Fidelio in Full Score

作者: Ludwig van Beethoven 著

出版社: Dover Publications

出版时间: 1984-11

版次: 1

ISBN: 9780486247403

定价: 277.00

装帧: 平装

开本: 其他

纸张: 胶版纸

页数: 272页

正文语种: 英语

丛书: Dover Music Scores

分类: 外文古旧书>英文书>艺术

Beethoven's only opera， Fidelio is a unique， enduring masterpiece of loyalty， unselfish love， and the human spirit — the story of the faithful Leonora who risks everything to free her husband， Florestan， from unjust imprisonment. Though the plot line and the form of the libretto are far from unique， Beethoven — after a decade of unceasing revision — was able to rise above the limitations of the material and infuse it with transcendent nobility.
"Of all my children，" the composer said， "this is the one that cost me with worst birth pangs . . . and for that reason it is the one most dear to me." Audiences and musicians have long shared Beethoven's sentiments， making Fidelio one of the most performed， most studied， most recorded operas of all time.
This reliable edition from Dover reproduces the full orchestral and vocal score， with ample space in the margins for analytical notation. In one sturdily bound， inexpensive volume， here is Beethoven's genius for orchestration combined with the drama of the human voice in choruses， duets， emotion-filled arias， and an intense finale.
More than anything else， the idealistic themes of the opera — justice， freedom， heroism， love — inspired Beethoven to transcend the libretto and forge a musical structure that far surpasses the literary foundation on which it is built. Whether in a humorous aria， such as "Hat man auch nicht Geld beineben，" or a glorious four-part canon， such as "Mir ist so wunderbar，" the music carries the words to a plane far beyond themselves.
Reprinted in its entirety from the authoritative C. F. Peters edition， this faithful edition of the well-loved Fidelio will delight music lovers， opera enthusiasts， Beethoven devotees， teachers， and students — not least of all for its remarkably affordable price.
The triumphant genius of Ludwig van Beethoven (1770–1827) casts a long shadow over classical music — no other composer of the past two centuries has exercised an influence more profound than his. A product of the classicist generation, he was the first of the Romantics, and his exhilarating works remain undiminished intheir powers of enchantment.,, Overture

FIRST ACT

  First Scene. Marzelline, Jaquino.

    No. 1. Duet.

      Jaquino: "Jetzt, Schatzchen, jetzt sind wir allein."

  Second Scene. Marzelline (alone).

    No. 2. Aria.

      Marzelline: "0 wiir" ich schon mit dir vereint."

  Third Scene. Marzelline, Rocco, Jaquino.

  Fourth Scene. The preceding, Leonore.

    No. 3. Quartet (Canon).

      Marzelline: "Mir ist so wunderbar."

    No. 4.   Aria.

      Rocco: "Hat man nich aueh Gold beineben."

    No. 5.  Trio.

      Rocco: "Gut, Sohuchen, gut, hab' immer Muth."

    No. 6.  March.

  Fifth Scene. Rocco, Pizarro, Officers, Guards.

    No. 7. Aria with Chorus.

      Pizarro: "Ha! welch' ein Augenblick."

      Chorus of Guards: "Er spricht yon Tod und Wunde."

    No. 8. Duet.

      Pizarro: "Jetzt, Alter, hat es Eile."

  Sixth Scene. Leonore (alone).

    No. 9. Recitative and Aria.

     Leonore: "Abscheulicher! wo eilst du hiu?"

     "Komm, Hoffnung, lass den letzten Stern."

  Seventh Scene. Marzelline, Jaquino.

  Eighth Scene. The preceding, Rocco, Leonore.

  Ninth Scene. The preceding, Chorus of Prisoners.

    No. 10. Finale.

     Chorus of Prisoners: "O welche Lust, in freier Luft."

  Tenth Scene. Roeco. Leonore.

     Leonore: "Nun sprecht, wie ging's?"

     Rocco: "Wir mussen gleich zum Werke schreiten."

  Eleventh Scene. Jaquino and Marzelline, the preceding.

      Marzelline: "Ach, Vater, eilt."

  Twelfth Scene. Pizarro, two Officers, Guards, the preceding.

     Pizarro: "Verweg'ner Alter, welche Rechte"

      Chorus of Prisoners: "Leb" wohl, du warmes Sonnenlicht."

SECOND ACT

  First Scene. Florestan (alone).

    No. 11. Introduction and Aria.

      Florestan: "Gott! welch' Dunkel bier!"

      "In des Lebens Friihlingstagen."

  Second Scene. Roeco, Leonore, Florestan.

    No. 12. Melodrama and Duet.

      Leonore: "Wie kalt !st es in diesem unterirdischen Gewolbe ."

      Rocco: "Nur hurt!g fort, nur frisch gegraben."

    No. 13. Trio.

      Florestan: "Euch werde Lohn in bessern Welten."

  Third Scene. The preceding, Pizarro.

    No. 14. Quartet.

      Pizarro: "Er sterbe! Doch er soll erst wissen."

      Leonore: "Ich bin sein Weib, geschworen hab' ich."

  Fourth Scene. The preceding, Jaquino, two Officers, Soldiers.

      Leonore: "Es schlagt der Rache Stunde."

  Fifth Scene. Leonore, Florestan.

    No. 15. Duet.

      Leonore: "0 namen-, namenlose Freude."

  Sixth Scene. Rocco, the preceding.

  Seventh Scene. Don Fernando, Pizarro, Officers, Townspeople,

     Jaquino, Marzelline, Prisoners.

    No. 16. Finale.

     Chorus of Townspeople and Prisoners: "Heil sei dent Tug,

     Heil sei clef Stunde ."

     Don Fernando: "Des besten KSnigs Wink und Wille."

  Eighth Scene. The preceding, Rocco, Leonore, Florestan.

     Rocco: "Wohlan, so helfet! helft den Armen."

     Chorus: "Bestr@t sei der BSsewicht."

     Leonore: "0 Gott! welch' ein Augenblick!"

     Chorus: "Wer ein holdes Weib errungen."
内容简介:
Beethoven's only opera， Fidelio is a unique， enduring masterpiece of loyalty， unselfish love， and the human spirit — the story of the faithful Leonora who risks everything to free her husband， Florestan， from unjust imprisonment. Though the plot line and the form of the libretto are far from unique， Beethoven — after a decade of unceasing revision — was able to rise above the limitations of the material and infuse it with transcendent nobility.
"Of all my children，" the composer said， "this is the one that cost me with worst birth pangs . . . and for that reason it is the one most dear to me." Audiences and musicians have long shared Beethoven's sentiments， making Fidelio one of the most performed， most studied， most recorded operas of all time.
This reliable edition from Dover reproduces the full orchestral and vocal score， with ample space in the margins for analytical notation. In one sturdily bound， inexpensive volume， here is Beethoven's genius for orchestration combined with the drama of the human voice in choruses， duets， emotion-filled arias， and an intense finale.
More than anything else， the idealistic themes of the opera — justice， freedom， heroism， love — inspired Beethoven to transcend the libretto and forge a musical structure that far surpasses the literary foundation on which it is built. Whether in a humorous aria， such as "Hat man auch nicht Geld beineben，" or a glorious four-part canon， such as "Mir ist so wunderbar，" the music carries the words to a plane far beyond themselves.
Reprinted in its entirety from the authoritative C. F. Peters edition， this faithful edition of the well-loved Fidelio will delight music lovers， opera enthusiasts， Beethoven devotees， teachers， and students — not least of all for its remarkably affordable price.
作者简介:
The triumphant genius of Ludwig van Beethoven (1770–1827) casts a long shadow over classical music — no other composer of the past two centuries has exercised an influence more profound than his. A product of the classicist generation, he was the first of the Romantics, and his exhilarating works remain undiminished intheir powers of enchantment.,,
目录:
Overture

FIRST ACT

  First Scene. Marzelline, Jaquino.

    No. 1. Duet.

      Jaquino: "Jetzt, Schatzchen, jetzt sind wir allein."

  Second Scene. Marzelline (alone).

    No. 2. Aria.

      Marzelline: "0 wiir" ich schon mit dir vereint."

  Third Scene. Marzelline, Rocco, Jaquino.

  Fourth Scene. The preceding, Leonore.

    No. 3. Quartet (Canon).

      Marzelline: "Mir ist so wunderbar."

    No. 4.   Aria.

      Rocco: "Hat man nich aueh Gold beineben."

    No. 5.  Trio.

      Rocco: "Gut, Sohuchen, gut, hab' immer Muth."

    No. 6.  March.

  Fifth Scene. Rocco, Pizarro, Officers, Guards.

    No. 7. Aria with Chorus.

      Pizarro: "Ha! welch' ein Augenblick."

      Chorus of Guards: "Er spricht yon Tod und Wunde."

    No. 8. Duet.

      Pizarro: "Jetzt, Alter, hat es Eile."

  Sixth Scene. Leonore (alone).

    No. 9. Recitative and Aria.

     Leonore: "Abscheulicher! wo eilst du hiu?"

     "Komm, Hoffnung, lass den letzten Stern."

  Seventh Scene. Marzelline, Jaquino.

  Eighth Scene. The preceding, Rocco, Leonore.

  Ninth Scene. The preceding, Chorus of Prisoners.

    No. 10. Finale.

     Chorus of Prisoners: "O welche Lust, in freier Luft."

  Tenth Scene. Roeco. Leonore.

     Leonore: "Nun sprecht, wie ging's?"

     Rocco: "Wir mussen gleich zum Werke schreiten."

  Eleventh Scene. Jaquino and Marzelline, the preceding.

      Marzelline: "Ach, Vater, eilt."

  Twelfth Scene. Pizarro, two Officers, Guards, the preceding.

     Pizarro: "Verweg'ner Alter, welche Rechte"

      Chorus of Prisoners: "Leb" wohl, du warmes Sonnenlicht."

SECOND ACT

  First Scene. Florestan (alone).

    No. 11. Introduction and Aria.

      Florestan: "Gott! welch' Dunkel bier!"

      "In des Lebens Friihlingstagen."

  Second Scene. Roeco, Leonore, Florestan.

    No. 12. Melodrama and Duet.

      Leonore: "Wie kalt !st es in diesem unterirdischen Gewolbe ."

      Rocco: "Nur hurt!g fort, nur frisch gegraben."

    No. 13. Trio.

      Florestan: "Euch werde Lohn in bessern Welten."

  Third Scene. The preceding, Pizarro.

    No. 14. Quartet.

      Pizarro: "Er sterbe! Doch er soll erst wissen."

      Leonore: "Ich bin sein Weib, geschworen hab' ich."

  Fourth Scene. The preceding, Jaquino, two Officers, Soldiers.

      Leonore: "Es schlagt der Rache Stunde."

  Fifth Scene. Leonore, Florestan.

    No. 15. Duet.

      Leonore: "0 namen-, namenlose Freude."

  Sixth Scene. Rocco, the preceding.

  Seventh Scene. Don Fernando, Pizarro, Officers, Townspeople,

     Jaquino, Marzelline, Prisoners.

    No. 16. Finale.

     Chorus of Townspeople and Prisoners: "Heil sei dent Tug,

     Heil sei clef Stunde ."

     Don Fernando: "Des besten KSnigs Wink und Wille."

  Eighth Scene. The preceding, Rocco, Leonore, Florestan.

     Rocco: "Wohlan, so helfet! helft den Armen."

     Chorus: "Bestr@t sei der BSsewicht."

     Leonore: "0 Gott! welch' ein Augenblick!"

     Chorus: "Wer ein holdes Weib errungen."

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Fidelio in Full Score

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