Noter

Original

Three Fiona MacLeod Settings. Oliver Barton. A cappella. Secular , Partsong. Language. English.

Oversettelse

Tre Fiona MacLeod Innstillinger. Oliver Barton. A cappella. Sekulære, Partsong. Språk. Norsk.

Original

Fiona MacLeod was a creation or perhaps alter ego of the Scottish poet William Sharp. 1855–1905. Some consider her his inner feminine consciousness. he himself described her as “an ancestral seeress” who came through to him. In any case, he went to tremendous lengths to conceal the connection between her and himself and there was quite a scandal when the truth came out that he was author of both his and her works. But the strange thing is that Fiona’s writings, steeped as they are in a twilight Celtic world, are so much more atmospheric and vivid, and in truth, better, than William’s. It is as though he really was possessed by a more inspired soul. The three settings are. The Wind — about 2'4". All parts split except the tenors. Honeymouth — about 4'42". Full SSAATTBB throughout. The Moonchild — about 2'1". This is scored for a female solo. a Mezzo will probably have the right sort of tone colour. and STB divisi choir, with odd solo bits for soprano and tenor. This is a bit tough on the altos. One of them could do the solo part. the rest could be temporary sopranos or tenors perhaps. The settings are intended to be performed as a set, but Honeymouth and The Moonchild can be performed separately. The Wind wouldn’t really stand alone. The complete set was first performed in 1973, I think it was, by the Westron Wynd in the Orangery, Goldney House, Bristol, England, conducted by Nigel Davidson. The Moonchild has been performed in various guises, such as a solo song with piano and a recorder consort plus psaltery. Please feel free to arrange it for whatever assortments you like, but try to retain the atmospheric quality.

Oversettelse

Fiona MacLeod var en etablering eller kanskje alter ego av den skotske poeten William Sharp. 1855–1905. Noen anser henne sitt indre feminine bevissthet. han selv beskrev henne som «en anen seeress som kom gjennom til ham. I alle fall, gikk han til enorme lengder for å skjule sammenhengen mellom henne og seg selv, og det var litt av en skandale da sannheten kom ut at han var forfatter av både hans og hennes verk. Men det rare er at Fionas skrifter, gjennomsyret som de er i en skumrings Celtic verden, er så mye mer atmosfærisk og levende, og i sannhet, bedre, enn William. Det er som om han virkelig var besatt av en mer inspirert sjel. De tre innstillingene er. The Wind - ca 2'4. Alle deler delt bortsett tenorene. Honeymouth - ca 4'42. Full SSAATTBB hele. The Moonchild - ca 2'1. Dette er scoret for en kvinnelig solo. en Mezzo vil trolig ha rett slags tone farge. og STB divisi kor, med Odd solo biter for sopran og tenor. Dette er litt tøff på Altos. En av dem kunne gjøre solo delen. resten kan være midlertidige sopraner eller tenorer kanskje. Innstillingene er ment å bli utført som et sett, men Honeymouth og The Moonchild kan utføres separat. The Wind ville egentlig ikke stå alene. Det komplette sett ble urfremført i 1973, tror jeg det var, ved Westron Wynd i Orangery, Goldney House, Bristol, England, utført av Nigel Davidson. The Moonchild har blitt utført i ulike forkledninger, for eksempel en solo sang med piano og en opptaker gemal pluss psaltery. Ta gjerne ordne det for uansett sortimenter du liker, men prøv å holde den atmosfæriske kvalitet.