Notna sveska

Izvornik

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

Prijevod

Tri Fiona MacLeod Postavke. Oliver Barton. A capella. Svjetovni, Partsong. Jezik. Engleski.

Izvornik

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.

Prijevod

Fiona MacLeod je stvaranje ili možda alter ego škotskog pjesnika William Sharp. 1855–1905. Neki ju je njegov unutarnji ženstveno svijest obzir. on ju je opisao kao predaka seeress koji je došao do njega. U svakom slučaju, on je otišao u ogromnim duljina sakriti vezu između nje i sebe i tu je dosta skandal kada istina iziđe da je autor obaju njegovih i njezina djela. No, čudno je što je Fiona spisi, strm kao što su oni u sumrak keltskog svijeta, su puno više atmosfere i živopisan, a istini za volju, i bolje, nego William je. To je kao da je on zapravo bio opsjednut više nadahnuo dušu. Tri postavke. Vjetar - oko 2'4. Svi dijelovi podijeliti osim tenora. Honeymouth - oko 4'42. Cijeli SSAATTBB tijekom. Moonchild - oko 2'1. Ovo je zabio za ženski solo. Mezzo će vjerojatno imati pravu vrstu ton boje. i STB divisi zbor, a ak samostalnih bitova za sopran i tenor. To je malo tvrd na Altos. Jedan od njih mogao napraviti solo dio. ostali mogu biti privremene ili Sopranos tenora možda. Postavke se namjerava biti izvedena kao skup, ali Honeymouth i Moonchild može se obaviti odvojeno. Vjetar ne bi stvarno samostojećih. Kompletan set je prvi put izvedena 1973. godine, mislim da je, po Westron Wynd u narandži, Goldney House, Bristolu, Engleska, pod ravnanjem Nigel Davidson. Moonchild je izvedena u raznim oblicima, kao što su solo pjesme s klavirom i snimanje supruge plus psaltira. Slobodno ga organizirati za sve što vam se sviđa sortimenata, ali pokušajte zadržati atmosferski kvalitete.