베토벤: 교향곡 9번 합창 중 4악장, 피날레 - Richard Edlinger, cond (1997 Naxos)

Symphony No. 9 in D minor, Op. 125, "Choral" Ⅳ. Finale: Presto - Allegro assai (excerpt) Ludwig van Beethoven (1770-1827) 오스트리아) 'Choral' 　 Symphony No. 9 in D minor, Op. 125, "Choral": Ⅳ. Finale: Presto - Allegro assai   Album Title: The Best of Beethoven Composer: Ludwig van Beethoven Lyricist: Friedrich von Schiller Conductor: Richard Edlinger Performer: Robert Holzer (bass-baritone)                   Diane Elias (contralto: Mezzo-soprano)                   Gabriele Lechner (soprano)                   Michael Pabst (tenor) Orchestra: Zagreb Philharmonic Choir: Zagreb Philharmonic Chorus Audio CD (October 20, 1997) SPARS Code: DDD Number of Discs: 1 Label: Naxos Copyright: (c) 1988 Nzxos Symphony No.9 in D Minor, Op. 125 'Choral' Beethoven wrote nine symphonies, the first heralding the new century, in 1800, and the last completed in 1824. Although he made few changes to the composition of the orchestra itself, adding, when occasion demanded, one or two instruments more normally found in the opera-house, he expanded vastly the traditional form, developed in the time of Haydn and Mozart, reflecting the personal and political struggles of a period of immense change and turbulence. To his contemporaries he seemed an inimitable original, but to a number of his successors he seemed to have expanded the symphony to an intimidating extent. In March, 1824, Beethoven completed his ninth symphony, a work that summarises much of his achievement, but was, of course, not intended as a final symphonic statement. Plans for a tenth symphony had been sketched before the composer's death in 1827 and the first movement of this projected symphony has recently been reconstructed. Throughout his life Beethoven had shown a deep interest in the work of Schiller, the former army doctor who had become one of the leading writers of the German classical period. In particular the Ode to Joy, with its message of universal brotherhood, had been set to music by him in the 1790s, although the setting is now lost. It was this poem that was to provide the text for the great finale of the last symphony. The idea of introducing voices into a symphony was one that had been in Beethoven's mind for some time. He had written his Choral Fantasia, a kind of piano concerto with voices, in 1808, and had always shown a considerable interest, in any case, in the composition of songs, an element in his work that is often underestimated. By 1818 he was planning a choral symphony making use of what he described as a pious song in the ancient modes as an introduction to a fugue, a celebration of the feast of Bacchus. In the 1820s this was to become the recitative and the stirring setting of An die Freude in the last movement of the Choral Symphony. The first performance of the Symphony in D minor, Opus 125, took place at the Kaerntnertor Theatre on 7 May, 1824, after a great deal of wrangling over the whole matter, and was a tremendous success with a public that Beethoven thought he had lost to Rossini. The composer, too deaf to direct the performance, indicated the tempi of each movement, the real conductor Umlauf having instructed singers and players to pay no attention to Beethoven, who could hear nothing of the proceedings. The work is scored for pairs of flutes, oboes, clarinets, bassoons, trumpets and drums, with four French horns and the usual strings, to which the composer added three trombones, a double bassoon, a piccolo, triangle, cymbals and bass drum. The symphony was commissioned and paid for by the Philharmonic Society of London, but was dedicated by Beethoven to the King of Prussia, Friedrich Wilhelm III. The last movement provides a necessary link between the purely instrumental world of the rest of the symphony and the great setting of Schiller's words. There is an abrupt outburst from the orchestra, now joined by the double bassoon, followed at once by a baritone recitative, an abjuration of orchestral convention and an exhortation to sing a song of joy. This is followed by the famous theme, in fact structurally the principal theme of a rondo, that is to be varied in so many ways. The baritone is joined by the chorus and then by the other three soloists in its declaration of human brotherhood. 악기, 가수 편성 목관악기 : 피콜로 (네 번째 악장에서만 나옴) / 2 대의 플루트 / 2 대의 오보에 / 2 대의 클라리넷(B-flat, C, A) / 2 대의 바순 / 콘트라바순 (네 번째 악장에서만 나옴) 금관악기 : 2 대의 호른(1, 2) (D, B-flat) / 2 대의 호른(3, 4) (B-flat 베이스, B-flat, E-flat) / 2 대의 트럼펫 (D, B-flat) / 3 대의 트롬본 (알토, 테너, 베이스) (두 번째와 네 번째 악장에서만 나옴) 타악기 : 팀파니 / 트라이앵글 / 심벌즈 / 베이스 드럼 성악 (네 번째 악장에서만 나옴) : 소프라노 독창 / 알토 독창 / 테너 / 베이스 / 합창단 4 성부 (소프라노, 알토, 테너-I/테너-II, 베이스) 현악기 : 제1 및 제2 바이올린 / 비올라 / 첼로 / 더블 베이스 이같은 편성은 베토벤의 교향곡 가운데 가장 큰 편성이다. 초연 당시에 베토벤은 매 관악 파트마다 두 명의 연주자들을 지정해 편성을 확대했었다. 악곡 구성 모두 4악장으로 이루어져 있으며 다음과 같다. Ⅰ. Allegro ma non troppo, un poco maestoso Ⅱ. Molto vivace Ⅲ. Adagio molto e cantabile Ⅳ. Finale: Presto - Allegro assai 4악장 가사 이탤릭으로 된 부분은 베토벤이 고친 부분이다. Recitative: O Freunde, nicht diese Töne! Sondern lasst uns angenehmere anstimmen und freudenvollere. Freude! Freude! Freude, schöner Götterfunken Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt. Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer's nie gekonnt, der stehle Weinend sich aus diesem Bund! Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott. Froh, wie seine Sonnen fliegen Durch des Himmels prächt'gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen. Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über'm Sternenzelt Muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such' ihn über'm Sternenzelt! Über Sternen muss er wohnen. (피날레 반복) Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über'm Sternenzelt Muss ein lieber Vater wohnen. Seid umschlungen, Diesen Kuss der ganzen Welt! Freude, schöner Götterfunken Tochter aus Elysium, Freude, schöner Götterfunken 리하르트 에드링거(Richard Edlinger, 지휘) 1958년, Austria의 브레겐츠(Bregenz)에서 태어나 17살 때 처음 지휘를 했다. 빈 아카데미에서 지휘와 작곡을 전공했고 1982년에 졸업했다. 이무렵 이미 리하르트의 지휘 능력은 상당했고, 1983년에 밀라노에서 열린 '귀도 칸텔리 지휘 콩쿠르'에 참가해서 사상 최연소의 나이에 결선까지 진출하고 우승했다. 지휘자로 데뷔한 이후 유럽과 미국, 아시아에서 수많은 오케스트라를 지휘했고, 1987년엔 오스트리아의 오페라 가수인 Heinz Holecek와 함께 도나우강 지역에 '캄프탈( Kamptal) 페스티발'을 창설했다. 한편으로는 빈 캄머오퍼, '쉔부른의 모차르트' 여름 페스티발'에서 지휘하고 있고, 스투트가르트, 자르부뤼켄, 루체른, 리스본의 싼 카를로 국립극장 등에서 지휘하고 있다. 리하르트 스트라우스의 '박쥐'를 들고 일본을 순회했고, 카이로와 빈에서 매년 열리는 야외연주회를 지휘하고 있다. 1995년부터는 '빈 음악 세미나'에서 마스터 클라스를 지도하고 있다. 음반은 주로 Naxos 레이블로 발표하고 있는데, 지금까지 약 80여종의 다양한 음반을 발표하고 있을만큼 왕성한 의욕을 보여주고 있다. 재미있는 현상은 에드링거의 음반들이 주로 가벼운 소품들과 영화음악에 치중되어 있는 사실이고, 대곡에서는 베토벤과 모차르트의 작품들이 주류를 형성하고 있다. 따라서 이 지휘자의 음악적인 색깔이 짐작되는 대목이다. 글 출처 : 곽근수의 음악이야기 잘생긴 꾀꼬리 꽃미남 리차드강 어리버리 돈키호테.