Beethoven: Variations on a Swiss Song 貝多芬 詠唱調

路德維希-凡-貝多芬的《瑞士歌曲變奏曲》（K. WoO 64）創作於 1790 年，當時作曲家還不到二十歲。要瞭解這首曲子的具體演奏方式，首先要回答的問題是："瑞士歌曲變奏曲"？ 這首曲子的名字叫《杜爾斯利與巴別利》，旋律和歌詞幾乎可以在所有十八世紀末或十九世紀初的瑞士或德國民間古曲集中找到。其中最有名的曲集是賴查特（Reichardt）、赫爾德（Herder）和穆勒（Müller）的曲集。這些資料來源於 1781 年至 1789 年。十九世紀的一些資料顯示，這首歌的歌詞多達 11 節，而且歌詞與原來的句子有一些變化，但貝多芬寫變奏曲時只知道 7 節，而且這首歌非常流行。據說歌德非常喜歡這首歌，將其描述為一個迷人的農民愛情故事。詩人赫爾德寫道："旋律輕快，像百靈鳥一樣翱翔，方言將歌詞娓娓道來，如果只是在紙上看到這些歌詞，是很難體會到其中的韻味的。也許這部作品最有趣的地方在於貝多芬用頓挫的音符來模仿瑞士-德國方言。這首曲子是作曲家使用三種發音記號的絕佳範例，即楔形記號，表示正常的頓音（不一定是重音）；圓點記號，表示稍長的頓音；滑音下的圓點記號，表示更長的頓音。對德語稍有瞭解的人都會注意到，詩中使用的方言具有頓挫的特點"

作曲家: Beethoven Ludwig van
校訂者: Willard A. Palmer
樂器: Piano
出版社: Alfred Music
難度: Late Intermediate; -6
風格: Masterwork
原文簡介:
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.