Four Hymns Orchestral version 沃恩．威廉斯 讚美歌 總譜 博浩版

四首讚美詩》與《五首神秘之歌》（1911 年）風格相似，但規模更小、更親切。這四首讚美詩與《湯瑪斯-塔利斯主題幻想曲》一起構成了一系列作品，顯示出強烈的神秘感和冥想內容。第一首讚美詩 "主啊！請離開！"採用了有力的珀塞爾式朗誦，以傑瑞米-泰勒主教的《金色叢林》（17 世紀）中的棕枝主日經文為背景。這美麗的人是誰？"（以撒-瓦茨，1674-1748 年）是男高音和中提琴的對話，講述的是神聖的愛。正如克里斯多夫-帕爾默（Christopher Palmer）所描述的，《來吧，愛，來吧，主》（理查-克拉肖，約 1613-49 年）"透出一種神秘遙遠的精神，這種精神後來成為《田園交響曲》的靈感來源"。最後一首 "黃昏讚美詩 "是羅伯特-布裡奇斯（Robert Bridges）從四世紀前的希臘文翻譯而來，以其在鐘聲般的低音大調上的協奏技巧而著稱。四首讚美詩》也有男高音、中提琴和鋼琴版本（979-0-060-02852-6），樂譜（978-0-85162-908-7）可作為管弦樂版本的聲樂樂譜。然而，管弦樂版的中提琴獨奏部分與鋼琴版的中提琴獨奏部分不相容

作曲家: Vaughan Williams, Ralph
樂器: tenor, viola and string orchestra
出版社: Boosey & Hawkes

曲目:
Lord! come away! (Taylor) - Who is this fair one? (Watts) - Come Love, come Lord (Crashaw) - Evening Hymn (Bridges)

原文簡介:
The Four Hymns are in similar vein to the Five Mystical Songs (1911) although on a smaller and more intimate scale. Together with the Fantasia on a Theme of Thomas Tallis these form a succession of works displaying a strong mystical, meditative content. The first of the hymns, ‘Lord! come away!’, employs vigorous Purcellian recitative in a setting of a Palm Sunday text from Bishop Jeremy Taylor’s Golden Grove (17th century). ‘Who is this fair one?’ (Isaac Watts, 1674–1748) is a dialogue for the tenor and viola about divine love. As described by Christopher Palmer, ‘Come Love, come Lord’ (Richard Crashaw, c1613–49) “breathes that spirit of mystical remoteness later to inform A Pastoral Symphony”. The final ‘Evening Hymn’ is a radiant setting of a translation from pre-4th century Greek by Robert Bridges, notable for its contrapuntal expertise over a bell-like basso ostinato. Four Hymns is also available in the version for tenor, viola & piano (979-0-060-02852-6), and the score (978-0-85162-908-7) serves as the vocal score for use with the orchestral version. However, the solo viola part of the orchestral version is incompatible with that for the piano version.Suitable for advanced standard performers.