Roman Canticle 莫,尼可拉斯 颂歌

夫的《罗马咏叹调》以 "坎帕尼亚的两个人 "为题，在长笛、中提琴和竖琴的标准三重奏（德彪西在 1917 年的奏鸣曲中曾使用过这一乐器组合）中加入了歌声，因其 "和声的雄辩和节奏的狂热 "而被《泰晤士报》选为佳作。莫氏从勃朗宁著名的晦涩难懂的诗句中提炼出亲切、抒情的声乐线条，再次展现了其细腻、敏感的声乐创作能力。轻快的器乐段落让人联想到阳光明媚的意大利风情，同时又不乏对过去事物的强烈渴望。 在作品的最后时刻，穆尔的后浪漫主义语言--声乐和长笛在辅音竖琴和弦的衬托下表现力十足--完美地衬托了勃朗宁的诗句，表达了人类爱情的无形性、'无限的激情和有限的心灵渴望的痛苦'"

作曲家: Maw, Nicholas
乐器: Medium Voice, Flute, Viola, Harp
出版社: Faber Music
原文简介:
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