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Original tekst

Comedy Overture. John Ireland. Grade 5.

Oversættelse

Comedy Overture. John Ireland. Grade 5.

Original tekst

Comedy Overture composed by John Ireland. 1879-1962. For concert band. Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe. , 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet. , Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon. , 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone. Band Music. Grade 5. Score and parts. Duration 10. 30. Published by C. Alan Publications. CN.R10004. A slow introduction gives way to the "chirpy" theme which is developed, inverted, and accents displaced across the bar line to give a 3. 2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end. Originally composed for Brass Band in 1934 "Comedy Overture" is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow. it is used in the 19th century sense of Concert Overture. like Mendelssohn's "Fingal's Cave" - in other words, a miniature Tone Poem. The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto. 1930. , the Legend for piano and orchestra. 1933. , and the choral work "These Things Shall Be". 1936-1937. We are fortunate therefore to have both "Comedy Overture" and "A Downland Suite". 1932. written for band medium at this time. As with "Maritime Overture". written in 1944 for military band. Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of "Comedy," sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a "perfect" resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone. inverted. and a third. major. comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of "Piccadilly. Much of the material in "Comedy" was re-conceived by Ireland for orchestra and published two years later under the title "A London Overture. The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3. 2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy "brilliante," with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

Oversættelse

Comedy Overture komponeret af John Ireland. 1879-1962. For Harmoniorkester. Piccolo, 1. Fløjte, 2. Fløjte, 1. Obo, 2. Obo. , 1. Bb klarinet, 2. Bb klarinet, 3. Bb klarinet, Eb Alto klarinet. , Bb Basklarinet, 1. fagot, 2. Fagot. , 1. Eb Altsaxofon, 2. Eb Altsaxofon, Bb Tenor Saxophone, Eb Baryton Saxofon. Band Music. Grade 5. Partitur og stemmer. Varighed 10. 30. Udgivet af C. Alan Publications. CN.R10004. En langsom introduktion giver vej til "chirpy" tema, som er udviklet, inverteret, og accenter fordrevne på tværs af bar linje at give en 3. 2. føler imod skriftlige meter. Rastløshed fører til en tranquillo forelagt af fløjte og klarinet, vævning en strømmende kontrapunkt omkring melodien indtil de originale langsomme introduktion afkast. En triumferende sammenfatning af de vigtigste tema bringer denne vidunderlige stykke til ophør. Oprindelig komponeret for Brass Band i 1934 "Comedy Overture" er trods sit navn, et seriøst stykke skriftligt. Udtrykket Overture betyder ikke, at der er noget andet at følge. det anvendes i det 19. århundrede følelse af koncerter Overture. Ligesom Mendelssohns "Fingalshulen" - med andre ord, en miniature Tone Poem. 1930'erne var en periode af Irlands modne skrift - giver Piano Concerto. 1930. Legend for klaver og orkester. 1933. , Og korværket "Disse skal blive". 1936-1937. Vi er heldige derfor at have både "Comedy Overture" og "A Downland Suite". 1932. skrevet til bånd medium på dette tidspunkt. Som med "Maritime Overture". skrevet i 1944 til militær band. Irland nærmer hans materiale symfonisk. Åbningen tre toner stat umiddelbart de to skelsættende intervaller en halv tone og en tredje. Disse er rugende og mørke i Bb minor. Det er disse intervaller, som udgør en stor del af det tematiske indhold af "Comedy", til tider optræder i inverteret form, og undertiden i store former samt. Konceptet, at nogle musikalske intervaller er konsonant, nogle dissonante, og nogle perfekte er måske nyttige i at forstå karakteren af ​​den spænding og løsning af dette arbejde. Den tredje er i sagens natur ustabil og ved bar 4 er intervallet udvidet til en fjerde - med en stigende sem-ottendedels triplet - og så udvidet til en femtedel. Ustabilitet i tredje skubber det i retning af en "perfekt" løsning i fjerde eller femte. Den langsomme introduktion er bygget helt rundt disse intervaller i Bb mol og fører gennem en obo kadence, til en Allegro moderato brillante i Bb større. Igen, semi-tone. inverteret. og en tredje. større. omfatte den vigtigste, chirpy, tema-inspireret af en London-bus-leder råb af "Piccadilly. Meget af materialet i "Comedy" blev re-udtænkt af Irland for orkester og udgivet to år senere under titlen "A London Overture. Udvidelsen af ​​intervallet i et tredjeland gennem en fjerde, femte, sjette og syvende foregår nu hurtigt, før vores meget ører i begyndelsen af ​​dette hurtigere sektion. Umiddelbart temaet er udviklet, inverteret, og accenter fordrevne på tværs af bar linje at give en 3. 2. føler imod skriftlige meter. Men denne rastløshed fører til en tranquillo bygget op omkring en arpeggio figur og præsenteret af fløjte og klarinet. Irland væver sin strømmende kontrapunkt omkring denne melodi indtil den oprindelige langsomme introduktion afkast, der fører til en stretto virkning som de stigende bas motiver bliver mere presserende, anmoder om en løsning af spændingen i den oprindelige halvtone og mindre tredjedel. Alligevel opløsning tilbageholdes på dette punkt som musik næsten bliver vindstille i en yderligere uafhængig tranquillo rubrikken pianissimo. Det er næsten, som om en anden side af Irlands natur kortvarigt får lov til at skinne igennem hækken kontrapunkt og disciplineret struktur. Dette fører til næsten en fuld sammenfatning af chirpy "Brilliante" med små ekstra strejf af kontrapunkt, efterfulgt af den første tranquillo sektion-denne gang i tonic Bb større. Men den manglende stabilitet i den tredje re-gør sig gældende, denne gang kræver en opløsning. Og en triumferende opløsning den modtager, til det endelig bliver fuldt udbygget, og gentager oktav i en afsluttende Vivace. Åbningen spænding har omsider løst sig ind i den mest perfekte interval af alt.