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Izvornik

Lamb of God. David Gillingham. B-Flat Trumpet sheet music. Bass Trombone sheet music. Drums sheet music. Euphonium sheet music. Horn sheet music. Percussion sheet music. Piano sheet music. Timpani sheet music. Tuba sheet music. Grade 5.

Prijevod

Jaganjče Božji. David Gillingham. B-Stan Truba note. Bas Trombon note. Bubnjevi note. Euphonium note. Horn note. Udaraljke note. Piano note. Timpani note. Tuba note. Grade 5.

Izvornik

Lamb of God composed by David Gillingham. For concert band. Piccolo, Flute 1. 2, Oboe 1. 2, Bassoon, Bb Clarinet 1, 2, 3, Bass Clarinet, Alto Saxophone 1. 2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, Horn 1. 2, Horn 3. 4, Trombone 1. 2, Bass Trombone, Euphonium, Tuba, Piano, Timpani. 3 drums. , Percussion. Grade 5. Score only. Duration 12. 10. Published by C. Alan Publications. CN.05241. Lamb of God is a tone poem based on the story of the passion, cast in five connected sections progressing to the chronology of the story. There are vivid aural representations of Christ's torturous walk bearing his own cross, the nailing to the cross, the final words of Christ, the death of Christ, and a benediction. The work closes in Eb major, a chromatic change from G major which suggests eternity. Lamb of God is a tone poem based on the Christian story of the passion. The work is cast in five connected sections progressing to the chronology of the story. The motivic material, which unites the work, is taken from the Easter sequence, Victimae paschali laudesi. "Praises to the Paschal Lamb". In the Catholic Church, the "Paschal Lamb" is representative of Christ who was sacrificed on the cross to redeem the people. or "sheep". of the world. The first section, O crux, portare talentum mundi. "O Cross, to bear the treasure of the world". seeks to depict Christ's torturous walk bearing his own cross. Motives from the Easter sequence are clearly articulated under and over dissonant harmonies and a regular march-like rhythmic drive. There is even the incessant cracking of a whip throughout the section. As the site of crucifixion nears, there is a quieting of activity, taking pause at the thought of death with the xylophone continuing the intensity. The walk then resumes to the crucifixion and segues into the second section, Dux vitae mortuus. "The leader of life is slain". Announced by timpani and snare drum rolls, Christ is nailed to the cross. Muted bass drum and brake drum make the torture vividly clear. Crying dissonance in the ensemble, which grows with each successive nail, follows each nail. Intense suffering follows. An alto saxophone solo alludes to Hans Hassler's tune, O Sacred Head Now Wounded. This intensity grows to a climax on the penultimate strain of Hassler's tune. Sever chant-like statements follow this in piccolo, bass clarinet, bells and piano representing the final words of Christ. In the ensuing section, Sepulchrum Christi viventis. "I saw the sepulchre of the living Christ". , a timpani roll followed by three loud, grieving cries of the full ensemble signifies the stormy darkness following the death of Christ on the the cross. The section ends morbidly in C# minor. The vibraphone continues to sustain a C# into the next section, Surrexit Christus spes mea. "Christ my hope has risen". , which begins with small, but bright outbursts by bells and high woodwinds. The outbursts grow and begin to cascade joyously leading to dramatic strains of Victimae pachali laudes by the low brass. The section continues to grow in rhythmic and textural activity and finally reaches an apex in the key of C major. The final section, Agnus redemit oves. "The lamb has redeemed the sheep". , is a benediction in G major consisting of harp-like passages in the piano, chant-like motives and fragments of the Victimae paschali laudes. The work closes in Eb major, a chromatic change from G major which, to my ear, suggests eternity.

Prijevod

Jaganjče Božji sastoji David Gillingham. Za koncertni bend. Piccolo, frula 1. 2, obou 1. 2, fagot, Bb klarinet 1, 2, 3, bas klarinet, alt saksofon 1. 2, tenor saksofon, bariton saksofon, Bb Truba 1, 2, 3, Horn 1. 2, Horn 3. 4, Trombon 1. 2, Bas Trombon, Euphonium, Tuba, klavir, Timpani. 3 bubnjevi. , Udaraljke. Grade 5. Postići samo. Trajanje 12. 10. Objavljeno C. Alan Publikacije. CN.05241. Jaganjče Božji je ton pjesma temelji se na priči o strasti, baci se u pet spojenih odjeljaka napreduje na kronologiju priče. Tu su žive slušni reprezentacije Kristova torturous hoda nosi svoj križ, čavlima na križ, završnih Kristovim riječima, Kristovoj smrti i blagoslov. Rad zatvara u Eb-duru, kromatsku promjena od G-duru koji sugerira vječnost. Jaganjče Božji je ton pjesma temelji na kršćanskoj priči o strasti. Rad se baci u pet spojenih odjeljaka napreduje na kronologiju priče. Motivičku materijal, koji ujedinjuje rad, preuzet je iz Uskrs nizu, Victimae paschali laudesi. "Pohvale na pashalno janje". U Katoličkoj crkvi, "pashalno janje" prikazuje Krista koji je žrtvovan na križu da otkupi narod. ili "ovce". u svijetu. Prvi dio, O poanta, portare talentum mundi. "O križ, da snosi blago svijeta". nastoji prikazati Kristovu mučna hoda noseći svoj križ. Motivi iz uskrsnog slijed jasno artikulirao ispod i iznad disonantnih suzvučja i redovito ožujak poput ritmičkog pogon. Tu je čak i neprestano pucanje bičem cijeloj dionici. Kao mjesto raspeća približava, postoji stišavanje aktivnosti, uzimanje pauze pri pomisli na smrt s ksilofon nastavlja intenzitet. Hoda onda se nastavlja na raspeće i segues u drugom dijelu, Dux vitae mortuus. "Vođa život je ubijen". Najavljen je timpana i bubanj role, Krist je razapet na križ. Prigušeno bas bubanj i bubanj kočnice bi mučenje živo jasno. Plakanje nesklad u ansamblu, koja raste sa svakim noktiju, prati svaki čavao. Intenzivne patnje slijedi. Alt saksofon solo aludira na Hansa HASSLER napjevom, O Svete Glave Sada Ranjenom. Ovakav intenzitet raste do vrhunca na pretposljednjem soj HASSLER napjevom. Sever pjevati poput izjave slijede ovo u Piccolo, bas klarinet, zvona i klavir predstavlja konačne Kristove riječi. U sljedećim dijelu, Sepulchrum Christi viventis. "Vidio sam grob od živoga Krista". , Timpani rola slijede tri glasnih, tugovanje vapaje cjelokupan ansambl znači olujni tamu sljedeći Kristovoj smrti na križu. Раздел заканчивается болезненно в С. Вибрафон продолжает поддерживать C. "Krist je moja nada je uskrsnuo". , Koji počinje s malim, ali svijetle ispadima zvona i visokim woodwinds. U ispadi rasti i početi kaskadni radosno dovodi do dramatičnih sojeva Victimae pachali Laudes niskom mjedi. Poglavlje nastavlja rasti u ritmičku i teksture aktivnosti i konačno dostiže svoj vrhunac u ključu C-duru. Posljednji dio, Agnus redemit oves. "Janjetina je otkupio ovce". , Je blagoslov u G-duru koji se sastoji od harfu poput prolaza u klavir, pjeva-kao što su motivi i fragmenti Victimae paschali Laudes. Rad završava u Eb duru, kromatska promjena G-duru, koji na moje uho, sugerira vječnost.