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艺术家：穆法蒂古乐团（Les Muffatti）、巴特·雅各布斯（Bart Jacobs）
作品名称：巴赫：《管风琴与弦乐协奏曲》
发行年份：2019年
厂牌：拉梅唱片公司（Ramée）
音乐类型：古典音乐
音质：FLAC（分轨）/ 24比特-88.2千赫兹 FLAC（分轨+小册子）
总时长：01:19:48
总大小：451兆字节 / 1.45吉字节
网站：专辑预览
曲目列表：
1. 改编自《作品编号BWV 169及BWV 49的D大调协奏曲》：第一乐章，（快板）
2. 改编自《作品编号BWV 169及BWV 49的D大调协奏曲》：第二乐章，西西里舞曲
3. 改编自《作品编号BWV 169及BWV 49的D大调协奏曲》：第三乐章，快板
4. 改编自《作品编号BWV 146、BWV 188及BWV 1052的D小调协奏曲》：第一乐章，（快板）
5. 改编自《作品编号BWV 146、BWV 188及BWV 1052的D小调协奏曲》：第二乐章，柔板
6. 改编自《作品编号BWV 146、BWV 188及BWV 1052的D小调协奏曲》：第三乐章，快板
7. 改编自《作品编号BWV 156的G大调交响曲》
8. 改编自《作品编号BWV 75的G大调交响曲》
9. 改编自《作品编号BWV 120a及BWV 29的D大调交响曲》
10. 改编自《作品编号BWV 35及BWV 1055的D小调协奏曲》：第一乐章，快板
11. 改编自《作品编号BWV 35及BWV 1055的D小调协奏曲》：第二乐章，广板
12. 改编自《作品编号BWV 35及BWV 1055的D小调协奏曲》：第三乐章，急板
13. 改编自《作品编号BWV 1041及BWV 1058的G小调协奏曲》：第一乐章，快板
14. 改编自《作品编号BWV 1041及BWV 1058的G小调协奏曲》：第二乐章，行板
15. 改编自《作品编号BWV 1041及BWV 1058的G小调协奏曲》：第三乐章，很快的快板
尽管我们知道约翰·塞巴斯蒂安·巴赫至少创作了五首管风琴独奏协奏曲，但却没有他创作的带有管弦乐伴奏的管风琴协奏曲留存下来。与之形成对比的是他的200多首康塔塔：其中有18首以管风琴助奏为特色，巴赫在咏叹调、合唱部分和交响曲中把管风琴当作独奏乐器来使用。最引人注目的是创作于1726年的作品。在那年的5月至11月，巴赫创作了六首康塔塔，这些作品赋予管风琴突出的独奏角色。其中大部分是对他在魏玛和科滕时期创作的已失传的小提琴和双簧管协奏曲乐章的改编。巴赫为何在如此短的时间内创作了这么多首带有管风琴助奏的康塔塔，原因尚不清楚。一种可能的解释与德累斯顿有关，1725年巴赫曾在德累斯顿索菲恩教堂的新西尔伯曼管风琴上举办过一场音乐会。一些学者认为，除了其他管风琴作品外，他还演奏了管风琴协奏曲，或者至少演奏了几首早期版本的交响曲，其中包括管风琴助奏和弦乐部分，以此来展示这架管风琴的性能。从上述康塔塔，以及相关的小提琴和羽管键琴协奏曲中，完全有可能重构出一些这种类型的三乐章管风琴协奏曲。通过这种方法，我们希望能让巴赫可能在1725年德累斯顿音乐会上演奏过的一些音乐在这张CD中重获生机。
Artist: Les Muffatti, Bart Jacobs
Title: Bach: Concertos for Organ and Strings
Year Of Release: 2019
Label: Ramée
Genre: Classical
Quality: FLAC (tracks) / 24bit-88.2kHz FLAC (tracks+booklet)
Total Time: 01:19:48
Total Size: 451 MB / 1.45 GB
WebSite: Album Preview
Tracklist:
1. Concerto in D Major After BWV 169 and BWV 49: I. (Allegro)
2. Concerto in D Major After BWV 169 and BWV 49: II. Siciliano
3. Concerto in D Major After BWV 169 and BWV 49: III. Allegro
4. Concerto in D Minor After BWV 146, BWV 188 and BWV 1052: I. (Allegro)
5. Concerto in D Minor After BWV 146, BWV 188 and BWV 1052: II. Adagio
6. Concerto in D Minor After BWV 146, BWV 188 and BWV 1052: III. Allegro
7. Sinfonia in G Major After BWV 156
8. Sinfonia in G Major After BWV 75
9. Sinfonia in D Major After BWV 120a and BWV 29
10. Concerto in D Minor After BWV 35 and BWV 1055: I. Allegro
11. Concerto in D Minor After BWV 35 and BWV 1055: II. Larghetto
12. Concerto in D Minor After BWV 35 and BWV 1055: III. Presto
13. Concerto in G Minor After BWV 1041 and BWV 1058: I. Allegro
14. Concerto in G Minor After BWV 1041 and BWV 1058: II. Andante
15. Concerto in G Minor After BWV 1041 and BWV 1058: III. Allegro assai
Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life on this CD.
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