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Gute Nacht - Warum bist du so ferne?
Adolf Eduard Marschner
Lyricist: O.L. Bernhard Wolff
Publisher: Albrecht Schneider
Description
Adolf Eduard Marschner – „Gute Nacht“ („Warum bist du so ferne?“) für Männerchor (TTBB) Dieses Abendlied gehört zu Marschners beliebten romantischen Männerchorstücken des 19. Jahrhunderts. Es ist kein bloßer Nachtgruß, sondern ein Liebe-und-Sehnsucht-Lied, das die Schmerzlichkeit des Abschieds in den Mittelpunkt stellt. 🌙 Text & Stimmung: Gleich die ersten Worte… „Gute Nacht! Warum bist du so ferne?“ …zeigen die emotionale Lage: Abschied von der Geliebten Nächtliche Trennung und innerer Schmerz Hoffnung, dass Liebe die Entfernung überbrückt Der Abend bringt keine Ruhe, sondern Sehnsucht. 🎶 Musikalische Gestaltung: Typische Merkmale: Getragenes Tempo – ruhige, lange Phrasen Homophoner Satz, aber ausdrucksvolle Harmonik Moll-Färbung für die Schmerzmomente Kleine Dur-Aufhellungen als Hoffnungsschimmer Die Musik zeichnet also emotionale Wellenbewegungen des Textes nach. 🎤 Chorische Anforderungen: Sicheres Piano-Singen (Gefahr der Intonationsinstabilität) Legato mit warmem, verschmolzenem Klang Deutliche Textbehandlung, trotz Weichheit im Ton Balance der Mittelstimmen für tragfähige Akkorde Nicht technisch schwierig – aber musikalisch verletzlich. 🎵 Wirkung im Konzert: Ideal als: Ruhiger, nachdenklicher Programmpunkt Kontrast zu fröhlichen Männerchorliedern volkstümlichen Trinkliedern Stimmungsvolles Schluss- oder Abendstück Besonders schön in Kirchen oder Räumen mit sanftem Nachhall Die stille Emotionalität des Stücks erreicht das Publikum sehr direkt. ⭐ Fazit: Ein zartes, sehnsuchtsvolles Abendlied der Romantik: Ein leises „Gute Nacht“ voller Herzklang und Wehmut.
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What you should know about this piece
These notes help you place the piece — voicing, difficulty, licence model and the steps after purchase.
Understanding the voicing: TTBB▾
The voicing tells you which vocal parts your choir will need to sing.
- SATBSoprano, Alto, Tenor, Bass — the classic mixed choir.
- SSAThree women's voices: two sopranos and alto.
- SSAAFour women's voices: two sopranos and two altos.
- TTBBFour men's voices: two tenors and two basses.This piece
- SABSoprano, Alto, Baritone — eases the tenor part and suits smaller choirs.
- SATBSATBDouble choir: two independent SATB choirs, often in dialogue.
- unisonUnison — for children's choirs, congregational singing or unison passages.
Understanding difficulty levels▾
The difficulty level gives you a feel for how many rehearsals your choir should plan for.
- BeginnerClear rhythms, familiar keys and singable intervals — works for young or newly formed choirs.This piece
- MediumFor an experienced choir; some chromatic passages, key or metre changes. Around 6–10 rehearsals for a clean performance.
- HardClose harmonies, complex rhythms, wider ranges — needs disciplined rehearsing and vocally secure singers.
- Very hardConcert-choir level: modulations, polyphony, extreme registers, demanding intonation and voice leading.
How the per-singer licence works▾
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Per-singer licence Current model
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Using the piece in Chorilo▾
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Rehearse and perform
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