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Original tekst

Three Fiona MacLeod Settings. Oliver Barton. A cappella. Secular , Partsong. Language. English.

Oversættelse

Tre Fiona MacLeod Indstillinger. Oliver Barton. A cappella. Verdslig, Partsong. Sprog. Engelsk.

Original tekst

Fiona MacLeod was a creation or perhaps alter ego of the Scottish poet William Sharp. 1855–1905. Some consider her his inner feminine consciousness. he himself described her as “an ancestral seeress” who came through to him. In any case, he went to tremendous lengths to conceal the connection between her and himself and there was quite a scandal when the truth came out that he was author of both his and her works. But the strange thing is that Fiona’s writings, steeped as they are in a twilight Celtic world, are so much more atmospheric and vivid, and in truth, better, than William’s. It is as though he really was possessed by a more inspired soul. The three settings are. The Wind — about 2'4". All parts split except the tenors. Honeymouth — about 4'42". Full SSAATTBB throughout. The Moonchild — about 2'1". This is scored for a female solo. a Mezzo will probably have the right sort of tone colour. and STB divisi choir, with odd solo bits for soprano and tenor. This is a bit tough on the altos. One of them could do the solo part. the rest could be temporary sopranos or tenors perhaps. The settings are intended to be performed as a set, but Honeymouth and The Moonchild can be performed separately. The Wind wouldn’t really stand alone. The complete set was first performed in 1973, I think it was, by the Westron Wynd in the Orangery, Goldney House, Bristol, England, conducted by Nigel Davidson. The Moonchild has been performed in various guises, such as a solo song with piano and a recorder consort plus psaltery. Please feel free to arrange it for whatever assortments you like, but try to retain the atmospheric quality.

Oversættelse

Fiona MacLeod var en skabelse eller måske alter ego af den skotske digter William Sharp. 1855–1905. Nogle mener hende hans indre feminine bevidsthed. han selv beskrev hende som en nedarvet Seersken der kom igennem til ham. I hvert fald, gik han til enorme anstrengelser for at skjule forbindelsen mellem hende og sig selv, og der var helt en skandale når sandheden kom ud, at han var forfatter til både hans og hendes værker. Men det mærkelige er, at Fiona skrifter, gennemsyret som de er i et tusmørke keltisk verden, er så meget mere atmosfærisk og levende, og i sandhed, bedre, end Williams. Det er som om han virkelig var besat af en mere inspireret sjæl. De tre indstillinger er. The Wind - omkring 2'4. Alle dele delt undtagen tenorer. Honeymouth - omkring 4'42. Fuld SSAATTBB hele. Den Moonchild - omkring 2'1. Dette er scoret for en kvindelig solo. en Mezzo vil sandsynligvis have den rigtige slags tone farve. og STB divisi kor, med ulige solo bits til sopran og tenor. Dette er en smule hård på altos. En af dem kunne gøre det solo del. resten kunne være midlertidige sopraner eller tenorer måske. Indstillingerne er beregnet til at blive udført som et sæt, men Honeymouth og The Moonchild kan udføres separat. The Wind ville ikke rigtig stå alene. Det komplette sæt blev uropført i 1973, jeg tror, ​​det var, som vestron Wynd i Orangeriet, Goldney House, Bristol, England, foretaget af Nigel Davidson. Den Moonchild er udført i forskellige forklædninger, såsom en solo sang med klaver og en optager consort plus Harpe. Du er velkommen til at arrangere det for uanset sortimenter, du kan lide, men prøv at bevare den atmosfæriske kvalitet.