義時期被認為起源於 17 世紀晚期的 "風暴與動盪"（Sturm und Drang），並在一定程度上受到了法國大革命的影響。 因此，"青年德國人 "的意識形態運動及其對那個時代浪漫主義的反動立場，與海涅的抒情詩形成了某種對比，後者表達了個人情感和對愛情的諷刺，並在 1827 年出版的《歌之書》（Buch der Lieder）中得到了鞏固。

舒曼正是從抒情詩集《抒情間奏曲》（Lyrisches Intermezzo）的 60 多首詩中找到了創作靈感，並從海涅的 16 首抒情詩中選取了 16 首創作了他的 Dichterliebe。

在這一編曲中，加入了德語歌詞，以説明演奏者將音樂與歌詞中表達的思想、情感和特定時刻聯繫起來，否則，如果不與音樂保持一致，可能會丟失這些思想、情感和特定時刻。 注意到音樂情緒或音調的變化在與歌詞保持一致的情況下會更好地理解，通過加入歌詞，演奏者可以對一段樂句進行措辭，同時有一個指引，可以看到音樂線條的末端。

浪漫主義敘事曲允許演奏者在演奏中使用揉弦，因為完全按照樂譜上的文字來演奏樂曲會使演奏者的靈感大打折扣。 為了使圓號的音域與聲樂線條相匹配，鋼琴部分需要做一些改動，將一些音符移到更高的音域。