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Originalno

Night-Score. Robert W. Rumbelow. Grade 4.

Prevod

Nočni Ocena. Robert W. Rumbelow. 4. stopnje.

Originalno

Night-Score composed by Robert W. Rumbelow. For concert band. Grade 4.5. Score. Published by Neil A. Kjos Music Company. KJ.WB229F. This work is based on impressions evoked by the novel Night by 1986 Nobel Peace Prize winner, Elie Wiesel. The work is not a chronicle of the novel, but simply an expression based on select thoughts concerning the subject and composed with the intent on offering those who perform and hear the work another dimension through which to contemplate the atrocities of the Holocaust. The novel is an account of the Nazi death camp horror that turns a young Jewish boy. Wiesel. into an agonized witness to the death of his family, the death of his innocence, and the death of his God. Wiesel's accounts of concentration camps and death marches evoke a gray, ethereal, almost other-worldly tonal scheme which provided the genesis for the work. Movement I The Evening Air. 1941, sets a mood of eminent evil. A brief portion of the Kol Nidre, a prayer reserved exclusively for high holy days, is the text set to a simple and reverent original chant-melody. The excerpt of the text from the Kol Nidre should evoke a feeling of fasting or a meditative state. Both secular and sacred traditional Jewish music contain an altered dorian scale aspect and the trait of the augmented second. A motive from the traditional Hasidic hymn Avinu Malkenu III is quoted as a brief portion of this movement. The highlight of this traditional melody is the interval of the augmented second. The octatonic collection. used as the basis of composition in this work. contains many of the traditional features common to Jewish music. In fact, the interval of the augmented second is often renotated as a minor third. a defining feature of the octatonic collection. which is also the opening interval of Beethoven's Fifth Symphony. During World War II, Beethoven's motive represented a call for freedom and rallied the Allied forces throughout the war. Although this transformed augmented second appears from the beginning of the movement, it is highlighted towards the end. Movement II Faith of a Child, is comprised of an original chorale which complements a traditional chorale melody associated with the pure and simple hymn Hiney Ma Tov. The text. Hiney ma tov uma naim, Shevet a him gam yahad. The translation. How goodly it is and how pleasant for brethren to dwell together. This movement is representative of the traditional faith held by those around the young boy, and the thirst for religious enlightenment and faith. The spiritual relationships of the youth become critical in understanding the "night" which becomes his future. The key center of 'E' is retained from the first movement and refined as basically E minor. This represents the close relationship between the two movements on many levels. Movement III Darkness Descends. The Never Ending Night. The Loss of Faith. traces the descending darkness, all encompassing, which, in confusion, devours faith in the eternal Lord. The Sephardic hymn melody Adon Olam is briefly quoted as a representation of faith only to be quickly and completely devoured by darkness. the loss of faith. The text of Adon Olam is as follows. He is the eternal Lord, who reigned before any being had yet been created. when all was done according to His will, already then His name was King. And after all has ceased to be, still will He reign in solitary majesty. He was, He is, and He shall be in glory. And He is One. none other can compare to Him, or consort with Him. He is without beginning, without end. to Him belong power and dominion. And He is my God, my living Redeemer, my Rock in time of trouble and distress. He is my banner and my refuge, my benefactor when I call on Him. Into His hands I entrust my spirit, when I sleep and when I wake. and with my spirit, my body also. the Lord is with me, I will not fear. The melody to Adon Olam is stated within a musical texture that represents the "death marches" between concentration camps. With each "step" the faith is diminished and the darkness becomes more and more pronounced until all that is left is torture in a chaotic and meaningless world devoid of faith. The Allegro section of the work is representative of confusion. Trains, marches, the military machine, etc. are all part of the layered energy of this section. The ending is reminiscent of the first movement, but should seem rather empty and devoid of life. The ostinato figure in diminution is not resolved at the end of the work, just as the novel leaves the author's faith striped away and at an uncertain personal end.

Prevod

Night-Score ga sestavljajo Robert W. Rumbelow. Za koncert pasu. Razred 4.5. Ocena. Izdala Neil A. Kjos Music Company. KJ.WB229F. To delo temelji na vtisov-ga romana noči 1986 Nobelova nagrajenka za mir, Elie Wiesla. Delo ni kronika romana, ampak zgolj izraz, ki temelji na izbranih misli v zvezi z zadevo in sestavljena z namenom ponujanja tistimi, ki opravljajo in slišati delo v drugo dimenzijo, skozi katerega razmišljamo grozote holokavsta. Roman je poročilo o nacističnem taborišču smrti grozo, ki se spremeni mladega judovskega dečka. Wiesel. v na Obupen priča smrti njegove družine, smrti svojega nedolžnosti in smrti svojega Boga. Računi Wiesel v koncentracijskih taboriščih in smrti pohodi spominjajo sivo, eterično, skoraj druge, posvetne tonski sistem, ki predvideno genezo za delo. Gibanje sem Evening Air. 1941, določa razpoloženje ugledni zla. Kratek del KOL Nidre, molitev rezervirana izključno za visoko svetih dneh, je besedilo nastavljeno na preprost in spoštljivega originalni zakletev-melodijo. Odlomek besedila iz KOL Nidre morala evocirajo občutek postu ali meditativno stanje. Oba sekularna in sveto tradicionalno judovsko glasbo vsebuje spremenjeno Dorian lestvico vidik in značilnost te razširjene sekundo. Motiv iz tradicionalnega Hasidic himna Avinu Malkenu III kotira kot kratek del tega gibanja. Vrhunec te tradicionalne melodije je interval razširjene sekundo. Octatonic zbiranje. uporablja kot osnovi sestavka v tem delu. Vsebuje veliko tradicionalnih značilnosti, ki so skupna judovske glasbe. V resnici je interval razširjene sekundo pogosto renotated kot manjše tretjino. opredeljuje značilnost octatonic zbiranje. ki je tudi interval odprtje Beethovnove Pete simfonije. Med drugo svetovno vojno, Beethovnova motiv predstavljal klic po svobodi in osveščanje zavezniških sil v vsej vojni. Čeprav ta preoblikuje povečan drugi pojavi na začetku gibanja, je poudarjeno proti koncu. Gibanje II Faith Child, je sestavljena iz prvotne korala, ki dopolnjuje tradicionalno koralno melodijo, povezano s čisto in preprosto himno Hiney Ma TOV. Besedilo. Hiney ma tov uma NAIM, Shevet ga gam yahad. Prevajanje. Kako Lep je in kako prijetno za bratje skupaj prebivajo. To gibanje je predstavnik tradicionalne vere, ki jih imajo tisti, okoli mladega fanta, in žeja za versko razsvetljenje in vere. Duhovni razmerja mladih postala bistvenega pomena pri razumevanju "noč", ki postane njegova prihodnost. Ključni center "E" se je ohranil iz prvega stavka, in rafinirano kot v bistvu E minor. To pomeni tesno povezanost med dvema gibanj na več ravneh. Gibanje III Darkness spušča. Never Ending Night. Izguba Faith. oriše padajoče temo, vseobsegajoče, ki v zmedi, požira vero v večno Gospodu. Sefardskih himna Melodija Adon Olam je na kratko navaja kot zastopanje veri, le da hitro in v celoti požirala teme. izguba zaupanja. Besedilo Adon OLAM je, kot sledi. On je večni Gospod, ki je vladal pred takrat še ni bil ustvarjen koli bitje. ko je bilo vse storjeno po njegovi volji, že takrat je bilo njegovo ime King. In potem se je vse prenehal biti, bo še vedno je kraljeval v samici veličini. On je bil, on je, in on se v slavi. In je eden. nihče drug ne more primerjati s njim, ali monarha z njim. On je brez začetka, brez konca. Njemu pripadajo moč in oblast. In On je moj Bog, moj Odrešenik živi, ​​moje Rock v času težav in stiske. On je moj banner in moje zatočišče, moj dobrotnik, ko sem ga kličejo. V roke izročam svojega duha, ko sem spal in ko se zbudim. in s svojim duhom, moje telo tudi. Gospod je z menoj, ne bom se bal. Melodija za Adon OLAM je navedeno v glasbeno teksturo, ki predstavlja »smrti pohodov" med koncentracijskih taborišč. Z vsakim "korak", je vera zmanjšala in tema postaja vse bolj izrazita, dokler vse, kar je ostalo je mučenje v kaotičnem in nesmiselnega svetu brez vere. Oddelek Allegro dela je predstavnik zmede. Vlaki, pohodov, vojaški stroj, itd. so vsi del večplastne energije, s tem oddelkom. Konec spominja prvega stavka, temveč je treba videti precej prazno in brez življenja. Ostinato osebnost v okrnitvi ni rešen na koncu dela, tako kot roman pušča avtorjeva veri črtasto stran in na negotovo osebno konca.