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Время создания: весна и/или лето 1810 года
Посвящено княгине Caroline Kinsky1
На стихи Гёте.
Дитрих Фишер-Дискау, баритон
Jörg Demus, фортепиано
Три песни, соч.83 на слова И.В.Гете были написаны в 1810 и изданы в 1811 году с посвящением княгине Кинской. Светлой печалью проникнуты первая из них – «Радость страдания». «Это жалоба любящего сердца – пишет А.Альшванг, – напоминает лучшие инструментальные Adagio композитора». Песня «Стремление» перекликается с Шубертом трактовкой куплетной структуры: минорная тональность, окрашивающая музыку в слегка тревожные тона, сменяется в последнем куплете веселым и задорным мажором. Песня «Круг цветочный» охвачена стремительным радостным движением, моторной триольной пульсацией. Начальная ее интонация – один из многочисленных предвестников «темы радости» Девятой симфонии.
1. Wonne der Wehmut
Composed in 1810, Beethoven's Op. 83 is a set of three songs setting texts by the most revered German poet of the time, Johann Wolfgang von Goethe. The first of these is Wonne der Wehmut (Joy of Sadness), a six-line poem on the bittersweet happiness of being in love. An extremely slow, simple, direct song in C major, Beethoven uses an achingly yearning melody and a straightforward accompaniment embellished with an artless descending scale to create a mood of hushed intimacy. Even the modulation through flat keys and minor keys for the central two lines that intensifies the sorrow of the poem is easily and gracefully released with the return of the opening two lines in C major. Although not at the same exalted level of Beethoven's setting of Goethe's Sehnsucht, WoO 134, or "Kennst du das Land," Op. 75/1, Wonne der Wehmut is still a deeply affecting song in the right performance.
2. Sehnsucht
Beethoven composed his three settings of Johann Wolfgang von Goethe, Op. 83, in 1810 when he was at the height of his enthusiasm for the poet. The second of these is Sehnsucht (Longing), a happy, strophic song in A minor. Setting Goethe's five, eight-line verses as five identical strophes, each of which begins in A minor for the first four lines, moves more than modulates to the relative major of C major for its fifth and sixth lines, and abruptly returns to the tonic of A minor for its closing two lines. The piano accompaniment is for the most part simply chords supporting the melody but is granted a small flourish at the end of each verse. Although not as heartrending as his setting of Goethe's Sehnsucht, WoO 134, from the novel Wilhelm Meister, this Sehnsucht is still a bright and cheerful little tune.
3. Mit einem gemalten Band
Composed in 1810 as the third of his three Op. 83 Lieder, Beethoven's Mit einem gemalten Band (With a Painted Ribbon) is the fastest, the shortest, and the most complicated of the three songs. Beethoven sets Goethe's four-verse poem as a modified strophic song in E flat major with the first and last verses in the tonic and the central two verses in the subdominant major. The gracefully arpeggiated accompaniment gently supports the simple, folk song-like melody through all four verses, easing the music from the tonic to the subdominant and back again with delicacy and grace. In the last verse, Beethoven repeats the last two lines of the poem and adds a brief but affecting cadenza for the singer at the poem's point of highest emotion. The result is perhaps the most successful of the three Op. 83 songs.
(James Leonard, All Music Guide)
Johann Wolfgang von Goethe and Beethoven first met at Teplitz, now in the Czech Republic, during July 1812. Goethe later wrote, "[Beethoven's] talent amazed me; unfortunately he is an utterly untamed personality, who is not altogether in the wrong in holding the world to be detestable but surely does not make it any the more enjoyable for himself or others by his attitude." The poet also felt the composer was "easily excused," and even "to be pitied, as his hearing is leaving him." Beethoven admired Goethe, but detested the poet's habit of moving comfortably within aristocratic circles.
Bettina Brentano, a friend of both Beethoven and Goethe, informed Goethe that at her very first meeting with Beethoven in 1810 he performed for her two newly composed songs, "Mignon," (op. 75, No. 1) and "Wonne der Wehmuth," (op. 83, No. 1), both to poems by Goethe. Brentano later sent Goethe copies, in Beethoven's hand, of both songs.
Published in Leipzig in 1811 by Breitkopf und Hartel, Beethoven dedicated the Drei Gesange, op. 83, to Princess Caroline Kinsky. Kinsky's husband, Prince Ferdinand Johann, was one of three young members of the high nobility who in 1809 established an annuity for Beethoven, enticing him to remain in Vienna. Unlike the songs of opp. 52 and 75, the three songs of op. 83 were written at roughly the same time, and coincided with Beethoven's work on incidental music for Goethe's Egmont, op. 84, completed in June 1810. Here we find the mature Beethoven, musically reflecting both the fundamental meaning and minutiae of Goethe's texts. A descending staccato line evokes the image of falling tears throughout the through-composed "Wonne der Wehmut" (Joy of Sadness). As the narrator notes how bleak the world appears when it is not refracted through eyes filled with "tears of unhappy love," Beethoven begins a poignant modulation to the tonic minor. The strophic "Sehnsucht" (Yearning) is set in B minor, with only ornamental variation in accompaniment between strophes as the narrator, in the form of a bird, follows the woman of his desires. However, when night falls and the narrator becomes a "twinkling star" in the finale strophe, Beethoven shifts to a bright B major.
(John Palmer, Rovi)
Тексты:
1. Wonne der Wehmut
Trocknet nicht, trocknet nicht,
Tranen der ewigen Liebe!
Ach, nur dem halbgetrockneten Auge
Wie ode, wie tot die Welt ihm erscheint!
Trocknet nicht, trocknet nicht,
Tranen unglucklicher Liebe!
2. Sehnsucht
Was zieht mir das Herz so?
Was zieht mich hinaus?
Und windet und schraubt mich
Aus Zimmer und Haus?
Wie dort sich die Wolken
Am Felsen verziehn!
Da mocht ich hinuber,
Da mocht ich wohl hin!
Nun wiegt sich der Raben
Geselliger Flug;
Ich mische mich drunter
Und folge dem Zug.
Und Berg und Gemauer
Umfittigen wir;
Sie weilet da drunten,
Ich spahe nach ihr.
Da kommt sie und wandelt;
Ich eile sobald,
Ein singender Vogel,
Im buschigen Wald.
Sie weilet und horchet
Und lachelt mit sich:
"Er singet so lieblich
Und singt es an mich."
Die scheidende Sonne
Verguldet die Hoh'n;
Die sinnende Schone,
Sie la?t es geschehn.
Sie wandelt am Bache
Die Wiesen entlang,
Und finster und finstrer
Umschlingt sich der Gang;
Auf einmal erschein ich,
Ein blinkender Stern.
"Was glanzet da droben,
So nah und so fern?"
Und hast du mit Staunen
Das Leuchten erblickt,
Ich lieg dir zu Fu?en,
Da bin ich begluckt!
3. Mit einem gemalten Band
Kleine Blumen, kleine Blatter
Streuen mir mit leichter Hand
Gute, junge Fruhlings-Gotter
Tandelnd auf ein luftig Band.
Zephir, nimm's auf deine Flugel,
Schling's um meiner Liebsten Kleid;
Und so tritt sie vor den Spiegel
All in ihrer Munterkeit.
Sieht mit Rosen sich umgeben,
Selbst wie eine Rose jung.
Einen Blick, geliebtes Leben!
Und ich bin belohnt genug.
Fuhle, was dies Herz empfindet,
Reiche frei mir deine Hand,
Und das Band, das uns verbindet,
Sei kein schwaches Rosenband!