Partiture

Originalno

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

Prevod

Tri Fiona MacLeod Nastavitve. Oliver Barton. Cappella. Sekularna, Partsong. Jezik. Angleščina.

Originalno

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.

Prevod

Fiona MacLeod je ustvarjanje ali morda alter ego v škotski pesnik William Sharp. 1855–1905. Nekateri ji njegova notranja ženstvena zavest razmisli. sam jo je opisal kot prednikov seeress, ki je prišel do njega. V vsakem primeru pa je odšel na ogromno dolžin, da bi prikrila povezava med njo in sebe in tam je bil precej škandal, ko je resnica prišla ven, da je bil avtor obeh njegovih in njenih delih. Ampak čudno je, da so spisi Fiona je, namočen, saj so v twilight Celtic svetu toliko bolj ozračja in živahni, in v resnici, bolje, kot William je. To je, kot da je bil res obseden z bolj navdihuje dušo. Tri nastavitve. Wind - približno 2'4. Vsi deli razdeliti razen tenorjev. Honeymouth - približno 4'42. Polna SSAATTBB celotnem. Moonchild - približno 2'1. Ta je dosegel za ženski solo. Mezzo bodo verjetno imeli prave vrste barve tona. in STB divisi zbor, z nenavadno solo bitov za sopran in tenor. To je malo težko na Altos. Eden od njih bi lahko naredil solo del. ostalo so lahko začasne sopranistki ali tenorji morda. Nastavitve naj bi se izvedli kot niz, vendar Honeymouth in Moonchild se lahko izvede ločeno. Veter ne bi res samostojno. Komplet je bila prvič izvedena leta 1973, mislim da je bil, ki ga je Westron Wynd v Orangery, Goldney House, Bristol, Anglija, Nigel Davidson opravila. Moonchild je nastopal v različnih oblikah, kot solo pesmi s klavirjem in rekorderja soproge plus psaltery. Prosim, vas prosimo, da se poskrbi za kakršen koli sortimentov vam je všeč, vendar poskusite obdržati atmosferskega kakovost.