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Original tekst

Liebestraume in A flat major, No. III. Franz Liszt. Marimba sheet music. Vibraphone sheet music.

Oversættelse

Liebestraume i A dur, No. III. Franz Liszt. Marimba noder. Vibrafon noder.

Original tekst

Liebestraume in A flat major, No. III composed by Franz Liszt. 1811-1886. Arranged by Tomer Yariv. Marimba & Vibraphone Duet. For marimba and vibraphone duet. marimba low c & vibraphone. Level 5. Score and set of parts. Published by Innovative Percussion. IP.D-FL-LIB. Composer's Notes. Liszt once declared, "My sole ambition as a composer is to hurl my javelin into the infinite space of the future. " Indeed, his works had many influences over composers and musicians of the 19th and the 20th centuries. Apparently, it had also an influence on the percussion scene and on PercaDu, leading for the arrangement of Liebestraume No. 3 in Ab Major by Tomer Yariv. Liebestraume No. 3 was originally a part of three Liebestraume written as songs. In the Liebestraume piano version, which Liszt also called nocturnes, Liszt moves in and out of the original musical text as he feels need to. It can be considered as split into three sections, each divided by a fast mini-cadenza. The same melody is used throughout the entire piece, each time varied, especially near the middle of the work, where the climax is reached. At the end, the piece dies down into a final chorded section. "Originally composed for solo piano, this arrangement is scored for vibraphone and 5.0-octave marimba duet. Written for the PercaDu percussion group, this work presents challenges to be met by advanced students and professional performers. Both parts require the performers to be comfortable with chordal and independent four-mallet techniques, with the marimba part requiring the greater amount of dexterity. Aside from technical complexities, the most significant challenge lies in addressing the rubato and flexibility with which the piano version is performed. Tomer Yariv scores much of the "right hand" material in the vibraphone, with the arpeggiated accompaniment in the marimba. While interpretation of this music by a single performer at the piano is difficult in its own right, extra special care must be taken here, as the hands are "split" between two performers. Both players must be in total agreement as to any use of rubato, without which the piece risks losing much of its character. This work is appropriate for an advanced college or a professional percussion ensemble. " - Jason Baker, Percussive Notes July 2010.

Oversættelse

Liebestraume i A dur, No. III komponeret af Franz Liszt. 1811-1886. Arrangeret af Tomer Yariv. Marimba. For marimba og vibrafon duet. marimba lav c. Level 5. Score og sæt dele. Udgivet af Innovative Percussion. IP.D-FL-LIB. Komponists Notes. Liszt erklærede engang, min eneste ambition som komponist er at kaste min spyd ind i det uendelige rum fremtidens. Faktisk hans værker havde mange påvirkninger end komponister og musikere i det 19. og 20. århundrede. Tilsyneladende det havde også en indflydelse på percussion scenen og på PercaDu, der fører til arrangementet af Liebestraume No. 3 i Ab Major af Tomer Yariv. Liebestraume No. 3 var oprindeligt en del af tre Liebestraume skrevet sange. I Liebestraume piano version, som Liszt også kaldet nocturner, Liszt flytter ind og ud af den oprindelige musikalske tekst som han føler behov for at. Det kan betragtes som opdelt i tre sektioner, hver opdelt af en hurtig mini-cadenza. Den samme melodi anvendes gennem hele stykket, hver gang varierede, især nær midten af ​​arbejde, hvor klimaks er nået. I slutningen, dør stykket ned i en endelig chorded sektion. Oprindeligt komponeret for solo klaver, er dette arrangement scorede for vibrafon og 5,0-oktav marimba duet. Skrevet til PercaDu percussion gruppen, dette arbejde giver udfordringer, der skal opfyldes af avancerede studerende og professionelle kunstnere. Begge dele kræver de optrædende at være komfortabel med chordal og uafhængige fire-mallet teknikker, med marimba del kræver større mængde fingerfærdighed. Bortset fra tekniske kompleksitet, den mest betydningsfulde udfordring ligger i håndteringen af ​​rubato og fleksibilitet, som klaveret versionen udføres. Tomer Yariv scorer meget af højre materiale i vibrafon, med arpeggiated akkompagnement i marimba. Mens fortolkningen af ​​denne musik af en enkelt performer ved klaveret er vanskeligt i sin egen ret, skal der tages ekstra særlig pleje her, da hænderne er delt mellem to performere. Begge spillere skal være i total enighed om enhver brug af rubato, uden hvilken brik risikerer at miste meget af sin karakter. Dette arbejde er passende for en avanceret kollegium eller en professionel percussion ensemble. - Jason Baker, Percussive Notes juli 2010.