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Oorspronklik

Tarik O'Regan. Acallam na Senórach. Part - Guitar. Sheet Music. Guitar. GTR. Tarik O'Regan.

Vertaling

Tarik O'Regan. Acallam na Senórach. Part - Guitar. Sheet Music. Guitar. GTR. Tarik O'Regan.

Oorspronklik

Acallam na Senórach , by Tarik O'Regan , was co-commissioned by the National Chamber Choir of Ireland, The DeBartolo Performing Arts Center at University of Notre Dame, Indiana, and Peak Performances at Montclair State University, Montclair, New Jersey. First performed on 25 November 2010, at St Ann’s Church, Dublin, by the National Chamber Choir of Ireland. with Stewart French. Guitar. , directed by Paul Hillier. The Guitar part was edited by Stewart French. Tarik O'Regan on the music. In writing this musical setting of Acallam na Senórach I was drawn to the evenness of the dialogue. Instead of St Patrick simply converting the pagan warriors, he is encouraged to listen to Caílte’s stories and poems of an earlier time, in which the saint delights. This secular. sacred osmosis is maintained unwaveringly throughout the entire text. By the end of the narrative, one has witnessed not only the arrival of a new religion in Ireland, but also a richly-recounted secular narrative map of the entire island. the peaceful and enriching shaking of two great hands. In preparing the libretto. the sung text. , I have focused on only a few of the shorter constituent tales. This decision was born of the practical constraints of duration. I have, however, kept the skeleton, albeit smaller, of the overall frame in place. Finally, for the sake of simplicity, Oisín is removed from the primary narrative. The characters are not assigned specific voices. The narrative as a whole is carried by a persistently changing combination of voices and guitar. The one exception is Cas Corach, the musician of the síd. underworld. who is most closely embodied, throughout this setting, in the solo interludes for guitar. The music itself is not ethnographically inclined. that is, I have not attempted to reconstruct theories on Irish music of the period from which Acallam stems. However the score generally, and especially in the guitar writing, is imbued with an air of Arab and Persian influence. The dulcimer, which Cas Corach plays, is thought to have been similar to the Iranian Santur. A potential antecedent of the bodhráin. Irish frame drum. , for which I have written two parts in this work, is the North African bendir. Considering that the surviving manuscripts of the Acallam stem from a period in which Ireland maintained contact with North Africa and the Near East, both of a friendly. trade. and hostile. piracy, notably the Barbary Corsairs. nature, it is not unreasonable to consider that some variety of cultural exchange. not dissimilar to that between St Patrick and Caílte. influenced the extant transcriptions. My setting of this text, therefore, touches lightly on the two main roots of my own heritage. Acallam, after all, tells us that, following his baptism by the saint, Caílte repays Patrick with a block of gold from the ‘Land of Arabia’. This is, no doubt, a reference to the Holy Land. from a different era altogether. For me, however, this precise moment, where continents, cultures, material goods and spiritual blessing intersect evenly, is the kernel of the entire work.

Vertaling

Acallam na Senórach deur Tarik O'Regan, was saam in opdrag van die Nasionale Kamerkoor van Ierland Die DeBartolo Performing Arts Center by die Universiteit van Notre Dame, Indiana, en Peak Performances by Montclair State University, Montclair, New Jersey. Vir die eerste keer op 25 November 2010, op St Ann se Kerk, Dublin, wat deur die Nasionale Kamerkoor van Ierland. met Stewart Franse. Guitar. , Geregisseer deur Paul Hillier. Die Guitar deel is saamgestel deur Stewart Franse. Tarik O'Regan op die musiek. In die skryf van hierdie musikale instelling van Acallam na Senórach Ek is gevestig op die egaligheid van die dialoog. In plaas van St Patrick eenvoudig die omskepping van die heidense krygers, is hy aangemoedig om te luister na Caílte se stories en gedigte van 'n vroeëre tyd, waarin die heilige genot. Hierdie sekulêre. heilige osmose is onwrikbaar gehandhaaf deur die hele teks. Teen die einde van die verhaal, het een getuie nie net die aankoms van 'n nuwe godsdiens in Ierland, maar ook 'n ryk-vertel sekulêre vertelling kaart van die hele eiland. die vreedsame en verrykend afslaan van die twee groot hande. In die voorbereiding van die libretto. die gesing teks. Ek het gefokus op slegs 'n paar van die korter samestellende verhale. Hierdie besluit is gebore uit die praktiese beperkinge van duur. Ek het egter in plek gehou die geraamte, hoewel kleiner, van die algehele raam. Ten slotte, ter wille van die eenvoud, Oisin is van die primêre narratief verwyder. Die karakters word nie toegeken spesifieke stemme. Die verhaal as 'n geheel is uitgevoer deur 'n aanhoudend veranderende kombinasie van stemme en kitaar. Die een uitsondering is Cas Corach, die musikant van die Sid. onderwêreld. wat die meeste nou vergestalt, in hierdie omgewing, in die solo interludes vir die kitaar. Die musiek self is nie etnografies geneig. Dit is, het ek nie probeer teorieë te rekonstrueer op die Ierse musiek van die tydperk waaruit Acallam stamme. Maar die telling algemeen, en veral in die kitaar skryf, is gevul met 'n lug van Arabiese en Persiese invloed. Die doedelsak wat Cas Corach speel, is vermoedelik soortgelyk aan die Iraanse santur gewees. 'N potensiële antesedente van die bodhráin. Ierse raam drom. Waarvoor ek twee dele geskryf in hierdie werk, is die Noord-Afrikaanse bendir. Ag geneem word dat die oorlewende manuskripte van die Acallam stam van 'n tydperk waarin Ierland kontak behou met Noord-Afrika en die Midde-Ooste, beide van 'n vriendelike. handel. en vyandige. piracy, veral die Barbaryse Corsairs. aard is, is dit nie onredelik om te dink dat 'n paar verskeidenheid van kulturele uitruiling. nie verskillend dat tussen St Patrick en Caílte. beïnvloed die bestaande transkripsies. My agtergrond van hierdie teks, dus raak liggies op die twee hoof wortels van my eie erfenis. Acallam, na alles, vertel ons dat, na aanleiding van sy doop deur die heilige, Caílte terugbetaal Patrick met 'n blok van goud uit die "Land van Arabië '. Dit is sonder twyfel, 'n verwysing na die Heilige Land. uit 'n ander era heeltemal. Vir my egter hierdie presiese oomblik, waar kontinente, kulture, materiële goedere en geestelike seën sny eweredig, is die kern van die hele werk.