HR 96.0kHz/24Bit 
专辑名称: Bach: Mass in B Minor, BWV 232
创作艺人: [René Jacobs, Akademie für Alte Musik Berlin, RIAS Kammerchor, Robin Johannsen, Marie-Claude Chappuis, Helena Rasker, Sebastian Kohlhepp, Christian Immler]
音乐流派: Classical|古典
专辑规格: 2碟27首
出品公司: harmonia mundi
发行时间: 2022/5/13
官方标价: £9.99 （会员免费下载）
域名语言: [en][ro] （AI检测）
曲目介绍：
I. Missa (Kyrie, Gloria) – Kyrie eleison I
Christe eleison
Kyrie eleison II
Gloria in excelsis Deo
Et in terra pax
Laudamus te
Gratias agimus tibi
Dominus Deus
Qui tollis peccata mundi
Qui sedes ad dextram Patris
Quoniam tu solus sanctus
Cum Sancto Spiritu
II. Symbolum Nicenum (Credo) – Credo in unum Deum
Patrem omnipotentem
Et in unum Dominum
Et incarnatus est
Crucifixus
Et resurrexit
Et in Spiritum sanctum Dominum
Confiteor
Et expecto
III. Sanctus – Sanctus. Pleni sunt coeli
IV. Osanna, Benedictus, Agnus Dei, Dona nobis pacem – Osanna in excelsis
Benedictus
Osanna in excelsis
Agnus Dei
Dona nobis pacem
详细介绍:
Without even mentioning the playing styles or instruments, this new version of the Mass in B is clearly a far cry from the grandiose austerity that prevailed in the 1960s and 70s. In fact, it’s almost directly opposed to the mental representation people had of Bach at the time. From the moment the RIAS-Kammerchor enters at the beginning of Kyrie, we’re encapsulated by their angelic, almost naïve tone, which tenderly reaches out to the listener. Not to mention the sheer adaptability of their voices in face of the lengthy, skilful melismas in the vocal score.
The feeling of elation shines through in this performance, recorded near Berlin in August 2021 for Harmonia Mundi. This new recording by René Jacobs follows on from an already established version in 1992 (reissued in 2006), with the same ensembles but with different soloists. The Belgian conductor has made three stark changes. Firstly, with regards to the chamber choir, he has omitted the soloists from the more archaic pieces of this work. Secondly, he retains the chamber choir but reduces its number for the “modern” pieces which require “gentle, moderate and amiable singing” according to the composer and theorist Michael Praetorius (1571-1621). Thirdly, in terms of the “external” soloists, they aren’t part of the choir and are assigned the virtuoso arias and duets, which they sing sporadically during the large choral pieces.
According to René Jacobs, this cast creates a homogenous whole which represents “the choir of believers, the image of humanity in all of its diversity”. In terms of instrumentals, the musicians of the Akademie für Alte Musik Berlin manage to avoid the pitfalls of a score which can be severely testing for soloists. A special mention goes to horn player Margherita Lulli—a name destined for baroque music! As a former countertenor, René Jacobs utilises a female voice (Dutch contralto Helena Rasker) in Agnus Dei, in line with historical practice. There are no trumpets or thundering timpani in these versions, which are entirely focused on worship and the joy of musical collaboration. © François Hudry/Qobuz
