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Oorspronklik

Benjamin Britten. Te Deum In C. SATB. Orchestra. Sheet Music. SATB, Orchestra. SATB. ORCH. Benjamin Britten.

Vertaling

Benjamin Britten. Te Deum In C. SATB. Orchestra. Sheet Music. SATB, Orchestra. SATB. Orch. Benjamin Britten.

Oorspronklik

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C, it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor. different articulation and dynamic markings, something Britten was later very fussy about, but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important. wrong pedal notes, for example, which Britten failed to notice on proof, and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score. Britten clearly used the published vocal score to prepare his orchestral version. The two versions have been made consistent in other details - rehearsal cues and bar numbers, for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task, for these is little discrepancy in essential details between versions. a rare departure occurs in bars 53 to 56, where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version, but doubled by Organ in the original. Sustained Organ chords are often filled out with arpeggiated string writing, while the spacing of chords is frequently much wider in the string version, with melodies transposed into different octaves. Although harmony in both versions is identical, voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned. So, although in essence the two versions are the same, the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work, like many of his choral pieces from the 1930s and 1940s, it is equally at home in church and concert hall.

Vertaling

In voorbereiding vir publikasie die 1935 orkestrale weergawe van Britten se Te Deum in C, het dit duidelik geword dat daar 'n aantal verskille tussen die manuskrip en die oorspronklike 193 vokale telling. Sommige van hulle was klein. verskillende artikulasie en dinamiese merke, iets Britten was later baie puntenerig oor, maar miskien onveranderd op bewys gelaat as gevolg van sy relatiewe onervarenheid op hierdie stadium van sy loopbaan by die prosesse van musiek uitgewery. Ander was meer belangrik. verkeerde pedaal notas, byvoorbeeld, wat Britten versuim om op bewys sien, en wat is verewig in optredes en opnames vir byna sewentig jaar. Hierdie is reggestel in die nuwe uitgawe van die vokale telling en in die orkespartituur. Britten duidelik die gepubliseerde vokale telling gebruik om sy orkes weergawe voor te berei. Die twee weergawes is konsekwent gemaak in ander besonderhede - repetisie leidrade en bar getalle, byvoorbeeld - omdat Britten bedoel koorsangers die vokale telling te gebruik om die orkestrale weergawe uit te voer. Dit sou gewees het 'n maklike taak nie, want hierdie is min verskil in noodsaaklike besonderhede tussen weergawes. 'n seldsame afwyking kom voor in bars 53-56, waar die werke 'Here, die God van die leërskare' is onbegeleide in die orkestrale weergawe, maar verdubbel deur orrel in die oorspronklike. Volgehoue ​​orrel akkoorde word dikwels gevul met arpeggiated string skryf, terwyl die spasiëring van akkoorde is dikwels veel wyer in die string weergawe, met melodieë omgezet in verskillende oktawe. Alhoewel harmonie in beide weergawes is identies, stemvoering soms verander in die laasgenoemde beter geskik vir die idiome van die betrokke instrumente te maak. So, hoewel dit in wese die twee weergawes is dieselfde, die klank palet verken in elkeen is heeltemal apart. Britten se orkes weergawe moet nie gesien word as 'n geleentheid stuk of beskou uitsluitlik 'n liturgiese werk, soos baie van sy koorstukke uit die 1930's en 1940's, is dit ewe tuis in die kerk en konsertsaal.
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