Four Hymns Orchestral version 沃恩．威廉斯 赞美歌 总谱 博浩版

四首赞美诗》与《五首神秘之歌》（1911 年）风格相似，但规模更小、更亲切。这四首赞美诗与《托马斯-塔利斯主题幻想曲》一起构成了一系列作品，显示出强烈的神秘感和冥想内容。第一首赞美诗 "主啊！请离开！"采用了有力的珀塞尔式朗诵，以杰里米-泰勒主教的《金色丛林》（17 世纪）中的棕枝主日经文为背景。这美丽的人是谁？"（艾萨克-瓦茨，1674-1748 年）是男高音和中提琴的对话，讲述的是神圣的爱。正如克里斯托弗-帕尔默（Christopher Palmer）所描述的，《来吧，爱，来吧，主》（理查德-克拉肖，约 1613-49 年）"透出一种神秘遥远的精神，这种精神后来成为《田园交响曲》的灵感来源"。最后一首 "黄昏赞美诗 "是罗伯特-布里奇斯（Robert Bridges）从四世纪前的希腊文翻译而来，以其在钟声般的低音大调上的协奏技巧而著称。四首赞美诗》也有男高音、中提琴和钢琴版本（979-0-060-02852-6），乐谱（978-0-85162-908-7）可作为管弦乐版本的声乐乐谱。然而，管弦乐版的中提琴独奏部分与钢琴版的中提琴独奏部分不兼容

作曲家: Vaughan Williams, Ralph
乐器: 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)

原文简介:
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.