ABSTRACT The myth of Mordecai Seter (1916–94) as “a composers’ composer,” based on his abstract late style, ignores the exceptional public success of Seter’s magnum opus—the oratorio Tikkun Ḥatzot (Midnight Vigil, 1961), for which Seter, one of the Israeli Five, received public and critical acclaim and prominent national and international awards. The accessibility and resulting popularity of Midnight Vigil creates a contrasting myth. The oratorio draws on traditional Jewish-Yemenite materials and Western compositional techniques, and celebrates the national Zionist narrative of destruction, exile, and redemption. Ample primary sources present the Midnight Vigil as a national treasure, and oppose the image of the composer as the “Hidden Seter.”

中文翻译：

---

Mordecai Seter 的午夜守夜（Tikkun Ḥatzot，1961）：解构以色列主义、民族和传记神话

摘要 Mordecai Seter（1916-94）作为“作曲家的作曲家”的神话，基于他抽象的晚期风格，忽略了 Seter 的代表作——清唱剧 Tikkun Ḥatzot（午夜守夜，1961）在公众中取得的非凡成功，为此 Seter ，以色列五人之一，获得了公众和评论界的赞誉以及突出的国家和国际奖项。Midnight Vigil 的可访问性和由此产生的受欢迎程度创造了一个对比鲜明的神话。清唱剧借鉴了传统的犹太-也门材料和西方的作曲技巧，颂扬了民族犹太复国主义关于毁灭、流放和救赎的叙事。充足的原始资料将午夜守夜视为国宝，并反对作曲家作为“隐藏的二传手”的形象。