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Die Israeliten in der Wüste : ウィキペディア英語版 | Die Israeliten in der Wüste
''Die Israeliten in der Wüste'' (The Israelites in the Desert) is an oratorio by Carl Philipp Emanuel Bach. == Background == While known mainly for his works in other genres, Carl Philipp Emanuel Bach also composed several oratorios during his career as a composer. After arriving in Hamburg in 1768, he found himself in an atmosphere that was much more conducive to musical creativity than his previous post in Berlin had provided him.〔Ottenberg, Hans-Günter. Carl Philipp Emanuel Bach. New York: Oxford UP, 1987. 107.〕 With his new post came many new responsibilities and Bach found himself composing pieces in the longer symphony and concerto genres. One of his first compositions at his new Hamburg post was the oratorio ''Die Israeliten in der Wüste'' (The Israelites in the Desert), which he began in the second half of 1768 and finished early in 1769. The piece was based on a libretto by German librettist Daniel Schiebeler who, rather than creating the libretto by using direct quotes from scripture, used poetry based on scripture.〔Ottenberg, Hans-Günter. Carl Philipp Emanuel Bach. New York: Oxford UP, 1987, 118–123.〕 Bach wrote the oratorio for the consecration of the Lazarethkirche in 1769 and the score was first printed in 1775.〔'Carl Philipp Emanuel Bach – Vocal Music', ''Grove Music Online'' ed. L. Macy (accessed 14 February 2008), 〕 He wrote the piece with the intention that it be performed "not only on a solemn occasion, but at any time, inside or outside the Church".〔 This hope ultimately came to fruition when the piece was later performed outside of German-speaking areas and gained a reputation as a concert piece rather than a solely sacred piece, a status it maintained into the next century. Part of the reason for this was that in Hamburg, much better performers, facilities, and funds were available to produce such a technically complicated piece. Of course, the shift this piece underwent in moving from the church to the concert hall was accompanied by necessary changes in style and production, but as time has shown, Bach was able to adjust seamlessly to the changes in the times.〔 Bach's overall style of writing oratorio is clearly influenced by the earlier German composer George Frideric Handel. Bach's themes, musical effects, and affinity for the Old Testament all indicate a respect for and heavy influence by Handel's oratorios, particularly, one of his better-known works, the Messiah.〔
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