Bladmusiek $3.95

Oorspronklik

Te Deum in C Major. Benjamin Britten. Voice sheet music. Choir sheet music.

Vertaling

Te Deum in C-majeur. Benjamin Britten. Voice bladmusiek. Koor bladmusiek.

Oorspronklik

Te Deum in C Major. 1934. SATB, Vocal Score. Composed by Benjamin Britten. 1913-1976. Choral. 20 pages. Chester Music #CH76582. Published by Chester Music. HL.14037803. ISBN 1849386366. 6.75x10.5 inches. for SATB. treble or soprano solo. organ or orchestra. harp or piano and strings. Text. Book of Common Prayer. liturgy of Morning Prayer. Publisher. Chester Music. Difficulty level. Britten wrote few canticle settings, only two Te Deums, two settings of the Jubilate and a Venite which was not published in his lifetime. He wrote no settings of the Evening Canticles for the Anglican rite. The settings we have are therefore all the more precious and, as always, show the originality of his creative mind. This Te Deum is, to my mind, the finest of these liturgical settings. It has drama, energy, variety, and clarity and integrity of structure. The opening page sets the scene and introduces the pedal syncopated ostinato which underpins the whole of the first section and the 'reprise' when it comes after the contrasting central section. The voices climb from the bass up to soprano in quietly urgent statements of 'We praise you' and build to a huge climax at 'Holy, Holy, Holy, Lord God of Sabaoth'. The central section is given to a treble or soprano soloist with the choir reinforcing his or her phrase ends with quietly urgent chords and the words 'O Christ. ' Longer phrases develop and lead to the reintroduction of the pedal ostinato and the initial choral material. Another thrilling climax is reached before the beautiful quiet ending. Few cathedrals or churches sing the Office of Matins these days for which this canticle was intended and so its original liturgical setting is rarely possible nowadays. It is much more of use as an anthem or as a concert item and it is, of course, extremely effective in either rôle. The challenges in this work are as much for the conductor as the choir. The conductor needs to see the big picture, relate the first and last sections and prevent the central one from becoming sentimental or too slow. He. she needs to make sure that Britten's directions about tempi are fully understood, and which tempo he means when he directs Tempo I or II etc. For the choir, it is the ability to sing quietly with abundant energy, to have absolute clarity of diction, to note the details of articulation - the staccato marking, for instance, on the word 'Lord' in bar 54, and similar markings in the central section. This is an outstanding setting of these much-set words and it should be far more widely performed. Duration. 9 minutes. Paul Spicer, Lichfield, 2011.

Vertaling

Te Deum in C-majeur. 1934. SATB, Vocal telling. Saamgestel deur Benjamin Britten. 1913-1976. Choral. 20 bladsye. Честер Музыка. Gepubliseer deur Chester Musiek. HL.14037803. ISBN 1849386366. 6.75x10.5 duim. vir SATB. sopraan of sopraan solo. orrel of orkes. harp of klavier en strykers. Teks. Book of Common Prayer. liturgie van Morning Prayer. Uitgewer. Chester Musiek. Moeilikheidsgraad. Britten het paar lied instellings, slegs twee Te Deums, twee instellings van die Jubilate en 'n Venite wat nie in sy leeftyd gepubliseer. Hy skryf nie instellings van die aand Hooglied vir die Anglikaanse rite. Die instellings is ons het dus al hoe meer kosbaar en, soos altyd, wys die oorspronklikheid van sy kreatiewe gees. Dit Te Deum is, na my mening, die beste van hierdie liturgiese instellings. Dit het drama, energie, verskeidenheid en orde en die integriteit van struktuur. Die opening bladsy stel die toneel en stel die pedaal gesinkopeerde ostinato wat die grondslag van die geheel van die eerste artikel en die "reprise 'wanneer dit kom na die kontrasterende sentrale deel. Die stemme klim uit die bas tot sopraan in stil dringende state van "Ons loof U 'en die bou van 'n groot hoogtepunt op' Heilige, Heilige, Heilige, Here, God van die leërskare '. Die sentrale gedeelte gegee word aan 'n sopraan of sopraan solis met die koor versterk sy of haar frase eindig met stil dringende akkoorde en die woorde "O Christus. 'Langer sinne te ontwikkel en lei tot die herinstelling van die pedaal ostinato en die aanvanklike koor materiaal. Nog 'n opwindende klimaks word voordat die pragtige rustige einde bereik. Min katedrale en kerke sing die Kantoor van Matins hierdie dae waarvoor die lied bedoel was en so sy oorspronklike liturgiese instelling is selde moontlik deesdae. Dit is baie meer gebruik as 'n lofsang of as 'n konsert item en dit is natuurlik uiters doeltreffend in óf rol. Die uitdagings in hierdie werk is om soveel vir die dirigent as die koor. Die dirigent nodig om te sien die groot prentjie, bring die eerste en laaste afdelings en te verhoed dat die sentrale een uit om sentimentele of te stadig. Hy. sy nodig het om seker te maak dat Britten se aanwysings oor tempo is ten volle verstaan, en wat tempo hy bedoel wanneer hy gelas Tempo I of II ens. Vir die koor, is dit die vermoë om stil te sing met 'n oorvloed van energie, absolute duidelikheid van diksie te hê, die besonderhede van artikulasie om daarop te let - die staccato merk, byvoorbeeld, op die woord "Here" in maat 54, en soortgelyke merke in die sentrale deel. Dit is 'n uitstekende opstel van hierdie baie-stel woorde en dit moet baie meer wyd uitgevoer word. Duur. 9 minute. Paul Spicer, Lichfield, 2011.