Roman Canticle 莫,尼可拉斯 頌歌

夫的《羅馬詠歎調》以 "坎帕尼亞的兩個人 "為題，在長笛、中提琴和豎琴的標準三重奏（德彪西在 1917 年的奏鳴曲中曾使用過這一樂器組合）中加入了歌聲，因其 "和聲的雄辯和節奏的狂熱 "而被《泰晤士報》選為佳作。莫氏從勃朗寧著名的晦澀難懂的詩句中提煉出親切、抒情的聲樂線條，再次展現了其細膩、敏感的聲樂創作能力。輕快的器樂段落讓人聯想到陽光明媚的義大利風情，同時又不乏對過去事物的強烈渴望。 在作品的最後時刻，莫爾的後浪漫主義語言--聲樂和長笛在輔音豎琴和絃的襯托下表現力十足--完美地襯托了勃朗寧的詩句，表達了人類愛情的無形性、'無限的激情和有限的心靈渴望的痛苦'"

作曲家: Maw, Nicholas
樂器: Medium Voice, Flute, Viola, Harp
出版社: Faber Music
原文簡介:
Subtitled ‘Two in the Campagna’, Maw’s Roman Canticle adds voice to the standard trio of flute, viola and harp (the instrumental combination used by Debussy in his 1917 Sonata) and was singled out by The Times for its ‘harmonic eloquence and rhythmic fervour’. Sculpting gracious, lyrical vocal lines from Browning’s famously unwieldy verse, Maw is once again shown to be a subtle and sensitive vocal writer. Light and breezy instrumental passages evoking sunny Italian climes rub shoulders with moments of intense, often yearning longing for something past. In the work’s final moments Maw’s post-romantic language – voice and flute snagging expressively against consonant harp chords – proves the perfect foil to Browning’s poem, which expresses the intangibility of human love, the ‘infinite passion and the pain of finite hearts that yearn’. 'Maw’s harmonic eloquence and rhythmic fervour crystallize the initial agitation to become a flowing vocal line coloured by the writing for flute, viola and harp, the words borne aloft like a continuation of the musical idea and resolved into the gentlest of instrumental postludes.' The Times (Noël Goodwin), 6th November 1989