Beethoven: Variations on a Swiss Song 贝多芬 咏唱调
路德维希-凡-贝多芬的《瑞士歌曲变奏曲》（K. WoO 64）创作于 1790 年，当时作曲家还不到二十岁。要了解这首曲子的具体演奏方式，首先要回答的问题是："瑞士歌曲变奏曲"？ 这首曲子的名字叫《杜尔斯利与巴别利》，旋律和歌词几乎可以在所有十八世纪末或十九世纪初的瑞士或德国民间古曲集中找到。其中最有名的曲集是赖查特（Reichardt）、赫尔德（Herder）和穆勒（Müller）的曲集。这些数据源于 1781 年至 1789 年。十九世纪的一些数据显示，这首歌的歌词多达 11 节，而且歌词与原来的句子有一些变化，但贝多芬写变奏曲时只知道 7 节，而且这首歌非常流行。据说歌德非常喜欢这首歌，将其描述为一个迷人的农民爱情故事。诗人赫尔德写道："旋律轻快，像百灵鸟一样翱翔，方言将歌词娓娓道来，如果只是在纸上看到这些歌词，是很难体会到其中的韵味的。也许这部作品最有趣的地方在于贝多芬用顿挫的音符来模仿瑞士-德国方言。这首曲子是作曲家使用三种发音记号的绝佳范例，即楔形记号，表示正常的顿音（不一定是重音）；圆点记号，表示稍长的顿音；滑音下的圆点记号，表示更长的顿音。对德语稍有了解的人都会注意到，诗中使用的方言具有顿挫的特点"
作曲家: Beethoven Ludwig van
校订者: Willard A. Palmer
乐器: Piano
出版社: Alfred Music
难度: Late Intermediate; -6
风格: Masterwork
原文简介:
Ludwig van Beethoven's Variations on a Swiss Song, K. WoO 64, was composed in 1790, when the composer was not over twenty years of age.This selection, long a favorite of piano students and teachers, becomes even more interesting when the story behind the work is known. To understand exactly how this piece should be performed the first question that needs answering is, "Variations on what Swiss song?"The name of the song is Dursli and Babeli, and the melody and the words may be found in almost any late eighteenth-century or early nineteenth-century collection of old Swiss or German folk tunes. Among the most famous collections that include it are those of Reichardt, Herder and Müller. These sources date between 1781 and 1789. While some nineteenth century sources present the text of this song with as many as eleven verses, and with some changes in the words to the original stanzas, only seven verses were known when Beethoven wrote his variations, and the song was very popular. Goethe was said to be very fond of this song, which he describes as "a charming story of peasant love." The poet Herder wrote, "The melody is light and soaring like a lark, and the dialect swings the words along in a way that can scarcely be appreciated when one simply sees them on paper." Perhaps the most amusing aspect of this work is Beethoven's use of the staccato notes to imitate the clipped Swiss-German dialect. This piece provides an excellent example of the composer's use of three kinds of articulation marks, namely the wedge which indicated a normal staccato (not necessarily accented); the dot which was held a bit longer, and the dot under the slur, which was held still longer. It will be noted by those who have even a slight knowledge of the German language that the dialect used in the poem has staccato characteristics.