ヴィヴァルディ 協奏曲集「調和の霊感」より第7番 ヘ長調 RV567(op.3-7)
- (全曲制覇目標(?) Vivaldi op.3 で演奏していないもの 6, 7 のうちの1曲)
ヘンデル 12の合奏協奏曲集 作品6 HWV319-330 第3番ホ短調 (op.6-3)
- (全曲制覇目標(?) Händel op.6 で唯一演奏していないもの)
ハインリッヒ・イグナツ・フランツ・ビーバー
- http://imslp.org/wiki/Battalia_%C3%A0_9_(Biber,_Heinrich_Ignaz_Franz_von) より
- 作品の表題
- Battalia a 9
- 作品の別名
- Sonata di Marche
- 作曲者
- Biber, Heinrich Ignaz Franz von
ハインリッヒ・イグナツ・フランツ・ビーバー (1644-1704) - 作品番号等
- C 61
- 調
- D major
- 楽章数/曲数
- 8
- Sonata
- Allegro
- Die liederliche Gesellschaft von allerley Humor
- Presto
- Der Mars
- Aria
- Die Schlacht
- Adagio. Lamento der Verwundten Musquetirer
- 楽章数/曲数
- 8
- 標準演奏時間
- 10 minutes
- 作曲の時期
- 1673
- 初版の年
- 1971
- 楽器編成
- 3 violins, 4 violas, 2 violini, cembalo
- http://www.oakweb.ca/harmony/baroque/baroque_inst-j.html より
「マスケット銃士のどんちゃん騒ぎ、行進、戦闘そして傷病兵の嘆きが旋律によって模倣され、 バッカスに捧げられる。 1673年、H. ビーバー、3台のバイオリン、4台のビオル、2台のビオローネ、および１台のチェンバロによる弦楽合奏団」 という副題が付いている。
ビーバーは生涯の大半をザルツブルグ大司教の宮廷で過ごした。 最初は執事の身分であったが、1676年には音楽監督に出世した。 ビーバーの息子、カール・ハインリッヒは、ザルツブルグ宮廷でW.A.モーツアルトの父親レオポルドの上司であった。 Battaliaでは、銃声と酔っぱらった兵士が、「コル・レーニョ」（弓の木部で弦をたたく）およびピチカート、 そしてさらにビオローネ（ダブルベース）の一風変わった奏法「マルシュ」 （弦の間に紙を挟んで弓でたたき、軍隊のドラムを模倣する） などの進歩的技法を用いて弦楽のみで模倣される。 Battalia は傷病兵の嘆きで終わるが、これは当時としては非常にまれな悲劇的エンディングである。
- スコアの表紙の
Das Liederliche Schwirmen der Musquetier, Mars, die Schlacht und Lament der Verwundeten, mit Arien imitirt unt Baccho dedicirt
が「マスケット銃士のどんちゃん騒ぎ。。。」でしょうか。英語では ↓?
"Battle Music" is a masterpiece depicting scenes of battle drums, drunken soldiers, blasting canons, the wounded and the dying...
- http://www.wmea.com/CMP/teaching_plans/documents/Battalia.pdf
Battalia, edited by Wisconsin native Joel Blahnik, was written in 1673 during the Baroque era. Some historians have attributed this work as Biber’s feelings toward the Thirty Year War. This was a religious war fought from 1618-1648 involving most of Europe. It began as a conflict between Protestants and Catholics and spread throughout many European countries. The war often used mercenary armies and created much famine and disease that devastated many countries. Biber might have expressed serious emotions about the war as it was recorded that almost half the male population of German states and over a third of the Czechs were killed. Biber grew up in the Czech area and spent his adulthood in the German state of Austria. Battalia seems to be a statement about all aspects of war, including statements about the social and historical impact of war and the toll on humanity.
AnalysisBattalia is often translated as “a body of troops” or simply as “battle.” This piece is dedicated to Bacchus, god of wine, vegetation and theatre. This immediately suggests notions of absurdity to both player and listener. Biber uses many non-traditional musical techniques including striking the bow on the instrument, woven paper through strings, and Ives-like polytonality. The piece is divided into eight short movements with the following titles:
- Sonata
- The Profligate Society of Common Humor
- Allegro
- The March
- Presto
- Aria
- The Battle
- The Lament of the Wounded
- Sonata (Gathering of the Troops*)
AB form
A section uses rhythmic motive of which I interpret as“marching of troops to a central gathering place”
Biber uses other motives for different groups of troops
i.e.
B section uses dynamics to create a call and response pattern
A new timbre is introduced by using the wood of the bow against the side of the instrument - The Profligate Society of Common Humor (The troops have gathered in one location, each in their own campsite)
The form consists of 8 different songs each starting at a different tim
The harmony is polytonality as the 8 melodies are in 7 different keysD, c, d, F, A, G, e The rhythmic intensity is created by using polyrhythm. One section is in 12/8 time and the others in 4/4 time
I interpret this movement as each mercenary group having it’s own nationalistic song and every group is singing at the same time in the same campsite- Allegro (An interlude as troops pass time before the fighting)
Form is AA BB
Dynamic scheme is f-p-f-p
D major
Movement is 7 measures long, which might be interpreted as the feeling of uneasiness that the troops have inside them waiting for battle, while on the outside they show a sense of frivolity and bravado- The March (A military leader stepping forward to organize and lead the troops)
This has a violin solo with only a single bass accompaniment
The key is D but the part is written with a G# intentional making the piece in A
The bass player imitates a drum by weaving a piece of paper under the A string and over the E and D strings- Presto (Happiness and bravura before battle)
D major and some A major
Form is A, B, Development using canonic ideas, B, B
Dynamic scheme is f-p-f-p-f
Uses the following rhythmic motive:- Aria (Prayer before battle)
DM to AM to DM
Form is A A B B
Very reflective in style and tempo
All parts have moving and weaving lines as if each individual soldier has his own thoughts.- The Battle (No explanation needed)
Form is A m. 1-6 and part B m. 7-12 and then repeated.
Rhythmic motive is:
Violin parts 1 and 2 have moving melodies with similar patterns mostly in thirds.
Violin 3, violas and cellos have repeated patterns
Basses imitate cannon shots with the right hand snapping the string against the fingerboard (now called Bartok pizzicato)- The Lament of the Wounded (A part of war that is often forgotten)
Uses the rhythmic motive as if dragging a wounded leg.
B minor and ends in D major possible symbolizing hope after the war is over
Much harmonic dissonance in m. 11 and 12 using chromatics and suspensions
Dynamic range is p to pp - Allegro (An interlude as troops pass time before the fighting)
- Biber Battalia で検索すると、どんな曲か 音 ビデオ 多数みつかります。
たとえば
- Vn7人+Vla2人メンバーでのパートわけ
- PrestoI Vn1 Vn2 Vn3 Va
- Allegro Vn1 Vn2 Vn3 Vn4 Vn5 Va1 Va2
- PrestoII Vn1 Vn2 vn3 Va
- Der Mars Vn
- Presto III Vn1 Vn2 Vn3 Va
- Aria Vn1 Vn2 Vn3 Va
- Die Schlacht Vn1 Vn2 Vn3 Vn4 Va
- Lamento Adagio Vn1 Vn2 Vn3 Vn4 Va1 Va2
- 楽譜は 2種類。
- A. Violins … Vn1 Vn2 Vn3
- B. Violas … Vn4 Vn5 Vn6 Vla (本来は Vla1 Vla2 Vla3 Vla4)
- Rearranged for violins with at least one viola なパート譜 IMSLP54887-PMLP113493-H_Biber_C_61_Battalia_Alternate_Parts_PML.pdf http://216.129.110.22/files/imglnks/usimg/0/04/IMSLP54887-PMLP113493-H_Biber_C_61_Battalia_Alternate_Parts_PML.pdf
- 本来のパート譜 IMSLP54886-PMLP113493-H_Biber_C_61_Battalia_Parts_PML.pdf
- メンバー別 (2010/12/13案)
1曲目 2 3 4 5 6 7 8
Vn1 A1 A1 A1 A1 A1 A1 A1 A1
Vn2 A1 A1 A1 - A1 A1 A1 A1
Vn3 A1 A2 A1 - A1 A1 A2 A2
Vn4 A2 A3 A2 - A2 A2 A2 A2
Vn5 A2 B1 A2 - A2 A2 A3 A3
Vn6 B1 B2 B1 - B1 B1 B1 B1
Vn7 B1 B3 B1 - B1 B1 B1 B2
Vla B2 B4 B2 - B2 B2 B2 B3 - 曲別パート人数
1曲目 Vn1×2 Vn2×2 Vn3(Va1)×3 Va2×2 Vc+Kb (終わりから3小節目…Vn3休みでVla1が弾く。)
2曲目 Vn1×1 Vn2×1 Vn3×1 Vn4(Va1)×2 Vn5(Va2)×2 Va3 Va4 Vc Kb
3曲目 Vn1×6 Vn2×1 Va1 Va2 Vc+Kb
4曲目 VnSolo VcSolo
5曲目 Vn1×2 Vn2×2 Vn3(Va1)×3 Va2×2 Vc+Kb (13,14小節目…Cont下をVcSoloで弾く。)
6曲目 Vn1×3 Vn2×2 Vn3(Va1)×2 Va2×2 (Vc,Kbなし)
7曲目 Vn1×2 Vn2×2 Vn3×1 Vn4(Va1)×2 Va2×2 Vc1 Vc2 Kb(Cont下)
8曲目 Vn1×2 Vn2×2 Vn3×2 Vn4(Va1)×1 Va2 Va3 VcTutti+Kb VcSolo(Cont下)
- 奏者別
(奏者 = Vn1〜7, Va1〜2, Vc1〜2, Kb, Cemb.;
パート = Violins1〜3, Violas1〜4, Violone(Violoncellos)1〜2, Continuo)
1曲目 2 3 4 5 6 7 8 (基本パート譜 合成方針) Vn1 Vln1 Vln1 Vln1 Vln Vln1 Vln1 Vln1 Vln1 Violins そのまま Vn2 Vln1 Vln2 Vln1 - Vln1 Vln1 Vln1 Vln1 Violins そのまま Vn3 Vln2 Vln3 Vln1 - Vln2 Vln1 Vln2 Vln2 Violins そのまま Vn4 Vln2 Vla1 Vln1 - Vln2 Vln2 Vln2 Vln2 Violins 第2曲はViolas Vn5 Vla1 Vla1 Vln1 - Vla1 Vln2 Vln3 Vln3 Violins 第1,2,5曲はViolas Vn6 Vla1 Vla2 Vln1 - Vla1 Vla1 Vla1 Vln3 Violas Vn7 Vla1 Vla2 Vln2 - Vla1 Vla1 Vla1 Vla1 Violas 第3曲はViolins Va1 Vla2 Vla3 Vla1 - Vla2 Vla2 Vla2 Vla2 Violas そのまま Va2 Vla2 Vla4 Vla2 - Vla2 Vla2 Vla2 Vla3 Violas そのまま Vc1 Vlne Vlne Vlne Vlne Vlne - Vlne1 Cont. Violoncellos 第5(一部),8曲はContinuo Vc2 Vlne Vlne Vlne - Vlne - Vlne2 Vlne Violoncellos そのまま Kb Vlne Vlne Vlne - Vlne - Cont. Vlne Violoncellos 第7曲はContinuo Cemb. Cont. Cont. Cont. - Cont. Cont. Cont. Cont. Continuo そのまま
ハインリッヒ・イグナツ・フランツ・ビーバー
- 参考
A.Vivaldi 「四季」より「秋」 ヘ長調 (op.8-3 RV297)
- 前々回 第34回演奏会 から始まった、 団員ソロによる 四季 全曲演奏 の 3回目(三人目)。
- テーマは (秋、収穫、 祭、 酒、、、)。
- 前回の バッカス つながり。
- Vivaldi´s Four Seasons acted out - Autumn (mp4)
- Orchestra: Akademie für Alte Musik Berlin
- Soloist: Midori Seiler
- Direction: Brigitte Kramer, Jörg Jeshel
- http://www.youtube.com/watch?v=fVWSipqbuSU
- http://www.youtube.com/watch?v=Pq2n4m8qNG4
- http://www.youtube.com/watch?v=_V1Tx3HvoMY&NR=1
(http://homepage3.nifty.com/casavecia2/vivaldi/sonetto.html より)「秋」 AUTUNNO 第1楽章 A 村の若者は歌と踊りで祝う A Celebra il Vilanel con balli e Canti 豊作の大いなる喜びを Del felice raccolto il bel piacere B みなバッカスの神酒にほほ火照らせ B E del liquor di Bacco accesi tanti C 眠りの中で愉悦を終える C Finiscono col Sonno il lor godere. 第2楽章 D 喜び漂う雰囲気に D Fa ch'ogn'uno tralasci e balli e canti みな踊りも歌も半ばに L'aria che temperata da' piacere, 季節がら我も彼も誘われ E la Staggion ch'invita tanti e tanti 甘き眠りをたっぷり味わう D' un dolcissimo Sonno al bel godere. 第3楽章 E 夜明け早々狩人らは E I cacciator alla nov'alba a' caccia ホルンに猟銃 犬を従え いざ狩へ Con corni, Schioppi, e canni escono fuore F 逃げる野獣を追跡する狩人ら F Fugge la belva, e Seguono la traccia; G 猟銃の轟音と犬のほえ声にうろたえ G Gia' Sbigottita, e lassa al gran rumore 疲れ果て 傷を負い歯向かうも De' Schioppi e canni, ferita minaccia 逃るのに疲れ 追い詰めらて
野獣は死んでいくLanguida di fuggir, ma' oppressa muore.
HAYASHI Chifumi <vivaldi@iname.com> Last modified: Mon Apr 4 03:34:45 JST 2011
![[16:51:20]](pic/IMG_1889.JPG)
![[16:52:04]](pic/IMG_1890.JPG)
![[16:52:24]](pic/IMG_1891.JPG)
![[16:53:26]](pic/IMG_1892.JPG)