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Bladmusiek $180.00

Oorspronklik

Lifesongs. David Gillingham. B-Flat Trumpet sheet music. Bass Trombone sheet music. Euphonium sheet music. Horn sheet music. Tuba sheet music. Grade 5.

Vertaling

Lifesongs. David Gillingham. B-Flat Trumpet bladmusiek. Bastrombone bladmusiek. Eufonium bladmusiek. Horn bladmusiek. Tuba bladmusiek. Graad 5.

Oorspronklik

Lifesongs. with SATB Choir. Composed by David Gillingham. For Choir with Concert Band. Flute 1. Piccolo, Flute 2, Oboe, Bassoon, Bb Clarinet 1, Bb Clarinet 2. 3, Bass Clarinet, Eb Alto Saxophone 1. 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2. 3, F Horn 1. 2, F Horn 3. 4, Trombone 1. 2, Bass Trombone, Euphonium, Tuba, S. Grade 5. Score and parts. Duration 20. 00. Published by C. Alan Publications. CN.08400. Using the text of three life-affirming poems by Henry Wadsworth Longfellow, Lifesongs is cast in three section that coincide with three stages of life. The text and the music wavers through many emotions. radiant and upbeat, mournful and depressing, dark and militaristic, reflective and joyful. The final lines reflect the overall sentiment of the piece, "O Fear not in a world like this, and thou shalt know erelong, know how sublime a thing it is to suffer and be strong. The text for Lifesongs comes from three poems by Henry Wadsworth Longfellow, titled, "Sunrise on the Hills," "A Psalm of Life," and "The Light of Stars. " These three poems divide the work into three large sections, which are performed without a break. All three poems are life affirming and hence the title Lifesongs. I have renamed each section to coincide with three stages of life, "Song of Birth," "Song of Life," and "Song of Eternity. " "Song of Birth". "Sunrise on the Hills". musically depicts the most wonderful picture of one standing on the hilltop watching the sunrise. The choir, solists, and wind ensemble collaborate in painting this colorful picture. Though this picture is radiant and upbeat, there are changes of mood along the way, such as with lines like "hosts in battle overthrown," "I heard the distant waters dash," "the music of the village bell come sweetly to the echo-giving hills," and "the wild horn, whose voice the woodland fills, was ringing to the merry shout. " All of these words are scored appropriately to sway the listener back and forth between these moods. I personally believe that Longfellow was trying to say that all this beauty of the sunrise precipitates an array of emotions. But the pinnacle of the section is at the end where Longfellow suggests that it is easy for us to forget the "sorrows" of the world if we "go to the woods and hills," for "No tears dim the sweet look that Nature wears. " "Song of Life". "Psalm of Life". begins somewhat mournful and depressing with the line, "tell me not, in mournful numbers, life is but an empty dream. " The section is about the whole struggle of life and our purpose here on earth. Like the first movement, there is a tug-of-war between emotions. Consider, for example, the line, "Art is long, and Time is fleeting, and our hearts, though stout and brave still, like muffled drums, are beating funeral machines to the grave. " Sometimes the music becomes dark and militaristic to lines such as, "in the world's broad field of battle," and "trust no Future, howe'er pleasant. " But the lesson to be learned in this section comes later in the poem when Longfellow states, "Lives of great men all remind us we can make our lives sublime. " Here the music becomes more reflective and leads to pure joy when the choir sings the final four lines, "Let us, then, be up and doing, with a heart for any fate. still achieving, still pursuing, learn to labor and to wait. " In "Song of Eternity". "The Light of Stars". , Longfellow alludes to death, but, as with all of his poetry, there is a positive overtone. Like the second section, it begins darkly with an undertone of undulating clarinets in their low register. This backdrop of sound is appropriate for lines such as "the night is come, but not too soon," and "there is no light in earth or heaven but the cold light of stars. " But the darkness soon gives way to light and the D-minor tonality moves to C-major. The soprano and baritone begin by joyfully singing the line, "O star of strength. I see thee stand and smile upon my pain. " Then comes excitement in the music with a brass fanfare followed by the choir singing, "The star of the unconquered will, He rises in my breast. " Finally the soprano, baritone, and choir end the work by singing the final four lines, "O Fear not in a world like this, and thou shalt know erelong, know how sublime a thing it is to suffer and be strong. " These lines are as meaningful today as they were in Longfellow's time, and are a true lesson of life.

Vertaling

Lifesongs. met SATB koor. Saamgestel deur David Gillingham. Vir koor met Concert Band. Fluit 1. Piccolo, fluit 2, hobo, fagot, Bb Klarinet 1, Bb Klarinet 2. 3, basklarinet, Eb saxofoon 1. 2, BB saxofoon, Eb bariton saxofoon, BB trompet 1, BB Trumpet 2. 3, F Horn 1. 2, F Horn 3. 4, tromboon 1. 2, bastrombone, Eufonium, Tuba, S. Graad 5. Telling en dele. Duur 20. 00. Gepubliseer deur C. Alan Publications. CN.08400. Die gebruik van die teks van drie lewens-bevestigende gedigte deur Henry Wadsworth Longfellow, is Lifesongs gooi in drie artikel wat ooreenstem met drie stadiums van die lewe. Die teks en die musiek wankel deur baie emosies. stralend en optimisties, rou en depressiewe, donker en militaristiese, reflektiewe en vreugdevolle. Die finale lyne weerspieël die algehele sentiment van die stuk, "O Vrees nie in 'n wêreld soos hierdie, en jy sal weet weldra, weet hoe verhewe 'n ding is dit om te ly en sterk wees. Die teks vir Lifesongs kom van drie gedigte deur Henry Wadsworth Longfellow, getiteld, "Sunrise op die heuwels", "'n Psalm van die lewe," en "die lig van sterre. "Hierdie drie gedigte verdeel die werk in drie groot afdelings, wat uitgevoer word sonder 'n onderbreking. Al drie gedigte is lewe bevestig en vandaar die titel Lifesongs. Ek het elke afdeling herdoop om saam te val met die drie fases van die lewe, "Lied van geboorte", "Lied van die Lewe," en "Lied van die ewigheid. "" Lied van geboorte ". "Sunrise op die heuwels". musikaal toon die mees wonderlike foto van een wat aan die heuwel kyk na die sonsopkoms. Die koor, solist en wind ensemble saam in die verf hierdie kleurvolle prentjie. Alhoewel hierdie foto is stralend en optimisties, is daar verandering in gemoedstoestand langs die pad, soos met lyne soos "gashere in stryd omvergewerp," "Ek het gehoor die verre waters stamp nie," "die musiek van die dorp klok kom soet na die eggo -giving heuwels "en" die wilde horing, wie se stem die bos vul, lui die vrolike gejuig. "Al hierdie woorde is toepaslik behaal die luisteraar te heen en weer tussen die buie swaai. Ek persoonlik glo dat Longfellow probeer om te sê dat al hierdie skoonheid van die sonsopkoms presipiteer 'n verskeidenheid van emosies. Maar die toppunt van die artikel is aan die einde waar Longfellow dui daarop dat dit maklik is om vir ons die "smarte" van die wêreld om te vergeet as ons "gaan na die bos en berge," vir "Geen trane verdof die soet kyk wat Nature dra. "" Lied van die Lewe ". "Psalm van die Lewe". begin ietwat rou en depressiewe met die lyn, "vertel my nie, in rou getalle, die lewe is maar 'n leë droom. "Die artikel is oor die hele stryd van die lewe en ons doel hier op aarde. Soos die eerste beweging, daar is 'n sleep-of-oorlog tussen emosies. Oorweeg, byvoorbeeld, die lyn, "Art is lank, en die tyd is fleeting, en ons harte, maar stout en dapper nog, soos gedempte dromme, slaan begrafnis masjiene aan die graf. "Soms is die musiek raak donker en militaristiese te lyne soos," in die wêreld se breë veld van stryd, "en" vertrou geen toekoms nie, howe'er aangename. "Maar die les in hierdie artikel geleer word, kom later in die gedig wanneer Longfellow sê," Lives van die grotes al herinner ons ons kan ons lewens sublieme. "Hier is die musiek raak meer reflektiewe en lei tot suiwer vreugde toe die koor sing die laaste vier lyne," Laat ons dan, wees en doen, met 'n hart vir enige lot. steeds die bereiking, nog steeds besig, leer om te werk en te wag. "In" Lied van die ewigheid ". "Die Lig van Stars". , Longfellow verwys na die dood nie, maar, soos met al sy poësie, is daar 'n positiewe ondertoon. Soos die tweede afdeling, dit begin donker met 'n ondertoon van golwende klarinette in hul lae register. Hierdie agtergrond van klank is geskik vir lyne soos "die nag kom, maar nie te gou," en "daar is geen lig op die aarde of die hemel, maar die koue lig van die sterre. "Maar die duisternis gee gou manier aan die lig en die D-mineur tonaliteit beweeg na C-majeur. Die sopraan en bariton begin deur die lyn blydskap sing, "O ster van krag. Ek sien jou staan ​​en glimlag op my pyn. "Dan kom die opwinding in die musiek met 'n koper fanfare gevolg deur die koor sing," Die ster van die onoorwonne wil, Hy styg in my bors. "Uiteindelik het die sopraan, bariton, en koor eindig die werk wat deur die laaste vier lyne sing," O Vrees nie in 'n wêreld soos hierdie, en jy sal weet weldra, weet hoe verhewe 'n ding is dit om te ly en sterk wees. "Hierdie lyne is as betekenisvol vandag soos dit was in Longfellow se tyd, en is 'n ware les van die lewe.