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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34卷（2007）高解析度版
发行年份：2004年
厂牌：BIS
流派：古典
音质：24位-44.1千赫兹FLAC/分轨FLAC
总时长：59分45秒
总大小：621兆字节/303兆字节
网站：专辑预览
曲目单
《晨星何等璀璨》，BWV 1（约翰·塞巴斯蒂安·巴赫）
1. 晨星何等璀璨（合唱）08:23
2. 宣叙调：你是真神与马利亚之子（男高音）01:00
3. 咏叹调：充满吧，天上神圣的火焰（女高音）04:17
4. 宣叙调：尘世的光辉，肉身的光明（男低音）00:57
5. 咏叹调：我们的嘴与琴弦的声音（男高音）06:25
6. 众赞歌：我是何等由衷地喜悦（合唱）01:36
《主啊，求你以话语保守我们》，BWV 126（约翰·塞巴斯蒂安·巴赫）
7. 主啊，求你以话语保守我们（合唱）02:48
8. 咏叹调：从高处差遣你的能力（男高音）04:47
9. 宣叙调：人的恩宠（女低音、男高音、合唱）01:57
10. 咏叹调：轰然倒塌吧，膨胀的傲慢！（男低音）04:53
11. 宣叙调：你的话语和真理必将显明（男高音）00:52
12. 众赞歌：仁慈地赐我们平安（合唱）01:58
《主耶稣基督，真人和神》，BWV 127（约翰·塞巴斯蒂安·巴赫）
13. 主耶稣基督，真人和神（合唱）05:24
14. 宣叙调：当万物在末时惊恐（男高音）01:20
15. 咏叹调：灵魂安息在耶稣手中（女高音）07:57
16. 宣叙调：当号角吹响之时（男低音）03:54
17. 众赞歌：啊，主啊，赦免我们一切罪过（合唱）01:17
表演者：
卡罗琳·桑普森（女高音）
格尔德·蒂尔克（男高音）
罗宾·布莱兹（假声男高音）
彼得·库伊（男低音）
日本巴赫学会
指挥：铃木雅明
铃木雅明的巴赫康塔塔系列第34张专辑已完成过半。《晨星何等璀璨》（BWV 1）是较为人熟知的作品之一，最早由卡尔·里斯滕帕特为Archiv唱片公司录制单声道版本，另外两首则首次出现于早期立体声时代，由沃尔夫冈·戈嫩魏因和卡尔·里希特指挥。这三首均属于巴赫1725年以赞美诗为基础创作的众赞歌康塔塔系列，该系列以BWV 1为未完成的终曲。作品首尾的众赞歌采用菲利普·尼古拉的赞美诗（歌词基于中世纪文本），效果壮丽——这是为出版合集而特意选择的开篇。
接下来的《主啊，求你以话语保守我们》采用路德的赞美诗文本，原是他针对“基督及其圣教会的两大宿敌——教皇与土耳其人”而作（今日路德宗信徒演唱的歌词已弱化了对抗性）。小号引领合唱队如赴战场，效果震撼。《主耶稣基督》为四旬期前最后一个主日而作，采用路易·布尔茹瓦的旋律与宗教改革早期的赞美诗文本，预示了四旬期救主受难与罪人得救的主题。这两部作品皆不逊色于巴赫更著名的康塔塔，值得收藏者在遍听经典之余，纳入全集品鉴。
尽管此前听过铃木的其他录音，这却是我首次接触他的巴赫康塔塔系列。该系列水准堪称顶尖：他与本地合唱团及器乐学会合作，并长期启用欧洲独唱家阵容。本辑中仅卡罗琳·桑普森、格尔德·蒂尔克与彼得·库伊参与演出（假声男高音罗宾·布莱兹虽列名却未献声）。我的康塔塔收藏可追溯至早期，涵盖舍尔欣、普罗哈斯卡、莱曼、里斯滕帕特、卡尔·里希特、沃尔迪克、埃曼、戈嫩魏因、维尔纳、里林等多位指挥家的版本，几乎每张唱片都见证了当时的演绎风尚。如今若能将这些版本与铃木的当代诠释逐一对比，定会获益匪浅——他的演绎堪称启示。——J.F.韦伯
Artist: Bach Collegium Japan, Masaaki Suzuki
Title: J.S. Bach: Cantatas, Vol. 34 (2007) Hi-Res
Year Of Release: 2004
Label: BIS
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (tracks)
Total Time: 59:45
Total Size: 621 Mb / 303 Mb
WebSite: Album Preview
Tracklist:
Wie schon leuchtet der Morgenstern, BWV 1 (Johann Sebastian Bach)
1. Wie schon leuchtet der Morgenstern (Chorus) 08:23
2. Recitative. Du wahrer Gottes und Marien Sohn (Tenor) 01:00
3. Aria. Erfullet, ihr himmlischen gottlichen Flammen (Soprano) 04:17
4. Recitative. Ein ird'scher Glanz, ein leiblich Licht (Bass) 00:57
5. Aria. Unser Mund und Ton der Saiten (Tenor) 06:25
6. Choral. Wie bin ich doch so herzlich froh (Chorus) 01:36
Erhalt uns, Herr, bei deinem Wort, BWV 126 (Johann Sebastian Bach)
7. Erhalt uns, Herr, bei deinem Wort (Chorus) 02:48
8. Aria. Sende deine Macht von oben (Tenor) 04:47
9. Recitative. Der Menschen Gunst (Alto, Tenor, Chorus) 01:57
10. Aria. Sturze zu Boden, schwulstige Stolze! (Bass) 04:53
11. Recitative. So wird dein Wort und Wahrheit offenbar (Tenor) 00:52
12. Choral. Verleih uns Frieden gnadiglich (Chorus) 01:58
Herr Jesu Christ, wahr' Mensch und Gott, BWV 127 (Johann Sebastian Bach)
13. Herr Jesu Christ, wahr' Mensch und Gott (Chorus) 05:24
14. Recitative. Wenn alles sich zur letzten Zeit entsetzet (Tenor) 01:20
15. Aria. Die Seele ruht in Jesu Handen (Soprano) 07:57
16. Recitative. Wenn einstens die Posaunen schallen (Bass) 03:54
17. Choral. Ach, Herr, vergib all unsre Schuld (Chorus) 01:17
Performers:
Carolyn Sampson (Soprano)
Gerd Türk (Tenor)
Robin Blaze (Countertenor)
Peter Kooy (Bass)
Bach Collegium Japan
Conductor: Masaaki Suzuki
Disc No. 34 in Suzuki’s series of Bach cantatas brings him well over halfway through the list. Wie schön leuchtet der Morgenstern (BWV 1) is one of the more familiar works, first recorded by Karl Ristenpart for Archiv in mono, while the other two first appeared in the early stereo era under Wolfgang Gönnenwein and Karl Richter. All three were part of Bach’s 1725 cycle of chorale cantatas that were based on hymns, a cycle that ended incomplete with BWV 1. The opening and closing chorales in this work are Philipp Nicolai’s hymn (set to a medieval text) and make a splendid effect, a deliberate choice to lead off the published collected works.
It is followed by Erhalt uns, Herr , a hymn text by Luther that he launched against “the two arch-enemies of Christ and His Holy Church, the Pope and the Turks.” (Today’s Lutherans sing a less combative text.) The trumpets lead the chorus into battle most effectively. Herr, Jesus Christ was composed for the last Sunday before the beginning of Lent and uses a melody by Louis Bourgeois with an early-Reformation hymn text. The work anticipates the themes of Lent in the suffering of the Savior and the salvation of sinners. Both are fully equal to Bach’s more well-known cantatas, the kind that reward collectors who listen past the favorite works in the acquisition of a complete collection.
While I have heard some of Suzuki’s other recordings, this is the first of his Bach cantatas to come my way. It is a series that ranks right up there with the rest. Along with his local chorus and instrumental collegium, he uses a continuing group of European soloists. Here only Carolyn Sampson, Gerd Türk, and Peter Kooij are heard (there is nothing for countertenor Robin Blaze to do, though his name appears). My collection of cantatas goes way back, with multiple examples by Scherchen, Prohaska, Lehmann, Ristenpart, Karl Richter, Wøldike, Ehmann, Gönnenwein, Werner, and Rilling, not to mention numerous single LPs under a dozen other conductors. Almost every disc represented the state of performance practice at the time, but how I would love to compare each one with Suzuki’s current understanding. It’s a revelation. -- J. F. Weber
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