15-夏庞蒂埃：《有福的玛利亚》，三声部男声经文歌 2011 Hi-Res 24bits - 96.0kHz
艺术家：激情乐团，让-马克·安德里厄，樊尚·列夫尔-皮卡，塞巴斯蒂安·奥布雷什，让-马努埃尔·康德诺
标题：夏庞蒂埃：《有福的玛利亚》，三声部男声经文歌
发行年份：2011年
厂牌：利吉亚唱片
流派：古典
音质：无损弗拉科格式/24位-96.0千赫兹弗拉科格式+小册子
总时长：00:56:29
总大小：302兆字节/1.07吉字节
网站：专辑预览
曲目列表
01. 《圣母颂歌》，H.73
02. 《有福的玛利亚》，H.25
03. 《教堂序曲》，H.524
04. 《来吧，造物主》，H.54
05. 《前奏曲》，H.23a
06. 《圣母经》，H.23
07. 《向圣母致敬“今日救恩”》，H.340
08. 《前奏曲》，H.237a
09. 《和平升华“哦，仁慈的耶稣”》，H.237
10. 《“为安息”序曲》，H.523
11. 《赞美主》，H.159
12. 《圣母连祷》，H.84
《有福的玛利亚》主要由赞美圣母的声乐作品组成，以三位男声——假声男高音、男高音和男低音——为特色。这是一个极具吸引力的组合，而据知夏庞蒂埃本人有时也会演唱男高音部分，他深知如何让声线极具魅力。专辑开篇的《圣母颂歌》完美展现了他的技巧：采用一种常用的音乐形式——恰空舞曲，其和声进行（据作曲家所述）重复了89次，却通过对声部的创造性处理使其始终引人入胜。这部作品听起来既清新又新颖，同时让人联想到另外两首恰空舞曲：蒙特威尔第的牧歌《宁芙的哀叹》（其和声架构与之相仿），以及菲利普·格拉斯《圣雄甘地》开场场景中的男声三重唱（二者竟有惊人的预示感）。假声男高音樊尚·列夫尔-皮卡、男高音塞巴斯蒂安·奥布雷什和男低音让-马努埃尔·康德诺的嗓音悦耳流畅，非常适合夏庞蒂埃旋律中充沛的抒情性，三人的和声也十分和谐。声乐作品中穿插着夏庞蒂埃为礼仪用途创作的器乐音乐。早期音乐团体“激情乐团”的演绎注重法国巴洛克中期的音乐传统，弦乐演奏带有一种尖锐、近乎涩然的音色，可能不符合期待现代乐器温暖音色的听众的喜好。音高的真实性对于习惯了平均律的耳朵来说也可能是个障碍。不过，这张专辑应该会吸引巴洛克声乐爱好者，以及任何愿意探索巴洛克音高新颖性的听众。
Artist: Les Passions, Jean-Marc Andrieu, Vincent Lièvre-Picard, Sébastien Obrecht, Jean-Manuel Candenot
Title: Charpentier: Beata est Maria, motets pour trois voix d'hommes
Year Of Release: 2011
Label: Ligia
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 00:56:29
Total Size: 302 mb / 1.07 gb
WebSite: Album Preview
Tracklist
01. Magnificat, H.73
02. Beata est Maria, H.25
03. Ouverture pour l'église, H.524
04. Veni creator, H.54
05. Prélude, H.23a
06. Salve Regina, H.23
07. Ad Beatam Virginem "Hodie Salus", H.340
08. Prélude, H.237a
09. Elévation pour la paix "O bone Jesu", H.237
10. Ouverture "Pour un reposoir", H.523
11. Laudate Dominum, H.159
12. Litanies de la Vierge, H.84
Beata es Maria is made up primarily of vocal music in praise of the Virgin that features three men's voices, a counter tenor, tenor, and bass. It's an especially attractive ensemble, and Charpentier, who is known to have sometimes sung the tenor parts, knew how to make the vocal lines terrifically appealing. The Magnificat that opens the album beautifully illustrates his skill in taking a much-used convention - the chaconne, with a harmonic progression that (the composer reports) repeats 89 times - and keeping it endlessly intriguing with his inventive handling of the voices. The piece, while sounding fresh and original, calls to mind two other chaconnes, Monteverdi's madrigal, Lamento della Ninfa, whose harmonic scheme it follows, and the men's trio in the opening scene of Philip Glass' Satyagraha, which it almost spookily foreshadows. Counter tenor Vincent Lièvre-Picard, tenor Sébastien Obrecht and bass Jean-Manuel Candenot have pleasing, mellifluous voices well suited to the generous lyricism of Charpentier's melodies, and together they have a lovely blend. The vocal pieces are interspersed with instrumental music that Charpentier wrote for liturgical use. Early music ensemble Les Passions performs with attentiveness to the conventions of the French middle Baroque. The strings play with a tart, almost astringent tone that may not please listeners expecting the warmth of modern instruments. The authenticity of the tuning could also be a stumbling block for ears accustomed to equal temperament. The album should interest fans of Baroque vocal music, though, and any listeners willing to explore the novelty of Baroque tuning.
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