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原文

Cantata misericordium, Op. 69. Benjamin Britten. Choir sheet music.

译文

大合唱misericordium，作品。 69. 本杰明·布里顿. 合唱乐谱.

原文

Cantata misericordium, Op. 69. 1963. Choral Score. Composed by Benjamin Britten. 1913-1976. For Choral, Chorus, Orchestra. CHORAL SCORE. BH Large Choral. 22 pages. Boosey & Hawkes #M060014062. Published by Boosey & Hawkes. HL.48008890. for tenor and baritone solos, small chorus and string quartet, string orchestra, piano, harp and timpani. Text. In Latin by Patrick Wilkinson. Publisher. Boosey & Hawkes. Difficulty level. chorus parts. This work is a different as chalk from cheese from the Cantata academica. Here is a searingly beautiful work which presses all Britten's sympathetic buttons. It was composed for the centenary of the Red Cross and first performed in Geneva on 1 September 1963 conducted by Ernest Ansermet. Britten worked with his librettist, Patrick Wilkinson, to create a dramatic scena around the parable of the Good Samaritan. How appropriate this was for the organisation whose work it was intended to celebrate. Wilkinson set it in Latin, giving the Cantata a timeless sense of the universality of the message the parable conveys. Britten's scoring further emphasises the intimacy of the work which has echoes of Saint Nicolas and the Ceremony of Carols in its use of the harp and piano. The separate string quartet, however, is the truly personal touch giving that powerful sense of looking in on a private conversation. The quartet begins the work with a contrapuntal figure which returns at key moments as a refrain or as a joining passage marking the arrival of a new potential source of help to the wounded man, and again at the end. This is a work which barely raises its voice. The emphasis is on compassion and not on the violence done to the traveller who was so badly injured and so callously ignored by the priest and the Levite who passed by. This Cantata immediately followed the composition of the War Requiem, and Owen's pity and waste of war is at the heart of this new work which could have painted a very different picture of righteous indignation or the fighting which would leave the traveller broken by the wayside. The end of the work also has strong resonance with the War Requiem when the Samaritan has taken the traveller to recover in a local inn and says. 'sleep now, my friend, sleep. forget your injuries. ' Britten has achieved a remarkable effect in this work. It leaves an indelible impression on its listeners and, like all stories designed to demonstrate a moral, sends one away intent on being a better person. The choral parts of the Cantata misericordium are quite challenging, though not in the league of Sacred and Profane or A Boy was Born. What is essential in performing this work ,however, is that the choral parts should be so well sung that the gentle nature of the work is not disturbed by obviously problematic passages for choir. The whole concentration should be on the message, as Britten intended. It is the moral of the tale and not its means of communication which is paramount. Duration. 20 minutes. Paul Spicer, Lichfield, 2011.

译文

大合唱misericordium，作品。 69. 1963. 合唱得分. 由本杰明·布里顿组成. 1913-1976. 对于合唱团，合唱团，管弦乐团. 合唱分数. BH大型合唱. 22页. Boosey & Hawkes #M060014062. 出版布西. HL.48008890. 为男高音和男中音独唱，小合唱以及弦乐四重奏，弦乐团，钢琴，竖琴，定音鼓. 文本. 在拉丁美洲由帕特里克·威尔金森. 发行人. 布西. 难度等级. 合唱部分. 这项工作是一个不同的粉笔从奶酪从大合唱Academica旅游. 这里是一个searingly美丽的作品按所有布里顿的同情按钮. 它是由红十字会一百周年，并首次在日内瓦进行的1963年9月1日由欧内斯特·安塞美进行. 布里顿曾与他的编剧，帕特里克·威尔金森，围绕创建好撒玛利亚人的比喻戏剧性SCENA. 如何适当，这是该组织的工作它的目的是庆祝. 威尔金森将其设置在拉丁美洲，给大合唱永恒消息的普遍性意义上的比喻传达. 布里顿的得分进一步强调有圣尼古拉的回声和颂歌仪式在其使用的竖琴和钢琴作品的亲密关系. 单独的弦乐四重奏，但是，是真正的个人风格赋予该强大的期待在一次私人谈话感. 四方开展工作以对位的数字，在关键时刻，在最后返回的副歌或作为加盟通道标记的帮助了新的潜在来源为受伤的人的到来，并再次. 这是一个工作的几乎没有提高它的声音. 重点是同情，而不是做给谁是如此严重受伤，所以无情地忽视了祭司和利未人谁通过了旅客暴力. 这个大合唱紧接着战争安魂曲的组成，以及欧文的怜悯和战争的浪费是在这里面可能有画义愤或将离开的手下败将打破了旅客的战斗中非常不同的图片新作的心脏. 这项工作的结束也与战争安魂曲强烈的共鸣，当撒玛利亚采取了旅客来恢复在当地一家小酒店，并说. “睡眠现在，我的朋友，睡眠. 忘记你的伤害. “布里顿曾在这项工作中取得了显着的效果. 它的叶子上它的听众了不可磨灭的印象，就像旨在展示一个道德的所有故事，发送一个离开的意图上是一个更好的人. 大合唱misericordium的合唱部分是相当具有挑战性，虽然不是在神圣与世俗的联赛还是一个男孩诞生. What is essential in performing this work ,however, is that the choral parts should be so well sung that the gentle nature of the work is not disturbed by obviously problematic passages for choir. 整个浓度应在邮件上，作为布里顿意. 它是道德的故事，而不是它的通信方式是最重要的. 长短. 20分钟. 保罗·斯派塞，利奇菲尔德，2011.