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原文

Between the Two Rivers. Variations on Ein Feste Burg. Philip Sparke. Grade 5.

翻訳

二つの川の間. アインフェステブルク変奏曲. フィリップ·スパーク. 5年生.

原文

Between the Two Rivers. Variations on Ein Feste Burg. Grade 4 - Score and Parts. Composed by Philip Sparke. 1951-. For Concert Band. Anglo Music Concert Band. Grade 5. Anglo Music Press #AMP061. Published by Anglo Music Press. HL.44004954. After a short and lively introduction, the theme is stated in full by various sections of the band in turn. Variation I is a moto perpetuo based on the three repeated notes which open the chorale. These eventually become the accompaniment to a more lyrical theme. Variation II is slower and march-like in character and employs various motifs derived from snippets of the theme. Variations III is the “slow movement” and is based on a figure taken from the second half of the theme. A sinister bass theme prefaces an explosive central episode out of which the chorale theme eventually emerges, decorated by the opening figure. Variation IV is in the form of a fugue, the theme of which eventually becomes the descant of a more lyrical melody in the middle of the band. The fugue develops along classical lines until it is combined with a full recapitulation of Luther's chorale. A faster coda, based on Variation I, closes the work.

翻訳

二つの川の間. アインフェステブルク変奏曲. グレード4 - スコアと部品. フィリップ·スパーク作曲. 1951 - . コンサートバンドのための. アングロ·ミュージックコンサートバンド. 5年生. Anglo Music Press #AMP061. アングロ音楽プレスから出版. HL.44004954. After a short and lively introduction, the theme is stated in full by various sections of the band in turn. Variation I is a moto perpetuo based on the three repeated notes which open the chorale. These eventually become the accompaniment to a more lyrical theme. Variation II is slower and march-like in character and employs various motifs derived from snippets of the theme. Variations III is the “slow movement” and is based on a figure taken from the second half of the theme. A sinister bass theme prefaces an explosive central episode out of which the chorale theme eventually emerges, decorated by the opening figure. Variation IV is in the form of a fugue, the theme of which eventually becomes the descant of a more lyrical melody in the middle of the band. The fugue develops along classical lines until it is combined with a full recapitulation of Luther's chorale. A faster coda, based on Variation I, closes the work.