Partition complète, Der Freischütz, Op.77, Eine romantische Oper in 3 Aufzügen par Carl Maria von Weber

Carl Maria Von Weber

Description

Découvrez la partition de la musique Der Freischütz, Op. 77 partition complète, opéras, de Weber, Carl Maria von , Op. 77 ; J. 277. Cette partition de musique romantique dédiée aux instruments comme:

• solistes vocaux
• chœur
• orchestre—2 Piccolos
• 2 flûtes
• 2 hautbois
• 2 clarinettes
• 2 bassons
• 4 cornes
• 2 trompettes
• 3 Trombones
• timbales
• StringsOnstage—clarinette
• 2 cornes
• trompette
• violons
• violoncelles

Cette partition se constitue de différents mouvements: 3 acts et est répertoriée dans les genres pour orgue (arr), partitions pour orgue, pour chœur mixte (arr), pour 4 musiciens, partitions corde ensemble, pour 2 musiciens, partitions pour violoncelle, pour flûte, 2 hautbois, 2 clarinettes, 2 bassons, 2 cornes (arr), opéras, partitions pour viole de gambe, partitions pour piano, partitions pour orchestre, pour guitare (arr), partitions pour voix, pour voix et chœur avec orchestre, pour violon, violoncelle, piano (arr), pour 2 pianos (arr), partitions pour clarinette, partitions chœur mixte, pour piano 4 mains (arr), partitions pour basson, pour non accompagné chœur, partitions pour flûte, partitions pour violon, partitions pour piano 4 mains, partitions pour guitare, pour 2 violons, viole de gambe, violoncelle (arr), pour 3 musiciens, pour piano (arr), partitions pour hautbois, langue allemande, pour 9 musiciens, partitions pour cor, pour 2 pianos 8 mains (arr), pour cor, piano (arr), pour voix, chœur mixte, orchestre, pour flûte, violoncelle, piano (arr), pour violon, piano (arr), pour 1 musicien, Stage travaux
Visionnez dans le même temps une sélection de musique pour 2 trompettes, violoncelles, trompette, solistes vocaux, 3 Trombones, chœur, StringsOnstage—clarinette, violons, 2 hautbois, 2 clarinettes, 2 bassons, timbales, 2 cornes, 2 flûtes, 4 cornes, orchestre—2 Piccolos sur YouScribe, dans la catégorie Partitions de musique romantique.
Date composition: 1817–21
Rédacteur: Natalia Macfarren (1827-1916)Theodore Baker (1851-1934)
Edition: New York: G. Schirmer, 1904. Edition 573. Plate 15433.
Durée / duration: 2 Hours
Traducteur: Natalia Macfarren (1827–1916) and Theodore Baker (1851–1934), English text
Libbretiste: Johann Friedrich Kind (1768–1843)

Sujets

• Romantique
• Violoncelle
• Violon
• Trompette
• Corne
• Timbale
• Trombone
• Bassons
• Clarinette
• Oboe
• Flute
• Choeur
• Soliste
• Weber

Informations

• Publié par: Weber
• Nombre de lectures: 73
• Licence : Libre de droits
• Langue: Deutsch
• Poids de l'ouvrage: 11 Mo

Extrait

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ActsA Romantic Opera in Three
LIBRETTO BY
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Romantic Opera in Three Acts
Characters ot the Drama
PRINCE OTTOKAR . Baritone
CUNO, Head Ranger Bass
MAX 1 r Tenor
two young Foresters serving under him .,.,,. i(
CASPAR) (Bass
KILIAN, a Peasant Bass
HERMITA Bass
ZAMIEL, the Black Huntsman (speaking role)
AGNES, Cuno's daughter Soprano
ANNIE, her cousin Soprano
Chorus of Huntsmen, Peasants, Bridesmaids, and Invisible Spirits
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MUSICOFDEPT.
DER FREISCHUTZ
Romantic Opera in Three Acts
Text by
FRIEDRICH KIND
Music by
CARL MARIA von WEBER
Berlin, i8ai,First performed at the Royal Opera, June i8,
with the following cast
REBENSTEINOTTOKAR . Baritone . HERREN
MAUERCUNO . Bass . . . .
CASPAR Bass . BLUME.
MAX ^ Tenor STUMER. .
EIN EREMIT Bass . GERN
KILIAN Tenor . WIEDEMANN
AGATHE . Soprano FRAU SIEDLER
ÄNNCHEN FRL. EUNIKE. . _
Der Freischütz
The Weber'sday of the first performance of "Der Freischütz," as
biographer, F. W. Jahns, remarks, was the anniversaiy of the Battle of Waterloo.
He draws a parallel between the emancipation Germany from the dominationof
of Napoleon, brought about of German operaticby that battle, and the release
art from its bondage to Italian and French influences, effected by Weber's opera.
The comparison is not inept. From the appearance of "Der Freischütz" dates
the first decisive triumph of the romantic movement in German music and the
enthusiastic acceptance theby German people of a form of art peculiarly its
own, based on its own nature and characteristics and corresponding to its ownin poetry. Weber's opera is annative ideals in music and expression of motives
that are closest to the German heart ; its music is saturated with the spirit of
"the German folk-song. The popularity of "Der P'reischütz has been, and
unapproached by that anystill is in Germany, of other opera, and the very fact
greatthat it has never taken so or so lasting a hold upon any other people goes
"to confirm Wagner's assertion that it is the most German of all operas." Its
derived from one of those immemorial folk-talessubject is whose origin reaches
twilight the race. It interprets,back to the of the simple life, the na'ive and
hearty feelings, the sylvan joys of huntsmen and villagers. Its setting is of the
woods and the chase, and the mysterious and uncanny recesses and ravines
strange and supernatural things on with thewhere go assistance of lurking
powers of evil in all of which Germans at all periods have taken their highest;
delight.
In a community where hunting is a chief occupation, perfect marksmanship
is an inestimable possession. There are more ways than one of attaining it.
intervention Samiel, the BlackOne way is through the of Huntsman, none other
than the Evil One himself. The forest ranger who, with the proper incantations
and in the proper place, summons Samiel, may cast, in his name, seven bullets,
are infallible accuracy and will never failof which six of to hit the mark. The
seventh belongs to Samiel, and will hit what he, not the rifleman, wills. These
"bullets are free bullets," Freikugeln and the huntsman who obtains them is;
" freeshooter, " a Freischütz. The price he pays is his own immortala soul,
the end three years or, in defaultdelivered over to Samiel at of ; of this, to take
his place, the soul of another, who is then supplied in turn with the magic bullets.
In Prince Ottokar's dominions it was the custom that the hereditary chief
forester should be appointed after a test of his marksmanship. The old
Cuno, has a daughter, Agathe the Prince hasincumbent, ; given his permission
husbandthat the man whom she has chosen for her shall inherit her father's
place, if he shall meet the test demanded of his shooting. That man is Max,
young forester of promise and high character but in the preliminarya ; contest
in fact, beenhe has been utterly defeated—has, able to hit nothing, and has
even been surpassed by a common peasant, Kilian.
The curtain rises before a little tavern in the woods, where Kilian is
celebrating his success, and with him the rustics of the neighborhood. Ma.x is
in extreme discourag-ement ; and well he may be, for his shooting has been
influenced by a malign spell. Caspar, another forester, has sold himself to
Samiel for the sake of the magic bullets. Through his aid he has cast the spell
spoiled Max's shooting. Now, Caspar's term grace underthat has of his
comnearing its end, and it behooves him to find another soulpact is to deliver, to
fixed uponsave his own. He has Max ; and the spell upon his marksmanship is
the preliminary step. Caspar comes upon the stage with Cuno, the head
forester, and others of the corps, just as Max, exasperated by Kilian's derision,
violent hands upon him. They try to comfort the luckless one theis laying ;
VIaway into the inn, whereuponpeasantry dances Max bewails his fate in the
beautiful air, "Durch die Wälder, durch die Auen." Caspar now makes
occasion to work evil upon Max's mind. Beginning by pouring a few drops of
the wine that he presses upona magic elixir into him, he pictures the
hopelessness of his case if he comes from the shooting unsuccessful, and suggests that
there is a way to make success sure. It is by the "free bullets"; that very
twelve o'clock, lie will show him how to do it, in the Wolf's Glen.night, at
proposition, yet beside himself with desperation, MaxStartled at the agrees.
the second act uponThe curtain rises in an antechamber in the ancient
hunting lodge where Cuno makes his home. It is evening. Here Annchen
has been hanging an old portrait that has fallen and, in its fall, scratched
It seems like an ill omenAgathe's forehead. —all the more since the old
hermit in the woods that morning, as he gave her some consecrated roses,
warned her of approaching danger. Then comes Max to her through the
—he is his way to the unholy business at the Wolf's Glen, but he iswoods on
know what it really is. the scenecareful not to let her He goes on, and
Wolf's Glen,changes. Now we are in the a w