04-日本巴赫乐团《巴赫路德派弥撒曲第二辑》 2016年 Hi-Res 24B - 96.0kHz

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艺人：日本巴赫乐团、铃木雅明
专辑名称：《巴赫：路德派弥撒曲第二辑》
发行年份：2016年
厂牌：BIS
音乐类型：古典音乐
音质：FLAC无损格式 / FLAC 24比特 - 96.0千赫兹 + 小册子
总时长：1小时11分32秒
总大小：349兆字节 / 1.25吉字节
网站：专辑预览

曲目列表
01. 巴赫 A大调路德派弥撒曲，BWV 234 垂怜经（合唱）
02. 巴赫 A大调路德派弥撒曲，BWV 234 荣耀经（合唱）
03. 巴赫 A大调路德派弥撒曲，BWV 234 主，天主（男低音）
04. 巴赫 A大调路德派弥撒曲，BWV 234 除免世罪者（女高音）
05. 巴赫 A大调路德派弥撒曲，BWV 234 因为唯有你是圣的（女低音）
06. 巴赫 A大调路德派弥撒曲，BWV 234 与圣神同在（合唱）
07. 巴赫 F大调路德派弥撒曲，BWV 233 垂怜经（合唱）
08. 巴赫 F大调路德派弥撒曲，BWV 233 荣耀经（合唱）
09. 巴赫 F大调路德派弥撒曲，BWV 233 主，天主（男低音）
10. 巴赫 F大调路德派弥撒曲，BWV 233 除免世罪者（女高音）
11. 巴赫 F大调路德派弥撒曲，BWV 233 因为（女低音）
12. 巴赫 F大调路德派弥撒曲，BWV 233 与圣神同在（合唱）
13. 佩兰达 A小调弥撒曲 垂怜经
14. 佩兰达 A小调弥撒曲 荣耀经

在巴赫所处的时代，宗教改革从根本上改变了传统的教堂礼拜形式，在德国的教堂里，拉丁语已被本国语言所取代。然而，在一定程度上，拉丁语的弥撒文本在新教教堂音乐中仍然被使用，尤其是在“垂怜经”和“荣耀经”部分。尽管不完整，这种弥撒曲形式被称为“弥撒”；如今，这些作品常被称为“路德派弥撒曲”。巴赫著名的《B小调弥撒曲》后来扩充成了一部完整的弥撒曲，最初就是以这种形式存在的，此外还有四首巴赫创作的同类型作品留存了下来。此前发行的《G小调弥撒曲》和《G大调弥撒曲》（BWV 235和236）让《留声机》和《唱片论坛》的乐评人热切期待后续作品，而日本巴赫乐团和铃木雅明没有让他们久等。与其他相关作品一样，这里录制的两首路德派弥撒曲大量运用了巴赫早期的创作，其中包括对康塔塔中的咏叹调和合唱曲的改编，但这四首弥撒曲各自都有着鲜明的艺术特色。这张唱片最值得注意的细节在于乐器的编排，巴赫在BWV 234中选用了长笛，在BWV 233中选用了圆号和双簧管，这为每部作品增添了独特的个性。在为教堂礼拜创作音乐的过程中，巴赫也演奏其他作曲家的作品，其中包括马尔科·朱塞佩·佩兰达，他的《垂怜经 - 荣耀经》弥撒曲作为这张唱片的收尾。佩兰达出生于1625年，在罗马接受训练，从17世纪50年代起在德累斯顿宫廷教堂任职，直至1675年去世。现存有巴赫手抄的佩兰达精彩的对位法作品《A小调弥撒曲》的部分内容，很可能巴赫在莱比锡时期的后期曾演奏过这部作品。


Artist: Bach Collegium Japan, Masaaki Suzuki
Title: Bach: Lutheran Masses II
Year Of Release: 2016
Label: BIS
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:11:32
Total Size: 349 mb / 1.25 gb
WebSite: Album Preview

Tracklist

01. Bach Lutheran Mass in A major, BWV 234 Kyrie (Chorus)
02. Bach Lutheran Mass in A major, BWV 234 Gloria (Chorus)
03. Bach Lutheran Mass in A major, BWV 234 Domine Deus (Bass)
04. Bach Lutheran Mass in A major, BWV 234 Qui tollis peccata mundi (Soprano)
05. Bach Lutheran Mass in A major, BWV 234 Quoniam tu solus sanctus (Alto)
06. Bach Lutheran Mass in A major, BWV 234 Cum Sancto Spiritu (Chorus)
07. Bach Lutheran Mass in F major, BWV 233 Kyrie (Chorus)
08. Bach Lutheran Mass in F major, BWV 233 Gloria (Chorus)
09. Bach Lutheran Mass in F major, BWV 233 Domine Deus (Bass)
10. Bach Lutheran Mass in F major, BWV 233 Qui tollis (Soprano)
11. Bach Lutheran Mass in F major, BWV 233 Quoniam (Alto)
12. Bach Lutheran Mass in F major, BWV 233 Cum Sancto Spiritu (Chorus)
13. Peranda Missa in A minor Kyrie
14. Peranda Missa in A minor Gloria


By Bach's time, the traditional forms of church service had been fundamentally altered by the Reformation, and in German churches Latin had yielded to the country's own language. To an extent, however, the Latin mass text did remain in use in Protestant church music in particular the Kyrie and Gloria sections. Albeit incomplete, this form of mass setting was termed Missa; nowadays the pieces are often referred to as 'Lutheran Masses'. Bach's famous Mass in B minor, later expanded into a complete mass, began its existence as a work of this kind, and four other examples from Bach's pen have survived. The recent release of the Missae in G minor and G major (BWV 235 and 236) caused the reviewers in Gramophone and Fono Forum to eagerly look forward to the sequel, and Bach Collegium Japan and Masaaki Suzuki have not kept them waiting. Like their companion works, the two Lutheran Masses recorded here make extensive use of earlier compositions by Bach and include reworkings of arias and choruses from cantatas, but each of the four masses also has its own unmistakable artistic profile. The most telling detail on the present disc is the instrumentation, where Bachs choice of flutes in BWV 234 and of horns and oboes in BWV 233 contributes to the individual character of each work. In his task of supplying the music for church services Bach also performed music by other composers, among them Marco Gioseppe Peranda whose Kyrie-Gloria mass closes the disc. Born in 1625, Peranda trained in Rome, and was active in the Dresden Hofkapelle from the 1650s until his death in 1675. Copies in Bachs hand of parts of Perandas splendidly contrapuntal Missa in A minor exist, and it is likely that Bach performed the work during the latter part of his Leipzig period.

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