4 Hymns : Ralph Vaughan Williams

Titel (DE): Four Hymns HPS 1516 - Orchestral version
Titel (EN): Four Hymns HPS 1516 - Orchestral version
Titel (FR): Four Hymns HPS 1516 - Orchestral version
Komponist / Composer: Vaughan Williams, Ralph
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: Tenor, Viola und Streichorchester / tenor, viola and string orchestra
Besetzungsdetails:
Kompositionsjahr / Date of Composition: 1914
Aufführungsdauer / Duration: 17'
Verlag / Publisher: Boosey & Hawkes
Erscheindungsdatum / Date of Publishing: 23.03.2015
Ausgabe / Publication: Studienpartitur - Study score -
- - -
Seiten / Pages: 56
Verarbeitung: Rückendrahtheftung - Saddle-wire stitching
Schwierigkeitsgrad / Difficulty: fortgeschritten - schwer - advanced - difficult - avancé - difficile
Sprache / Language: Englisch
Reihe / Series: Hawkes Pocket Scores
ISMN: M-060-12666-6
ISMN-13: 979-0-060-12666-6
ISMN-EAN: 9790060126666
UPC: 888680095734

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, 16741748) is a dialogue for the tenor and viola about divine love. As described by Christopher Palmer, Come Love, come Lord' (Richard Crashaw, c161349) 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.

Lord! come away! (Taylor) - Who is this fair one? (Watts) - Come Love, come Lord (Crashaw) - Evening Hymn (Bridges)

[FR]
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, 16741748) is a dialogue for the tenor and viola about divine love. As described by Christopher Palmer, Come Love, come Lord' (Richard Crashaw, c161349) 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.

Lord! come away! (Taylor) - Who is this fair one? (Watts) - Come Love, come Lord (Crashaw) - Evening Hymn (Bridges)