|
|
艺术家：埃马努埃莱·卡尔迪
标题：通德：管风琴作品全集
发行年份：2016年
厂牌：辉煌古典（Brilliant Classics）
流派：古典音乐
音质：24位-96.0千赫兹FLAC
总时长：1小时31分24秒
总大小：1.53吉字节
网站：专辑预览
曲目列表：
01.G小调前奏曲（I）
02.主啊，我投靠你
03.信靠我亲爱的神
04.F大调前奏曲
05.主啊，我们赞美你
06.G大调坎佐纳
07.基督躺在死亡的枷锁中
08.耶稣基督，真神之子
09.G小调前奏曲（III）
10.耶稣基督，我们的救主 I.第一诗节
11.耶稣基督，我们的救主 II.第二诗节
12.耶稣基督，我们的救主 III.第三诗节
13.还有什么灾祸能临到我们（第一节）
14.来吧，圣灵，主啊神
15.还有什么灾祸能临到我们（第二节）
16.G小调前奏曲（II）
埃马努埃莱·卡尔迪演绎《通德：管风琴作品全集》（2016年，高解析度版）
弗朗茨·通德（1614-1667）是另一位技艺精湛的北德音乐家，其声名曾迅速被伟大的约翰·塞巴斯蒂安·巴赫掩盖，但如今他的音乐幸得通过本真演绎运动重新被发掘。事实上，他曾师从弗雷斯科巴尔迪——这位先驱对巴赫本人亦影响深远，而佛罗伦萨的风格影响亦显现在通德众赞歌的某些古风格和声，以及G大调坎佐纳的舞蹈节奏中。
通德的职业生涯始于吕贝克：1641年，他通过一场政治上颇合时宜的婚姻——迎娶宫廷裁缝之女——成为吕贝克圣母教堂的管风琴师。通德夫妇育有五子，其中安妮·玛格丽特后来嫁给了通德在吕贝克的继任者迪特里希·布克斯特胡德——正是这位音乐家，曾令青年时期的巴赫徒步穿越半个德国前往聆听。
在吕贝克圣母教堂，通德掌管着两台出色的乐器：大型管风琴（三键盘，52音栓）和位于死亡之舞礼拜堂的小型管风琴（三键盘，40音栓）。他的音乐体现了这种音色表现的可能性，尤其是九首众赞歌改编曲：主键盘、背奏键盘与踏板以不同组合运用，包括声部交替、相互呼应及特殊回声技巧（如卡农-回声组合），充分展现了“幻想风格”（stylus phantasticus）的所有巧妙手法——这种风格如今或许更多与羽管键琴及室内乐相关联。
这些全新录音由意大利萨莱诺省巴蒂帕利亚市的希望圣母教堂管风琴录制，该琴由格劳科·吉拉尔迪于1996年建造，其灵感源自17世纪北德管风琴制造大师阿普·施尼特格的作品——若没有他的贡献，巴赫成熟期管风琴作品的音响效果便难以想象。
Artist: Emanuele Cardi
Title: Tunder: Complete Organ Music
Year Of Release: 2016
Label: Brilliant Classics
Genre: Classical
Quality: flac 24bits - 96.0kHz
Total Time: 01:31:24
Total Size: 1.53 gb
WebSite: Album Preview
Tracklist
01. Præludium in G Minor (I)
02. In dich hab ich gehoffet, Herr
03. Auf meinen lieben Gott
04. Præludium in F Major
05. Herr Gott, dich loben wir
06. Canzona in G Major
07. Christ lag in Todes Banden
08. Jesus Christus, wahr' Gottes Sohn
09. Præludium in G Minor (III)
10. Jesus Christus, unser Heiland I. Primus versus
11. Jesus Christus, unser Heiland II. Secundus versus
12. Jesus Christus, unser Heiland III. Tertius versus
13. Was kann uns kommen an fur Not (Vers.1)
14. Komm, Heiliger Geist, Herre Gott
15. Was kann uns kommen an fur Not (Vers.2)
16. Præludium in G Minor (II)
Emanuele Cardi - Tunder: Complete Organ Music (2016) [Hi-Res]
Franz Tunder (1614‐1667): another of those superbly schooled North German musicians whose name was quickly eclipsed by the great Johann Sebastian, but whose music has happily been rediscovered by the historically informed performance movement. Indeed he studied with Frescobaldi, the forebear to whom Bach himself owed much, and the Florentine influence is apparent in some of the stile antico harmony of the chorales and the dancing rhythms of the Canzona in G major.
Tunder’s career was made in Lübeck, where he became organist of the Marienkirche in 1641, having made a politically expedient marriage to the daughter of the court tailor. Among five children born to the Tunders, Anne Margarethe then married Tunder’s successor in Lübeck, the very Dietrich Buxtehude whom Bach hiked halfway up Germany to hear as a young man.
In the Lübeck Marienkirche Tunder had command of two fine instruments, the large organ (three manuals, 52 stops) and the smaller one in the Totentanz Chapel (three manuals, 40 stops). His music reflects this potential for colour, especially the nine chorale settings: Hauptwerk, Rückpositiv and pedal are used in varying combinations, including the exchange of voices, interconnections and special echo techniques such as canon‐echo combinations, allowing the application of all its artifices that characterize the stylus phantasticus which is perhaps more associated now with harpsichord and chamber music.
These new recordings were made on the organ of the Chiesa di S. Maria della Speranza in Battipaglia (Salerno, Italy), built in 1996 by Glauco Ghilardi, who took as his inspiration the 17th-century North‐German instruments of Arp Schnitger, doyen of organ builders, without whose work the sonority of Bach’s mature writing for the organ is unimaginable.
|
|
发表于 2025-5-22 08:15:21