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Originalno

Fantasia per la Vita e la Morte. Bert Appermont. Grade 6.

Prevod

Fantazija za življenje in smrt. Bert Appermont. Razred 6.

Originalno

Fantasia per la Vita e la Morte composed by Bert Appermont. For Concert band. Concert works. Grade 6. Score and set of parts. Duration 0. 17. 10. Published by Beriato Music. BT.0608-1-339. Errata. The duration of Fantasia per la Vita e la Morte amounts to 17'10 and not 11'20 as mentioned on the CD The mystique surrounding life and death formed the starting point of this composition. I wanted to write a work without a story, mixed up in a kind of musical quest for a new world of sound, original rhythm sequences, melodies filled with suspense and distinct orchestral tones. The indirect cause was the birth of my first child which took place during this time, followed by the death of a close family member. At such a moment you experience just how close life and death are to each other, and despite one being the antithesis of the other, they are incredibly similar. Both radical events are passages into new worlds and have great emotional impact. Moreover, the work was commissioned by New Life, an orchestra that lost one of its musician in a plane crash, which also led me to believe that this approach would be appropriate. I would prefer not to comment on which passages in the composition concern life. birth. and which refer to death. It seems to me that it is more interesting to question traditional conceptions and leave it open for the listener. If you think that a passage is about birth, and this idea then shifts, it is this that raises fascinating questions, on both a musical and metaphysical level. Music is in an indirect but incredibly persuasive way in which to express the endless striving and seeking of mankind. Music can even touch eternity, as it were, and give us the feeling that we can transcend death. This endless search. and also longing. can be heard throughout the work. as much in the sound fields and accent shifts in the first part as in the enormous tension curves and compelling themes of the second part. The semi-tone functions in this way as a guide or something to hold on to, running through the whole work and upon which much of the musical material is based. Traces of profound love resound with quiet simplicity in the slow sections melodious solos, after which the work contemplates life and death one last time, muses upon joy and sadness, on the possibilities and limitations of people and on the why of all things. I would like to dedicate this work to my dearest daughter Paulientje, to Meterke and to Johan de Jong of the New Life orchestra. May it fare them well, here or in another dimension.

Prevod

Fantasia per la Vita e la Morte ga sestavljajo Bert Appermont. Za Concert pasu. Koncertne dela. Razred 6. Rezultat in nastavite delov. Trajanje 0. 17. 10. Izdala Beriato Glasba. BT.0608-1-339. Errata. Trajanje Fantasia na la Vita e la Morte znaša 17'10 in ne 11'20, kot je navedeno na CD mističnost, ki obkroža življenje in smrt oblikovano izhodišče te sestave. Hotela sem napisati delo brez zgodbe, pomešan nekakšen glasbeni prizadevanju za nov svet zvoka, izvirnih zaporedij ritma, melodije, napolnjena s suspenzom in različnih orkestrskih tonov. Posredni vzrok je rojstvo svojega prvega otroka, ki je potekala v tem času, ki mu sledi smrti ožjega družinskega člana. V takem trenutku opazite, kako blizu življenje in smrt sta med seboj, in kljub temu, pri čemer je ena nasprotje drugega, so zelo podobni. Oba radikalni dogodki so prehodi v nove svetove in imajo velik čustveni vpliv. Poleg tega je bilo delo, ki jo New Life, orkester, ki je izgubilo eno od njeni glasbenik v letalski nesreči, ki me je pripeljala tudi verjeti, da bi bil ta pristop primeren. Jaz bi raje, da ne komentira, ki prehodi v sestavi koncerna življenja. rojstva. in ki se nanašajo na smrt. Zdi se mi, da je bolj zanimivo vprašanje tradicionalne predstave in jo pustite odprto za poslušalca. Če menite, da je odlomek o rojstvu, in ta ideja nato premakne, je to, da odpira zanimive vprašanja, tako na glasbenem in metafizični ravni. Glasba je v posredni vendar neverjetno prepričljiv način, v katerem se mora izraziti neskončne zavzemanje in iskanju človeštva. Glasba lahko celo dotaknil večnost, kot je bilo, in nam daje občutek, da smo lahko presežemo smrt. To neskončno iskanje. in tudi hrepenenje. lahko slišali po vsej delo. toliko v zvočnih polj in naglas premikov v prvem delu kot v ogromnih napetosti krivulj in nujnih temah drugem delu. Semi-tonske funkcije na ta način, kot vodilo, ali kaj, da imajo na, ki teče skozi celotno delo in na katerem veliko glasbenega materiala temelji. Sledovi globoke ljubezni odmevajo mirnem preprostosti v počasnih odsekov melodičnost solo, po katerem dela samoregulacije življenje in smrt še zadnjič, muz ob veselju in žalosti, o možnostih in omejitvah ljudi in zakaj se vseh stvari. Rad bi, da posvečam to delo na moj najdražji hčerko Paulientje, da Meterke in Johan de Jong v novem življenju orkester. Lahko jih fare dobro, tu ali v drugi dimenziji.