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原文

John Tavener. The Myrrh-Bearer. Score. Sheet Music. Percussion, Viola, SATB, Score. PERC. VLA. SATB. SCORE. John Tavener.

译文

约翰Tavener. 没药，承载. 得分. 乐谱. 打击乐，中提琴，SATB，分数. PERC. VLA. SATB. SCORE. 约翰Tavener.

原文

This work for viola, chorus and percussion was commissioned by the London Symphony Chorus, and was first performed in October 1994 at the Barbican Hall, London by Yuri Bashmet and the London Symphony Chorus conducted by Stephen Westrop. The remarkable text of the Troparion, written by the great Byzantine poetess-nun Cassiana, was the inspiration of The Myrrh-Bearer. The text informed the architecture of the music. The viola solo represents Mary Magdalen, as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends. In The Myrrh-Bearer the Chorus symbolises ‘us’, the ‘sins of the world’, from ‘stylized dictatorships’ to ‘the frivolous inane escapist vanities of the world,’ the to cries of ‘help’ after the cosmic catastrophe, and finally reaching an apocalyptic climax in the words, ‘We have no king by Caesar. ’ a downright condemnation of God in the Earthly power. In a surreal way the Magdalen’s ‘sin’ shines through in the viola music, because she recognises the Godhead, and the endless ‘Kyrie eleison’ chanted by the semi-chorus represents her repentance and whatever is left of a ‘repentant’ world. The Myrrh-Bearer explores the whole range of the viola, climbing from the depths up to the highest notes, and then falling again at the end, after the Magdalen’s recognition of the Risen Christ – ‘Rabboni. The last stroke of the gong in the viola’s final bottom C, gives a deliberately ominous end to the piece. This is a special item which is made to order. Please e-mail our Mail Order Department for further information.

译文

这项工作为中提琴，合唱团和打击乐委托伦敦交响乐团合唱团，并于1994年10月在巴比肯音乐厅，伦敦尤里·巴什梅特和伦敦交响乐团合唱团由斯蒂芬Westrop进行了第一次演出. 该Troparion的显着文字，写的伟大拜占庭女诗人，尼姑Cassiana，是没药，承载的启示. 文本通知音乐的结构. 中提琴独奏代表玛丽·抹大拉，为大提琴独奏代表上帝的母亲上的保护面纱. 这是在两片之间的相似性端. 在没药，承载的合唱象征'我们'，将'罪恶的世界“，从”程式化独裁“到”世界的轻浮空洞逃避现实的虚荣“的以”帮助“宇宙大灾难后的哭声，和最终达成的话世界末日的高潮，“我们有凯撒没有王. 上帝在尘世权力“一个彻头彻尾的谴责. 在一个超现实的方式抹大拉的“罪”闪耀通过中提琴音乐，因为她认识了神，和无尽的“垂怜”由半合唱高喊代表她的忏悔和无论是留下了“忏悔”的世界. 没药，承载探讨中提琴的整个范围，从深处爬到最高音符，然后在年底再次走低，莫德林承认复活的基督之后 - “拉波尼. 在中提琴的最终底部C中的锣的最后一搏，给人以刻意不祥结束件. 这是被定做一个特殊项. 请发邮件给我们邮购部了解更多信息.