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Oorspronklik

Comedy Overture. John Ireland. Grade 5.

Vertaling

Komedie Overture. John-Ierland. Graad 5.

Oorspronklik

Comedy Overture composed by John Ireland. 1879-1962. For concert band. Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe. , 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet. , Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon. , 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone. Band Music. Grade 5. Score and parts. Duration 10. 30. Published by C. Alan Publications. CN.R10004. A slow introduction gives way to the "chirpy" theme which is developed, inverted, and accents displaced across the bar line to give a 3. 2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end. Originally composed for Brass Band in 1934 "Comedy Overture" is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow. it is used in the 19th century sense of Concert Overture. like Mendelssohn's "Fingal's Cave" - in other words, a miniature Tone Poem. The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto. 1930. , the Legend for piano and orchestra. 1933. , and the choral work "These Things Shall Be". 1936-1937. We are fortunate therefore to have both "Comedy Overture" and "A Downland Suite". 1932. written for band medium at this time. As with "Maritime Overture". written in 1944 for military band. Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of "Comedy," sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a "perfect" resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone. inverted. and a third. major. comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of "Piccadilly. Much of the material in "Comedy" was re-conceived by Ireland for orchestra and published two years later under the title "A London Overture. The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3. 2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy "brilliante," with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

Vertaling

Komedie Overture gekomponeer deur John Ierland. 1879-1962. Vir konsert orkes. Piccolo, 1 fluit, 2 fluit, hobo 1, 2 hobo. , 1 Bb klarinet, 2 Bb klarinet, 3 Bb klarinet, Eb Alto klarinet. , BB basklarinet, fagot 1, 2 fagot. , 1 Eb saxofoon, 2 Eb saxofoon, BB saxofoon, Eb bariton saxofoon. Band Musiek. Graad 5. Telling en dele. Duur 10. 30. Gepubliseer deur C. Alan Publications. CN.R10004. 'N stadige inleiding gee pad na die "vrolik" tema wat ontwikkel word, omgekeer, en aksent verplaas oor die bar lyn te gee 'n 3. 2 voel teen die geskrewe meter. Rusteloosheid lei tot 'n Tranquillo aangebied deur die fluit en klarinet, weef 'n vloeiende kontrapunt om die melodie tot die oorspronklike stadige inleiding opbrengste. 'N triomfantelike samevatting van die belangrikste tema bring hierdie wonderlike stuk tot 'n einde. Oorspronklik saamgestel vir Brass Band in 1934 "Comedy Overture" is, ten spyte van sy naam, 'n ernstige stuk skryfwerk. Die term Overture beteken nie dat daar iets anders om te volg. dit gebruik word in die 19de eeu gevoel van Concert Overture. soos Mendelssohn se "Fingal's Cave" - ​​met ander woorde, 'n miniatuur toondig. Die 1930's was 'n tydperk van Ierland se volwasse skryf - opbrengs die Klavierkonsert. 1930. Die Legende vir klavier en orkes. 1933. En die koorwerk "Hierdie dinge sal wees nie". 1936-1937. Ons is gelukkig dus beide "Comedy Overture" en "'n Heuvelland Suite" te hê. 1932. geskryf vir orkes medium in hierdie tyd. Soos met "Maritieme Overture". geskryf in 1944 vir militêre orkes. Ierland nader sy materiaal simfonies. Die opening drie note meld onmiddellik die twee invloedryke tussenposes van 'n halwe toon en 'n derde. Dit is dreigend en donker in Bb minderjarige. Dit is hierdie tussenposes waaruit baie van die tematiese inhoud van die "Comedy," soms verskyn in omgekeerde vorm, en soms in die groot vorms asook. Die konsep dat sommige musikale intervalle is konsonant, 'n paar dissonante, en 'n paar perfekte miskien nuttig in die begrip van die aard van die spanning en oplossing van hierdie werk. Die derde is inherent onstabiel, en deur maat 4, word die interval uitgebrei tot 'n vierde - met 'n stygende Sem-agstenoot drieling - en dan uitgebrei na 'n vyfde. Die onstabiliteit van die derde stoot dit na 'n "perfekte" resolusie in die vierde of vyfde. Die stadige inleiding is heeltemal gebou rondom hierdie tussenposes in Bb klein en lei deur middel van 'n hobo cadenza, 'n Allegro moderato brill ante in Bb majeur. Weereens, die semi-toon. omgekeerde. en 'n derde. groot. bestaan ​​uit die hoof, vrolik, tema-geïnspireer deur 'n Londense bus-dirigent se uitroep van "Piccadilly. Baie van die materiaal in die "Comedy" is weer swanger deur Ierland vir orkes en twee jaar later gepubliseer onder die titel "'n London Overture. Die uitbreiding van die interval van 'n derde deur 'n vierde, vyfde, sesde en sewende gebeur nou vinnig voor ons ore aan die begin van hierdie artikel vinniger. Onmiddellik die tema ontwikkel, omgekeerde, en aksent verplaas oor die bar lyn te gee 'n 3. 2 voel teen die geskrewe meter. Maar hierdie rusteloosheid lei tot 'n Tranquillo gebou rondom 'n arpeggio figuur en aangebied deur die fluit en klarinet. Ierland weef sy vloeiende kontrapunt om hierdie melodie totdat die oorspronklike stadige inleiding opbrengste lei tot 'n stretto effek as die stygende bass motiewe word meer dringend, versoek om 'n besluit van die spanning van die oorspronklike semitoon en mineur derde. Tog besluit op hierdie punt weerhou as die musiek byna water gelaat in 'n verdere, onverwante Tranquillo artikel gemerk pianissimo. Dit is amper asof 'n ander kant van Ierland se natuur is kortliks toegelaat om te skyn deur die Stern kontrapunt en gedissiplineerde struktuur. Dit lei tot bykans 'n volle samevatting van die vrolik "brilliante," met 'n klein addisionele raak van kontrapunt, gevolg deur die eerste Tranquillo artikel-hierdie keer in die tonika van Bb majeur. Maar die onstabiliteit van die derde weer beweer self, dié keer eis 'n resolusie. En 'n triomfantlike resolusie wat dit ontvang nie, want dit word uiteindelik 'n volwaardige en bevestig die oktaaf ​​in 'n sluitingsdatum vivace. Die opening spanning het homself op die laaste opgelos in die mees volmaakte interval van alle.