Bladmusiek $16.00

Oorspronklik

Liebestraume in A flat major, No. III. Franz Liszt. Marimba sheet music. Vibraphone sheet music.

Vertaling

Liebestraume in A mol majeur, No. III. Franz Liszt. Marimba bladmusiek. Vibrafoon bladmusiek.

Oorspronklik

Liebestraume in A flat major, No. III composed by Franz Liszt. 1811-1886. Arranged by Tomer Yariv. Marimba & Vibraphone Duet. For marimba and vibraphone duet. marimba low c & vibraphone. Level 5. Score and set of parts. Published by Innovative Percussion. IP.D-FL-LIB. Composer's Notes. Liszt once declared, "My sole ambition as a composer is to hurl my javelin into the infinite space of the future. " Indeed, his works had many influences over composers and musicians of the 19th and the 20th centuries. Apparently, it had also an influence on the percussion scene and on PercaDu, leading for the arrangement of Liebestraume No. 3 in Ab Major by Tomer Yariv. Liebestraume No. 3 was originally a part of three Liebestraume written as songs. In the Liebestraume piano version, which Liszt also called nocturnes, Liszt moves in and out of the original musical text as he feels need to. It can be considered as split into three sections, each divided by a fast mini-cadenza. The same melody is used throughout the entire piece, each time varied, especially near the middle of the work, where the climax is reached. At the end, the piece dies down into a final chorded section. "Originally composed for solo piano, this arrangement is scored for vibraphone and 5.0-octave marimba duet. Written for the PercaDu percussion group, this work presents challenges to be met by advanced students and professional performers. Both parts require the performers to be comfortable with chordal and independent four-mallet techniques, with the marimba part requiring the greater amount of dexterity. Aside from technical complexities, the most significant challenge lies in addressing the rubato and flexibility with which the piano version is performed. Tomer Yariv scores much of the "right hand" material in the vibraphone, with the arpeggiated accompaniment in the marimba. While interpretation of this music by a single performer at the piano is difficult in its own right, extra special care must be taken here, as the hands are "split" between two performers. Both players must be in total agreement as to any use of rubato, without which the piece risks losing much of its character. This work is appropriate for an advanced college or a professional percussion ensemble. " - Jason Baker, Percussive Notes July 2010.

Vertaling

Liebestraume in A mol majeur, No. III saamgestel deur Franz Liszt. 1811-1886. Gereël deur Tomer Yariv. Marimba. Vir marimba en vibrafoon duet. marimba lae c. Vlak 5. Score en stel dele. Gepubliseer deur Innoverende Percussion. IP.D-FL-LIB. Komponis se Notes. Liszt keer verklaar, My enigste ambisie as 'n komponis is om my spies gooi in die oneindige ruimte van die toekoms. Trouens, sy werke het baie invloede oor komponiste en musici van die 19de en die 20ste eeu. Blykbaar, het dit ook 'n invloed op die toneel en perkussie op PercaDu lei vir die reëling van die Liebestraume No. 3 in Ab majeur deur Tomer Yariv. Liebestraume No. 3 was oorspronklik 'n deel van drie Liebestraume geskryf as songs. In die Liebestraume klavier weergawe, wat Liszt ook genoem nocturnes, Liszt beweeg in en uit van die oorspronklike musikale teks as hy voel moet. Dit kan beskou word as verdeel in drie afdelings, elk gedeel deur 'n vinnige mini-cadenza. Dieselfde melodie word deur die hele stuk elke keer gewissel, veral naby die middel van die werk, waar die klimaks bereik. Aan die einde, die stuk sterf af in 'n finale chorded artikel. Oorspronklik saamgestel vir solo klavier, is hierdie reëling behaal vir vibrafoon en 5,0-oktaaf ​​marimba duet. Geskryf vir die PercaDu perkussie-groep, hierdie werk bied uitdagings te voldoen word deur gevorderde studente en professionele kunstenaars. Beide dele vereis die kunstenaars om gemaklik met akkoordnote en onafhanklike vier-hamer tegnieke, met die marimba deel wat die groter bedrag van die behendigheid. Afgesien van die tegniese kompleksiteit, die belangrikste uitdaging lê in die aanspreek van die rubato en buigsaamheid waarmee die klavier weergawe uitgevoer. Tomer Yariv tellings baie van die regterhand materiaal in die vibrafoon, met die arpeggiated begeleiding in die marimba. Terwyl interpretasie van hierdie musiek deur 'n enkele kunstenaar op die klavier is moeilik om in sy eie reg, moet ekstra spesiale sorg hier geneem word, soos die hande is verdeel tussen twee kunstenaars. Beide spelers moet in die totale ooreenkoms met betrekking tot enige gebruik van rubato, waarsonder die stuk's verloor baie van sy karakter. Hierdie werk is geskik vir 'n gevorderde kollege of 'n professionele perkussie ensemble. - Jason Baker, perkussie Notes Julie 2010.