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Festival Te Deum. Benjamin Britten. Choir sheet music. Organ sheet music.

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Festival Te Deum. Benjamin Britten. Koor bladmusiek. Orrel bladmusiek.

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Festival Te Deum. Treble Solo, SATB Chorus and Organ. Composed by Benjamin Britten. 1913-1976. For Choral. SATB, Organ. BH Large Choral. 24 pages. Boosey & Hawkes #M051481699. Published by Boosey & Hawkes. HL.48021233. ISBN 1458423530. 6.75x10.5 inches. Text. Book of Common Prayer. liturgy of Morning Prayer. Publisher. Boosey & Hawkes. Difficulty level. 2-3. Britten's second setting of the Te Deum is completely different from the C major one he wrote eleven years earlier. It was composed for the centenary Festival of St. Mark's Church in Swindon - an Anglo-Catholic church with a strong choral tradition which continues to this day. The structure of the piece is also different from the earlier work. A lengthy first section in unison which, while carefully notated in a variety of time signatures so that it feels as if it has the freedom of Gregorian chant, is accompanied by static organ chords in a regular 3. 4 metre. It is a really imaginative approach, and is actually very simple to perform. While the organ chords continue, the choir breaks up into simple imitative phrases at 'The glorious company of the Apostles praise Thee' but soon returns to the unison lines of the opening. The central section. 'Thou art the King of Glory, O Chris't. has fanfare-like phrases from the choir interspersed by short dramatic outbursts from the organ which then subside into a rhythmic piano section with an important ostinato pedal part for the organ. These two ideas are then mixed together before the opening organ chords return and a treble. soprano soloist sings a lovely line. The choir joins and takes the canticle to its gentle conclusion with the soloist having the last word. This setting is more straightforward than the earlier one. It does, however, have rhythmic issues which have to be mastered fully to do it justice. The choir, for instance, must not be pulled off course by the different time signature for the organ part in the opening and closing sections. It is all very straightforward in reality, it just looks complicated. Britten has thoughtfully annotated the vocal rhythm throughout the organ part for safety. The organist needs to be a confident musician. Where Britten may write eminently practically for the abilities of a parish church choir, he does not make similar allowances for the organist and the accompaniment is key to the success of a performance of this and many other such works. Duration. 7 minutes. Paul Spicer, Lichfield, 2011.

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Festival Te Deum. Sopraan Solo, SATB koor en orrel. Saamgestel deur Benjamin Britten. 1913-1976. Vir Choral. SATB, orrel. BH Groot Choral. 24 bladsye. Буси. Gepubliseer deur Boosey. HL.48021233. ISBN 1458423530. 6.75x10.5 duim. Teks. Book of Common Prayer. liturgie van Morning Prayer. Uitgewer. Boosey. Moeilikheidsgraad. 2-3. Britten se tweede stel van die Te Deum is heeltemal anders as die C-majeur een wat hy geskryf het elf jaar vroeër. Dit is saamgestel vir die eeufeesvieringe van St Mark's Church in Swindon - 'n Anglo-Katolieke kerk met 'n sterk koor-tradisie wat steeds tot vandag. Die struktuur van die stuk is ook verskil van die vorige werk. 'N lang eerste artikel in harmonie wat terwyl noukeurig genoteer in 'n verskeidenheid van tyd handtekeninge sodat dit voel asof dit die vryheid van Gregoriaans, word vergesel deur statiese orrel akkoorde in 'n gereelde 3. 4 meter. Dit is 'n baie verbeeldingryke benadering, en is eintlik baie eenvoudig om te presteer. Terwyl die orrel akkoorde voortgaan, is die koor breek in eenvoudige nabootsende frases by 'Die heerlike geselskap van die Apostels loof "maar gou terug na die eenheid lyne van die opening. Die sentrale gedeelte. U is die Koning van heerlikheid, O Chris't. het fanfare-agtige frases uit die koor afgewissel deur kort dramatiese uitbarstings van die orgaan wat dan gedruis in 'n ritmiese klavier artikel met 'n belangrike deel ostinato trap vir die orrel. Hierdie twee idees word dan gemeng voor die opening orrel akkoorde terugkeer en 'n sopraan. sopraan solis sing 'n pragtige lyn. Die koor aansluit en neem die lied tot sy sagte sluiting met die solis met die laaste woord. Hierdie instelling is meer eenvoudig as die vorige een. Dit maak egter 'n ritmiese kwessies wat ten volle bemeester word om dit te doen geregtigheid. Die koor, byvoorbeeld, moet nie van koers af getrek word deur die verskillende tydmaatteken vir die orrel deel in die opening en sluiting van gedeeltes. Dit is alles baie eenvoudig in werklikheid, is dit net lyk ingewikkeld. Britten het ingedagte geannoteerde die vokale ritme dwarsdeur die orrel deel vir veiligheid. Die orrelis moet 'n selfversekerde musikant wees. Waar Britten kan uitstek prakties skryf vir die vermoëns van 'n gemeente kerkkoor, het hy nie soortgelyke toelaes vir die orrelis maak en die begeleiding is die sleutel tot die sukses van 'n uitvoering van hierdie en baie ander sulke werke. Duur. 7 minute. Paul Spicer, Lichfield, 2011.