New Folk Song Volume
from “Songs of Various Nationalities” WoO 158
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Description
Beethoven was deeply rooted in German folklore from his youth. Just as he remained connected to German customs throughout his life, he drew repeatedly on the inexhaustible source of German folk songs in his art. He knew them from his Rhineland homeland, he loved them in the diverse colors of Austrian and Tyrolean melodies, and he studied them from the best and earliest sources of early folk song research.
Like all of Herder’s writings, which he read or familiarized himself with in transcripts, Herder’s “Volkslieder” (1778 and 1779) made a deep impression on him. He agreed with Herder that “a song must be heard, not seen; heard with the ear of the soul, which does not count, measure, and weigh individual syllables alone, but listens to the resonance and floats along with it.” And he also cherished the idea of a comprehensive collection of folk songs that would extend far beyond the borders of his homeland. Just as Herder “actually started with English folk songs” and returned to them, Beethoven also moved from arranging Scottish songs to foreign and German songs and then back again. His connection with George Thomson, which began in 1810 and lasted until 1823, led to a large number of Scottish, Welsh, Irish, and other various arrangements, most of which are in print, with a smaller number still awaiting publication. In addition to these works written “on commission,” Beethoven himself collected folk songs from various peoples and arranged them in order to prepare a collection similar to Herder’s on a musical basis. He stuck to the arrangement for voices and piano with violin and cello accompaniment. Like Herder, he also attempted to “translate the songs from the singing tone of a foreign language,” “to give the song itself as it sings in the language, to capture it faithfully as it resounds within us.” These musical “voices of the peoples” have been preserved. The arrangements were created in 1815 and 1816. Georg Schünemann, July 1940
EB 6974
score and parts
EAN: 9790004171417
108 pages / 23 x 30.5 cm / 415 g / stapled
EB 6974D
score and parts
EAN: 9790004811993
107 pages / 23 x 30.5 cm / digital edition
Description
Description
Beethoven was deeply rooted in German folklore from his youth. Just as he remained connected to German customs throughout his life, he drew repeatedly on the inexhaustible source of German folk songs in his art. He knew them from his Rhineland homeland, he loved them in the diverse colors of Austrian and Tyrolean melodies, and he studied them from the best and earliest sources of early folk song research.
Like all of Herder’s writings, which he read or familiarized himself with in transcripts, Herder’s “Volkslieder” (1778 and 1779) made a deep impression on him. He agreed with Herder that “a song must be heard, not seen; heard with the ear of the soul, which does not count, measure, and weigh individual syllables alone, but listens to the resonance and floats along with it.” And he also cherished the idea of a comprehensive collection of folk songs that would extend far beyond the borders of his homeland. Just as Herder “actually started with English folk songs” and returned to them, Beethoven also moved from arranging Scottish songs to foreign and German songs and then back again. His connection with George Thomson, which began in 1810 and lasted until 1823, led to a large number of Scottish, Welsh, Irish, and other various arrangements, most of which are in print, with a smaller number still awaiting publication. In addition to these works written “on commission,” Beethoven himself collected folk songs from various peoples and arranged them in order to prepare a collection similar to Herder’s on a musical basis. He stuck to the arrangement for voices and piano with violin and cello accompaniment. Like Herder, he also attempted to “translate the songs from the singing tone of a foreign language,” “to give the song itself as it sings in the language, to capture it faithfully as it resounds within us.” These musical “voices of the peoples” have been preserved. The arrangements were created in 1815 and 1816. Georg Schünemann, July 1940
Table of contents
| Air cosaque: Schoene Minka, ich muß scheiden |
| Air russe: Ach, ihr Baechlein, kühlen Wasser |
| Air russe: In dem Wald, dem gruenen Walde |
| Air russe: Unsre lieben Maedchen gingen |
| Bolero: Die Rose lockt den Falter |
| Bolero: Die Rose lockt den Falter |
| Bolero: Mein Taeubchen ist entflogen |
| Cancion: Ich traue nicht den Wogen |
| Canzonetta Veneziana: Von rosigem Munde in zaertlicher Stunde |
| Daenisch: Ritter nah’n dem Koenigsschloss |
| Deutsch: Horch auf, mein Liebchen |
| Deutsch: Wegen meiner |
| Polnisch: Auf, auf, ihr Freunde, lasst im Wein |
| Polnisch: Lenz und Liebeswonnen enden |
| Portugiesisch: Als ihre Augen kaum ich gesehen |
| Schwedisches Wiegenlied: Schlaf, mein Liebling, schlafe ein! |
| Schweizer Lied: An ae Bergli bin i gesaesse |
| Teppich-Kraemer-Lied: I bin a Tyroler Bua, bin alleweil wohlauf |
| Tiranilla Espanola: Auf, Gefaehrten, macht euch bereit! |
| Tyroler Lied: A Madel, ja a Madel ist als wie a Fahn |
| Tyroler Lied: Ich mag die nit nehma, du toeppeter Hecht |
| Tyroler Lied: Wer solche Buema afipackt |
| Tyroler: Wann i in der Frueh aufsteh |
| Ungarisches Weinleselied: Nach der Heimat Rebenfluren |