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原文

Benjamin Britten. Te Deum In C - Treble. Soprano. SATB. Organ. Sheet Music. Soprano, SATB, Organ Accompaniment. SOP. SATB. ORGA. Benjamin Britten.

译文

本杰明·布里顿. 赞美颂德在C - 高音. 女高音. SATB. 器官. 乐谱. Soprano, SATB, Organ Accompaniment. SOP. SATB. ORGA. 本杰明·布里顿.

原文

If ordering more than 10 copies, please call us on 44. 1284 725725 to check availability. Britten's Te Deum In C is arranged for Treble. Soprano. solo, SATB choir and Organ accompaniment. In preparing for publication the 1935 orchestral version of Britten's Te Deum in C, it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor. different articulation and dynamic markings, something Britten was later very fussy about, but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important. wrong pedal notes, for example, which Britten failed to notice on proof, and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score. Britten clearly used the published vocal score to prepare his orchestral version. The two versions have been made consistent in other details - rehearsal cues and bar numbers, for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task, for these is little discrepancy in essential details between versions. a rare departure occurs in bars 53 to 56, where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version, but doubled by Organ in the original. Sustained Organ chords are often filled out with arpeggiated string writing, while the spacing of chords is frequently much wider in the string version, with melodies transposed into different octaves. Although harmony in both versions is identical, voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned. So, although in essence the two versions are the same, the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work, like many of his choral pieces from the 1930s and 1940s, it is equally at home in church and concert hall.

译文

如果订购超过10张，请拨打我们的44. 1284 725725查询空房. Britten's Te Deum In C is arranged for Treble. 女高音. solo, SATB choir and Organ accompaniment. 在准备出版布里顿的赞美颂德的1935年的管弦乐版本C，很明显，有一些手稿和原193声乐分数之间的差异的. 有些轻微. 不同的清晰度和动态标记，东西布里顿后来很挑剔，但也许离开是因为他在这个阶段他的职业生涯与音乐出版过程相对缺乏经验的证明不变. 其他人更重要. 错了踏板的笔记，例如，其中布里顿没有注意到的证明，并已延续在表演和录音年近七旬. 这些都在声乐得分的新版本，并在管弦乐得分得到纠正. 布里顿明确使用已发布的声乐分数准备他的管弦乐版本. 这两个版本已经取得了一致，其他细节 - 排练线索和酒吧数字，例如 - 因为布里顿打算唱诗班用声乐分数进行管弦乐版本. 这本来是一件容易的事，这些是小的差异版本之间必要的细节. 一种罕见的背离发生在酒吧53至56，其中作品“主神万军的”无人陪伴的管弦乐版本，而是由器官在原来的一倍. 持续的器官和弦往往充满了与琶音字符串文字，而和弦的间距是字符串版本频繁更广泛，与旋律调换成不同的八度. 虽然和谐，两个版本完全相同，导致声音有时改变后者，使之更适合于有关文书的成语. 所以，虽然在本质上是两个版本是相同的，在各探索soundworld是截然不同. 布里顿的管弦乐版本既不应该被看作是一个偶然的一块，也不认为单纯的礼仪工作，像他的许多合唱作品，从20世纪30年代和40年代，同样在家里教会和音乐厅.