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Oorspronklik

Ides March.

Vertaling

Iden Maart.

Oorspronklik

Ides March composed by Derek Bremel. Concert Band. For Wind Band. Part. Score. Wind Band. Faber Edition. Faber Wind Band Series. 20th Century. Masterwork. Published by Faber Music. AP.12-0571564887. ISBN 0571564887. 20th Century. Masterwork. Ides March was commissioned by William Brine in 1990, Bermel's first commission. Brine requested that the work be a march suitable for performance at both a wedding and a funeral. Although originally titled Brine's March, when the composer learned that the march was to receive its premiere on 15 March, he changed the title to Ides March in a humorous nod to the Shakespearean admonition Beware the Ides of March. in his youthful view a sentiment appropriate for either a wedding or a funeral. However, a line from Cole Porter was the inspiration behind the major key to minor key interplay of the work. 'What could be any finer. But how strange the change from major to minor, every time we say goodbye', a line that captured the composer's attempt to write a march that did justice to both the melancholy and triumphant.

Vertaling

Ides Maart saamgestel deur Derek Bremel. Concert Band. Vir Wind Band. Deel. Telling. Wind Band. Faber Edition. Faber Wind Band Reeks. 20ste eeu. Meesterwerk. Gepubliseer deur Faber Musiek. AP.12-0571564887. ISBN 0571564887. 20ste eeu. Meesterwerk. Iden Maart is in opdrag van William Brine in 1990, Bermel se eerste kommissie. Pekel versoek dat die werk 'n optog wat geskik is vir prestasie op beide 'n troue en 'n begrafnis. Alhoewel dit oorspronklik getiteld Brine se Maart, toe die komponis geleer dat die optog was sy première op 15 Maart te ontvang, het hy die titel verander na Ides Maart in 'n humoristiese knipoog na die Shakespeare vermaning Pasop vir die Ides van Maart. in sy jeugdige oog 'n sentiment geskik vir óf 'n troue of 'n begrafnis. Maar, 'n lyn van Cole Porter was die inspirasie agter die groot sleutel tot mineur sleutel wisselwerking van die werk. "Wat kan 'n fyner wees. Maar hoe vreemd die verandering van groot tot klein, elke keer as ons sê totsiens 'n lyn wat gevang die komponis se poging om 'n optog wat gedoen geregtigheid aan beide die melancholie en triomfantelike te skryf.