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Symphony No. 2. Genesis. David Gillingham. B-Flat Trumpet sheet music. English Horn sheet music. Grade 5.

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Symphony No 2. Genesis. David Gillingham. B-Flat Trumpet bladmusiek. Engels Horn bladmusiek. Graad 5.

Oorspronklik

Symphony No. 2. Genesis composed by David Gillingham. For concert band. Piccolo, Flute 1, Flute 2, Oboe 1. 2, English Horn, Bassoon 1. 2, Eb Soprano Clarinet, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabassoon, Alto Saxophone 1. 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in B. Band Music. Grade 5. Score and parts. Duration 20. 00. Published by C. Alan Publications. CN.14760. Another major contribution to advanced band repertoire. Epic in proportion, this symphony displays the creative scoring and brilliant compositional technique we have associated with this esteemed composer. Upper-level musicians and conductors will enjoy the challenges presented in preparing and performing this outstanding work. Like Symphony No.1. Apocalyptic Dreams. , Symphony No. 2. "Genesis". is programmatic and based on Biblical scripture. Symphony No. 2 is inspired by the first nine chapters of Genesis and is divided into five movements. I. In the beginning. II. Eden and the forbidden fruit. III. Noah and the Ark. IV. The floodgates of heaven. and V. The sign of the covenant. Movement I. In the beginning, opens mysteriously with the whirring of flexible plastic hoses in the percussion and a pedal G in the vibraphone which signify chapter 1, verse 2, "Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters. " God's presence and voice are represented by repeated notes leading to a note a half step above and then back down,. the "God motive". first heard by the horns in the thirteenth measure. Following are ascending passages in the Eb clarinet over harp-like passages in the piano indicative of chapter 1, verse 3, "And God said 'Let there be light', and God saw that the light was good, and he separated the light from the darkness. " An accumulation of texture follows building into an expansive tone cluster which breaks into G major with a soaring melodic line in the horns. The section represents chapter 1, verse 6, "And God said, 'Let there be an expanse between the waters to separate water from water. '" Ensuing is the essence of chapter 1, verse 11, "Then God said, - Let the land produce vegetation. seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds. '", and chapter 1, verse 14-15, "And God said, 'Let there be lights in the expanse of the sky to separate the day from the night, and let them serve as signs to mark seasons and days and years, and let there be lights in the expanse of the sky to give light on the earth. '" Strident articulations of chords along with the brake drum begin this section, likened to lightening, followed by rustling in the clarinets over clusters in the brass followed again by a soaring horn melody emulating the voice of God. Trills and ascending passages in the woodwinds and piano over low brass chords characterize the next section which expresses the creation of living creatures expressed by chapter 1, verse 20 and 24, "And God said, 'Let the water teem with living creatures, and let birds fly above the earth across the expanse of the sky'". "And God said, 'Let the land produce living creatures according to their kinds. livestock, creatures that move along the ground, and wild animals, each according to its kind. '" A quiet and most reverent section ensues which expresses the voice of God. the "God motive". as He creates his most prized possession, Man, as written in chapter 1, verse 26, "Then God said, 'Let us make man in our image, in our likeness and let them rule over the fish of the sea and the birds of the air, over the livestock, over all the earth, and over all the creatures that move along the ground'". The movement ends with a sort of benediction which utilizes the "God motive" and ends quite peacefully in G major, all inspired by chapter 2, verse 2, "By the seventh day God had finished the work he had been doing. so on the seventh day He rested from all His work. '" Movement II. Eden and the Forbidden Fruit, seeks to exploit both the beauty and the wrath of God. The first part of the movement is devoted to the Garden of Eden, the creation of the woman. Eve. and The Tree of Knowledge of Good and Evil. Verses 8-9, 16-17, and 21-22, from the 2nd chapter of Genesis provide the inspiration for this part of the movement. "Now the Lord God had planted a garden in the east, in Eden. and there He put the man He had formed. And the Lord God made all kinds of trees grow out of the ground--trees that were pleasing to the eye and good for food. In the middle of the garden were the tree of life and the tree of the knowledge of good and evil. " 'And the Lord God commanded the man, 'You are free to eat from any tree in the garden. but you must not eat from the tree of the knowledge of good and evil, for when you eat of it you will surely die. '" "So the Lord God caused the man to fall into a deep sleep. and while he was sleeping, He took one of the man's ribs and closed up the place with flesh. Then the Lord God made a woman from the rib He had taken out of the man, and He brought her to the man. " The mood begins to change when the euphonium plays the first two phrases of the hymn O God Our Help in Ages Past. Tune by William Croft 1708. "St. Anne". Tempted by a most crafty serpent, Adam and Eve eat the forbidden fruit from the tree of knowledge of good and evil. "When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it. She also gave some to her husband, who was with her, and he ate it". chapter 3, vs. The hymn abruptly ends articulated by stopped horns. Following, is a section filled with angry and evil motives and dissonant textures which allude to the consequences of eating the forbidden fruit. "To the woman he said, 'I will greatly increase your pains in childbearing. with pain you will give birth to children. Your desire will be for your husband, and he will rule over you'". chapter 3, vs. 16. And to Adam he said, "Cursed is the ground because of you. through painful toil you will eat of it all the days of your life. It will produce thorns and thistles for you, and you will eat the plants of the field. By the sweat of your brow you will eat your food until you return to the ground, since from it you were taken. for dust you are and to dust you will return". chapter 3, vs. 17-19. The movement ends in woeful reflection of the curse that God bestowed upon mankind. Movement III. Noah and the Ark, is in a scherzo-trio structure. The scherzo section is set in compound duple meter and reflects Noah's overwhelming job to build a most expansive ark as described in chapter 6 of Genesis. The trio is almost child-like in mood and quotes the hymn All Things Bright and Beautiful. Words by Cecil F. Alexander, 1848, 17th century English melody. All things bright and beautiful, All creatures great and small, All things wise and wonderful, The Lord God made them all. The hymn serves to create the image of boarding all the "creatures" on the ark. "You are to bring into the ark two of all living creatures, male and female, to keep them alive with you. Two of every kind of bird, or every kind of animal and of every kind of creature that moves along the ground will come to you to be kept alive. Chapter 6, vs. 16-20. The recapitulation of the trio is interrupted by a dissonant textural crescendo leading to movement IV. Movement IV. The Floodgates of Heaven, begins with falling rain. closed hi-hats. over a pedal Eb. After several strikes of lightning, tutti chords, the heavens open up and it begins to pour. cascading woodwind passages. As described in Chapter 7, vs. 11-12. "In the six hundredth year of Noah's life, on the seventeenth day of the second month--on that day all the springs of the great deep burst forth, and the floodgates of the heavens were opened. And rain fell on the earth forty days and forty nights. " Under the cascading woodwinds the horns and trumpets sing a theme of destruction. The intensity grows and reaches its height in C major and becomes quiet with a repeated eighth note pedal on C in the trumpets. Then, motives from the death chant, Dies Irae, appear in the woodwinds and piano representative of Chapter 7, vs. 23. "Every living thing on the face of the earth was wiped out. men and animals and the creatures that move along the ground and the birds of the air were wiped from the earth. Only Noah was left, and those with him in the ark. " The section builds to a partial statement of the chant by the full ensemble ending with a pedal on G by the timpani. Movement V. The Sign of the Covenant is the fifth and final movement of the symphony. The first part of the movement reflects the dove sent by Noah to find land. The piccolo solo aptly alludes to the bird as it flies toward land and brings back the olive branch. "He waited seven more days and again sent out the dove from the ark. When the dove returned to him in the evening, there in its beak was a freshly plucked olive leaf. Then Noah knew that the water had receded from the earth". chapter 8, vs. 10-12. Below the continuing song of the piccolo. the dove. , the horns sing a theme of celebration as Noah and the animals step off the ark onto dry land. A prayer follows with a series of overlapping cadences alluding to Noah building an altar and God vowing not to ever again destroy the living things on earth. chapter 8, vs. 20. "Then Noah built an altar to the Lord. Chapter 8, vs. 21-22. "Never again will I curse the ground because of man, even though every inclination of his heart is evil from childhood. And never again will I destroy all living creatures, as I have done. The symphony ends in fanfare modulating dramatically to E major and then fading away to a single E major chord in the marimba which then fades to silence. Chapter 9, vs. 12-13. "This is the sign of the covenant I am making between men and you and every living creature with you, a covenant for all generations to come. I have set My rainbow in the clouds, and it will be the sign of the covenant between Me and the earth. Dedicated to Dr. Mallory B. Thompson in celebration of her first decade as Director of Bands at Northwestern University.

Vertaling

Symphony No 2. Genesis saamgestel deur David Gillingham. Vir konsert orkes. Piccolo, Fluit 1, 2 fluit, hobo 1. 2, Engels Horn, fagot 1. 2, Eb Donna klarinet, klarinet in Bb 1, klarinet in Bb 2, klarinet in Bb 3, basklarinet, kontrafagot, saxofoon 1. 2, saxofoon, bariton saxofoon, trompet in Bb 1, trompet in B. Band Musiek. Graad 5. Telling en dele. Duur 20. 00. Gepubliseer deur C. Alan Publications. CN.14760. Nog 'n groot bydrae tot die gevorderde groep repertoire. Epic in verhouding, hierdie simfonie vertoon die kreatiewe scoring en briljante komposisietegniek ons ​​met hierdie gesiene komponis geassosieer het. Boonste vlak musikante en dirigente sal geniet die uitdagings wat in die voorbereiding en uitvoering van hierdie uitstaande werk. Soos Symphony No.1. Apokaliptiese Dreams. , Symphony No 2. "Genesis". is programmatiese en gebaseer op Bybelse Skrif. Symphony No 2 is geïnspireer deur die eerste nege hoofstukke van Genesis en is verdeel in vyf bewegings. I. In die begin. II. Eden en die verbode vrugte. III. Noag en die Ark. IV. Die sluise van die hemel. en V. Die teken van die verbond. Beweging I. In die begin, open geheimsinnig met die klappende van buigsame plastiek pype in die perkussie en 'n pedaal G in die vibrafoon watter hoofstuk 1, vers 2: "En die aarde was woes en leeg, gewys het, dit was donker op die oppervlak van die diep, en die Gees van God het gesweef op die waters. "God se teenwoordigheid en stem word verteenwoordig deur herhaalde note wat lei tot 'n aantekening 'n half stap bo en dan weer af,. die "God motief". die eerste keer gehoor by die horings in die dertiende maat. Volgende is stygende gedeeltes in die Eb klarinet oor harp-agtige gange in die klavier 'n aanduiding van hoofstuk 1, vers 3: "En God het gesê:" Laat daar lig wees ", en sien God dat die lig goed was, en hy geskei die lig van die duisternis. "'N opeenhoping van tekstuur volg gebou in 'n uitgestrekte toon cluster wat breek in G-majeur met 'n stygende melodiese lyn in die horings. Die artikel stel hoofstuk 1, vers 6: "En God het gesê: Laat daar 'n uitspansel wees tussen die waters water te skei van water. "Daaropvolgende is die essensie van hoofstuk 1, vers 11," En God het gesê - Laat die land produseer plantegroei. saaddraende plante en bome op die grond wat vrugte dra met die saad daarin, volgens hulle verskillende soorte. ", En hoofstuk 1, vers 14-15:" En God het gesê: Laat daar ligte wees aan die uitspansel van die hemel om die dag te skei van die nag, en laat hulle dien as tekens seisoene en dae en jare aan te dui, en laat daar ligte wees aan die uitspansel van die hemel om lig te gee op die aarde. "Kras artikulasies van akkoorde saam met die rem drom die begin van hierdie artikel, vergelyk met weerlig, gevolg deur geritsel in die klarinette oor clusters in die koper wat gevolg weer deur 'n stygende horingmelodie boots die stem van God. Trillers en stygende gedeeltes in die houtblasers en klavier oor lae koper akkoorde kenmerk die volgende afdeling wat uitdrukking gee aan die skepping van lewende wesens uitgedruk deur hoofstuk 1, vers 20 en 24: "En God het gesê:" Laat die water wemel met lewende wesens, en laat die voëls oor die aarde vlieg oor die uitspansel van die hemel ". "En God het gesê:" Laat die land te produseer lewende wesens volgens hulle soorte. vee, diere wat op die grond beweeg, en die wilde diere, elkeen volgens sy soort. "'N rustige en mees eerbiedige artikel breek wat uitdrukking gee aan die stem van God. die "God motief". as Hy skep sy mees gesogte besitting, Man, geskryf in hoofstuk 1, vers 26, "En God het gesê: Laat Ons mense maak na ons beeld, na ons gelykenis, en laat hulle heers oor die visse van die see en die voëls van reël die lug, oor die vee en oor die hele aarde en oor al die diere wat beweeg langs die grond ". Die beweging eindig met 'n soort van seën wat gebruik maak van die "God motief" en eindig heel rustig in G major, al geïnspireer deur hoofstuk 2 vers 2: "Deur die sewende dag het God klaar die werk wat hy moes doen. so op die sewende dag het Hy gerus het van al sy werk. "Beweging II. Eden en die verbode vrugte, soek beide die skoonheid en die toorn van God te ontgin. Die eerste deel van die beweging word gewy aan die tuin van Eden, die skepping van die vrou. Eva. en die boom van kennis van goed en kwaad. Verse 8-9, 16-17, 21-22 en vanaf die 2de hoofstuk van Genesis bied die inspirasie vir hierdie deel van die beweging. "Nou is die Here God 'n tuin geplant het in die ooste, in Eden. Daar het hy ook die man wat hy gevorm het. En die Here God het allerhande bome groei uit die grond - bome wat n lus vir die oog en goed vir voedsel was. In die middel van die tuin was die boom van die lewe en die boom van die kennis van goed en kwaad. "En die Here God aan die mens bevel," Jy is vry om te eet van al die bome in die tuin. maar jy moet nie van die boom van die kennis van goed en kwaad te eet, want as jy daarvan eet, sal jy sekerlik sterwe. "" So het die Here God die mens laat val in 'n diep slaap. en terwyl hy slaap, het Hy een van die mens se ribbes en toe die plek daarvan met vlees. Toe het die Here God 'n vrou uit die rib wat Hy uit die mens geneem het, en Hy het haar na die mens. "Die stemming begin om te verander wanneer die euphonium speel die eerste twee frases van die lied O God Ons Help in die verlede. Tune deur William Croft 1708. "St Anne". Mislei deur 'n baie slim slang, Adam en Eva eet van die verbode vrugte van die boom van kennis van goed en kwaad. "Toe sien die vrou dat die vrugte van die boom goed was om van te eet en lus vir die oog, en ook wenslik om verstand te verkry, het sy 'n paar en het dit geëet. Sy gee ook aan haar man, wat saam met haar, en hy het dit geëet ". Hoofstuk 3, vs. Die lied skielik eindig verwoord deur gestop horings. Volgende, is 'n artikel gevul met kwaad en die bose motiewe en dissonante teksture wat verwys na die gevolge van die eet van die verbode vrugte. "Aan die vrou het Hy gesê:" Ek sal grootliks vermeerder jou moeite en jou swangerskap. met smart sal jy kinders baar;. Jou begeerte sal na jou man wees, en hy sal oor jou heers ". Hoofstuk 3, vs. 16. En aan die mens het Hy gesê: "Vervloek is die aarde om jou ontwil. met moeite sal jy daarvan eet al die dae van jou lewe. Dit sal dorings en distels voortbring vir jou, en jy sal die plante van die veld eet. In die sweet van jou aangesig sal jy brood eet totdat jy terugkeer na die aarde, want daaruit is jy geneem. Want stof is jy, en tot stof sal jy terugkeer ". Hoofstuk 3, vs. 17-19. Die beweging eindig in ongelukkige weerspieëling van die vloek wat God geskenk op die mensdom. Beweging III. Noag en die Ark, is in 'n scherzo-trio struktuur. Die scherzo artikel is ingestel in verbinding tweeledige meter en weerspieël Noag se oorweldigende taak om 'n mees uitgestrekte ark te bou soos beskryf in hoofstuk 6 van Genesis. Die trio is byna kind-agtige in stemming en haal die lied Alle wat mooi. Woorde deur Cecil F. Alexander, 1848, 17de eeu Engels melodie. Alle dinge helder en mooi, Alle wesens groot en klein, Alle dinge wys en wonderlik, Die Here God het hulle almal. Die lied dien die beeld van instap al die "wesens" op die ark te skep. "Jy is te bring in die ark twee van alle lewende wesens, manlike en vroulike, hulle in die lewe te hou met jou. Twee van elke soort voël, of elke vorm van diere en al die soort van wesens wat op die aarde beweeg, sal na jou toe kom om aan die lewe gehou word. Hoofstuk 6, vs. 16-20. Die herhaling van die trio is onderbreek deur 'n dissonante tekstuur crescendo wat lei tot beweging IV. Beweging IV. Die sluise van die Hemel, begin met die val van reën. geslote hi-hoede. meer as 'n pedaal Eb. Na 'n paar stakings van weerlig, tutti akkoorde, die hemele oopmaak en dit begin om te gooi. waterval houtblasers gedeeltes. Soos beskryf in Hoofstuk 7, vs. 11-12. "In die ses honderdste jaar van Noag se lewe, op die sewentiende dag van die tweede maand - op daardie dag al die fonteine ​​van die groot watervloed oopgebreek, en die sluise van die hemel is geopen. En reën val op die aarde, veertig dae en veertig nagte. "Onder die waterval houtblasers die horings en trompette sing 'n tema van vernietiging. Die intensiteit groei en bereik sy hoogtepunt in C majeur en word stil met 'n herhaalde agtste noot trap op C in die trompette. Dan, motiewe uit die dood chant, sterf Irae, verskyn in die houtblasers en klavier verteenwoordiger van Hoofstuk 7, vs. 23. "Elke lewende ding op die gesig van die aarde uitgewis. mense en diere en die diere wat op die grond en die voëls van die lug beweeg uitgewis van die aarde. En net Noag het oorgebly en wat by hom in die ark. "Die artikel bou voort op 'n gedeeltelike verklaring van die liedjies sing deur die volle ensemble eindig met 'n trap op G deur die timpani. Beweging V. Die teken van die verbond is die vyfde en laaste beweging van die simfonie. Die eerste deel van die beweging weerspieël die duif gestuur deur Noag land te vind. Die piccolo solo gepas verwys na die voël as dit vlieg in die rigting van die land en bring terug die olyftakkie. "Hy is nog sewe dae gewag en weer die duif uitgestuur uit die ark. Wanneer die duif na hom teruggekeer in die aand, is daar in sy bek was 'n groen olyfblad. Toe merk Noag dat die water uit die aarde verminder het ". hoofstuk 8, vs. 10-12. Onder die voortgesette lied van die piccolo. die duif. , Om die horings sing 'n tema van die fees as Noag en die diere stap uit die ark op droë grond. 'N Gebed volg met 'n reeks oorvleuelende kadense verwys na Noag bou 'n altaar, en God belowe nie om ooit weer die lewende dinge op aarde vernietig. hoofstuk 8, vs. 20. "Toe Noag 'n altaar gebou vir die Here. Hoofstuk 8, vs. 21-22. "Nooit weer sal ek vloek op die grond as gevolg van die mens, selfs al word elke helling van sy hart is sleg van kleins af. En nooit weer sal ek vernietig alle lewende wesens, soos ek gedoen het. Die simfonie eindig in fanfare regulerende dramaties te E majeur en dan vervaag tot 'n enkele E groot koord in die marimba wat dan vervaag tot stilte. Hoofstuk 9, vs. 12-13. "Dit is die teken van die verbond wat Ek sluit tussen mans en julle en al die lewende wesens wat by julle is, vir ewige geslagte al kom. Ek het my reënboog in die wolke, en dit sal die teken van die verbond tussen My en die aarde. Toegewy aan dr Mallory B. Thompson ter viering van haar eerste dekade as Direkteur van Bands by die Noordwes-Universiteit.