Requiem Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht! 魏斯 安魂曲 总谱 朔特版
关于放手（关于选文） 在选文时，我让自己受到 "放手 "这一概念的激励和启发。在我看来，这是死亡的一个重要方面，也是生命本身的一个重要方面。我们人类过于执着于成功的成就，无论是物质价值、理想价值还是各种关系。我们不能也不想放手，几乎就像我们的生命依赖于它一样。既然我们最迟在临终时也要练习放下的艺术，或许我们可以在活着的时候就开始练习。泰戈尔用非常简单而生动的意象描述了这一告别： "我将归还我的门匙"。我将这段文字改编为男高音独唱。在这里，我想象并在乐谱的某个段落中相应地指出，主人公发现自己仿佛 "置身于 "一片声音的 "海洋 "中，然而他并没有被淹没，而是沉浸在完全的放松之中。诗篇》第 90 篇第 12 节对 "放下 "这一现象的描述更加简洁明了："求你教我们数算自己的日子，使我们的心用在智慧上"。在安魂曲的开头，我用一个男孩的声音独唱了这首诗的开头，只用了一个音符 A。作品的高潮部分是诗篇的重唱，随后进入辉煌的 "lux aeterna"。安魂曲的中间文本以最广阔的色彩范围突出了放手的现象，这些文本一方面来自《安魂曲弥撒》的拉丁文礼仪（In Paradisum, Libera me, Requiem aeternam, Mors stupebit），另一方面来自约瑟夫-冯-艾亨多尔夫（Joseph von Eichendorff）、赫尔曼-黑塞（Hermann Hesse）、泰戈尔（Rabindranath Tagore）和莱纳-玛丽亚-里尔克（Rainer Maria Rilke）的诗歌。 所有文本都有一个独特的积极因素，并将死亡视为宇宙大系统中的一个有机过程，例如赫尔曼-黑塞写道："Entreißdich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen"（"灵魂啊，从时间中抽离自己，从悲伤中抽离自己，准备飞向期待已久的清晨"），后来又写道 "不受约束的灵魂努力在自由的飞行中翱翔，生活在夜的魔幻世界中，深邃而千倍"。约瑟夫-冯-艾亨多夫（Joseph von Eichendorff）的诗句则唤起了一首遥远的歌： "我的思绪飞向远方。Flog durch die stillen Lande, als flöge sie nach Haus"（"我的灵魂张开翅膀。我的灵魂张开双翼，飞过寂静的国度，犹如归途。"]在这里，我们可以感受到一种强烈的带有浪漫色彩的西方共鸣，但同时也伴随着一种超越所有文化和宗教的普世精神。 万物之初皆有声"，在声带发出任何形式的词或有意义的短语之前，声音、振动和音调就已经存在了。这又把我们带回了音乐。无论是在求学期间还是后来，我都是当代音乐世界的积极参与者，既是打击乐手，也是指挥家和作曲家。我早期的乐谱有些冒险，充满了大量的小黑点：节奏不能太复杂，音域不能太极端，和声不能太不和谐。我潜心研究如何处理不同的参数，这些参数在序列音乐中是完全平等的： 后来，我移民到西班牙定居，多年来多次前往印度、非洲和南美洲旅行。在此期间，我多次在非欧洲国家居住。这意味着当代音乐的潮流从我身边模糊而遥远地掠过。我学习外语，接触不同文化背景和风格的音乐家： 然而，当我越是远离自己的西方音乐遗产，我的意识中就越是强烈地回溯着这些遗产。我们可以想象这样的场景：坐在巴西丛林的某个地方，周围是印第安人的哀嚎，突然有机会听到贝多芬晚期的弦乐四重奏：这可能是一种令人心碎的经历，类似于身份危机。这种经历也可以说是一种宣泄。无论在何种情况下，我对 "老 "国家的 "重新 "投入都不允许我回到我作为一个大胆的年轻学生亵渎所谓当代音乐的音乐参数的起点。我必须采取一种完全不同的方法：一种极其谨慎的方法，逐步回归西方世界：一种欢迎传统回归的方法，尝试展开花瓣，轻轻地为传统注入当代生命的气息。 虽然我知道我的这种做法不会引发一场革命或丑闻，但我还是充满信心，因为在这首安魂曲的音乐语汇中，我正在一个轨道上旅行，在这个轨道上不会有任何压舱物或复杂的结构，也不会有任何暗示：相反，我试图以一个 "归乡者 "的天真态度在音乐中形成文本的信息。 哈拉尔德-魏斯圣佩德罗科洛尼亚 2009 年 3 月"
作曲家: Weiss, Harald
乐器: 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