|
发信人: cellosonata(毛毛虫) 整理人: sisi8597(2004-03-17 05:20:22), 站内信件 |
J.S. BACH Cantata BWV 198 (Trauerode); Cantata BWV 78 ("Jesu der du meine Seele") Ingrid Schmithüsen (soprano); Charles Brett (alto); Howard Crook (tenor); Peter Kooy (bass) La Chapelle Royale Philippe Herreweghe Harmonia Mundi- 2951270(CD) Two cantatas, one secular, one sacred, each concerned in very different ways with respect for one who has died, show how Bach treated musically the emotional aspects of text and occasion. Obviously, the death of a revered monarch was a solemn event that deserved appropriately respectful expression, including personal acknowledgement of the depth of the survivors' grief. The Cantata BWV 198, commonly known as "Trauerode" (funeral ode), was written to commemorate the life and grieve the death of Christiane, Electress of Saxony, who became Queen of Poland but remained a Lutheran despite her husband's conversion to Roman Catholicism. This relatively expansive cantata, from which Bach later borrowed music for his St. Mark Passion (opening and closing choruses and three arias), is rich in the uniquely Bachian mannerisms of mourning, its colorful minor-key harmonies and extended arias crafted for maximum emotional impact. The Cantata BWV 78 is based on the chorale tune "Jesu, der du meine Seele", and concerns a sinner's plea for salvation through the redemptive power of Christ's crucifixion. Besides Bach's skillful passacaglia-like treatment of the chorale in the opening chorus, this work also features a duet ("We hasten with feeble but eager steps") whose surprisingly literal depiction of the text sounds almost like a polka! This reissue from Harmonia Mundi, part of the label's commemoration of the 250th anniversary of Bach's death, is just as musically solid, authoritative, and satisfying as it was at its original 1988 release. The instrumental playing is superb, and soloists Ingrid Schmithüsen, Charles Brett, Howard Crook, and Peter Kooy are particularly engaging in the arias. Conductor Philippe Herreweghe keeps a sensible pace throughout--no speed contests--but goes a little heavy on the downbeats in the opening chorus of BWV 198 (homage to Harnoncourt?). There's lots of competition from other labels, given the big anniversary next year, but Harmonia Mundi felt confident enough of this version that there was no need to offer a newly minted replacement--and you should feel the same. --David Vernier 
Johann Sebastian BACH (1685-1750) BWV 170 Vernügte Ruh, beliebte Seelenlust BWV 54 Widerstehe doch der Sünde BWV 35 Geist und Seele wird verwirret ANDREAS SCHOLL countertenor Marcel Ponseele oboe · Markus Märkl organ Orchestra of the Collegium Vocale directed by Philippe Herreweghe performing on period instruments 强烈推荐这张唱片，喜欢假声男高音的就不该错过，这个GG的声音实在太完美了！以下是某网站的评价： The first sounds that struck my ears when I first heard this disc was the sheer beauty of Scholl's voice. His vocal instrument possesses and soon displays its clarity, power and interpretive colours. In one word, his voice can be classified simply as ravishing. This German countertenor (b.1967) was trained under René Jacobs and Emma Kirkby, the former a famous countertenor (now known for his conducting) and the latter a soprano, both recognised in their own rights as period specialists. Having come thus far from his successful debut recital at the Theatre Grevin in Paris, Scholl has recorded on numerous recordings with Jacobs, Philippe Herreweghe, William Christie, Christophe Coin, John Eliot Gardiner and Chiara Banchini. Scholl has been lauded as the countertenor extraordinaire from all corners; "The quality of his voice and the rare sensibility he seems invariably to show towards music and text are such as to win over the most ardent detractors of the art of the male falsetto." (Gramophone). I had plenty of difficulties in putting words on screen for this review. First and foremost of the reasons was the voice itself - faultless and seamless across registers, full, focused and yet warm. Next, being German, he sang through each word and imbued it with meaning and colour, and then strung the words to make completely beautiful phrases. This disc comes with a bonus second disc, featuring a varied programme of works in English, German, Italian and Latin. I was elated to hear Scholl's quiet and dignified delivery of "But who may abide the day of His coming?" from Handel's Messiah (the full set - reviewed here - is now available in a special budget-priced reissue). His English and Italian diction, like his first language German, is faultless. To fully appreciate the arresting beauty of Scholl's voice, one only has to hear King Henry on the bonus sampler disc; this is one of the few secular pieces that is highlighted in this set. This song, set simply in its barest and most naked form without any accompaniment, showcases the beautiful signature Scholl tones. Bach wrote three of his four cantatas for solo alto in Leipzig between 1723 and 1729 where he was Kantor of the Thomasschule. During this period, sometimes dubbed the "Cantata Years", Bach instructed the choirs of and provided music for the St.Thomas School, performing in the four principal churches in Leipzig. As with the usual practice of the time, the sacred cantatas written were to be performed on specific Sundays and services in these churches. The first cantata on the main menu, Cantata BWV 170: Vergnügte Ruh, Beliebte Seelenlust ("Contented rest, beloved heart's desire") opens to a lilting melody, not unlike "Jesu, Joy of Man's Desiring". Listen to the aria "Wie jammen mich doch die verkehrten Herzen" - when he sings the line "Ich zittre…" ("I tremble…"), he inflects the word "tremble" with a very quick trill that gives the right colour and nuance to the work and verse itself. Strings hail the opening of the second cantata, the shortest one amongst the three showcased here. In terms of colour, Cantata BWV 54: Widerstehe doch der Sünde opens with dark tones, forewarning the message in the text. Whilst cantatas BWV35 and 170 deal with the theme of resurrection and the preference of death against living in the painful world without the presence of the Almighty, the alto bids us to be strong in the face of transgression! The second aria is florid and yet, Scholl carries it with steady grace. Timing is everything here; the imbalance between the orchestra and singer in any such instance can ruin a piece by appearing to run astray! Bach will not be proclaimed a genius if he had not been able to marry text to music successfully. As apparently captured in the selection here, there is no end for the study of Bach's genius - the way his music invokes mood and colour to further heighten the depth of the words of the text. Geist und Seele wird verwirret tells of the mind-boggling effect of God's creation and wonder. However, there is no celebratory trumpet hailing this amazement; yet we are constantly reminded this through the flowing accompaniment to the voice that "laughs" whilst telling us of the joyous world. There are numerous other instances when Scholl colours his voice upon inflection on certain words - "verwirret" ("bewildered") in the opening aria of Cantata 35, Geist und Seele wird verwirret, receives this same treatment. I have heard this disc over ten times now, and am still amazed with this voice: subtlety, beauty, interpretive colours, confidence, ease of production, naturalness of sound - you name it, Scholl's got it! It is no wonder that he has been likened to the great Arleen Auger. In true Herreweghe style, Scholl is accompanied with much grace and confidence by the Orchestre du Collegium Vocale, with the sound engineers securing excellent balance between orchestra and solo voice. The playing is extremely crisp and clean. Markus Märkl gives a brilliant organ performance in the opening concerto and the sinfonia of Cantata 35. I am looking forward to hearing more from this fabulous countertenor. Indeed, in the current fervour of the countertenor revival, pioneered by Alfred Deller and followed on by Michael Chance, James Bowman, Derek Lee Ragin and Drew Minter, Scholl stands tall with his peers Brian Asawa and David Daniels. He performed twice at the Sir Henry Wood Promenade Concerts in 1996, and had, on both occasions, the packed Purcell Room eating out from his hand. I would love to hear Scholl in operatic repertoire - I believe he would handle any of Handel's demanding operatic roles most comfortably, with his vocal capacity to run with much ease. Gluck's Orfeo ed Euridice and Bellini's Capuletti ed Montecchi would be excellent dramatic and plump roles for him 
Talich指挥捷克爱乐的斯美塔那《我的祖国》，1941年HMV的录音，由Biddulph公司再版成CD。听完第一乐章很失望，赶他的后辈库贝里克差远了，第二乐章也没什么特殊表现，第三第四和第六算是还不错，看他被一些人吹捧的不行才买的，亏呀！还买了一张他挥的《新世界》，没听还，但愿别让偶失望。 此外还买了好多其他东东，以后听完再陆续介绍。 PS.偶买的是正货，嘻嘻，不是走私盘 ---- 爱乐俱乐部 北京社区古典音乐版 北社免费古典音乐ftp |
|
[关闭][返回] |