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原文

Liebestraume in A flat major, No. III. Franz Liszt. Marimba sheet music. Vibraphone sheet music.

译文

Liebestraume于A大调，第三号. 李斯特. 马林巴琴乐谱. 电颤琴乐谱.

原文

Liebestraume in A flat major, No. III composed by Franz Liszt. 1811-1886. Arranged by Tomer Yariv. Marimba & Vibraphone Duet. For marimba and vibraphone duet. marimba low c & vibraphone. Level 5. Score and set of parts. Published by Innovative Percussion. IP.D-FL-LIB. Composer's Notes. Liszt once declared, "My sole ambition as a composer is to hurl my javelin into the infinite space of the future. " Indeed, his works had many influences over composers and musicians of the 19th and the 20th centuries. Apparently, it had also an influence on the percussion scene and on PercaDu, leading for the arrangement of Liebestraume No. 3 in Ab Major by Tomer Yariv. Liebestraume No. 3 was originally a part of three Liebestraume written as songs. In the Liebestraume piano version, which Liszt also called nocturnes, Liszt moves in and out of the original musical text as he feels need to. It can be considered as split into three sections, each divided by a fast mini-cadenza. The same melody is used throughout the entire piece, each time varied, especially near the middle of the work, where the climax is reached. At the end, the piece dies down into a final chorded section. "Originally composed for solo piano, this arrangement is scored for vibraphone and 5.0-octave marimba duet. Written for the PercaDu percussion group, this work presents challenges to be met by advanced students and professional performers. Both parts require the performers to be comfortable with chordal and independent four-mallet techniques, with the marimba part requiring the greater amount of dexterity. Aside from technical complexities, the most significant challenge lies in addressing the rubato and flexibility with which the piano version is performed. Tomer Yariv scores much of the "right hand" material in the vibraphone, with the arpeggiated accompaniment in the marimba. While interpretation of this music by a single performer at the piano is difficult in its own right, extra special care must be taken here, as the hands are "split" between two performers. Both players must be in total agreement as to any use of rubato, without which the piece risks losing much of its character. This work is appropriate for an advanced college or a professional percussion ensemble. " - Jason Baker, Percussive Notes July 2010.

译文

Liebestraume于A大调，III号由李斯特组成. 1811-1886. 通过托默Yariv安排. 马林巴. 对于马林巴琴和电颤琴二重奏. 马林巴低C. 5级. 分数并设置部分. 出版创新的打击乐. IP.D-FL-L​​IB. 作曲家的注意事项. 李斯特曾宣称，我唯一的抱负作为一个作曲家是投掷标枪我对未来的无限空间. 事实上，他的作品有许多影响过作曲家和19的音乐家和20世纪. 显然，它也对打击乐现场和PercaDu的影响，导致了Liebestraume 3号的主要抗体由托默Yariv安排. Liebestraume 3号原是3 Liebestraume的写成歌曲的一部分. 在Liebestraume钢琴版，这李斯特也叫夜曲，李斯特的原创音乐剧的文字和动作出来，因为他觉得需要. 它可以被看作是分成三个部分，每个分割通过快速微型华彩. 同样的旋律用于整个片，每次变化，尤其是靠近工作，其中，在达到高潮的中间. 最后，在一片平静下来到最终单弦节. 最初由钢琴独奏，这种安排被计电颤琴和5.0倍频马林巴琴二重奏. 而立PercaDu打击乐组，这项工作提出了挑战，以先进的学生和专业的表演得到满足. 这两款器件都要求表演者是舒适与弦和独立的四槌技术，与马林巴部分需要更大的技巧，. 除了技术复杂，最显著挑战在于在处理与该钢琴版本进行散板和灵活性. 托默Yariv分数多少右手材料的电颤琴，用在马林巴的琶音伴奏. 虽然这种音乐在钢琴单一表演者的解释是很难在自己的权利，额外的特别照顾，必须在这里拍摄，因为手是两个演员之间的分裂. 这两名球员必须在总协定，任何使用散板，没有这一块可能失去了它的性质. 这项工作是适合于先进的大学或专业打击乐合奏. 贾森 - 贝克，2010年撞击七月的注意事项.