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Oorspronklik

Rejoice in the Lamb, Op. 30. Benjamin Britten. Choir sheet music. Organ Accompaniment sheet music.

Vertaling

Juig in die Lam, Op. 30. Benjamin Britten. Koor bladmusiek. Orrel Begeleiding bladmusiek.

Oorspronklik

Rejoice in the Lamb, Op. 30. 1943. Composed by Benjamin Britten. 1913-1976. For Choral, Chorus, Organ Accompaniment. SATB. BH Large Choral. Sacred. 48 pages. Boosey & Hawkes #M060015120. Published by Boosey & Hawkes. HL.48008987. ISBN 1458424510. Sacred. 6.75x10.5 inches. for SATB with SATB solos and organ. Imogen Holst orchestrated the work for wind quintet, percussion, organ. ad lib. and strings. 1952. , and there is also a version for SSAA and organ arranged by Edmund Walters. 1966. Text. Christopher Smart. Publisher. Boosey & Hawkes. Difficulty level. One of Britten's most popular and performed works in this genre, Rejoice in the Lamb was written for the 50th anniversary of St. Matthew's church, Northampton in 1943. The remarkable vicar, Walter Hussey, was a great patron of the arts. His vision for St. Matthew's and later for Chichester Cathedral, where he moved to become Dean, is one of the most fascinating stories in the history of the Anglican Church in the last century. Britten called his work a Festival Cantata and it is structured with choral and solo movements. The text by the supposedly mad Christopher Smart. 1722-1771. is part of a poem called Jubilate Agno which he composed in a mental asylum having been committed there by his father-in-law for apparent religious mania. He died in a debtors' prison. It was W.H. Auden who brought the poem to Britten's attention. It is easy to see why Britten was so attracted to Smart's poem. It has great colour, drama, bizarre imagery, and the central issue of the individual against the crowd, or against authority, was one to which Britten was to return repeatedly in his works. Britten had developed a deep interest in Purcell's music at this time and had made keyboard realisations of accompaniments for a number of songs which he performed with Peter Pears. Purcell's influence can easily be heard in the Hallelujah sections. The challenges in this work are many and varied though the difficulty level is not great overall. It is an ideal concert work and is popular with performers and audiences alike. Practical issues include really quiet singing while projecting the voice at the start. dealing with the rhythmic complexities of the first quick section. 'Let Nimrod the mighty hunter'. and getting the most out of the words and the dynamic contrasts here. the unanimity of the dotted rhythms in the Hallelujah sections. the fielding of four soloists who can put across the character of these zany movements. the cat, the mouse, flowers. the realisation of the depth of passion in the 'For I am under the same accusation as my Saviour' section. the brilliance of the final quick section with all the bizarre musical instrument rhymes. and finally realising the 'stillness and serenity' of the slow music before the final Hallelujah. There is much to consider and much devil in the detail. However, the work is emphatically worth any amount of effort to realise Britten's inspiration. Duration. 17 minutes. Paul Spicer, Lichfield, 2011.

Vertaling

Juig in die Lam, Op. 30. 1943. Saamgestel deur Benjamin Britten. 1913-1976. Vir Choral, koor, orrel Begeleiding. SATB. BH Groot Choral. Heilige. 48 bladsye. Буси. Gepubliseer deur Boosey. HL.48008987. ISBN 1458424510. Heilige. 6.75x10.5 duim. vir SATB met SATB solo's en orrel. Imogen Holst georkestreerde die werk vir wind kwintet, perkussie, orrel. ad lib. en stringe. 1952. , En daar is ook 'n weergawe vir SSAA en orrel gereël deur Edmund Walters. 1966. Teks. Christopher Smart. Uitgewer. Boosey. Moeilikheidsgraad. Een van Britten se gewildste en uitgevoer werk in hierdie genre, bly in die Lam is vir die 50ste herdenking van St Matthew se kerk, Northampton in 1943 geskryf. Die merkwaardige predikant, Walter Hussey, was 'n groot beskermheer van die kunste. Sy visie vir St Matthew's en later vir Hester katedraal, waar hy na Dean geword, is een van die mees fassinerende stories in die geskiedenis van die Anglikaanse Kerk in die vorige eeu. Britten het sy werk 'n Festival Cantata en dit is gestruktureer met koor-en solo bewegings. Die teks van die sogenaamde mal Christopher Smart. 1722-1771. is deel van 'n gedig met die naam Jubilate Agno wat hy gekomponeer het in 'n geestelike asiel nadat daar verbind is deur sy pa-in-wet vir oënskynlike godsdienstige manie. Hy het gesterf in 'n debiteure-gevangenis. Dit was W.H. Auden wat die gedig te Britten se aandag gebring. Dit is maklik om te sien waarom Britten was so aangetrokke tot Smart se gedig. Dit het 'n groot kleur, drama, bisarre beelde, en die sentrale kwessie van die individuele teen die skare, of teen gesag, was een waaraan Britten was om herhaaldelik terug in sy werke. Britten het 'n diep belangstelling in Purcell se musiek ontwikkel in hierdie tyd en het klawerbord realisering van bykomstighede gemaak vir 'n aantal van die liedjies wat hy saam met Peter Pears. Purcell se invloed kan maklik in die Hallelujah afdelings gehoor word. Die uitdagings in hierdie werk is baie en gevarieerde al die probleme vlak is nie groot algehele. Dit is 'n ideale konsert werk en is baie gewild met kunstenaars en gehore gelyk. Praktiese kwessies sluit regtig stil sing terwyl projekteer die stem aan die begin. die hantering van die ritmiese kompleksiteit van die eerste vinnige artikel. Laat Nimrod die magtige jagter. en om die meeste uit van die woorde en die dinamiese kontraste hier. die eenstemmigheid van die gepunteerde ritmes in die Hallelujah afdelings. die veldwerk van vier soliste wat oor die karakter van hierdie pias bewegings kan sit. die kat, die muis, blomme. die verwesenliking van die diepte van passie in die 'Want ek is onder dieselfde beskuldiging as my Verlosser artikel. die glans van die finale vinnige artikel met al die bisarre musiekinstrument rympies. en uiteindelik die verwesenliking van die "stilte en kalmte" van die stadige musiek voor die finale Hallelujah. Daar is baie om te oorweeg en veel duiwel in die detail. Maar die werk is ten sterkste die moeite werd om enige bedrag van poging Britten se inspirasie om te besef. Duur. 17 minute. Paul Spicer, Lichfield, 2011.