Partition complète, Three Chinese poèmes, Open, Bevan, John

John Bevan

Description

Consultez les partitions de morceau Three Chinese poèmes partition complète, pièces, composition de Bevan, John , Op. 11 , Open. La partition moderne dédiée aux instruments comme:

• Sheng
• Lusheng
• Tibetan crystal singing bowls
• percussion (gong et lion tambour)
• gusheng
• viole de gambe aigue
• viole de basse

Cette partition compte 3 mouvements et est classée dans les genres

• pièces
• pour voix, percussion, 2 violes de gambe
• partitions pour voix
• partitions pour mezzo-soprano voix
• partitions percussion solistes
• partitions pour viole de gambe
• pour voix avec solo instruments
• Chinese langue

Consultez en même temps tout un choix de musique pour Sheng, Lusheng, gusheng, Tibetan crystal singing bowls, viole de gambe aigue, percussion (gong et lion tambour), viole de basse sur YouScribe, dans la catégorie Partitions de musique variée.
Date composition: 2008
Rédacteur: John E. Bevan
Edition: John E. Bevan
Durée / duration: 14 Minutes
Libbretiste: Various

Sujets

• Modernité
• Basse Santa Su
• Violin
• Aigu
• Proyecto Gambe
• Tambour
• Lithium-ion battery
• Gong
• Percussion instrument
• Boulingrin (jeu)
• Singing
• Crystal
• Tibetan
• Sheng
• Bevan

Informations

• Publié par: BEVAN
• Nombre de lectures: 62
• Licence : En savoir +
  Paternité, pas de modification
• Langue: 中文
• Poids de l'ouvrage: 6 Mo

Extrait

0805131

Three C hinese Poems
th Su Shi dreaming of my deceased wife on the night of the 20 day of the first month
Li Shangyin her promises to come were empty words
Mei Yeochen sacrifice to the cat that scared all the rats
(MMVIII)



for chamber septet,
with mezzo-soprano and oriental instruments
(c. 14 mins)

all rights reservednotes



To be performed as interpreted by the players.

36-key Chinese sheng
yusheng
mezzo-soprano (Pinyin fluent)
Tuned Tibetan crystal singing bowls; C, D, E, F, G, A, B,
with yarn, rubber, and coil mallets
(Tuned metallic singing bowls are viable, if less desirable)
20” orchestral gong, 8” opera gong, lion drum
Viola de gamba (Treble)
Viola de gamba (Bass)



th Su Shi dreaming of my deceased wife on the night of the 20 day of the first month





Li Shangyin her promises to come were empty words


Mei Yeochen sacrifice to the cat that scared all the rats









comment

Following from an increasing personal interest in the Chinese language, and particularly therapeutic or mystical in this sense, the ethereal, sine-type
culture, the three poems of Three Chinese Poems are taken from texture works I feel well with voice and the two wind instruments. Striking,
contrasting contexts within the history of Chinese literature. The aim was to as opposed to ‘singing’ the bowls has a quite distinct reverberating warmth
ally the thematic character of the pieces with the music, while creating a that made it useful for simple settings alongside melismatic vocal melody.
fusion of Western and Asian forms, as in the coming together of The gongs provide a) context, and b) textural colour, particularly used in
instruments of quite different provenance. The Sheng is a type of mouth- sustained rolls, and the lion drum as a fairly conventional rhythmic device.
organ that has developed from a simple 21-note model carved from wood Finally, the viols have a less brash, and altogether subtler tone than their
for the mainstay of Chinese cultural celebrations throughout the ages, to a more modern counterparts, which makes them preferable here, and they
common 36-key model reinforced by metal in widespread usage today. The have an unusually exotic following also, which I felt better suited the piece.
bold and brassy textures seemed to offer lots of potential to juxtapose I’ve stayed away from extended techniques and harmonics on count of
against voice. The Lusheng is a larger (up to 7 metres), therefore lower there being no (discoverable) model for their correct scoring.
sibling to the Sheng, and generally constructed from wood has a more
mellow and pastoral texture, while keeping the dynamic range of the Sheng. The structure is then based around the 3 poems with ‘areas of ellision’ or
Also limited to a pentatonic tuning (as was the early Sheng) it worked as a intermission between that often make some more virtuosic solo
good model for building typically Asian melodies that shift in and out explorations amongst without the vocal setting. Overall, the piece over the
between the other textures. In turn, this motivated the choice of mezzo, 14 minutes gains in textural layers, developing from a sparse, simple and
rather than soprano, the conventional choice for Chinese opera, for the ethereal setting with the singing bowls and the outset, to the numerous
lower textures worked well alongside the lusheng. Crystal singing bowls are competing textures of the final poem, particularly the closing measures. The
a type of ceremonial instrument used widely in Tibet for meditation, and as piece in a sense closes into its own density during the final poem, only
such their tuning from C-B is claimed to offer differ vibrations for healing released by the enduring ‘xü’ after the closing FFF.
across different areas of the physique. Although their use here is not Notation presented some problems initially, since it is convention to score Very little specification has been given to technique and scoring, since by
in jianpu or numerical notation, for interpretation within Asian culture. It nature the poetry settings desires a good deal of flexibility and ‘free’—if you
is dubious, however, whether this could be real-time translated by Western like—improvisation. Resources on oriental instrumental technique remain
chamber performers, and so traditional scalic Western notation seemed relatively sparse in print in the UK, and online is not always too beneficial,
preferable, despite any patriarchalism this implies. Getting to grips with so while every effort has been made to imply overall effect in each instance,
jianpu myself was a motivation, and indeed perhaps a more desireable interpretation should find more natural results that listing each and every
desired texture. outcome may be a dual-notation score, but this was problematically
complicated and easy to misread while putting the work together. Pinyin
0805131
translation similarly seemed more viable than hanzi for Western readers,
and perhaps more particularly was necessary for the accentuation of
individual syllables internal to each structure.


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Lyrically
e = 46-52
Sheng
Lusheng
Mezzo-soprano
soft yarn mallet
unless other specified
slow, regular singingG B C...A A
E DE D 3 F
Tibetan crystal
singing bowls
pp
3
20" Gong
Percussion
niente lion drum pppppp (rim)
Guzheng
2
pp
e = 46-52
Treble Viol
3 3 3niente ppp
Bass Viol
2niente pppB


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Mezzo.
33 p 63 33
p
Crystal
mp
Perc.
Zheng
Tr. Viol
3 3 3 3 3 3 3pp
B. Viol
2