蓝色多瑙河
作者:佚名 来源:本站原创 发布时间:2008-05-12
作于1866年。当时,<u>小约翰·施特劳斯</u><u>维也纳</u>宫廷舞会指挥。维也纳男声合唱协会的指挥赫尔贝克约请小约翰·施特劳斯为他的合唱队写一首合唱曲。这时的小约翰·施特劳斯虽已创作出数百首圆舞曲,但还没有创作过声乐作品。这首合唱曲的歌词是他请诗人哥涅尔特创作的。

关于《蓝色多瑙河》的创作,有一个有趣的故事。一次,约翰·施特劳斯回家时换下一件脏衬衣。他的妻子发现这件衬衣的衣袖上写满了五线谱。她知道这是丈夫灵感突现时记录下来的,便将这件衬衣放在一边。几分钟以后回来,她正想把它交给丈夫,却发现这件衬衣不翼而飞。原来,在她离开的瞬间,洗衣妇把它连同其他脏衣服一起拿走了。她不知道洗衣妇的居所,就坐着车子到处寻找,奔波了半天,也没有下落。在她陷于绝望的时刻,幸好一位酒店里的老妇人把她领到那洗衣妇的小屋。她猛冲进去,见洗衣妇正要把那件衬衣丢入盛满肥皂水的桶里。她急忙抓住洗衣妇的手臂,抢过了那件脏衣,挽救了衣袖上的珍贵乐谱,这正是约翰·施特劳斯的不朽名作《蓝色多瑙河》圆舞曲。

1867年,这部作品在维也纳首演。因为当时的维也纳在普鲁士的围攻之下,人们正处于悲观、失望之中,因此作品也遭到不幸,首演失败。直到1868年二月,小约翰·施特劳斯住在维也纳郊区离多瑙河不远的布勒泰街五十四号时,把这部合唱曲改为管弦乐曲,在其中又增添了许多新的内容,并命名为《蓝色多瑙河》圆舞曲。

这部乐曲同年在巴黎公演时获得了极大的成功。仅仅几个月之后,这部作品就得以在美国公演。顷刻间,这首圆舞曲传遍了世界各大城市,后来竟成为作者最重要的代表作品。直至今日,这首乐曲仍然深受世界人民喜爱。在每年元旦维也纳举行的“新年音乐会”上,本曲甚至成了保留曲目。

乐曲由序奏、五个圆舞曲和尾声组成:

序奏开始时,小提琴在a大调上奏出徐缓的震音,好像是多瑙河的水波在轻柔地翻动。 在这个背景上,圆号吹奏出这首乐曲最重要的一个动机,它象征着黎明的到来。

第一圆舞曲描写了在多瑙河畔,陶醉在大自然中的人们翩翩起舞时的情景。

第二圆舞曲首先在d大调上出现, 巧妙而富于变化的第二圆舞曲描写了南阿尔卑斯山下的小姑娘们,穿着鹅绒舞裙在欢快地跳舞;突然乐曲转为降b大调,富于变化的色彩显得格外动人。

第三圆舞曲属歌唱性旋律,这段音乐采用了切分节奏,给人以亲切新颖的感觉。

第四圆舞曲在开始时节奏比较自由,琶音上行的旋律美妙得连作曲家本人也很得意,仿佛春意盎然,沁人心脾。

第五圆舞曲是第四圆舞曲音乐情绪的继续和发展,只是转到a大调上。 起伏、波浪式的旋律使人联想到在多瑙河上无忧无虑地荡舟时的情景。 接下去的部分,是全曲的高潮和结尾。乐曲的结尾有两种,一种是合唱型结尾,接在第五圆舞曲之后,很短。另一种是管弦乐曲结尾,较长,依次再现了第三圆舞曲、第四圆舞曲及第一圆舞曲的主题,最后结束在疾风骤雨式的狂欢气氛之中。

这首歌诞生于“多瑙河的女神”之称的奥地利首都维也纳

josef weyl的原版歌词

viennese, be happy!
oho, but why?
well, just look around!
but tell me, why?
a shimmer of light!
we can’t see anything yet.
well, it’s carnival!
well, so what?
so defy the times ?
o god, the times!
? of sadness.
ah, that would be clever!
what’s the use of regrets
and mourning,
so be happy and merry!
honour the law of carnival,
however bad the finances may be,
let us dance!
today anyone who sits at home
will be sweating
as much as the swarm of dancers
at the ball!
the farmer is scratching himself
because the times are so bad;
he forces hinself to take a run-up,
rushes to the tax office
and pays up.
the money’s gone, that’s for sure,
they’ll never part with it again,
so, as it’s carnival right now,
there’s a ball in the village inn,
and there are pretty girls there too,
we’ll have a knees-up,
even if we have no money.
in fact nobody has any money!
a fat landlord is very annoyed,
all the apartments in his house are empty,
it doesn’t matter ? despite his spleen
he’s going to a masked ball.
if six tenants are missing,
then the rents for the rest will be put up,
tomorrow an artist is moving in,
but he certainly won’t pay up,
if you call the bailiffs in it’s a nuisance,
people haven’t got a penny to their name,
that’s what the landlord thinks
and dances in his anger.
when he is near the graces
the artist feels both at ease and uneasy
like a little fish in the lake:
the happiness they radiate
makes him see them
as the embodiment of an ideal he’s long been dreaming of.
he’s the one who’s been kissed on the forehead by the muses,
who sweetens life,
whom beauty greets.
where joy and love come to flower
the artist feels at home.
with quick movements,
fresh and youthful
every artist
presents himself in a masterly way,
hence it is quite understandable
that art stands in such high favour with the ladies.
even the political, critical gentlemen
like to turn wisely in a circle,
even if they seem to be moving nimbly
they never actually leave the one spot.
and just as they dance the waltz, so they usually make a mess
of the ideas in their brains ? despite their efforts,
however exactly they write down everything down,
unfortunately they keep losing the beat.
so just keep on
dancing without a break,
make the most of the moment,
for your good fortune
will not return.
use quickly
what you have got today,
because time flies
and the rose of joy fades!
so dance, just dance!


作者简介:小约翰·施特劳斯 (johann strauss,1825-1899),老约翰·施特劳斯的儿子,奥地利著名的轻音乐作曲家。出生在风行跳舞的维也纳一个音乐家家庭,与父亲同名。

其创作以《蓝色的多瑙河》、《维也纳森林的故事》、《艺术家的生活》、《春之声》等一百二十余首维也纳圆舞曲著称,被后人冠以“圆舞曲之王”的头衔。他曾带领乐队访问欧洲各国,使维也纳圆舞曲风靡全欧洲。他的圆舞曲独具特色,旋律酣畅,柔美动听,节奏自由,生机盎然,是每年维也纳新年音乐会的主要曲目。他还将源于德国南部性格温和的连德勒舞,改造成为结构简单、节奏灵活、旋律优美、感情奔放的音乐体裁,在市民生活中占有重要地位。此外还作有《雷鸣电闪》等一百二十多首源自捷克的波尔卡舞曲及几十首其他舞曲。1870年起创作了《蝙蝠》、《罗马狂欢节》、《阿里巴巴与四十大盗》、《吉卜赛男爵》等十六部轻歌剧,对于欧洲轻歌剧的发展有着相当深远的影响。
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