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Oorspronklik

Three Fiona MacLeod Settings. Oliver Barton. A cappella. Secular , Partsong. Language. English.

Vertaling

Drie Fiona MacLeod Instellings. Oliver Barton. A cappella. Sekulêre, Partsong. Taal. Engels.

Oorspronklik

Fiona MacLeod was a creation or perhaps alter ego of the Scottish poet William Sharp. 1855–1905. Some consider her his inner feminine consciousness. he himself described her as “an ancestral seeress” who came through to him. In any case, he went to tremendous lengths to conceal the connection between her and himself and there was quite a scandal when the truth came out that he was author of both his and her works. But the strange thing is that Fiona’s writings, steeped as they are in a twilight Celtic world, are so much more atmospheric and vivid, and in truth, better, than William’s. It is as though he really was possessed by a more inspired soul. The three settings are. The Wind — about 2'4". All parts split except the tenors. Honeymouth — about 4'42". Full SSAATTBB throughout. The Moonchild — about 2'1". This is scored for a female solo. a Mezzo will probably have the right sort of tone colour. and STB divisi choir, with odd solo bits for soprano and tenor. This is a bit tough on the altos. One of them could do the solo part. the rest could be temporary sopranos or tenors perhaps. The settings are intended to be performed as a set, but Honeymouth and The Moonchild can be performed separately. The Wind wouldn’t really stand alone. The complete set was first performed in 1973, I think it was, by the Westron Wynd in the Orangery, Goldney House, Bristol, England, conducted by Nigel Davidson. The Moonchild has been performed in various guises, such as a solo song with piano and a recorder consort plus psaltery. Please feel free to arrange it for whatever assortments you like, but try to retain the atmospheric quality.

Vertaling

Fiona MacLeod was 'n skepping of ego van die Skotse digter William Sharp dalk verander. 1855–1905. Sommige beskou haar sy innerlike vroulike bewussyn. hy self beskryf haar as 'n voorvaderlike zieneres wat deur hom gekom. In elk geval, het hy na geweldige moeite om die verband tussen haar en homself verberg en daar was nogal 'n skandaal wanneer die waarheid uitgekom het dat hy die skrywer van beide sy en haar werke was. Maar die vreemde ding is dat Fiona se geskrifte, ryk as hulle in 'n skemer Celtic wêreld, is soveel meer atmosferiese en helder, en in die waarheid, beter, as William's. Dit is asof hy regtig besit word deur 'n meer geïnspireer siel. Die drie instellings is. Die Wind - ongeveer 2'4. Alle dele verdeel, behalwe die tenore. Honeymouth - ongeveer 4'42. Volle SSAATTBB regdeur. Die Moonchild - ongeveer 2'1. Dit is behaal vir 'n vroulike solo. 'n Mezzo sal waarskynlik die regte soort toonkleur. en STB divisie koor, met vreemde solo stukkies vir sopraan en tenoor. Dit is 'n bietjie taai op die alte. Een van hulle kan die solo deel te doen. die res kan wees tydelike soprane of tenore miskien. Die instellings is bedoel om uitgevoer word as 'n stel, maar Honeymouth en Die Moonchild kan afsonderlik uitgevoer. Die Wind sou nie regtig alleen staan. Die volledige stel is die eerste keer in 1973, ek dink dit was, deur die Westron Wynd in die Orangerie, Goldney House, Bristol, Engeland, wat deur Nigel Davidson. Die Moonchild is uitgevoer in verskillende gedaantes, soos 'n solo lied met klavier en 'n blokfluit metgesel plus harp. Voel asseblief vry om dit te reël vir watter ruimtes wat jy wil, maar probeer om die atmosferiese kwaliteit te behou.