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Originalno

Comedy Overture. John Ireland. Grade 5.

Prevod

Komedija Uvertura. John Ireland. Stopnje 5.

Originalno

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.

Prevod

Komedija Overture sestavljajo John Irska. 1879-1962. Za koncert pasu. Piccolo, 1. flavta, 2. flavta, oboa 1., 2. Oboa. , 1. Bb klarinet, 2. Bb klarinet, 3. Bb klarinet, Eb Alto klarinet. , Bb bas klarinet, fagot 1., 2. fagot. , 1. Eb altovski saksofon, 2. Eb altovski saksofon, Bb tenor saksofon, Eb bariton saksofon. Band Glasba. Stopnje 5. Rezultat in deli. Trajanje 10. 30. Izdala C. Alan publikacije. CN.R10004. Prepočasno uvajanje daje pot do "chirpy" teme, ki se razvija, obrnjenega in poudarki razseljenih čez črtno linijo, da dobimo 3. 2. počutijo proti pisnega meter. Nemir povzroča Tranquillo s flavto in klarinet predstavila, tkanje tekočo kontrapunkt okoli melodijo do izvirnih prepočasno uvajanje donosov. Zmagoslavno Rekapitulacija glavne teme prinaša to čudovito kos do konca. Prvotno napisano za Brass Band iz leta 1934 "Comedy Overture« je kljub svojemu imenu, resni del pisanja. Izraz Overture ne pomeni, da je karkoli drugega, da sledite. je uporabljen v smislu 19. stoletja Koncert Overture. kot Mendelssohn je "Fingal jama" - z drugimi besedami, miniaturni pesnitev. 1930 je bil čas zrel pisanja Irske - da dobimo klavirski koncert. 1930. , Legend za klavir in orkester. 1933. In zborovsko delo "Te stvari se". 1936-1937. Imamo srečo, torej, da imajo tako "Comedy Overture« in »Downland Suite". 1932. napisan za pasovno mediju v tem času. Kot pri "pomorski Overture". napisal leta 1944 za vojaško pasu. Slovenija pristopi njegovo gradivo symphonically. Začetne tri obvestila navede takoj dve semenski intervale za polton in tretja. To so umetne in temne Bb molu. Prav ti intervali, ki sestavljajo večji del tematske vsebine "komedije", včasih pojavljajo v obrnjeni obliki, in včasih v večjih oblik, kot tudi. Koncept, da so nekateri glasbeni intervali soglasnika, nekateri Dissonant, in nekateri nalašč je morda koristno pri razumevanju narave napetosti in reševanju tega dela. Tretji je sam po sebi nestabilen in ga baru 4, je interval razširila na četrti - z vzpenjati sem-Tremolirati trojčka - in nato razširili na eno petino. Nestabilnost tretja potiska proti "popolnega" resolucijo, v četrti ali peti. Prepočasno uvajanje je v celoti zgrajena okoli teh intervalih Bb mladoletnika in vodi skozi oboo kadenco, da Allegro moderato Brillante v B-duru. Še enkrat, pol tone. obrnjena. in tretji. velika. obsegajo glavno, chirpy, tematsko zgleduje po krik Londona BUS-vodih za "Piccadilly. Veliko materiala v "komedijo", je bila na Irskem ponovno zasnovan za orkester in objavljena dve leti kasneje pod naslovom "London Overture. Širitev intervalu od tretje do četrto, peto, šesto, sedmo in zdaj poteka hitro pred našimi ušesi na začetku tega hitrejši oddelka. Takoj je tema razvila, obrnjen in poudarki razseljenih čez črtno linijo, da dobimo 3. 2. počutijo proti pisnega meter. Toda ta nemir povzroča Tranquillo zgrajena okoli Arpeggio sliki in flavto in klarinet predstavljeno. Irska tke svojo tekočo kontrapunkt okoli tega melodijo do izvirnih prepočasno uvajanje donosov, ki vodijo do Stretto veljavnostjo postal vzhajajoča bas motivi bolj nujno, zahteva razrešitev napetosti te prvotne polton in manjših tretjino. Vendar pa je resolucija, odtegnjen na tej točki postane glasba skoraj becalmed v nadaljnji, nepovezani Tranquillo oddelku označene pianissimo. To je skoraj tako, kot če je druga plat Irske narave kratko dovoljeno, da zasije skozi krmi kontrapunkta in disciplinirano strukturi. To vodi do skoraj popolne rekapitulacije za chirpy "brilliante," z majhnimi dodatnimi dotiki kontrapunkt, sledijo poglavju, je ta čas prva Tranquillo v tonik za Bb-duru. Ampak nestabilnost tretji se ponovno trdi, tokrat zahtevna resolucijo. In zmagoslavno resolucije, ki jih prejme, za končno postane polnopravna in ponovno oktavo v zaključni Vivace. Napetost odprtju se je končno ločimo v najbolj popolno intervala vse.