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Oorspronklik

Night. Robert W. Rumbelow. Grade 4.

Vertaling

Nag. Robert W. Rumbelow. Graad 4.

Oorspronklik

Night composed by Robert W. Rumbelow. For concert band. Bandworks. Grade 4.5. Score and set of parts. Published by Neil A. Kjos Music Company. KJ.WB229. This work is based on impressions evoked by the novel Night by 1986 Nobel Peace Prize winner, Elie Wiesel. The work is not a chronicle of the novel, but simply an expression based on select thoughts concerning the subject and composed with the intent on offering those who perform and hear the work another dimension through which to contemplate the atrocities of the Holocaust. The novel is an account of the Nazi death camp horror that turns a young Jewish boy. Wiesel. into an agonized witness to the death of his family, the death of his innocence, and the death of his God. Wiesel's accounts of concentration camps and death marches evoke a gray, ethereal, almost other-worldly tonal scheme which provided the genesis for the work. Movement I The Evening Air. 1941, sets a mood of eminent evil. A brief portion of the Kol Nidre, a prayer reserved exclusively for high holy days, is the text set to a simple and reverent original chant-melody. The excerpt of the text from the Kol Nidre should evoke a feeling of fasting or a meditative state. Both secular and sacred traditional Jewish music contain an altered dorian scale aspect and the trait of the augmented second. A motive from the traditional Hasidic hymn Avinu Malkenu III is quoted as a brief portion of this movement. The highlight of this traditional melody is the interval of the augmented second. The octatonic collection. used as the basis of composition in this work. contains many of the traditional features common to Jewish music. In fact, the interval of the augmented second is often renotated as a minor third. a defining feature of the octatonic collection. which is also the opening interval of Beethoven's Fifth Symphony. During World War II, Beethoven's motive represented a call for freedom and rallied the Allied forces throughout the war. Although this transformed augmented second appears from the beginning of the movement, it is highlighted towards the end. Movement II Faith of a Child, is comprised of an original chorale which complements a traditional chorale melody associated with the pure and simple hymn Hiney Ma Tov. The text. Hiney ma tov uma naim, Shevet a him gam yahad. The translation. How goodly it is and how pleasant for brethren to dwell together. This movement is representative of the traditional faith held by those around the young boy, and the thirst for religious enlightenment and faith. The spiritual relationships of the youth become critical in understanding the "night" which becomes his future. The key center of 'E' is retained from the first movement and refined as basically E minor. This represents the close relationship between the two movements on many levels. Movement III Darkness Descends. The Never Ending Night. The Loss of Faith. traces the descending darkness, all encompassing, which, in confusion, devours faith in the eternal Lord. The Sephardic hymn melody Adon Olam is briefly quoted as a representation of faith only to be quickly and completely devoured by darkness. the loss of faith. The text of Adon Olam is as follows. He is the eternal Lord, who reigned before any being had yet been created. when all was done according to His will, already then His name was King. And after all has ceased to be, still will He reign in solitary majesty. He was, He is, and He shall be in glory. And He is One. none other can compare to Him, or consort with Him. He is without beginning, without end. to Him belong power and dominion. And He is my God, my living Redeemer, my Rock in time of trouble and distress. He is my banner and my refuge, my benefactor when I call on Him. Into His hands I entrust my spirit, when I sleep and when I wake. and with my spirit, my body also. the Lord is with me, I will not fear. The melody to Adon Olam is stated within a musical texture that represents the "death marches" between concentration camps. With each "step" the faith is diminished and the darkness becomes more and more pronounced until all that is left is torture in a chaotic and meaningless world devoid of faith. The Allegro section of the work is representative of confusion. Trains, marches, the military machine, etc. are all part of the layered energy of this section. The ending is reminiscent of the first movement, but should seem rather empty and devoid of life. The ostinato figure in diminution is not resolved at the end of the work, just as the novel leaves the author's faith striped away and at an uncertain personal end.

Vertaling

Nag saamgestel deur Robert W. Rumbelow. Vir konsert orkes. Bandworks. Graad 4,5. Score en stel dele. Gepubliseer deur Neil A. Kjos Music Company. KJ.WB229. Hierdie werk is gebaseer op indrukke deur die roman Nag gewek deur 1986 Nobelprys vir Vrede, Elie Wiesel. Die werk is nie 'n kroniek van die roman nie, maar bloot 'n uitdrukking wat gebaseer is op uitgesoekte gedagtes oor die onderwerp en bestaan ​​met die doel om op die aanbied van diegene wat die werk 'n ander dimensie waardeur voer en luister na die gruweldade van die Monument te dink. Die roman is 'n verslag van die Nazi kamp dood horror wat draai 'n jong Joodse seun. Wiesel. in 'n gewroeg getuie tot die dood van sy familie, die dood van sy onskuld, en die dood van sy God. Wiesel se rekeninge van die konsentrasiekampe en die dood optogte roep 'n grys, eteriese, amper ander-wêreldse tonale skema wat op voorwaarde dat die ontstaan ​​van die werk. Beweging I Die aandlug. 1941, stel 'n stemming van vooraanstaande kwaad. 'N Kort gedeelte van die Kol Nidre, 'n gebed uitsluitlik vir hoë heilige dae, is die teks stel om 'n eenvoudige en eerbiedig oorspronklike liedjies sing-melodie. Die uittreksel van die teks van die Kol Nidre moet 'n gevoel van vas of 'n meditatiewe toestand ontlok. Beide sekulêre en heilige tradisionele Joodse musiek bevat 'n veranderde Dorian skaal aspek en die eienskap van die vergrote tweede. 'N motief van die tradisionele Hasidic lied Avinu Malkenu III word as 'n kort gedeelte van hierdie beweging aangehaal. Die hoogtepunt van hierdie tradisionele melodie is die interval van die vergrote tweede. Die octatonic versameling. gebruik word as die basis van die samestelling in hierdie werk. bevat baie van die tradisionele kenmerke gemeen Joodse musiek. Trouens, die interval van die tweede aangevul word dikwels renotated as 'n mineur derde. 'n kenmerk van die octatonic versameling. Dit is ook die opening interval van Beethoven se Vyfde Simfonie. Tydens die Tweede Wêreldoorlog, Beethoven se motief verteenwoordig 'n oproep vir vryheid en geweet die geallieerde magte in die hele oorlog. Alhoewel hierdie getransformeerde aangevul tweede blyk uit die begin van die beweging, is dit uitgelig teen die einde. Beweging II geloof van 'n kind, is saamgestel uit 'n oorspronklike koraal wat komplimenteer 'n tradisionele koraal melodie wat verband hou met die suiwer en eenvoudige lied Hiney Ma Tov. Die teks. Hiney ma tov uma Naim, Shevet n hom Gam yahad. Die vertaling. Hoe mooi dit is en hoe lekker vir broers om saam te woon. Hierdie beweging is verteenwoordigend van die tradisionele geloof gehou deur diegene wat rondom die jong seun, en die dors vir godsdienstige verligting en geloof. Die geestelike verhoudings van die jeug noodsaaklik geword om in die begrip van die "nag", wat weer sy toekoms. Die sleutel middel van 'E' is teruggehou uit die eerste beweging en verfyn as basies E minor. Dit verteenwoordig die noue verband tussen die twee bewegings op baie vlakke. Beweging III duisternis neerdaal. Die Nimmereindigende Night. Die verlies van geloof. spore van die dalende duisternis, allesomvattende, wat in verwarring, verteer geloof in die ewige Heer. Die Sefardiese lied melodie Adon Olam is kortliks as 'n voorstelling van die geloof net te vinnig en heeltemal verteer word deur die duisternis aangehaal. die verlies van geloof. Die teks van Adon Olam is soos volg. Hy is die ewige Heer, wat koning voordat enige wese nog geskep. wanneer al gedoen volgens Sy wil, wat reeds dan Sy naam was King. En ná dit alles het opgehou om te wees, sal steeds Hy regeer in eensame heerlikheid. Hy was, Hy is, en Hy sal in heerlikheid. En hy is een. niemand anders kan vergelyk met Hom, of omgaan met Hom. Hy is sonder begin, sonder einde. aan Hom behoort die krag en heerskappy. En Hy is my God, my lewe Verlosser, my rots in die tyd van benoudheid en angs. Hy is my banier en my toevlug, my weldoener toe ek 'n beroep op hom. In sy hande gee Ek vertrou my gees, wanneer ek slaap en toe ek wakker. en met my gees, my liggaam ook. Die Here is met my, ek sal nie vrees nie. Die melodie te Adon Olam vermeld word binne 'n musikale tekstuur wat verteenwoordig die "dood optogte" tussen die konsentrasiekampe. Met elke "stap" die geloof is verminder en die duisternis raak meer en meer uitgesproke totdat al wat oorbly is marteling in 'n chaotiese en sinlose wêreld sonder geloof. Die Allegro-afdeling van die werk is verteenwoordigend van verwarring. Treine, optogte, die militêre masjien, ens. is almal deel van die lae energie van hierdie afdeling. Die einde is wat herinner aan die eerste beweging nie, maar moet lyk eerder leeg en sonder lewe. Die ostinato figuur in vermindering nie opgelos word nie aan die einde van die werk, net soos die roman laat die skrywer se geloof gestreepte weg en op 'n onsekere persoonlike einde.