Symphony No. 4 麦克米伦．詹姆士 交响曲 总谱 博浩版

与麦克米伦的前三部交响曲不同，《第四交响曲》（2014-15）基本上是抽象的。从 17 世纪初的蒙特威尔第到当今的布列兹和伯特威斯尔，他对音乐作为仪式的迷恋一直延续至今，在这里，他对不同类型材料的相互作用感兴趣。这部作品有四个不同的原型，可以被视为运动、劝诫、请愿和欢乐的仪式。这也是对文艺复兴时期最重要的苏格兰作曲家罗伯特-卡弗（Robert Carver，约 1487-1566 年后）的致敬。交响曲中蕴含着卡弗的十声部弥撒曲《Dum sacrum mysterium》的典故，在一些地方，它以一种更清晰的形式跨越世纪出现：声部线条被压低和消音，在中提琴、大提琴和低音提琴的后台上细腻地演奏，简直就像在远方

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

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

原文简介:
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.