Johannes Brahms Valse des chansons d'amour
Valse pour quatre voix et pianoforte pour quatre mains op. 52
- Effectif:
- Coro SATB, 2 Pfte
- Chercher les œuvres avec un effectif similaire
- Langue:
- allemand/anglais
- Durée:
- 22 min
- When your eyes so softly gaze
- No, there is no putting out
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Aides à l'apprentissage voix soprano
- Tell me maiden (Choir Coach)
- Tell me maiden (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach, Slow mode)
- As the evening's radiant sunset (Choir Coach)
- As the evening's radiant sunset (Choir Coach, Slow mode)
- The green and trailing (Choir Coach)
- The green and trailing (Choir Coach, Slow mode)
- A little, pretty bird (Choir Coach)
- A little, pretty bird (Choir Coach, Slow mode)
- How beautiful it was (Choir Coach)
- How beautiful it was (Choir Coach, Slow mode)
- When your eyes so softly gaze (Choir Coach)
- When your eyes so softly gaze (Choir Coach, Slow mode)
- Sur les rives du Danube (Choir Coach)
- Sur les rives du Danube (Choir Coach, Slow mode)
- O how gently (Choir Coach)
- O how gently (Choir Coach, Slow mode)
- No, there is no putting out (Choir Coach)
- No, there is no putting out (Choir Coach, Slow mode)
- Locksmith, up, and make your locks (Choir Coach)
- Locksmith, up, and make your locks (Choir Coach, Slow mode)
- Little bird wings through the air (Choir Coach)
- Little bird wings through the air (Choir Coach, Slow mode)
- Nightingale she sings so fine (Choir Coach)
- Nightingale she sings so fine (Choir Coach, Slow mode)
- L'amour est un puits profond (Choir Coach)
- L'amour est un puits profond (Choir Coach, Slow mode)
- A trembling stirs the bushes (Choir Coach)
- A trembling stirs the bushes (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach)
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Aides à l'apprentissage voix alto
- Tell me maiden (Choir Coach)
- Tell me maiden (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach)
- O'er the rocks the tide roars on (Choir Coach, Slow mode)
- As the evening's radiant sunset (Choir Coach, Slow mode)
- As the evening's radiant sunset (Choir Coach)
- The green and trailing (Choir Coach)
- The green and trailing (Choir Coach, Slow mode)
- A little, pretty bird (Choir Coach)
- A little, pretty bird (Choir Coach, Slow mode)
- How beautiful it was (Choir Coach)
- How beautiful it was (Choir Coach, Slow mode)
- When your eyes so softly gaze (Choir Coach)
- When your eyes so softly gaze (Choir Coach, Slow mode)
- Sur les rives du Danube (Choir Coach)
- Sur les rives du Danube (Choir Coach, Slow mode)
- O how gently (Choir Coach)
- O how gently (Choir Coach, Slow mode)
- No, there is no putting out (Choir Coach)
- No, there is no putting out (Choir Coach, Slow mode)
- Locksmith, up, and make your locks (Choir Coach)
- Locksmith, up, and make your locks (Choir Coach, Slow mode)
- Little bird wings through the air (Choir Coach)
- Little bird wings through the air (Choir Coach, Slow mode)
- Nightingale she sings so fine (Choir Coach)
- Nightingale she sings so fine (Choir Coach, Slow mode)
- L'amour est un puits profond (Choir Coach)
- L'amour est un puits profond (Choir Coach, Slow mode)
- A trembling stirs the bushes (Choir Coach)
- A trembling stirs the bushes (Choir Coach, Slow mode)
-
Aides à l'apprentissage voix tenore
- Tell me maiden (Choir Coach)
- Tell me maiden (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach)
- O'er the rocks the tide roars on (Choir Coach, Slow mode)
- The green and trailing (Choir Coach, Slow mode)
- A little, pretty bird (Choir Coach)
- A little, pretty bird (Choir Coach, Slow mode)
- When your eyes so softly gaze (Choir Coach)
- When your eyes so softly gaze (Choir Coach, Slow mode)
- Sur les rives du Danube (Choir Coach)
- Sur les rives du Danube (Choir Coach, Slow mode)
- O how gently (Choir Coach)
- O how gently (Choir Coach, Slow mode)
- No, there is no putting out (Choir Coach)
- No, there is no putting out (Choir Coach, Slow mode)
- Locksmith, up, and make your locks (Choir Coach)
- Locksmith, up, and make your locks (Choir Coach, Slow mode)
- See, how clear the ripples are (Choir Coach)
- Nightingale she sings so fine (Choir Coach)
- L'amour est un puits profond (Choir Coach)
- L'amour est un puits profond (Choir Coach, Slow mode)
- Don't wander, beloved (Choir Coach)
- Don't wander, beloved (Choir Coach, Slow mode)
- A trembling stirs the bushes (Choir Coach)
- A trembling stirs the bushes (Choir Coach, Slow mode)
- See, how clear the ripples are (Choir Coach, Slow mode)
- The green and trailing (Choir Coach, Slow mode)
- Nightingale she sings so fine (Choir Coach, Slow mode)
- O the Ladies (Choir Coach)
- O the Ladies (Choir Coach, Slow mode)
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Aides à l'apprentissage voix basse
- Tell me maiden (Choir Coach)
- Tell me maiden (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach)
- O'er the rocks the tide roars on (Choir Coach, Slow mode)
- O the Ladies (Choir Coach)
- O the Ladies (Choir Coach, Slow mode)
- The green and trailing (Choir Coach)
- The green and trailing (Choir Coach, Slow mode)
- A little, pretty bird (Choir Coach)
- A little, pretty bird (Choir Coach, Slow mode)
- When your eyes so softly gaze (Choir Coach)
- When your eyes so softly gaze (Choir Coach, Slow mode)
- Sur les rives du Danube (Choir Coach)
- No, there is no putting out (Choir Coach)
- No, there is no putting out (Choir Coach, Slow mode)
- Locksmith, up, and make your locks (Choir Coach)
- Locksmith, up, and make your locks (Choir Coach, Slow mode)
- See, how clear the ripples are (Choir Coach)
- See, how clear the ripples are (Choir Coach, Slow mode)
- Nightingale she sings so fine (Choir Coach)
- Nightingale she sings so fine (Choir Coach, Slow mode)
- L'amour est un puits profond (Choir Coach)
- L'amour est un puits profond (Choir Coach, Slow mode)
- A trembling stirs the bushes (Choir Coach)
- A trembling stirs the bushes (Choir Coach, Slow mode)
- O how gently (Choir Coach)
- O how gently (Choir Coach, Slow mode)
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texte (pas de notes) & licence d'impression, fichier html, Paroles, traduction en anglaisfichier html, Paroles, traduction en anglais (Extrait)1. Rede, Mädchen (SATB)
Speak, maiden, whom I love all too much,
2. Am Gesteine rauscht die Flut (SATB)
who hurled into my once aloof heart,
with only one glance,
these wild, ardent feelings!
Will you not soften your heart?
Do you wish to be chaste
and remain without sweet bliss,
or do you want me to come to you?
To remain without sweet bliss –
I would never make such a bitter penance.
So come, dark-eyes,
come when the stars greet you.Against the stones the stream rushes,
3. O die Frauen (TB)
powerfully driven:
those who do not know to sigh there,
will learn it when they fall in love.O women, O women,
4. Wie des Abends schöne Röte (SA)
how they melt one with bliss!
I would have become a monk long ago
if it were not for women!Like the evening’s lovely red,
5. Die grüne Hopfenranke (SATB)
would I, a poor maiden, like to glow,
to please one, one boy –
and to then radiate bliss forever.The green hops vine,
it winds along the ground.
The young, fair maiden –
so mournful are her thoughts!
You –...
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texte (pas de notes) & licence d'impression, fichier html, Paroles, originalfichier html, Paroles, original (Extrait)
1. Rede, Mädchen (SATB) Rede, Mädchen, allzu liebes,
das mir in die Brust, die kühle,
hat geschleudert mit dem Blicke
diese wilden Glutgefühle!
Willst du nicht dein Herz erweichen,
willst du, eine Überfromme,
rasten ohne traute Wonne,
oder willst du, dass ich komme?
Rasten ohne traute Wonne,
nicht so bitter will ich büßen.
Komme nur, du schwarzes Auge.
Komme, wenn die Sterne grüßen.2. Am Gesteine rauscht die Flut (SATB) Am Gesteine rauscht die Flut,
heftig angetrieben;
wer da nicht zu seufzen weiß,
lernt es unterm Lieben....
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texte (pas de notes) & licence d'impression, fichier html, Texte introductif, en anglaisfichier html, Texte introductif, en anglais (Extrait)Text from the CD 83.319
Roland Kunz
Translation (abridged): John Coombs“The earnest, taciturn Brahms, the true disciple of Schumann, a north German, a Protestant, and as unworldly as Schumann himself, writing waltzes? A single word solves the riddle; it is: Vienna.”
The music of Brahms’s maturity would probably have been of an entirely different character had he not settled in Vienna in 1862. He came into contact there with an entirely unfamiliar musical culture, and Eduard Hanslick, the dreaded Viennese music critic, was understandably surprised by the waltzes of this “unworldly Protestant.” In Vienna conservative minded artists and critics set the tone; the tradition of Haydn, Mozart, Beethoven and Schubert was still flourishing, and Brahms became familiar there with Schubert’s ländler, Strauß waltzes, Austrian folk music and the music of the gipsies. No wonder that he was inspired to write waltzes, the
...
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texte (pas de notes) & licence d'impression, fichier html, Texte introductif, en allemandfichier html, Texte introductif, en allemand (Extrait)Booklet-Text der CD Carus 83.319
Roland Kunz
Der ernste, schweigsame Brahms, der echte Jünger Schumanns, norddeutsch, protestantisch und unweltlich wie dieser, schreibt Walzer? Ein Wort löst uns das Rätsel, es heißt: Wien. Die Kaiserstadt hat Beethoven zwar nicht zum Tanzen, aber doch zum Tänzeschreiben gebracht, Schumann zu einem Faschingsschwank verleitet, sie hätte vielleicht Bach selbst in eine läßliche Sünde verstrickt. Auch die Walzer von Brahms sind die Frucht seines Wiener Aufenthaltes und wahrlich von Süßester Art.
(Eduard Hanslick)Brahms’ reifes Schaffen hätte wahrscheinlich ganz anders ausgesehen, hätte er sich nicht 1862 in Wien niedergelassen; nun kam er mit einer anders gearteten Musikkultur in Berührung, und zu Recht verwunderte sich Eduard Hanslick, der gefürchtete Wiener Musikkritiker, über die Walzer des »unweltlichen Protestanten«. In Wien gaben eher konservativ
...
Sommaire
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Compositeur
Johannes Brahms
| 1833-1897Johannes Brahms' study of musical tradition was of crucial importance to his output: he combined church modes, canonic technique, Baroque style and diction, Bach's counterpoint and Beethoven's thematic-motivic work with the harmonic and expressive achievements of Romanticism to form his own distinctive style. In this respect his choral songs and vocal quartets (e.g. the “Liebeslieder Waltzes” and “New Liebeslieder Waltzes”), often to folk song texts, in which a musical microcosm unfolds, are examplary. His “Deutsches Requiem”, available from Carus in several different versions, constitutes one of the most fascinating confessions of faith in the history of music. Plus d'information sur la personne
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Éditeur
Michael Musgrave
| 1942
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Traducteur
Michael Musgrave
| 1942
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