2009/07/05
Richard Strauss and his lieder
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音學
Richard Strauss (1864-1979) and his lieder
理查‧史特勞斯(Richard Strauss)生於慕尼黑，其父親是個法國號演奏家，給了他一個很好的音樂環境，自六歲起就開始學習鋼琴、小提琴、音樂理論與作曲。與華格納的姪女莉特結婚後，加上平日的耳濡目染，逐漸感染了華格納的風格。
當我們想到理查施特勞斯（ 1864年至1949年）的作品時 ，總會是他的大型歌劇如瑰騎士和音樂詩(Tone poems)。然而，他也寫了200首情意綿綿歌曲，其大多數歌曲於1906年前是為他的妻子而寫的。然而施特勞斯於1906年和1918年間卸沒有再寫歌曲，這不僅是因為他專注於歌劇，而且還因為他與出版商的一個版權糾紛。
Richard Strauss (1864-1949)
When we think of Richard Strauss (1864-1949), it is usually associated with his large-scale operas and tone poems. Yet he also wrote over two hundred songs, many of them of exceeding intimacy. The majority of the songs Strauss wrote before 1906 were intended to be performed by his wife, Pauline de Ahna, with him at the piano. Between 1906 and 1918, Strauss wrote no songs at all, not only because he was concentrating on opera but also because of a simmering copyright dispute with the publisher Bote & Bock.
Acht Lieder aus Letzte Blätter, op. 10
Zueignung(Opus 10, No. 1)
"Zueignung," the three verses open similarly but each develops differently building to an emotional climax at the end. Each verse begins in the same way, but through a series of ingenious twists to the melodic and harmonic direction, Strauss achieves an extraordinary build-up of emotional temperature, which culminates at the close in explosive gratitude to the absent lover.
Ja, du weißt es, teure Seele, dass ich fern von dir mich quäle, Liebe macht die Herzen krank, Habe Dank.
Einst hielt ich, der Freiheit Zecher, Hoch den Amethysten-Becher, Und du segnetest den Trank, Habe Dank.
Und beschworst darin die Bösen, bis ich, was ich nie gewesen, heilig, heilig an's Herz dir sank, Habe Dank.
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Yes, you know, dear heart, that far from you I am tormented. Love makes the heart sick - thank you!
Once, revelling in liberty, I raised high a goblet of amethyst, and you blessed the draught - thank you!
And you banished the evil away, till I was purified as never before, and sank onto your breast - thank you!
Allerseelen(Opus 10, No.10)
"Allerseelen" is a richly ornamented evocation of lost love. It is the last of the set, has a rich atmosphere, evoking reminiscences of love. The text is ambiguous at first and it is not until the final stanza that the mention of flowers on a grave confirms that the poet is mourning a dead lover. -----
Stell auf den Tisch die duftenden Reseden,
Die letzten roten Astern trag herbei,
Und laß uns wieder von der Liebe reden,
Wie einst im Mai.
Gib mir die Hand, daß ich sie heimlich drücke
Und wenn man's sieht, mir ist es einerlei,
Gib mir nur einen deiner süßen Blicke,
Wie einst im Mai.
Es blüht und heut auf jedem Grabe,
Ein Tag im Toten frei,
Komm an mein Herz, daß ich dich wieder habe,
Wie einst im Mai.
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Lay on the table the fragrant mignonette and the last red asters, and let us speak again of love, like once in May!
Give me your hand that I may press it secretly - and if anyone should see, what does it matter? Then give me just one sweet glance, like once in May!
Today each grave is fragrant with flowers. For one day in the year the dead are free. Come to my heart that I may hold you again, like once in May.
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