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艺术家：曼努埃尔・托马迪恩
标题：1705 年 12 月：布克斯特胡德与 J.S. 巴赫管风琴作品
发行年份：2021 年
厂牌：辉煌古典（Brilliant Classics）
流派：古典管风琴
音质：无损 FLAC/24 位 - 88.2kHz FLAC + 小册子
总时长：01:12:05
总大小：320 兆字节 / 1.14 千兆字节
网站：专辑预览
曲目列表
01. D 小调托卡塔，BUXWV 155
02. C 大调赋格，BUXWV 174
03. 耶稣基督，你当受赞美，BUXWV 188（双键盘）
04. D 小调帕萨卡利亚，BUXWV 161
05. C 大调前奏曲、赋格与恰空，BUXWV 137
06. 外邦人的救主啊，请来，BUXWV 211
07. G 大调幻想曲，BWV 571 I. 无速度标记
08. G 大调幻想曲，BWV 571 II. 柔板
09. G 大调幻想曲，BWV 571 III. 快板
10. 吉格舞曲风格赋格，BWV 577
11. 我们在天上的父，BWV 762（双键盘与踏板）
12. A 小调前奏曲与赋格，BWV 551
13. 若主耶和华不与我们同在，BWV 1128（双键盘与踏板）
14. C 大调前奏曲，BWV 566
曼努埃尔・托马迪恩 - 1705 年 12 月：布克斯特胡德与 J.S. 巴赫管风琴作品（2021 年）[高解析度]
一场由年长的布克斯特胡德与年轻的巴赫共同谱写的著名音乐邂逅在此重现。
1705 年 10 月，20 岁的约翰・塞巴斯蒂安・巴赫（时任阿恩施塔特邦尼法蒂乌斯教堂管风琴师）向上级申请四周假期，踏上了前往吕贝克的 400 公里徒步之旅，只为聆听布克斯特胡德的演奏。他在吕贝克的玛丽恩教堂聆听了 “晚间音乐”（Abendmusiken）系列音乐会，四周假期最终延长至四个月。返乡后，巴赫因抗命被短暂拘禁数日，但邦尼法蒂乌斯教堂的上级注意到：“此次长途旅行后，他能演奏令人惊叹的众赞歌变奏曲，并将其与前所未闻的和声结合，令信众为之倾倒。”
巴赫从未记录过他是否与这位同时代最伟大的管风琴家有过会面 —— 或许这位年轻人更愿意在老布克斯特胡德于玛丽恩教堂练习时，默默聆听其演奏。布克斯特胡德的音乐融合了北德管风琴学派的独特风格，并汲取了英国维金纳琴演奏家与意大利坎佐纳、托卡塔等自由形式体裁大师的影响。这种独特的世界主义之声显然对年轻的巴赫产生了深远影响 —— 在此之前，他的视野局限于成长地萨克森的音乐传统与本土音乐家。
曼努埃尔・托马迪恩的全新独奏专辑以想象重现了这场音乐邂逅及其影响。专辑收录了布克斯特胡德最宏大、大胆的管风琴作品，包括《D 小调帕萨卡利亚》《C 大调前奏曲、赋格与恰空》，以及技巧精湛的众赞歌变奏曲《耶稣基督，你当受赞美》。作为呼应，托马迪恩演奏了巴赫早期的《G 大调幻想曲》—— 其开篇如托卡塔般热烈，中间柔板充满半音色彩，终章赋格的踏板部分尤为艰深。
对曼努埃尔・托马迪恩在辉煌古典唱片作品的评价：
《Fanfare》（Alberti, 95161）：“托马迪恩在三种乐器上的演奏同样优雅…… 分句精准且令人信服，他擅长让最简单的旋律线条与抒情主题变得引人入胜。这张唱片堪称对音乐界的卓越贡献。”
《Fanfare》（Das Husumer Orgelbuch, 95328）：“风格典雅，录音精良…… 值得推荐。”
《Early Music Review》（Lübeck, 95453）：“一如辉煌古典的其他唱片， lesser-known composers（小众作曲家）在此得到严肃对待，由技巧无懈可击、擅长赋予小众杰作生命力的杰出艺术家进行学术性且考据严谨的演绎。”
Artist: Manuel Tomadin
Title: December 1705: Buxtehude & J.S. Bach Organ Music
Year Of Release: 2021
Label: Brilliant Classics
Genre: Classical Organ
Quality: flac lossless / flac 24bits - 88.2kHz +Booklet
Total Time: 01:12:05
Total Size: 320 mb / 1.14 gb
WebSite: Album Preview
Tracklist
01. Toccata in D Minor, BUXWV 155
02. Fugue in C Major, BUXWV 174
03. Gelobet Seist Du, Jesu Christ, BUXWV 188 a 2 Clav.
04. Passacaglia in D Minor, BUXWV 161
05. Prelude Fugue and Ciaccona in C Major, BUXWV 137
06. Nun Komm Der Heiden Heiland, BUXWV 211
07. Fantasia in G Major, BWV 571 I. No Tempo Indication
08. Fantasia in G Major, BWV 571 II. Adagio
09. Fantasia in G Major, BWV 571 III. Allegro
10. Fugue a la gigue, BWV 577
11. Vater Unser Im Himmelreich, BWV 762 a 2 Clav. E Ped.
12. Prelude and Fugue in A Minor, BWV 551
13. Wo Gott Der Herr Nicht Bei Uns Halt, BWV 1128 a 2 Clav. E Ped
14. Prelude in C Major, BWV 566
Manuel Tomadin - December 1705: Buxtehude & J.S. Bach Organ Music (2021) [Hi-Res]
A famous musical encounter brought to life with pieces by the elderly Buxtehude and the young Bach.
In October 1705, the 20-year-old Johann Sebastian Bach, organist of the Bonifatiuskirche in Arnstadt, asked his superiors for a four-week-leave to go and listen to Buxtehude: a 400-km-journey on foot to Lübeck, where he attended the Abendmusiken at the Marienkirche. Four weeks became four months, and on his return, Bach was clapped in irons for several days for insubordination. After that, however, the superiors of the Bonifatiuskirche noticed that: ‘After this long journey, he could play astonishing chorale variations and would combine them with unknown harmonies to an extent that confused the faithful.’
Bach never left a record of whether he and the greatest organist of his day even met; perhaps the young man preferred to listen to Buxtehude in secret, silently, while the old man practised in the Marienkirche. Buxtehude’s music presents a unique blend of the North German organ school with influences from abroad such as the English virginalists and the Italian masters of more free-form genres such as the canzona and toccata. Such a unique, cosmopolitan voice evidently made a profound effect on the young Bach, whose horizons had hitherto been comparatively limited to the musicians and traditions of Saxony where he had grown up.
Manuel Tomadin’s unique new recital imagines and stages this musical encounter and its ramifications. Some of Buxtehude’s grandest and boldest organ music is featured, including the D minor Passacaglia and the C major Prelude, Fugue and Chaconne, as well as a virtuosic set of chorale variations on Gelobet seist Du, Jesu Christ. As if in answer, Tomadin plays the brilliant early G major Fantasia with its toccata-like opening, a richly chromatic central Adagio and concluding fugue with a particularly demanding pedal part.
Praise for Manuel Tomadin’s Brilliant Classics discography:
‘Tomadin performs with equal grace on all three instruments… The phrasing is precise and convincing, and Tomadin has a positive knack for making the simplest of lines and lyrical themes interesting and listenable. He will have done a tremendous service to the world of music in this recording.’ Fanfare (Alberti, 95161)
‘Stylish and well recorded… Recommended.’ Fanfare (Das Husumer Orgelbuch, 95328)
‘As always in these Brilliant CDs, lesser-known composers are treated with seriousness and receive scholarly and well-researched performances by impressive artists whose technique is flawless and whose ability to bring minor masterpieces to life is winsome.’ Early Music Review (Lübeck, 95453)
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