藍(lán)色多瑙河
作者:佚名 來(lái)源:本站原創(chuàng) 發(fā)布時(shí)間:2008-05-12
作于1866年。當(dāng)時(shí),<u>小約翰·施特勞斯</u>任<u>維也納</u>宮廷舞會(huì)指揮。維也納男聲合唱協(xié)會(huì)的指揮赫爾貝克約請(qǐng)小約翰·施特勞斯為他的合唱隊(duì)寫一首合唱曲。這時(shí)的小約翰·施特勞斯雖已創(chuàng)作出數(shù)百首圓舞曲,但還沒(méi)有創(chuàng)作過(guò)聲樂(lè)作品。這首合唱曲的歌詞是他請(qǐng)?jiān)娙烁缒鶢柼貏?chuàng)作的。
關(guān)于《藍(lán)色多瑙河》的創(chuàng)作,有一個(gè)有趣的故事。一次,約翰·施特勞斯回家時(shí)換下一件臟襯衣。他的妻子發(fā)現(xiàn)這件襯衣的衣袖上寫滿了五線譜。她知道這是丈夫靈感突現(xiàn)時(shí)記錄下來(lái)的,便將這件襯衣放在一邊。幾分鐘以后回來(lái),她正想把它交給丈夫,卻發(fā)現(xiàn)這件襯衣不翼而飛。原來(lái),在她離開的瞬間,洗衣婦把它連同其他臟衣服一起拿走了。她不知道洗衣婦的居所,就坐著車子到處尋找,奔波了半天,也沒(méi)有下落。在她陷于絕望的時(shí)刻,幸好一位酒店里的老婦人把她領(lǐng)到那洗衣婦的小屋。她猛沖進(jìn)去,見洗衣婦正要把那件襯衣丟入盛滿肥皂水的桶里。她急忙抓住洗衣婦的手臂,搶過(guò)了那件臟衣,挽救了衣袖上的珍貴樂(lè)譜,這正是約翰·施特勞斯的不朽名作《藍(lán)色多瑙河》圓舞曲。
1867年,這部作品在維也納首演。因?yàn)楫?dāng)時(shí)的維也納在普魯士的圍攻之下,人們正處于悲觀、失望之中,因此作品也遭到不幸,首演失敗。直到1868年二月,小約翰·施特勞斯住在維也納郊區(qū)離多瑙河不遠(yuǎn)的布勒泰街五十四號(hào)時(shí),把這部合唱曲改為管弦樂(lè)曲,在其中又增添了許多新的內(nèi)容,并命名為《藍(lán)色多瑙河》圓舞曲。
這部樂(lè)曲同年在巴黎公演時(shí)獲得了極大的成功。僅僅幾個(gè)月之后,這部作品就得以在美國(guó)公演。頃刻間,這首圓舞曲傳遍了世界各大城市,后來(lái)竟成為作者最重要的代表作品。直至今日,這首樂(lè)曲仍然深受世界人民喜愛。在每年元旦維也納舉行的“新年音樂(lè)會(huì)”上,本曲甚至成了保留曲目。
樂(lè)曲由序奏、五個(gè)圓舞曲和尾聲組成:
序奏開始時(shí),小提琴在a大調(diào)上奏出徐緩的震音,好像是多瑙河的水波在輕柔地翻動(dòng)。 在這個(gè)背景上,圓號(hào)吹奏出這首樂(lè)曲最重要的一個(gè)動(dòng)機(jī),它象征著黎明的到來(lái)。
第一圓舞曲描寫了在多瑙河畔,陶醉在大自然中的人們翩翩起舞時(shí)的情景。
第二圓舞曲首先在d大調(diào)上出現(xiàn), 巧妙而富于變化的第二圓舞曲描寫了南阿爾卑斯山下的小姑娘們,穿著鵝絨舞裙在歡快地跳舞;突然樂(lè)曲轉(zhuǎn)為降b大調(diào),富于變化的色彩顯得格外動(dòng)人。
第三圓舞曲屬歌唱性旋律,這段音樂(lè)采用了切分節(jié)奏,給人以親切新穎的感覺。
第四圓舞曲在開始時(shí)節(jié)奏比較自由,琶音上行的旋律美妙得連作曲家本人也很得意,仿佛春意盎然,沁人心脾。
第五圓舞曲是第四圓舞曲音樂(lè)情緒的繼續(xù)和發(fā)展,只是轉(zhuǎn)到a大調(diào)上。 起伏、波浪式的旋律使人聯(lián)想到在多瑙河上無(wú)憂無(wú)慮地蕩舟時(shí)的情景。 接下去的部分,是全曲的高潮和結(jié)尾。樂(lè)曲的結(jié)尾有兩種,一種是合唱型結(jié)尾,接在第五圓舞曲之后,很短。另一種是管弦樂(lè)曲結(jié)尾,較長(zhǎng),依次再現(xiàn)了第三圓舞曲、第四圓舞曲及第一圓舞曲的主題,最后結(jié)束在疾風(fēng)驟雨式的狂歡氣氛之中。
這首歌誕生于“多瑙河的女神”之稱的奧地利首都維也納
josef weyl的原版歌詞
viennese, be happy!
oho, but why?
well, just look around!
but tell me, why?
a shimmer of light!
we can’t see anything yet.
well, it’s carnival!
well, so what?
so defy the times –
o god, the times!
– of sadness.
ah, that would be clever!
what’s the use of regrets
and mourning,
so be happy and merry!
honour the law of carnival,
however bad the finances may be,
let us dance!
today anyone who sits at home
will be sweating
as much as the swarm of dancers
at the ball!
the farmer is scratching himself
because the times are so bad;
he forces hinself to take a run-up,
rushes to the tax office
and pays up.
the money’s gone, that’s for sure,
they’ll never part with it again,
so, as it’s carnival right now,
there’s a ball in the village inn,
and there are pretty girls there too,
we’ll have a knees-up,
even if we have no money.
in fact nobody has any money!
a fat landlord is very annoyed,
all the apartments in his house are empty,
it doesn’t matter – despite his spleen
he’s going to a masked ball.
if six tenants are missing,
then the rents for the rest will be put up,
tomorrow an artist is moving in,
but he certainly won’t pay up,
if you call the bailiffs in it’s a nuisance,
people haven’t got a penny to their name,
that’s what the landlord thinks
and dances in his anger.
when he is near the graces
the artist feels both at ease and uneasy
like a little fish in the lake:
the happiness they radiate
makes him see them
as the embodiment of an ideal he’s long been dreaming of.
he’s the one who’s been kissed on the forehead by the muses,
who sweetens life,
whom beauty greets.
where joy and love come to flower
the artist feels at home.
with quick movements,
fresh and youthful
every artist
presents himself in a masterly way,
hence it is quite understandable
that art stands in such high favour with the ladies.
even the political, critical gentlemen
like to turn wisely in a circle,
even if they seem to be moving nimbly
they never actually leave the one spot.
and just as they dance the waltz, so they usually make a mess
of the ideas in their brains – despite their efforts,
however exactly they write down everything down,
unfortunately they keep losing the beat.
so just keep on
dancing without a break,
make the most of the moment,
for your good fortune
will not return.
use quickly
what you have got today,
because time flies
and the rose of joy fades!
so dance, just dance!
作者簡(jiǎn)介:小約翰·施特勞斯 (johann strauss,1825-1899),老約翰·施特勞斯的兒子,奧地利著名的輕音樂(lè)作曲家。出生在風(fēng)行跳舞的維也納一個(gè)音樂(lè)家家庭,與父親同名。
其創(chuàng)作以《藍(lán)色的多瑙河》、《維也納森林的故事》、《藝術(shù)家的生活》、《春之聲》等一百二十余首維也納圓舞曲著稱,被后人冠以“圓舞曲之王”的頭銜。他曾帶領(lǐng)樂(lè)隊(duì)訪問(wèn)歐洲各國(guó),使維也納圓舞曲風(fēng)靡全歐洲。他的圓舞曲獨(dú)具特色,旋律酣暢,柔美動(dòng)聽,節(jié)奏自由,生機(jī)盎然,是每年維也納新年音樂(lè)會(huì)的主要曲目。他還將源于德國(guó)南部性格溫和的連德勒舞,改造成為結(jié)構(gòu)簡(jiǎn)單、節(jié)奏靈活、旋律優(yōu)美、感情奔放的音樂(lè)體裁,在市民生活中占有重要地位。此外還作有《雷鳴電閃》等一百二十多首源自捷克的波爾卡舞曲及幾十首其他舞曲。1870年起創(chuàng)作了《蝙蝠》、《羅馬狂歡節(jié)》、《阿里巴巴與四十大盜》、《吉卜賽男爵》等十六部輕歌劇,對(duì)于歐洲輕歌劇的發(fā)展有著相當(dāng)深遠(yuǎn)的影響。
關(guān)于《藍(lán)色多瑙河》的創(chuàng)作,有一個(gè)有趣的故事。一次,約翰·施特勞斯回家時(shí)換下一件臟襯衣。他的妻子發(fā)現(xiàn)這件襯衣的衣袖上寫滿了五線譜。她知道這是丈夫靈感突現(xiàn)時(shí)記錄下來(lái)的,便將這件襯衣放在一邊。幾分鐘以后回來(lái),她正想把它交給丈夫,卻發(fā)現(xiàn)這件襯衣不翼而飛。原來(lái),在她離開的瞬間,洗衣婦把它連同其他臟衣服一起拿走了。她不知道洗衣婦的居所,就坐著車子到處尋找,奔波了半天,也沒(méi)有下落。在她陷于絕望的時(shí)刻,幸好一位酒店里的老婦人把她領(lǐng)到那洗衣婦的小屋。她猛沖進(jìn)去,見洗衣婦正要把那件襯衣丟入盛滿肥皂水的桶里。她急忙抓住洗衣婦的手臂,搶過(guò)了那件臟衣,挽救了衣袖上的珍貴樂(lè)譜,這正是約翰·施特勞斯的不朽名作《藍(lán)色多瑙河》圓舞曲。
1867年,這部作品在維也納首演。因?yàn)楫?dāng)時(shí)的維也納在普魯士的圍攻之下,人們正處于悲觀、失望之中,因此作品也遭到不幸,首演失敗。直到1868年二月,小約翰·施特勞斯住在維也納郊區(qū)離多瑙河不遠(yuǎn)的布勒泰街五十四號(hào)時(shí),把這部合唱曲改為管弦樂(lè)曲,在其中又增添了許多新的內(nèi)容,并命名為《藍(lán)色多瑙河》圓舞曲。
這部樂(lè)曲同年在巴黎公演時(shí)獲得了極大的成功。僅僅幾個(gè)月之后,這部作品就得以在美國(guó)公演。頃刻間,這首圓舞曲傳遍了世界各大城市,后來(lái)竟成為作者最重要的代表作品。直至今日,這首樂(lè)曲仍然深受世界人民喜愛。在每年元旦維也納舉行的“新年音樂(lè)會(huì)”上,本曲甚至成了保留曲目。
樂(lè)曲由序奏、五個(gè)圓舞曲和尾聲組成:
序奏開始時(shí),小提琴在a大調(diào)上奏出徐緩的震音,好像是多瑙河的水波在輕柔地翻動(dòng)。 在這個(gè)背景上,圓號(hào)吹奏出這首樂(lè)曲最重要的一個(gè)動(dòng)機(jī),它象征著黎明的到來(lái)。
第一圓舞曲描寫了在多瑙河畔,陶醉在大自然中的人們翩翩起舞時(shí)的情景。
第二圓舞曲首先在d大調(diào)上出現(xiàn), 巧妙而富于變化的第二圓舞曲描寫了南阿爾卑斯山下的小姑娘們,穿著鵝絨舞裙在歡快地跳舞;突然樂(lè)曲轉(zhuǎn)為降b大調(diào),富于變化的色彩顯得格外動(dòng)人。
第三圓舞曲屬歌唱性旋律,這段音樂(lè)采用了切分節(jié)奏,給人以親切新穎的感覺。
第四圓舞曲在開始時(shí)節(jié)奏比較自由,琶音上行的旋律美妙得連作曲家本人也很得意,仿佛春意盎然,沁人心脾。
第五圓舞曲是第四圓舞曲音樂(lè)情緒的繼續(xù)和發(fā)展,只是轉(zhuǎn)到a大調(diào)上。 起伏、波浪式的旋律使人聯(lián)想到在多瑙河上無(wú)憂無(wú)慮地蕩舟時(shí)的情景。 接下去的部分,是全曲的高潮和結(jié)尾。樂(lè)曲的結(jié)尾有兩種,一種是合唱型結(jié)尾,接在第五圓舞曲之后,很短。另一種是管弦樂(lè)曲結(jié)尾,較長(zhǎng),依次再現(xiàn)了第三圓舞曲、第四圓舞曲及第一圓舞曲的主題,最后結(jié)束在疾風(fēng)驟雨式的狂歡氣氛之中。
這首歌誕生于“多瑙河的女神”之稱的奧地利首都維也納
josef weyl的原版歌詞
viennese, be happy!
oho, but why?
well, just look around!
but tell me, why?
a shimmer of light!
we can’t see anything yet.
well, it’s carnival!
well, so what?
so defy the times –
o god, the times!
– of sadness.
ah, that would be clever!
what’s the use of regrets
and mourning,
so be happy and merry!
honour the law of carnival,
however bad the finances may be,
let us dance!
today anyone who sits at home
will be sweating
as much as the swarm of dancers
at the ball!
the farmer is scratching himself
because the times are so bad;
he forces hinself to take a run-up,
rushes to the tax office
and pays up.
the money’s gone, that’s for sure,
they’ll never part with it again,
so, as it’s carnival right now,
there’s a ball in the village inn,
and there are pretty girls there too,
we’ll have a knees-up,
even if we have no money.
in fact nobody has any money!
a fat landlord is very annoyed,
all the apartments in his house are empty,
it doesn’t matter – despite his spleen
he’s going to a masked ball.
if six tenants are missing,
then the rents for the rest will be put up,
tomorrow an artist is moving in,
but he certainly won’t pay up,
if you call the bailiffs in it’s a nuisance,
people haven’t got a penny to their name,
that’s what the landlord thinks
and dances in his anger.
when he is near the graces
the artist feels both at ease and uneasy
like a little fish in the lake:
the happiness they radiate
makes him see them
as the embodiment of an ideal he’s long been dreaming of.
he’s the one who’s been kissed on the forehead by the muses,
who sweetens life,
whom beauty greets.
where joy and love come to flower
the artist feels at home.
with quick movements,
fresh and youthful
every artist
presents himself in a masterly way,
hence it is quite understandable
that art stands in such high favour with the ladies.
even the political, critical gentlemen
like to turn wisely in a circle,
even if they seem to be moving nimbly
they never actually leave the one spot.
and just as they dance the waltz, so they usually make a mess
of the ideas in their brains – despite their efforts,
however exactly they write down everything down,
unfortunately they keep losing the beat.
so just keep on
dancing without a break,
make the most of the moment,
for your good fortune
will not return.
use quickly
what you have got today,
because time flies
and the rose of joy fades!
so dance, just dance!
作者簡(jiǎn)介:小約翰·施特勞斯 (johann strauss,1825-1899),老約翰·施特勞斯的兒子,奧地利著名的輕音樂(lè)作曲家。出生在風(fēng)行跳舞的維也納一個(gè)音樂(lè)家家庭,與父親同名。
其創(chuàng)作以《藍(lán)色的多瑙河》、《維也納森林的故事》、《藝術(shù)家的生活》、《春之聲》等一百二十余首維也納圓舞曲著稱,被后人冠以“圓舞曲之王”的頭銜。他曾帶領(lǐng)樂(lè)隊(duì)訪問(wèn)歐洲各國(guó),使維也納圓舞曲風(fēng)靡全歐洲。他的圓舞曲獨(dú)具特色,旋律酣暢,柔美動(dòng)聽,節(jié)奏自由,生機(jī)盎然,是每年維也納新年音樂(lè)會(huì)的主要曲目。他還將源于德國(guó)南部性格溫和的連德勒舞,改造成為結(jié)構(gòu)簡(jiǎn)單、節(jié)奏靈活、旋律優(yōu)美、感情奔放的音樂(lè)體裁,在市民生活中占有重要地位。此外還作有《雷鳴電閃》等一百二十多首源自捷克的波爾卡舞曲及幾十首其他舞曲。1870年起創(chuàng)作了《蝙蝠》、《羅馬狂歡節(jié)》、《阿里巴巴與四十大盜》、《吉卜賽男爵》等十六部輕歌劇,對(duì)于歐洲輕歌劇的發(fā)展有著相當(dāng)深遠(yuǎn)的影響。
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