SKU: BT.AMP-396-030
9x12 inches. English-German-French-Dutch.
Hava Nagila (the title means ‘let us rejoice’) is perhaps the best known example of a style of Jewish music called ‘klezmer’. Klezmer music originated in the ‘shtetl’ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ‘klezmorim’, had performed at celebrations, particularly weddings, since the early Middle Ages.‘Klezmer’ is a Yiddish term combining the Hebrew words ‘kley’ (instrument) and ‘zemer’ (song) and the roots of the style are found in secular melodies, popular dances, Jewish ‘hazanut’ (cantorial music) and also the ‘nigunim’, the wordless melodies intoned by the ‘Hasidim’ (orthodox Jews).Since the 16th century, lyrics hadbeen added to klezmer music, due to the ‘badkhn’ (the master of ceremony at weddings), to the ‘Purimshpil’ (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. The melody of Hava Nagila was adapted from a folk dance from the Romanian district of Bucovina. The commonly used text is taken from Psalm 118 of the Hebrew bible. Hava Nagila (de titel betekent ‘laat ons gelukkig zijn’) is misschien wel het bekendste voorbeeld van klezmer, een Joodse muziekstijl.De klezmermuziek komt van oorsprong uit de sjtetls (dorpen) en de getto’s van Oost-Europa, waar rondtrekkende Joodse troubadours, bekend als klezmorim, al sinds de middeleeuwen hadden opgetreden bij feestelijkheden, en dan met name bruiloften.Klezmer is een Jiddische term waarin de Hebreeuwse woorden kley (instrument) en zemer (lied) zijn samengevoegd. De wortels van de stijl liggen in wereldlijke melodieën, volksdansen, de joods-liturgische hazanut en ook de nigunim, de woordeloze melodieën zoals die worden voorgedragen doorchassidische (orthodoxe) joden.Sinds de 16e eeuw zijn er aan de klezmermuziek ook teksten toegevoegd, dankzij de badchen (de ceremoniemeester bij huwelijken), het poerimspel (het verhaal van Esther tijdens Poerim/het Lotenfeest) en tradities binnen het Jiddische theater, maar de term werd geleidelijk synoniem aan instrumentale muziek met een hoofdrol voor de viool en klarinet.De melodie van Hava Nagila is afkomstig van een volksdans uit de Roemeense regio Boekovina. De meest gebruikte tekst voor het lied kom uit psalm 118 van de Hebreeuwse Bijbel. Hava Nagila (auf Deutsch ‚Lasst uns glücklich sein’) ist vielleicht das bekannteste Beispiel für den jüdischen Musikstil namens ‚Klezmer’. Klezmermusik hat ihren Ursprung in den Shtetls“ (Städtchen) und den Ghettos Osteuropas, woumherziehende jüdische Troubadours, die man ‚Klezmorim’ nannte, schon seit dem frühen Mittelalter auf Feiern, vor allem Hochzeiten, zu spielen pflegten. Klezmer ist ein jiddischer Begriff, der sich aus den hebräischen Wörtern ‚kley’(Instrument) und ‚zemer’ (Lied) zusammensetzt. Die Wurzeln des Musikstils liegen in weltlichen Melodien, populären Tänzen, jüdischem ‚Chasanut’ (Kantorengesang) und auch ‚Niggunim’, Melodien ohne Text, vorgetragen von den‚Chassidim’ (orthodoxen Juden). Seit dem 16. Jahrhundert wurden die Klezmermelodien mit Texten versehen, was auf die ‚Badchan’ (Zeremonienmeister bei Hochzeiten), auf das ‚Purimshpil’ (Das Esther-Spiel zum Purimfest) und aufTraditionen des jiddischen Theaters zurückgeht. Der Begriff Klezmer wurde jedoch mit der Zeit gleichbedeutend mit Instrumentalmusik, im Besonderen mit den Instrumenten Violine und Klarinette. Die Melodie von Hava Nagila ist eine Adaption einesVolkstanzes aus der rumänischen Bukowina. Der üblicherweise verwendete Text stammt aus Psalm 118 der hebräischen Bibel. Hava Nagila (qui signifie Réjouissons-nous) est sans aucun doute la chanson traditionnelle hébra que de style klezmer la plus connue de toutes.La musique klezmer est née dans les shtetl (villages) et les ghettos d’Europe de l’Est, où les baladins juifs ambulants, appelés klezmorim, célébraient toutes sortes de cérémonies, en particulier les mariages, et ce depuis le début du Moyen- ge.Le terme yiddish klezmer est la combinaison de deux mots : klei, que l’on peut traduire par instrument et zemer qui veut dire chanson. Cette tradition musicale tire ses origines dans les mélodies profanes, les danses populaires, la musique juive hazanout (musique vocale) ainsi que les nigunim,les mélodies sans paroles entonnées par les hassidim (juifs orthodoxes).Au cours du XVIe siècle, les paroles ont été ajoutées la musique klezmer, afin d’illustrer le rôle du badkhn (le maître de cérémonie lors des mariages), le pourim-shpil (monologue où est paraphrasé le livre d’Esther) ou encore les traditions liées au thé tre yiddish, mais le terme est progressivement devenu synonyme de musique instrumentale, en particulier dans une interprétation au violon et la clarinette.La mélodie Hava Nagila a été adaptée partir d’une danse folklorique de la région roumaine de Bucovine. Le texte, couramment utilisé, est extrait du Psaume 118 de la bible hébra que.
SKU: BT.AMP-396-130
SKU: LO.99-3916MD
UPC: 000308150865.
Performance/accompaniment CD for Let Us Rejoice, Christ is Born! (10/2176MD) Written in 6/8 time, this Christmas selection is easy to learn and destined to become a choir favorite. Featuring a melody that will stick with listeners long after leaving the worship space, it is sure to be a memorable performance. Add the optional full orchestra for an unforgettable experience.
SKU: CF.CM9580
ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
SKU: LO.30-3605MD
UPC: 000308150858.
Orchestral Score and Parts for Let Us Rejoice, Christ is Born! (10/5176MD) Written in 6/8 time, this Christmas selection is easy to learn and destined to become a choir favorite. Featuring a melody that will stick with listeners long after leaving the worship space, it is sure to be a memorable performance. Add the optional full orchestra for an unforgettable experience.
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