| 作曲者 | David Maslanka（デイヴィッド・マスランカ） |
| シリーズ | 輸入オリジナル |
| 編成概要 | 吹奏楽 |
| 解説 | The music of American composer David Maslanka is familiar to many wind band conductors. His symphonies as well as the landmark 1981 composition A Child’s Garden of Dreams， among others， have established his work as a major component of the standard repertoire for the ensemble. His music is particularly influenced by a focus on spirituality， frequently of varied origin， and the quotation of other musical works within his own. Many of his works make reference to the four-part chorales of Johann Sebastian Bach， although he incorporates a huge variety of others as well from folk songs to American spirituals to commercial jingles. In the case of his 2010 work Liberation， he reaches back further into the ancient world of monophonic plainchant. The source for the text is a responsorial chant that owes its origins to the celebration of Matins， but in contrast to that celebration of birth and optimism， the “Libera Me” text used in Liberation is one that is sternly reflective upon the death and the eternity of the afterlife. Libera me， Domine， de morte terna， in die illa tremenda.Deliver me， O Lord， from death eternal on that fearful day， Quando c li movendi sunt et terra.When the heavens and the earth shall be moved， Dum veneris iudicare s culum per ignem.When thou shalt come to judge the world by fire. Tremens factus sum ego， et timeo， dum discussio venerit， atque ventura ira.I am made to tremble， and I fear， till the judgment be upon us， and the coming wrath， Quando c li movendi sunt et terra.When the heavens and the earth shall be moved. Dies illa， dies ir ， calamitatis et miseri ， dies magna et amara valde.That day， day of wrath， calamity and misery， day of great and exceeding bitterness， Dum veneris iudicare s culum per ignem.When thou shalt come to judge the world by fire. Requiem ternam dona eis， Domine: et lux perpetua luceat eis.Rest eternal grant unto them， O Lord: and let light perpetual shine upon them. After a brief introduction with a fivefold chiming of bells， the chant begins in earnest. Dr. Maslanka retains an element of performance practice within the Gregorian chant by using a host of mixed and asymmetric meters during the singing， imitating the free neumatic style present in the original. This chant is presented over the course of the work in three major sections， sung by the ensemble in unison octaves and delineating the larger formal structure of both the source text and the musical events， which mimic the contextual meaning of the words. For instance， the phrase， “Dum veneris judicare s culum per ignem” (“When thou shalt come to judge the world by fire”)， immediately precedes an upward scalar rippling in the woodwinds that becomes sequentially more intense as it repeats， like the flickering of flames consuming an object. Brash fanfares then exclaim the implied fearfulness and wrath. The first of two interludes takes some of these fanfare motives and develops them joyfully， with robust rhythmic energy in statements by the oboe， soprano saxophone， and flute， but this eventually dissipates into the trembling of “Tremens factus….” In this second section， as the ensemble resumes the text， more of the instrumentalists are drawn to join and imitate their chanting (the notable outlier being the trumpets， who bark out an angrily dissonant interjection accompanying the words “calamitatis et miseri ” (“calamity and misery”). The repetition of “Dum veneris” is not explicitly sung， but implied through the continuing chant-like melody of the tutti winds before the flames take hold once more. The final section mourns， but with a sense of tranquility. The texture here is sparsely barren with the orchestration of the coda stripped down to two quartets (the first: flute， alto flute， clarinet， and bass clarinet; the second: alto saxophone， contrabass， piano， and vibraphone). This ending shows true hopefulness， with brief recollections of the earlier vitality serving as a nostalgic remembrance of the deceased. |
| 編成 | Flute (3) Flute 2 dbl Alto Flute Flute 3 dbl Piccolo Oboe (2) Clarinet in B♭ (3) Bass Clarinet in B♭ Contrabass Clarinet in B♭ Bassoon (2) Bassoon 2 dbl Contrabassoon Soprano Saxophone Alto Saxophone Tenor Saxophone Baritone Saxophone Horn in F (4) Trumpet in B♭ (3) Trombone (2) Bass Trombone Euphonium Tuba Double Bass Piano Timpani Required Percussion (6 parts) Vibraphone Crotales Orchestra Bells (2) Marimba Chimes Triangle (lg) Tuned Gongs (2) Snare Drum Xylophone Sizzle Cymbal Suspended Cymbal (lg) Sleigh Bells Gongs (3-med.， med. lg.， lg.) Tam-tam Toms (3-low， med.， high) Bass Drum Chorus The chorus part is a single-line Gregorian chant. It has been conceived as a men’s chorus， but can also be performed by women’s， mixed， or children’s chorus. If a separate chorus is not used， the chorus part should be sung by all members of the wind ensemble who are not otherwise playing. The chorus part has been written into instrumental parts. |