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NY:新考証に基づくシューマン「詩人の恋」16曲 [音楽時評]

有名な世界的バリトン歌手 Thomas Hampson が,新しい考証結果に基づいて,シュマンの「詩人の恋」を,一般に歌われてきた20曲から4曲削減して New York の Alice Tully Hall で歌ったそうです.

It is not clear who authorized the dynamic, tempo and textual changes in the other 16 songs that were printed as “Dichterliebe” (Op. 48) in 1844 by the publishing company C. F. Peters. Mr. Hampson performed Schumann’s original manuscript version at Alice Tully Hall on Sunday evening, in a recital presented by Lincoln Center’s Art of the Song Series and the New York Philharmonic, with which he is artist in residence this season.

Schumann composed his 20 songs after Heinrich Heine’s “Lyrical Intermezzo” in 1840. The cycle relays the bitterness and despair of a lovelorn young man. The four deleted songs, “Dein Angesicht,” “Es leuchtet meine Liebe,” “Lehn’ deine Wang’ ” and “Mein Wagen rollet langsam,” were published posthumously as part of Opus 127 and Opus 142.

Mr. Hampson found Schumann’s original manuscript in Berlin and studied it with the musicologist Renate Hilmar-Voit. A comparison of the two scores reveals differences in dynamics, piano notation and phrasing, and in the rhythmic structure of the vocal line. Mr. Hampson describes the piano accompaniment in the first version as “patently unprettified.” In “Mein Wagen rollet langsam” (“My Wagon Rolls Slowly”) there is a motivic link to the next song, “Ich hab’ im Traum geweinet” (“I Wept in my Dream.”)

These songs are equal partnerships for singer and pianist, and Mr. Hampson had an excellent collaborator in Wolfram Rieger, who played with limpid poetry and seething tension. Mr. Hampson’s powerful baritone projected easily in the hall, his expressive voice conveying the drama and mood changes among the mournful, angry and ironic songs.

この新考証結果による全16曲について,日本でも真剣に再検討されることを期待します.それにはBerlin でオリジナル版を手にすることから始めるべきでしょう.

 

 

Music Review

Schumann Songs, Uncut, on the Lovesick Man

 
By VIVIEN SCHWEITZER        Published: April 12, 2010

                                                                           It is unclear why four songs from Schumann’s “Dichterliebe” (“A Poet’s Love”) ended up on the cutting-room floor, but according to the baritone Thomas Hampson, Schumann was not the one wielding the knife.

Joe Kohen for The New York Times

Thomas Hampson, the baritone, in a recital Sunday withWolfram Rieger at Alice Tully Hall.

It is also not clear who authorized the dynamic, tempo and textual changes in the other 16 songs that were printed as “Dichterliebe” (Op. 48) in 1844 by the publishing company C. F. Peters. Mr. Hampson performed Schumann’s original manuscript version at Alice Tully Hall on Sunday evening, in a recital presented by Lincoln Center’s Art of the Song Series and the New York Philharmonic, with which he is artist in residence this season.

Schumann composed his 20 songs after Heinrich Heine’s “Lyrical Intermezzo” in 1840. The cycle relays the bitterness and despair of a lovelorn young man. The four deleted songs, “Dein Angesicht,” “Es leuchtet meine Liebe,” “Lehn’ deine Wang’ ” and “Mein Wagen rollet langsam,” were published posthumously as part of Opus 127 and Opus 142.

Mr. Hampson found Schumann’s original manuscript in Berlin and studied it with the musicologist Renate Hilmar-Voit. A comparison of the two scores reveals differences in dynamics, piano notation and phrasing, and in the rhythmic structure of the vocal line. Mr. Hampson describes the piano accompaniment in the first version as “patently unprettified.” In “Mein Wagen rollet langsam” (“My Wagon Rolls Slowly”) there is a motivic link to the next song, “Ich hab’ im Traum geweinet” (“I Wept in my Dream.”)

These songs are equal partnerships for singer and pianist, and Mr. Hampson had an excellent collaborator in Wolfram Rieger, who played with limpid poetry and seething tension. Mr. Hampson’s powerful baritone projected easily in the hall, his expressive voice conveying the drama and mood changes among the mournful, angry and ironic songs.

The first half of the program was less memorable, although competently rendered. Mr. Hampson, a champion of American art song, offered 12 selections by Samuel Barber, including the elusive “Solitary Hotel” and “In the Wilderness” from his Opus 41 cycle. He sang the three Opus 45 songs, which Barber wrote at the end of his career while suffering from depression and alcoholism, with expressive care.

The highlight of the Barber selections were Mr. Hampson’s dramatic renditions of the three Opus 10 songs, to texts by James Joyce.


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通りすがり

こんにちは。
恐らくですが、正しくは「一般的に歌われてきた16曲のサイクルに、4曲を足した」と言う事になるかと思います。
シューマンはもともと詩人の恋を20曲の連作歌曲にする予定でした。完成させた後、サイクルとしてよりよい形にシェイプにするため、4曲を削って後に16曲の連作歌曲として詩人の恋を完成させ、その4曲はそれぞれ2曲ずつOp127とOp142に収められることになります。現在もほとんどの演奏会やCDで、詩人の恋は16つの連作歌曲として歌われます。

ハンプソンは新しい試みとして、その4曲を元の場所に戻し、なおかつ20曲だった当時のオリジナルの楽譜(強弱やフレーズが違う版)を研究し、NYでリサイタルを行った、と言うことだと思います。その2年前にもミュンヘンで同様のリサイタルを行いました。これはDVDで発売されています。
私も詩人の恋について調べ物をしていたのでこのサイトを発見しました。精力的なサイトで素晴らしいと思います!私も海外にいる若い音楽家です。ご指摘が間違っていましたらお許し下さい。ではでは。
by 通りすがり (2012-05-11 02:13) 

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