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艺术家：日本巴赫学会、铃木雅明
标题：日本巴赫学会、铃木雅明 J.S.巴赫：康塔塔，第41卷
发行年份：2008年
厂牌：BIS
流派：古典
音质：24位-44.1千赫兹FLAC/分轨FLAC
总时长：01:03:54
总大小：688兆字节/343兆字节
网站：专辑预览
曲目单
《我愿欣然背负十字架》，BWV 56（约翰·塞巴斯蒂安·巴赫）
1. 咏叹调：我愿欣然背负十字架（男低音） 06:46
2. 宣叙调：我在世上的行踪（男低音） 01:43
3. 咏叹调：最终，最终我的轭（男低音） 06:32
4. 宣叙调与咏叹调：我已准备就绪（男低音） 01:30
5. 众赞歌：来啊，死亡，你这睡眠的兄弟（合唱） 01:33
康塔塔，BWV 82（约翰·塞巴斯蒂安·巴赫）
6. 咏叹调：我已满足（女高音）卡罗琳·桑普森 06:38
7. 宣叙调：我已满足！我的安慰只在一处（女高音） 01:05
8. 咏叹调：沉睡吧，疲惫的双眼（女高音） 09:30
9. 宣叙调：我的神！那美好的时刻何时到来（女高音） 00:47
10. 咏叹调：我期待我的死亡（女高音） 03:29
《愿平安与你同在》，BWV 158（约翰·塞巴斯蒂安·巴赫）
11. 宣叙调：愿平安与你同在（男低音） 01:40
12. 咏叹调与众赞歌：世界，再见，我已厌倦你（男低音、女高音） 05:44
13. 宣叙调与咏叙调：主啊，现在求你掌管我的意念（男低音） 01:18
14. 众赞歌：看哪，这是真正的逾越羔羊（合唱） 01:12
《我对我的福分感到满足》，BWV 84（约翰·塞巴斯蒂安·巴赫）
15. 咏叹调：我对我的福分感到满足（女高音） 06:18
16. 宣叙调：神本不欠我什么（女高音） 01:27
17. 咏叹调：我喜乐地吃我的少量饼（女高音） 04:16
18. 宣叙调：在我脸上的汗水中（女高音） 00:59
19. 众赞歌：然而我在你里面活得满足（合唱） 01:27
表演者：
铃木雅明（羽管键琴）
卡罗琳·桑普森（女高音）
彼得·库伊（男低音）
日本巴赫学会
指挥：铃木雅明
铃木雅明推出的巴赫康塔塔全集第41卷现已面世，此卷专注于独唱作品。其中三部作品（BWV 56、82、84）创作于作曲家在莱比锡的第四年，即极为繁忙的一年内。这一时期共完成八首独唱与管弦乐康塔塔，此三首便在其中。最后一首BWV 158则独具特色，较难归类。
《我愿欣然背负十字架》（BWV 56）是诸多三一主日后康塔塔之一，聚焦基督徒生命中的受苦主题。歌词中有多处暗示性的“文字绘声”，如第二乐章中大提琴的音型象征基督徒的生命如航海之旅；最后一首宣叙调直接提及抵达安息的“港口”，其文本无疑与莱比锡会众产生了直接共鸣。
《我已满足》（BWV 82）是巴赫所有康塔塔中最受欢迎且著名的作品之一，作于1727年圣母献堂节（2月2日），被众多风格各异的艺术家多次录制。此处呈现的是E小调女高音版本，卡罗琳·桑普森以哀伤的表达与隐忍的气质演绎，我认为这一诠释几乎可与洛林·亨特·利伯森在Nonesuch唱片公司近期的录音相媲美。巴赫最初为次女高音构思此曲，因第一独奏部分使用中音谱号；后来他改变主意（及谱号）并采用低音线条，但后续抄本显示该作品可能也由女高音演唱，因女高音的E小调部分于1731年出现，且此女高音版本中原本为双簧管的助奏管乐部分改由长笛演奏。这便是此处使用的版本，尽管铃木在第38卷中也录制了低音版本。
《我对我的福分感到满足》（BWV 84）为七旬斋前第三主日（将临期前倒数第三个主日，自梵二会议后从罗马天主教会术语中剔除，仍在路德教会保留）而作，聚焦葡萄园工人的比喻（《马太福音》）。歌词语言直接而生动，音乐则柔和如舞曲，尤其值得注意的是第二首咏叹调中小提琴与双簧管的相互呼应。
《愿平安与你同在》（BWV 158）的起源颇具争议，因仅存18世纪晚期的抄本。它似乎是为复活节星期二与圣母献堂节而作，但歌词却在同一作品中提及这两个节庆，很可能由巴赫之后的编者汇编而成，显然未多加留意。第二乐章中女高音与男低音的呼应式模仿对话，成为这部独特且优美作品的有趣亮点。
此系列的特点是始终如一的高品质，SACD音效构思精妙，或许是所有正在进行的系列中最佳的（或许）；卓越品质持续延续，若你已踏上这列音乐之旅，我看不出此刻有任何下车的理由。——史蒂文·E.里特
Artist: Bach Collegium Japan, Masaaki Suzuki
Title: J.S. Bach: Cantatas, Vol. 41
Year Of Release: 2008
Label: BIS
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (tracks)
Total Time: 01:03:54
Total Size: 688 / 343 Mb
WebSite: Album Preview
Tracklist:
Ich will den Kreuzstab gerne tragen, BWV 56 (Johann Sebastian Bach)
1. Aria. Ich will den Kreuzstab gerne tragen (Bass)P 06:46
2. Recitative. Mein Wandel auf der Welt (Bass)P 01:43
3. Aria. Endlich, endlich wird mein Joch (Bass)P 06:32
4. Recitative and Aria. Ich stehe fertig und bereit (Bass)P 01:30
5. Chorale. Komm, o Tod, du Schlafes Bruder (Chorus)P 01:33
Cantata, BWV 82 (Johann Sebastian Bach)
6. Aria. Ich habe genug (Soprano)Carolyn Sampson 06:38
7. Recitative. Ich habe genug! Mein Trost ist nur allein (Soprano) 01:05
8. Aria. Schlummert ein, ihr matten Augen (Soprano) 09:30
9. Recitative. Mein Gott! Wenn kommt das schöne (Soprano) 00:47
10. Aria. Ich freue mich auf meinen Tod (Soprano) 03:29
Der Friede sei mit dir, BWV 158 (Johann Sebastian Bach)
11. Recitative. Der Freide sei mit dir (Bass)P 01:40
12. Aria with Chorale. Welt, ade, ich bin dein mude (Bass, Soprano) 05:44
13. Recitative and Arioso. Nun Herr, regiere meinen Sinn (Bass) 01:18
14. Chorale. Hier ist das rechte Osterlamm (Chorus) 01:12
Ich bin vergnügt mit meinem Glücke, BWV 84 (Johann Sebastian Bach)
15. Aria. Ich bin vergnugt mit meinem Glucke (Soprano) 06:18
16. Recitative. Gott ist mir ja nichts schuldig (Soprano) 01:27
17. Aria. Ich esse mit Freuden mein weniges Brot (Soprano) 04:16
18. Recitative. Im Schweisse meines Angesichts (Soprano) 00:59
19. Chorale. Ich leb indes in dir vergnuget (Chorus) 01:27
Performers:
Masaaki Suzuki (Harpsichord)
Carolyn Sampson (Soprano)
Peter Kooy (Bass)
Bach Collegium Japan
Conductor: Masaaki Suzuki
Suzuki is in overdrive with Volume 41 of the complete Bach cantatas now reaching the public, this one dedicated to solo voices. Three of the works here (BWV 56, 82, 84) were written during a one-year period, the composer’s fourth year in Leipzig, and a very hectic one. Eight cantatas for solo voice and orchestra were completed during this time, of which these three are part. The last one, BWV 158, remains a breed apart, and harder to categorize.
“I shall willingly carry the cross” (BWV 56) is one of many post-Trinity cantatas, and this one focuses on the theme of suffering in the Christian life. There are ample opportunities in the text for some suggestive word-painting, as in the figuration from the cello in the second movement that speaks of a Christian’s life as a voyage by ship; and the final recitative mentions arrival at the “port” of rest in a very direct and appealing work whose texts no doubt spoke very directly to the Leipzig congregation.
“I am content” ( Ich habe genug , BWV 82) is one of the most popular and famous of all the Bach cantatas. It was written for the feast of the Purification of the Virgin Mary (Feb. 2) in 1727, and has been recorded many times by many different and stylistically varied artists. Here we have the E-Minor soprano version, sung with plaintive expression and resigned temperament by Carolyn Sampson in a reading that I think almost equals that of Lorraine Hunt Lieberson on a not-too-distant Nonesuch recording. Bach originally intended this piece for mezzo-soprano, as the first solo part is written with the alto clef; later he changed his mind (and the clef) and went with a bass line, but subsequent copies show that the work was probably performed by soprano as well, as the E-Minor part for soprano showed up in 1731, and the obbligato wind part (intended for oboe) for this soprano version is given to the flute. This is the version used here, though Suzuki has recorded the bass version as well in Volume 38.
“I am content with my happiness” (BWV 84) was written for Septuagesima Sunday (third to the last Sunday before Lent—dropped from the parlance of the Roman Catholic Church since Vatican II, still kept in the Lutheran churches), and focuses on the parable of the laborers in the vineyard (Matthew). The language of the texts remains direct and alert, while the music is supple and dance-like, with an especially noticeable second aria where the violin and oboe spar with one another.
“May peace be with you” (BWV 158) is somewhat problematic as to origin, as the only copies are from the late 18th century. It seems to have been conceived for Easter Tuesday and the Feast of the Purification of the Virgin Mary. The texts appear to belie that assertion however, as they refer to both celebrations in the same piece, and may well have been assembled by a post-Bach compiler, obviously not paying a lot of attention. The second movement call-and-response imitative dialogue between soprano and bass make for an interesting feature of this unusual and quite lovely work.
Consistency is the hallmark of this series, and the SACD sound is brilliantly conceived, maybe the best of any of the ongoing series ( maybe ); the excellence continues, and if you are riding this train, I see no reason to get off now. -- Steven E. Ritter
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