活页乐谱 $3.95

原文

Te Deum in C Major. Benjamin Britten. Voice sheet music. Choir sheet music.

译文

赞美颂在C大调. 本杰明·布里顿. 声音的乐谱. 合唱乐谱.

原文

Te Deum in C Major. 1934. SATB, Vocal Score. Composed by Benjamin Britten. 1913-1976. Choral. 20 pages. Chester Music #CH76582. Published by Chester Music. HL.14037803. ISBN 1849386366. 6.75x10.5 inches. for SATB. treble or soprano solo. organ or orchestra. harp or piano and strings. Text. Book of Common Prayer. liturgy of Morning Prayer. Publisher. Chester Music. Difficulty level. Britten wrote few canticle settings, only two Te Deums, two settings of the Jubilate and a Venite which was not published in his lifetime. He wrote no settings of the Evening Canticles for the Anglican rite. The settings we have are therefore all the more precious and, as always, show the originality of his creative mind. This Te Deum is, to my mind, the finest of these liturgical settings. It has drama, energy, variety, and clarity and integrity of structure. The opening page sets the scene and introduces the pedal syncopated ostinato which underpins the whole of the first section and the 'reprise' when it comes after the contrasting central section. The voices climb from the bass up to soprano in quietly urgent statements of 'We praise you' and build to a huge climax at 'Holy, Holy, Holy, Lord God of Sabaoth'. The central section is given to a treble or soprano soloist with the choir reinforcing his or her phrase ends with quietly urgent chords and the words 'O Christ. ' Longer phrases develop and lead to the reintroduction of the pedal ostinato and the initial choral material. Another thrilling climax is reached before the beautiful quiet ending. Few cathedrals or churches sing the Office of Matins these days for which this canticle was intended and so its original liturgical setting is rarely possible nowadays. It is much more of use as an anthem or as a concert item and it is, of course, extremely effective in either rôle. The challenges in this work are as much for the conductor as the choir. The conductor needs to see the big picture, relate the first and last sections and prevent the central one from becoming sentimental or too slow. He. she needs to make sure that Britten's directions about tempi are fully understood, and which tempo he means when he directs Tempo I or II etc. For the choir, it is the ability to sing quietly with abundant energy, to have absolute clarity of diction, to note the details of articulation - the staccato marking, for instance, on the word 'Lord' in bar 54, and similar markings in the central section. This is an outstanding setting of these much-set words and it should be far more widely performed. Duration. 9 minutes. Paul Spicer, Lichfield, 2011.

译文

赞美颂在C大调. 1934年. SATB，声乐分数. 由本杰明·布里顿组成. 1913-1976. 合唱的. 20页. Честер Музыка. 出版切斯特音乐. HL.14037803. 国际标准书号1849386366. 6.75x10.5英寸. 为SATB. 高音或女高音独唱. 器官或乐团. 竖琴或钢琴与弦乐. 文本. 公祷书. 晨祷的礼仪. 发行人. 切斯特音乐. 难度等级. 布里顿写了几颂歌设置，只有两个特Deums的欢喜和Venite两种设定中这是没有公布在他的一生. 他写道晚报canticle的没有设置英国国教仪式. 这些设置我们因此更加珍贵，一如既往地展现他的创造性思维的独创性. 这赞美颂是，在我看来，最好的这些礼仪设置. 它有戏剧，能源，品种繁多，而且清晰度和结构的完整性. 打开页面设置场景，并介绍了踏板切分音固定音型的支撑着整个第一部分和“原音重现”，当谈到对比的中央部分后. 从低音的声音爬上女高音的“我们赞美你”静静的紧急声明，并建立一个巨大的高潮在“圣哉，圣哉，圣哉，主神万军之'. 中央部分是考虑到高音或女高音独唱与合唱团加强他或悄然紧急和弦的一句“O她那句结束基督. '停止短语发展和导致踏板固定音型的重新引入和初始合唱材料. 美丽宁静的结局之前到达另一个惊心动魄的高潮. 几个教堂或教会唱晨祷办公室这些天的量这一颂歌的目的，所以其原有的礼仪设置是几乎不可能时下. 它更用作国歌或作为音乐会项，这是当然，极为有效地要么角色. 在这项工作中所面临的挑战是一样的导体作为合唱团. 售票员需要看大图，与第一个和最后部分，防止成为感伤或太慢中央一. 他. 她需要确保布里顿的约拍子方向都深有体会，他指的节奏，当他指挥天宝I或II等. 对于合唱团，它是用充沛的精力静静地唱，有文辞绝对清晰，要注意关节的细节的能力 - 断音标记，例如，在上杆54字“主”，而在类似的标记中央部. 这是这些备受组词的杰出设置，它应该是更广泛地进行. 长短. 9分钟. 保罗·斯派塞，利奇菲尔德，2011.