Partition complète, . . . A Perfect Rest, A Jewish Prayer of Remembrance

Laurence Scott Bitensky

Description

Redécouvrez les partitions de. . . A Perfect Rest partition complète, sacré hymnes, composition de Bitensky, Laurence Scott. Cette partition moderne célèbre dédiée aux instruments suivants: orchestre: 2 flûtes/piccolo, 2 clarinettes (B♭/clarinette (E♭, trombone + timbales + harpe, 2 bassons + 2 cornes, 2 trompettes (C), anglais cor, cordes, hautbois
Cette partition enchaine 1 mouvement et l'on retrouve ce genre de musique répertoriée dans les genres sacré hymnes, pour orchestre, religieux travaux, hymnes, partitions pour orchestre
Visualisez dans le même temps tout une collection de musique pour orchestre: 2 flûtes/piccolo, 2 clarinettes (B♭/clarinette (E♭, trombone + timbales + harpe, 2 bassons + 2 cornes, 2 trompettes (C), anglais cor, cordes, hautbois sur YouScribe, dans la rubrique Partitions de musique variée.
Date composition: 2000
Edition: Silly Black Dog Music
Durée / duration: 18 minutes

Sujets

• Modernité
• Chordés
• Harpe
• Timbale
• Trombone
• Trompette
• Corne
• Bassons
• Clarinette
• Anglais
• Oboe

Informations

• Publié par: BITENSKY
• Nombre de lectures: 80
• Licence : En savoir +
  Paternité
• Langue: Français
• Poids de l'ouvrage: 1 Mo

Extrait

... a perfect rest
A Jewish Prayer of Remembrance
for orchestra
Laurence Bitensky
© silly-black-dog-music/2000


“ . . . a perfect rest”

by

Laurence Bitensky



. . . a perfect rest is based on a traditional melody for El Male Rachamim, the Jewish memorial prayer. The prayer and its
melody have a long and painful history. During the bloody Chmielnitzki pogroms of 1648, four Jewish communities were
captured by the Tatars. When the cantor, or chazzan, Hirsch of Zywotow, chanted the prayer El Male Rachamim, the
congregation burst into tears, moving the Tatars to release the three-thousand Jews. A similar story told of the chazzan
Solomon Rasumny of the Russian town of Kishinev. In 1903, Czarist officials organized a wave of anti-Semitic violence against
a population already left impoverished from Czarist laws restricting Jewish rights. Jews were massacred, homes and
synagogues were destroyed, and thousands of Jews were left homeless. As a response, the Kishinev chazzan Rasumny
composed a melody for El Male Rachamim. This melody has been preserved and forms the basis for . . . a perfect rest. His
stirring composition shows the intense emotional power of the East European cantorial style known as chazzanut. The opening
cello solo is a free adaptation of the melody followed by what is essentially one long orchestral interpretation, commentary, and
variation.


A translation of the original Hebrew prayer is as follows:

O God full of compassion,
Who dwells on high --
Grant a perfect rest under the wings of Your Presence,
Among the heights of the holy and pure, who shine
as the brightness of the firmament,
To the righteous souls who have passed into eternity.
For the sake of prayer and supplication,
For the remembrance of their souls,
In Paradise may they rest.

We beseech you, O Lord of compassion --
Shelter them under the cover of your wings forever,
And may their souls be bound up in the bond of eternal life --
the Eternal is their inheritance --
And may they rest in peace in their graves,
And let us say Amen.


Instrumentation


2 Flutes (Fl. 1 doubling Piccolo)
1 Oboe
1 English Horn
2 Clarinets in Bb (Clar. 1 doubling Eb Clarinet)
2 Bassoons

2 Horns in F

2 Trumpets in C
1 Trombone

Timpani

Harp

Strings

Score is in C

Duration: c. 17’

Performance notes
The many tempo and metric indications are approximate only and are designed to facilitate a free, quasi-improvisational character.
Since the piece is influenced by East European chazzanut, some of its spirit of metrically free improvisation should be maintained.






1
Slow. With expression and without dragging.
 2 Flutes &
 Oboe &
 English Horn &
 2 Clarinets in Bb &
?  2 Bassoons
 2 Horns in F &
 2 Trumpets in C &
?  Trombone
?  Timpani
 &
Harp
?  
Slow. With expression and without dragging.
 Violin 1 &
 Violin 2 &
B  Viola
Very freely with much rubato. Quasi improvisando. , ,solo U œb œ œ b œj œ œœ œ œ ˙ œ œ œ œ œ œ.? # ˙ œ œ œ # œ n œb œ b œ .˙ œ œ œ œ ˙ œSolo Cello J œj j Jœ œ œ 5
poco pocop espr.
?  Cello
?  Contrabass2
 Fl.1-2 &
 Ob. &
 E.H. &
 Cl. 1-2 &
?  Bsn. 1-2
 Hn. 1-2 &
  Tpt. 1-2 &
?  Tbn.
?  Timp.
 &
Hp.
?  
 Vln. 1 &
 Vln. 2 &
B  Vla.
, b œ b ˙j œ œ œ œ œ œ œ œ œ. .œ œ œ œ œ œ œb œ b œ œ b œ b œ b œ j j j b œ œ b œ b œ.œ œ œ ˙œ œ œ œ œ œ ˙ œ œ œ œ.? # œ J R Jn œJ JSolo Vlc. J
3p F
?  Vlc.
?  Cb.3
 Fl.1-2 &
 Ob. &
 E.H. &
 Cl. 1-2 &
?  Bsn. 1-2
 Hn. 1-2 &
  Tpt. 1-2 &
?  Tbn.
?  Timp.
 &
Hp.
?  
 Vln. 1 &
 Vln. 2 &
B  Vla.
,,r sul tasto ord.b œ œ j jœ œ œœ œ œ œ œ œ œ b ˙ b œ b œ? œ œ œ œ œ œ ?b œ b œ b œ œ œ œ œœ œ ‰ b œ b œSolo Vlc. œ œ œ œ œJ & œ œ# œ œ.œ Fp?  Vlc.
enter imperceptibly? Cb. W niente4
Fl.1-2 &
Ob. &
E.H. &
Cl. 1-2 &
? Bsn. 1-2
Hn. 1-2 &
 Tpt. 1-2 &
? Tbn.
? Timp.
&
Hp.
? 
Vln. 1 &
Vln. 2 &
B Vla.
stringendo
3 ,j r j œ œb œ b œ b œ b œ.? œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ Bœ œ œ œ œ œ œ œ œ œ. .œ b œ b œ b œ b œ b œ œ b œ œSolo Vlc. œ œ& &œ œœ œ œ œ œ Jœ œ
3 5f? Vlc.
? Cb.5
Fl.1-2 &
Ob. &
E.H. &
Cl. 1-2 &
? Bsn. 1-2
Hn. 1-2 &
 Tpt. 1-2 &
? Tbn.
? Timp.
&
Hp.
? 
Vln. 1 &
Vln. 2 &
B Vla.
j , allargando ,b œ œ œ jœ œ b œB œ œ œ œ œ œ œ œ ?b œ # œ # œ # œ‰ b œ b œ b œSolo Vlc. œ œ œ œJ & œ œ œ œ # œ b œ b œJ œ œb œ ˙
con passione Pƒ
3? Vlc.
? Cb.6
1 q»c. 54 With expression and a flexible tempo4 q»c. 54 W  Fl.1-2 & 4
4    Ob. & 4
4    E.H. & 4
1.4   ŒCl. 1-2 & 4 b ˙ . w
n 
? 4    Bsn. 1-2 4
con sord.a24 ? œ w   Ó ŒHn. 1-2 & 4

4     Tpt. 1-2 & 4
? 4    Tbn. 4
? 4    Œ ŒTimp. 4 œ œ- -4 Ó Ó  & 4 ˙ # ˙
D C# Bb/E F Gb A F to F#Hp.  b ˙ .? 4 œ   Ó4 ˙
q»c. 54 With expression and a flexible tempo o1 w( )div.4    b OVln. 1 & 4 w 
4   Vln. 2 & 4 b w poco
div. punta d'arco4 w w w wB  # w w wVla. 4 æ æ ææ
punta d'arco, solo cello unis., colla partej œœ œ? # œ # œ n œ 4b œ b ˙ .‰ Œ œ w w ˙ Œ Solo Vlc. œ 4

? 4Vlc. 4 w w w w
pizz.? 4   Ó Œ Œ ŒCb. 4 œ œœ7
5 3 4    Fl.1-2 & 4 4
3 4    Ob. & 4 4
3 4    E.H. & 4 4
play out2.play outU 310 53 3 4Œ ŒCl. 1-2 & 4 4j® # œ n œ # œ n œœ b œ œ œ œ œ b ˙ . b œ œ œ œ œ b œ œ b œœ œ œ œ œ œ œ œ œ œ ˙# œœ œ œ œp p
5
1.solo 3U? 3 4. .Œ j ˙ œ Œ œBsn. 1-2 # œ # ˙ . œ œ n œ # œb œ 4 4˙ . ˙ œ œ# œ
play out poco pp
5 remove muteU? 3 4œ Œ Ó    Hn. 1-2 & 4 4
3 4     Tpt. 1-2 & 4 4
? 3 4    Tbn. 4 4
5 U? 3 4Œ Ó    Timp. 4 4œ
3 4    & 4 4
Hp.
? 3 4    4 4
ooooow w ˙ . ˙ . ˙ .
5 3 4
Vln. 1 & 4 4    sempre
3 4    Vln. 2 & 4 4
3 4w w ˙ . ˙ . ˙ .B w w ˙ ˙ ˙Vla. . . .4 4æ æ ææ æ sempre
? 3 4
Vlc. 4 4w w ˙ ˙ ˙. . . sempreU? 3 4Œ Ó    Cb. 4 4œ