Symphony No. 4 麥克米倫．詹姆士 交響曲 總譜 博浩版

與麥克米倫的前三部交響曲不同，《第四交響曲》（2014-15）基本上是抽象的。從 17 世紀初的蒙特威爾第到當今的布列茲和伯特威斯爾，他對音樂作為儀式的迷戀一直延續至今，在這裡，他對不同類型材料的相互作用感興趣。這部作品有四個不同的原型，可以被視為運動、勸誡、請願和歡樂的儀式。這也是對文藝復興時期最重要的蘇格蘭作曲家羅伯特-卡弗（Robert Carver，約 1487-1566 年後）的致敬。交響曲中蘊含著卡弗的十聲部彌撒曲《Dum sacrum mysterium》的典故，在一些地方，它以一種更清晰的形式跨越世紀出現：聲部線條被壓低和消音，在中提琴、大提琴和低音提琴的後臺上細膩地演奏，簡直就像在遠方

作曲家: MacMillan, James
樂器: orchestra
出版社: Boosey & Hawkes

曲目:
Composer's note - Anmerkung des Komponisten - Note du compositeur - Instrumentation - Symphony No. 4

原文簡介:
Unlike MacMillan’s first three symphonies Symphony no 4 (2014–15) is essentially abstract. Here he is interested in the interplay of different types of material, following upon a fascination with music as ritual that has stretched from Monteverdi in the early 17th century through to Boulez and Birtwistle in the present day. There are four distinct archetypes in this work, which can be viewed as rituals of movement, exhortation, petition and joy. It is also a homage to Robert Carver (c1487–after 1566), the most important Scottish composer of the High Renaissance. There are allusions to Carver’s 10-voice Mass Dum sacrum mysterium embedded in the symphony, and at a number of points it emerges from across the centuries in a more discernible form: the vocal lines are muted and muffled, literally in the distance, as they are played delicately by the back desks of the violas, cellos and double basses.