Partiture $15.71
Originalno
Tarik O'Regan. Acallam na Senórach. Part - Guitar. Sheet Music. Guitar. GTR. Tarik O'Regan.
Prevod
Tarik O'Regan. Acallam na Senórach. Part - Guitar. Sheet Music. Kitara. GTR. Tarik O'Regan.
Originalno
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.
Prevod
Acallam na Senórach, Tarik O'Regan, je co-po naročilu Državnega komornega zbora na Irskem, DeBartolo Performing Arts Center na Univerzi Notre Dame, Indiana, in vrhunec doživetja na Montclair State University, Montclair, New Jersey. Prvič izvedena 25. novembra 2010 pri Sv Ane, Dublin, Državni komorni zbor Irske. s Stewartom francoskem. Kitara. , Režija Paul Hillier. Guitar del je uredil Stewart francoski. Tarik O'Regan na glasbo. Pri pisanju te glasbeno nastavitev Acallam NA Senórach sem bil sestavljen na ravnost dialoga. Namesto, da bi St Patrick preprosto pretvorbo poganske bojevnike, je bil spodbuditi poslušati zgodbe in pesmi na zgodnejši čas Caílte je, v katerem svetniku užitke. To posvetni. sveto osmoza se ohrani neizbrisno vtisnjeno v celotnem besedilu. Do konca pripovedi, je ena priča ne le prihod nove vere na Irskem, ampak tudi bogato pripovedoval-sekularna pripovedno zemljevid celotnega otoka. mirno in bogati tresenje dveh velikih rokah. Pri pripravi libreto. sung besedilo. , Sem se osredotočil samo na nekaj krajših sestavnih pravljic. Ta odločitev je bila rojena iz praktičnih omejitev trajanja. Imam pa hranijo okostje, čeprav so manjše, od celotnega okvirja na mestu. Končno, zaradi enostavnosti, Oisin odstrani iz primarnega pripovedi. Znaki, ki niso dodeljene posebne glasove. Pripoved kot celota se izvede z vztrajno spreminjajočem kombinacijo glasov in kitaro. Edina izjema je Cas Corach, glasbenik SID. Podzemlje. ki je najtesneje utelešena, v tem okolju, v solo interludes za kitaro. Glasba sama po sebi ni etnografsko nagnjena. to pomeni, da nisem poskušal rekonstruirati teorij o irske glasbe v obdobju, iz katerega izhaja Acallam. Vendar ocena na splošno, še posebej pa v pisni obliki kitare, ki je prežeta s pridihom arabske in perzijske vplivom. Oprekelj, ki Cas Corach igra, ki je mislil, da so bili podobni iransko Santur. Potencial predhodnik na bodhráin. Irski frame drum. , Za kar sem v tem delu avtor dveh delov, je severnoafriške bendir. Glede na to, da so preživeli rokopisi iz Acallam izvira iz obdobja, v katerem Irska vzdržuje stike s Severni Afriki in na Bližnjem vzhodu, oba prijazna. trgovina. in sovražno. piratstvo, zlasti barbarska Corsairs. narava, ni nesmiselno upoštevati, da nekateri raznolikost kulturne izmenjave. ne razlikuje tistemu med St Patrick in Caílte. vplivala na obstajali transkripcij. Moje nastavitve tega besedila, torej dotika rahlo na dveh glavnih korenin moje dediščine. Acallam, po vsem, kar nam pove, da je, po krstu, ki ga svetnika, Caílte povrne Patrick z blokom zlata iz "dežele Arabije". To je, brez dvoma, sklicevanje na Sveto deželo. iz drugega obdobja skupaj. Za mene pa je ta natančen trenutek, kjer celine, kulture, materialne dobrine in duhovni blagoslov sekata enakomerno, je jedro celotnega dela.
