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Original tekst

Rejoice in the Lamb, Op. 30. Benjamin Britten. Choir sheet music. Organ Accompaniment sheet music.

Oversættelse

Glæd jer i Lammets, Op. 30. Benjamin Britten. Choir noder. Orgelledsagelse noder.

Original tekst

Rejoice in the Lamb, Op. 30. 1943. Composed by Benjamin Britten. 1913-1976. For Choral, Chorus, Organ Accompaniment. SATB. BH Large Choral. Sacred. 48 pages. Boosey & Hawkes #M060015120. Published by Boosey & Hawkes. HL.48008987. ISBN 1458424510. Sacred. 6.75x10.5 inches. for SATB with SATB solos and organ. Imogen Holst orchestrated the work for wind quintet, percussion, organ. ad lib. and strings. 1952. , and there is also a version for SSAA and organ arranged by Edmund Walters. 1966. Text. Christopher Smart. Publisher. Boosey & Hawkes. Difficulty level. One of Britten's most popular and performed works in this genre, Rejoice in the Lamb was written for the 50th anniversary of St. Matthew's church, Northampton in 1943. The remarkable vicar, Walter Hussey, was a great patron of the arts. His vision for St. Matthew's and later for Chichester Cathedral, where he moved to become Dean, is one of the most fascinating stories in the history of the Anglican Church in the last century. Britten called his work a Festival Cantata and it is structured with choral and solo movements. The text by the supposedly mad Christopher Smart. 1722-1771. is part of a poem called Jubilate Agno which he composed in a mental asylum having been committed there by his father-in-law for apparent religious mania. He died in a debtors' prison. It was W.H. Auden who brought the poem to Britten's attention. It is easy to see why Britten was so attracted to Smart's poem. It has great colour, drama, bizarre imagery, and the central issue of the individual against the crowd, or against authority, was one to which Britten was to return repeatedly in his works. Britten had developed a deep interest in Purcell's music at this time and had made keyboard realisations of accompaniments for a number of songs which he performed with Peter Pears. Purcell's influence can easily be heard in the Hallelujah sections. The challenges in this work are many and varied though the difficulty level is not great overall. It is an ideal concert work and is popular with performers and audiences alike. Practical issues include really quiet singing while projecting the voice at the start. dealing with the rhythmic complexities of the first quick section. 'Let Nimrod the mighty hunter'. and getting the most out of the words and the dynamic contrasts here. the unanimity of the dotted rhythms in the Hallelujah sections. the fielding of four soloists who can put across the character of these zany movements. the cat, the mouse, flowers. the realisation of the depth of passion in the 'For I am under the same accusation as my Saviour' section. the brilliance of the final quick section with all the bizarre musical instrument rhymes. and finally realising the 'stillness and serenity' of the slow music before the final Hallelujah. There is much to consider and much devil in the detail. However, the work is emphatically worth any amount of effort to realise Britten's inspiration. Duration. 17 minutes. Paul Spicer, Lichfield, 2011.

Oversættelse

Glæd jer i Lammets, Op. 30. 1943. Komponeret af Benjamin Britten. 1913-1976. For Kor, Kor, Orgelledsagelse. SATB. BH Large Choral. Sacred. 48 sider. Буси. Udgivet af Boosey. HL.48008987. ISBN 1458424510. Sacred. 6.75x10.5 inches. for SATB med SATB soli og orgel. Imogen Holst orkestreret arbejdet for blæserkvintet, slagtøj, orgel. ad lib. og strygere. 1952. , Og der er også en version til SSAA og orgel arrangeret af Edmund Walters. 1966. Tekst. Christopher Smart. Publisher. Boosey. Sværhedsgrad. Et af Britten mest populære og udførte værker i denne genre, glæd i Lammets blev skrevet til 50-årsdagen for St. Matthæus kirke, Northampton i 1943. Den bemærkelsesværdige sognepræst, Walter Hussey, var en stor kunstmæcen. Hans vision for St. Matthew og senere for Chichester Cathedral, hvor han flyttede til blive Dean, er en af ​​de mest fascinerende historier i historien om den anglikanske kirke i det sidste århundrede. Britten kaldte hans arbejde en festival Cantata og det er struktureret med kor og solo bevægelser. Den tekst, som den angiveligt gal Christopher Smart. 1722-1771. er en del af et digt kaldet Jubilate Agno som han komponerede i en mental asyl begået der af sin far-in-law for tilsyneladende religiøs mani. Han døde i en gældsfængsel. Det var W.H. Auden, der bragte digtet til Britten opmærksomhed. Det er let at se, hvorfor Britten var så tiltrukket af Smart digt. Det har stor farve, drama, bizarre billedsprog, og det centrale spørgsmål om individet mod mængden, eller imod autoritet, var en, som Britten var at vende tilbage flere gange i hans værker. Britten havde udviklet en dyb interesse i Purcell musik på dette tidspunkt og havde gjort tastatur realiseringer af tilbehøret for en række sange, som han optrådte med Peter Pears. Purcell indflydelse kan nemt høres i Hallelujah afsnittene. Udfordringerne i dette arbejde er mange og varierede, selvom sværhedsgraden er ikke stor samlet. Det er en ideel koncert arbejde og er populær blandt kunstnere og publikum. Praktiske spørgsmål omfatter virkelig stille sang, mens projicere stemme ved starten. beskæftiger sig med de rytmiske kompleksiteter i den første hurtige sektion. "Lad Nimrod den mægtige jæger '. og her får mest muligt ud af de ord og de dynamiske kontraster. enstemmighed blandt de punkterede rytmer i Hallelujah afsnittene. Fielding fire solister, der kan sætte hele karakteren af ​​disse skøre bevægelser. CAT, mus, blomster. realiseringen af ​​dybden af ​​lidenskab i afsnittet "For jeg er under samme anklage som min Frelser '. glans af den endelige hurtig sektion med alle de bizarre musikinstrument rim. og til sidst realisere den "stilhed og sindsro" af den langsomme musik, før den endelige Hallelujah. Der er meget at overveje og meget djævel i detaljen. Men arbejdet er, eftertrykkeligt værd at enhver mængde af indsats for at realisere Brittens inspiration. Varighed. 17 minutter. Paul Spicer, Lichfield 2011.