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艺术家：胡尔加斯乐团
专辑名称：《菲尔米努斯·卡龙 - 中世纪的黄昏》
发行年份：2016年
厂牌：德国世界和谐唱片公司
音乐类型：古典音乐
音质：无损FLAC / 24位-96.0千赫兹FLAC
总时长：00小时54分39秒
总大小：265兆字节 / 960兆字节
网站：专辑预览
曲目列表
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01. 《武装的人》：垂怜经
02. 《耶稣走过》：荣耀经
03. 《圣徒之血》：信经
04. 《仁慈与温和》：圣哉经
05. 《美丽佳人迎我来》：羔羊经
06. 《美丽佳人迎我来》（尚松）
07. 《不幸的贫困者》
08. 《身体与身体》
09. 《唉，我的心将如何》
由创始人保罗·范·内维尔指挥的胡尔加斯乐团，起源于前一代早期音乐表演者的探索，其中包括托马斯·宾克利和大卫·芒罗等人的引领。值得注意的是，三十多年后的今天，即便在大众唱片业和新纪元运动将中世纪与文艺复兴的神秘之声商业化之后，该乐团依然保持着探索的热情、创新的活力与发现的精神。1971年，活跃于巴塞尔圣歌学院的范·内维尔创立了这支乐团，当时重新发掘的乐器如短号、长号、竖笛和克鲁姆双簧管正被热烈地应用于早期音乐演出中。胡尔加斯乐团随即成为“本真演绎”运动的核心力量，其诠释方式产生了深远影响。随着中世纪音乐学术与表演规范的演变，乐团的风格也随之调整，最显著的变化体现在声乐表现的增强上，但始终保留着独特与创新的特质。
在指挥家范·内维尔的职业生涯中，其演出的几乎每个方面都经历过实验性探索。自乐团成立以来，为乐器和人声设计可靠且富有感染力的装饰音一直是其目标。乐团不断通过配器与编曲打破听众的预期：1994年《尼科西亚国王雅努斯的音乐》专辑中，部分曲目以低于预期一半的速度演绎，虽弱化了歌词，却深刻延伸了不协和音的张力；同年发行的拉索《圣彼得的眼泪》录音，则与菲利普·埃雷韦格指挥的纯人声版本形成鲜明对比；1999年亚历山大·阿格里科拉专辑中，对所谓“神秘半音艺术”的色彩性处理更是令人瞩目。尽管面临学者与同行的批评，保罗·范·内维尔对曲目的演绎始终大胆创新。
范·内维尔在音乐曲目的选择上展现的勇气，或许是乐团对音乐界最大的贡献。他的学术兴趣引领其关注鲜为人知的手稿（如图灵手稿，1985；那不勒斯《武装的人》弥撒曲集，1990；胡尔加斯抄本，1999）和较少被关注的作曲家（如贡贝尔，1993；康斯坦佐·费斯塔，1994；马太·皮佩拉雷，1996；皮埃尔·德·曼奇库尔特，1998；佩鲁贾的马泰奥，1998；亚历山大·阿格里科拉，1999）。胡尔加斯乐团早在1982年便推出约翰内斯·西康尼亚的“完整作品”录音，首次全球录制布鲁梅尔《地震弥撒》，并与葡萄牙法多歌手合作推出引人入胜的《里斯本的眼泪》。在每一次实践中，其生动且富有感染力的演绎都拓展了音乐的边界。
Artist: Huelgas Ensemble
Title: Firminus Caron - Twilight of the Middle Ages
Year Of Release: 2016
Label: deutsche harmonia mundi
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz
Total Time: 00:54:39
Total Size: 265 / 960 mb
WebSite: Album Preview
Tracklist
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01. L'homme armè: Kyrie
02. Jesus autem transiens: Gloria
03. Sanguis Sanctorum: Credo
04. Clemens et venigna: Sanctus
05. Accueilly m'a la belle: Agnus Dei
06. Accueilly m'a la belle (Chanson)
07. Le despourveu infortuné
08. Corps contre corps
09. Hélas que pourra devenir mon cueur
The Huelgas Ensemble, directed by its founder Paul van Nevel, began as the result of a previous generation's work in early music performance, led by, among others, Thomas Binkley and David Munrow. Remarkably, after more than 30 years, the ensemble retains a sense of excitement, innovation and discovery, long after the mass recording industry and the new age movement co-opted the esoteric sounds of the Middle Ages and Renaissance. When van Nevel, active at the Schola Cantorum Basilensis, founded the ensemble in 1971, a rediscovered instrumentarium of cornettos, sackbuts, recorders, and crumhorns were being jubilantly applied to early music performances. The Huelgas Ensemble then sat at the center of the movement toward "authentic" performance practices, and its interpretations were strongly influential. As the scholarly and performative norms for Medieval music have changed, so has the sound of Huelgas, most prominently depicted in its increased vocalizations. But the ensemble has retained a mantle of eccentricity and innovation.
Nearly every aspect of director van Nevel's performances has been subject to experimentation over his career. From the group's inception, reliable and evocative ornamentation was a goal for both instrumentalists and singers. The ensemble constantly upsets expectations through scoring and orchestration. A 1994 program of Music for King Janus of Nicosia presents some pieces at half or less the expected tempo, losing the text, but richly extending the pungency of dissonances. In the same year, Huelgas released a recording of the Lassus Lagrime di San Pietro juxtaposed with a performance by an all-vocal ensemble led by Philippe Herreweghe. A 1999 recording dedicated to Alexander Agricola includes some striking chromatic manipulations of the so-called "Secret Chromatic Art." At all times, Paul van Nevel's approach to his repertory has been fearlessly innovative, despite criticism both from scholars and from other performers.
Another area of van Nevel's musical boldness, that of musical repertory, has been perhaps the ensemble's greatest contribution to our musical world. The director's scholarly interests lead him toward little-known manuscripts -- the Turin manuscript (1985), the Naples collection of L'Homme Armé Masses (1990), the Huelgas Codex (1999) -- and less-appreciated composers -- Gombert (1993), Constanzo Festa (1994), Mattheus Pipelare (1996), Pierre de Manchicourt (1998), Matteo da Perugia (1998), and Alexander Agricola (1999). The Huelgas Ensemble brought out the only "complete works" recording of Johannes Ciconia as early as 1982, has given world-premiere recording of the Brumel "Earthquake" Mass, and undertook a fascinating collaboration with the Portuguese singers of Fado called Tears of Lisbon. In each case, the lively and compelling performances have stretched musical boundaries.
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