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#34  Re: 亨德尔的清唱剧             Go Back


来自维基:

Alexander's Feast (HWV 75) is an ode with music by George Frideric Handel set to a libretto by Newburgh Hamilton. Hamilton adapted his libretto from John Dryden's ode Alexander's Feast, or the Power of Music (1697) which had been written to celebrate Saint Cecilia's Day. Jeremiah Clarke (whose score is now lost) set the original ode to music.

Handel composed the music in January 1736, and the work received its premiere at the Covent Garden Theatre, London, on 19 February 1736. In its original form it contained three concertos: a concerto in B flat major in 3 movements for "Harp, Lute, Lyrichord and other Instruments" HWV 294 for performance after the recitative Timotheus, plac'd on high in Part I; a concerto grosso in C major in 4 movements for oboes, bassoon and strings, now known as the "Concerto in Alexander's Feast" HWV 318, performed between Parts I and II; and an organ concerto HWV 289 in G minor and major in 4 movements for chamber organ, oboes, bassoon and strings performed after the chorus Let old Timotheus yield the prize in Part II. The organ concerto and harp concerto were published in 1738 by John Walsh as the first and last of the Handel organ concertos Op.4. Handel revised the music for performances in 1739, 1742 and 1751. Donald Burrows has discussed Handel's revisions to the score.[1][2]

The work describes a banquet held by Alexander the Great and his mistress Thaïs in the captured Persian city of Persepolis, during which the musician Timotheus sings and plays his lyre, arousing various moods in Alexander until he is finally incited to burn the city down in revenge for his dead Greek soldiers.

The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. The soloists at the premiere were the sopranos Anna Maria Strada and Cecilia Young, the tenor John Beard, and a bass called Erard (first name unknown).

Google直译:

亚历山大的盛宴(HWV 75)是由乔治·弗里德里希·亨德尔(George Frideric Handel)创作的一首歌曲,由纽堡·汉密尔顿(Newburgh Hamilton)创作。汉密尔顿从约翰·德莱顿的诗歌“亚历山大的节日”或者“为了庆祝圣塞西莉亚节而写的音乐的力量”(1697)中修改了他的歌词。耶利米·克拉克(Jeremiah Clarke)(现在失去了他的成绩)为音乐创作了原始的颂歌。

亨德尔于1736年1月创作了音乐作品,并于1736年2月19日在伦敦考文特花园剧院首演。原作包括三首协奏曲:B大调协奏曲,三首“竖琴,琵琶,Lyrichord和其他乐器“HWV 294”之后在第一部分的高调Timotheus之后的表现;在C大调协奏曲中,双簧管,低音管弦乐,现在被称为“亚历山大的盛宴协奏曲”HWV 318,在第一部分和第二部分之间演奏; G小调中的HWV 289型风琴协奏曲,合唱后演奏的四腔室内乐器,双簧管,巴松管及弦乐器等主要器乐协奏曲。器官协奏曲和竖琴协奏曲由约翰·沃尔什于1738年出版,作为汉德尔风琴协奏曲的第一首也是最后一首作品。亨德尔在1739年,1742年和1751年修改了音乐表演。唐纳德·布罗斯(Donald Burrows)讨论了汉德尔(Handel)对乐谱的修改。[1] [2]

这部作品描述了亚历山大大帝和他的情妇泰伊斯在被俘的波斯城市波斯波利斯举行的一场宴会,音乐家蒂莫提斯在那里演唱并演奏他的竖琴,激起了亚历山大的各种情绪,直到他最终被煽动烧毁城市,为他的死希腊士兵。

这部作品取得了巨大的成功,鼓励了汉德尔从意大利歌剧写作到英文合唱作品的过渡。首映的独奏者是女高音安娜·玛丽亚·斯特拉达(Anna Maria Strada)和塞西莉亚·杨(Cecilia Young),男高音约翰·比尔德(John Beard),以及名叫埃拉德(Erard)的贝司(名字未知)。

《《《《《《《《《《《《《《《《《《《《《《《《《《

《亚历山大盛宴》全剧大约两个半小时,两个星期前走路时带着耳机第一次“瞎”听,结果发现还能够接受,就在油管里连续几天听了大概有5遍,比较下来这个演奏最好。
        

#33  Re: 亨德尔的清唱剧             Go Back
更短的片段:

        

#32  Re: 亨德尔的清唱剧             Go Back

BBB wrote: (6/10/2017 21:56)
这部清唱剧的录音听过一两次,觉得挺好听的。亨德尔的音乐是很好听,就是有点长,要有闲心慢慢品味。


真的很好听。下面这个链接是全剧的完整版录音,前几天的那个是适合音乐会的“摘要”版。在熟悉了摘要版后再扩到完整版,一点都不觉得陌生和拖沓冗长。正好相反,亨德尔这近两个小时一点都不出名的清唱剧比他的《弥赛亚》更能让人接受。在上星期五无意发现后,现在快一个星期了,这几天我只要坐在电脑前,就在听,估计还可以听一两个星期到完全熟悉后再停止。

&t=56s
        

#31  Re: 亨德尔的清唱剧             Go Back
这部清唱剧的录音听过一两次,觉得挺好听的。亨德尔的音乐是很好听,就是有点长,要有闲心慢慢品味。


和谈 wrote: (6/10/2017 12:11)
《快乐、哀愁和中庸》(L'Allegro, il Penseroso ed il Moderato),HWV55[1],是德国作曲家韩德尔于1740年完成的合唱剧乐。在韩德尔全集中,本曲被修入于神剧类别,但是全套作品却没有任何和圣经内容相关的题裁或经文。反而歌词则完全取材自英国大文豪米尔顿的两首于1641年所创作的长篇“双子”田园诗《快乐的人》(意大利语:L'Allegro)和《哀愁的人》(意大利语:Il Penseroso,亦可译为“忧郁的人”),因此后世亦称本曲为一首田园式颂歌(Pastoral Ode)。

创作本曲时,韩德尔邀请了他的赞助人兼诗人查尔斯·詹南斯(Charles Jennens)把米尔顿的诗篇整理。詹南斯一方面把两诗的内容交替运用外,亦在部分地方加入自己的诗篇,并将这些诗称为《中庸的人》(意大利语:il Moderato),詹南斯认为《中庸的人》正好是两个极端之间的一个平衡点。结果三首篇的名称串连起来,便成为了新乐曲的标题。
韩德尔于1740年1月19日动笔,2月4日完稿。前后只花了17日的时间,就将这三幕的剧作完成。[3]并于2月27日在伦敦皇家林肯营田剧场(Royal Theatre of Lincoln's Inn Fields)内首演。

摘自维基



--*--*--*--*--*--*--*--*--*--*--*
自得其乐
        

#30  Re: 亨德尔的清唱剧             Go Back
《快乐、哀愁和中庸》(L'Allegro, il Penseroso ed il Moderato),HWV55[1],是德国作曲家韩德尔于1740年完成的合唱剧乐。在韩德尔全集中,本曲被修入于神剧类别,但是全套作品却没有任何和圣经内容相关的题裁或经文。反而歌词则完全取材自英国大文豪米尔顿的两首于1641年所创作的长篇“双子”田园诗《快乐的人》(意大利语:L'Allegro)和《哀愁的人》(意大利语:Il Penseroso,亦可译为“忧郁的人”),因此后世亦称本曲为一首田园式颂歌(Pastoral Ode)。

创作本曲时,韩德尔邀请了他的赞助人兼诗人查尔斯·詹南斯(Charles Jennens)把米尔顿的诗篇整理。詹南斯一方面把两诗的内容交替运用外,亦在部分地方加入自己的诗篇,并将这些诗称为《中庸的人》(意大利语:il Moderato),詹南斯认为《中庸的人》正好是两个极端之间的一个平衡点。结果三首篇的名称串连起来,便成为了新乐曲的标题。
韩德尔于1740年1月19日动笔,2月4日完稿。前后只花了17日的时间,就将这三幕的剧作完成。[3]并于2月27日在伦敦皇家林肯营田剧场(Royal Theatre of Lincoln's Inn Fields)内首演。

摘自维基




Last modified on 07/03/17 10:55
        

#29  Re: 亨德尔的清唱剧             Go Back
G.F. HÄNDEL: "The ways of Zion do mourn", Funeral Anthem for Queen Caroline, HWV 264 by Les Arts Florissants, William Christie.

        

#28  Re: 亨德尔的清唱剧             Go Back
        

#27  Re: 亨德尔的清唱剧             Go Back
前面几个链接都失效了,重新上一个。

        

#26  Re: 亨德尔的清唱剧             Go Back
        

#25  亨德尔的清唱剧             Go Back
https://&feature=youtu.be&src_vid=xgtRjiywS20&feature=iv&annotation_id=annotation_322902073

摘自维基:

【Utrecht Te Deum and Jubilate is the common name for a sacred choral composition in two parts, written by George Frideric Handel to celebrate the Treaty of Utrecht, which established the Peace of Utrecht in 1713, ending the War of the Spanish Succession. He composed a Te Deum, HWV 278, and a Jubilate Deo (Psalm 100), HWV 279. The combination of the two texts in English follows earlier models. The official premiere of the work was on 13 July 1713 in a service in St Paul's Cathedral in London.

Te Deum和“和平的欢乐”(1713年)乌得勒支和平标志着西班牙王位继承战争的实质结束(1701-1714)。 

西班牙王位继承战争是在西班牙最后一位哈布斯堡国王查尔斯二世的继承下进行的,后者于1700年无家可归。他的帝国包括西班牙,西班牙在美洲的领地,以及荷兰和意大利的大部分地区。查尔斯提名一位继承人 - 路易十四的孙子安茹的菲利普。法国和西班牙反对英国及其大陆盟友。英国的目标是防止西班牙哈布斯堡王国的广泛领土落入已经强大的法国波旁王朝统治的控制之下。乌得勒支和平是一个妥协:菲利普被认定为西班牙国王 - 菲利普五世,波旁王朝的第一个西班牙国王。但是他没有继承荷兰和意大利的西班牙哈布斯堡领土;而法国和西班牙的冠冕将不会统一。西班牙和法国做出了其他让步 - 例如西班牙授予英国直布罗陀和“asiento” - 将奴隶贩卖到西班牙裔美国人的垄断权。】

在女王安妮在位期间,亨德尔为她写了三部作品,除这里两个之外,还有一部是为她1713年祝寿的。


Last modified on 01/29/18 20:47
        

#24  Re: 为亨德尔的清唱剧开一条线             Go Back
http://my.cnd.org/modules/newbb/viewtopic.php?viewmode=flat&order=1&topic_id=87231&forum=2

https://


thesunlover wrote: (5/17/2013 21:6)
亨德尔很伟大。我想多了解、发现他的好作品。谢谢!



Last modified on 09/07/14 23:52
        

#23  亨德尔的清唱剧             Go Back
From Wikipedia:

Giulio Cesare in Egitto (Julius Caesar in Egypt, HWV 17), commonly known simply as Giulio Cesare, is an Italian opera (dramma per musica) in three acts composed for the Royal Academy of Music by George Frideric Handel in 1724. The libretto was written by Nicola Francesco Haym who used an earlier libretto by Giacomo Francesco Bussani, which had been set to music by Antonio Sartorio (1676).

It was first performed at the King's Theatre in Haymarket, London on 20 February 1724. The opera was an immediate success. Handel revived it (with changes) in 1725, 1730, and 1732; it was also performed in Paris, Hamburg, and Brunswick. Like Handel's other works in the opera seria genre, Giulio Cesare fell into obscurity in the 19th century.

The roles of Cesare and Cleopatra, sung by the castrato Senesino and famous soprano Francesca Cuzzoni respectively, and which encompass eight arias and two recitatives accompagnati each, make full use of the vocal capabilities of the singers. Cornelia and Sesto are more static characters because they are completely taken by their primary emotions, she with pain because of her husband's death and constantly constrained to defend herself from the advances of Achilla and Tolomeo, and he consumed by vengeance for his father's death.

Cleopatra, on the other hand, is a multifaceted character: she uses at first her womanly wiles to seduce Cesare and gain the throne of Egypt, and then becomes totally engaged in the love affair with Cesare. She has great arias of immense dramatic intensity Se pietà di me non senti (II, 8) and Piangerò la sorte mia (III, 3). Her sensual character is described magnificently in the aria V'adoro, pupille, in which Cleopatra, in the guise of Lidia, appears to Cesare surrounded by the Muses of Parnassus (II, 2). This number calls for two orchestras: one is an ensemble scene with strings with sordino, oboe, tiorba, harp, bassoons and viola da gamba concertante.

Curio and Nireno do not get any arias in the original version, only singing recitatives, though they take part in the first and final choruses. However, Handel composed an aria for Nireno for a later revival in 1730.

In the 20th century, the opera was revived (in heavily altered form – reorchestrated and revamped with the male castrato roles transposed down for a baritone, tenor or bass) in Göttingen in 1922 by the Handel enthusiast Oskar Hagen. Hans Knappertsbusch and Karl Böhm both conducted it in Munich in 1923, and its first American performance took place at the Smith College of Music in Northampton,

Massachusetts, in 1927. The first British revival of a Handel opera was the staging of Giulio Cesare at the Scala Theatre in London in 1930, by the London Festival Opera Company, singing in English. The young Herbert von Karajan conducted a production in Ulm in 1933. It has subsequently proven to be by far the most popular of Handel's operas, with more than two hundred productions in many countries.
In modern productions, the title role, written for a castrato, is sung by a contralto, mezzo-soprano, or, more frequently in recent years, a countertenor. The roles of Tolomeo and Nireno are normally sung by countertenors. The role of Sesto, written for a soprano, is now usually sung by a mezzo-soprano.
The work is considered by many to be Handel's finest Italian opera, possibly even the best in the history of opera seria. It is admired for its superb vocal writing, its dramatic impact, and its deft orchestral arrangements.

Giulio Cesare is now regularly performed.












Last modified on 01/04/14 15:54
        

#22  Re: 为亨德尔的清唱剧开一条线             Go Back

云天 wrote: (12/22/2013 23:2)

网上没看到译文。 随手涂译:



谢谢。

        

#21  Re: 为亨德尔的清唱剧开一条线             Go Back

和谈 wrote: (12/19/2013 16:12)





网上没看到译文。 随手涂译:


Total Eclipse (from Samson by G.F. Handel)

全蚀

Total eclipse! No sun, no moon,
All dark, all dark amidst the blaze of noon.

全蚀!没有太阳,没有月亮
漆黑一片, 炎炎正午漆黑一片

Oh glorious light, no cheering ray
To glad my eyes with welcome day.

啊辉煌之光,没有欢快之光
以可爱的白昼愉悦我的双眼

Total eclipse! No sun, no moon,
All dark amidst the blaze of noon.

全蚀!没有太阳,没有月亮
漆黑一片, 炎炎正午漆黑一片

Why thus deprived thy prime decree?
Sun, moon and stars are dark to me.

为什么免除你的首要法令?
我看不见太阳月亮和星星。


Last modified on 12/23/13 03:08
        



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