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Original tekst

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

Oversættelse

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

Original tekst

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.

Oversættelse

Acallam na Senórach ved Tarik O'Regan, blev co-bestilt af National Chamber Choir of Ireland, The DeBartolo Performing Arts Center på University of Notre Dame, Indiana, og toppræstationer på Montclair State University, Montclair, New Jersey. Uropført den 25. november 2010, på St Ann Kirke, Dublin, af National Chamber Choir of Ireland. med Stewart French. Guitar. , Instrueret af Paul Hillier. Den guitar del blev redigeret af Stewart French. Tarik O'Regan på musikken. I skriver dette musikalske indstilling af Acallam na Senórach blev jeg tiltrukket af den jævnhed af dialogen. I stedet for St Patrick blot konvertere de hedenske krigere, han opfordres til at lytte til Caílte historier og digte om et tidligere tidspunkt, hvor saint lækkerier. Dette verdslige. hellige osmose opretholdes urokkelig i hele teksten. Ved udgangen af ​​fortællingen, har man været vidne til ikke blot ankomsten af ​​en ny religion i Irland, men også en rigt berettede sekulære fortælling kort over hele øen. den fredelige og berigende rystning af to store hænder. Ved udarbejdelsen librettoen. den sunget tekst. Jeg har fokuseret på kun nogle få af de kortere konstituerende fortællinger. Denne beslutning blev født af de praktiske begrænsninger varighed. Jeg har imidlertid holdt skelettet, omend mindre, af den samlede ramme på plads. Endelig for overskuelighedens skyld, er Oisín fjernet fra den primære fortælling. Personerne er ikke tildelt specifikke stemmer. Fortællingen som helhed bæres af en vedvarende forandring kombination af stemmer og guitar. Den eneste undtagelse er Cas Corach, musikeren af ​​SID. underverden. der er tættest legemliggjort i hele denne indstilling, i solo mellemspil til guitar. Musikken i sig selv er ikke etnografisk tilbøjelig. det vil sige, jeg har ikke forsøgt at rekonstruere teorier om irsk musik af den periode, hvorfra Acallam stilke. Men scoren generelt, og især i guitaren skriftligt, er gennemsyret af en luft af arabiske og persiske indflydelse. Den dulcimer, som Cas Corach spiller, menes at have været lig den iranske Santur. En potentiel antecedent af bodhráin. Irish ramme tromle. , Som jeg har skrevet to dele i dette arbejde, er den nordafrikanske bendir. I betragtning af at de overlevende manuskripter i Acallam stammer fra en periode, hvor Irland opretholdt kontakt med Nordafrika og Mellemøsten, både af en venlig. handel. og fjendtlig. piratkopiering, navnlig Barbary Corsairs. karakter, er det ikke urimeligt at antage, at nogle forskellige kulturel udveksling. ikke ulig den mellem St. Patrick og Caílte. påvirket de bevarede transskriptioner. Min indstilling af denne tekst derfor rører let på de to vigtigste rødder af min egen arv. Acallam jo fortæller os, at det efter hans dåb ved helgenen, Caílte tilbagebetaler Patrick med en blok af guld fra den "Land of Arabia '. Dette er uden tvivl en reference til det Hellige Land. fra en anden tidsalder helt. Men for mig, præcis dette øjeblik, hvor kontinenter, kulturer, materielle goder og åndelig velsignelse skærer jævnt, er kernen i hele arbejdet.