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艺术家：吉勒斯·班舒瓦乐团，多米尼克·韦拉尔德
专辑名称：《艾萨克：至慧童贞女弥撒》
发行年份：2016年
厂牌：Evidence
音乐类型：古典音乐
音质：无损FLAC（含镜像文件+.cue、日志、封面）/24位-44.1千赫兹FLAC
总时长：01小时04分29秒
总大小：291兆字节 / 612兆字节
网站：专辑预览
曲目列表
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01. 《至慧童贞女》：让我们在主里欢腾
02. 素歌：万福神圣之母（进台经）
03. 《至慧童贞女弥撒》：垂怜经
04. 《至慧童贞女弥撒》：荣耀经
05. 素歌：你是可称颂和可敬的（升阶经）
06. 素歌：产后阿肋路亚
07. 素歌：耶西的杖阿肋路亚
08. 素歌：路加福音圣史福音继叙经（读经）
09. 《至慧童贞女弥撒》：信经
10. 素歌：圣母经（奉献经）
11. 素歌：序言
12. 《至慧童贞女弥撒》：圣哉经
13. 《至慧童贞女弥撒》：羔羊经
14. 素歌与四声部复调：蒙福的子宫（圣餐经）
**乐团特色与专辑背景**
吉勒斯·班舒瓦乐团作为当代最杰出的早期音乐团体之一，其演出始终与深度音乐学术研究及单一核心人物的引领密不可分。乐团与法国巴黎中世纪音乐中心联系紧密，核心成员均在此任教或研习，同时与欧洲顶尖音乐学家（如巴黎的玛丽-诺埃尔·科莱特、巴塞尔的凯伦·史密斯与武尔夫·阿尔特）保持密切合作，并获法国文化部音乐事务司的大力支持。乐团的灵魂人物当属创始人兼指挥多米尼克·韦拉尔德。
韦拉尔德与同僚于1978年创立乐团，从创始便坚持使用原始乐谱演绎，并通过演出推动对曲目录结构与功能的深层理解。乐团编制随曲目灵活调整：演唱素歌或早期复调时采用纯男声小组，演绎尚松时加入女声，演奏节庆作品则搭配乐器。尽管以法国音乐起步，但其成员的国际化背景（吸纳多国专家）使其演绎范围扩展至欧洲各地，并频繁获法国政府机构资助。乐团最独特的风格在于审慎思考并实验本土口述传统对"正式"演唱风格的潜在影响，通过细腻处理让中世纪音乐的神圣性与人文气息并重。
**作品价值**
西班牙作曲家佩德罗·德·艾萨克（Pedro de la Iglesia）的《至慧童贞女弥撒》是文艺复兴早期复调宗教音乐的典范。专辑中，素歌的纯净与复调的织体交相辉映，如《荣耀经》中声部间的模仿与对位展现了艾萨克对结构平衡的追求，而《圣哉经》通过音域对比营造出庄严氛围。韦拉尔德的指挥注重节奏的流动感，避免现代演绎中常见的僵化，尤其在处理素歌与复调交替的段落时，通过动态层次的细腻把控，重现了中世纪教堂音乐的仪式感与神秘感。对于早期音乐研究者与爱好者而言，此专辑不仅是听觉体验，更是理解文艺复兴宗教音乐与礼仪结合的重要文本。
Artist: Ensemble Gilles Binchois, Dominique Vellard
Title: Isaac: Missa Virgo Prudentissima
Year Of Release: 2016
Label: Evidence
Genre: Classical
Quality: flac lossless (image +.cue, log, artwork) / flac 24bits - 44.1kHz
Total Time: 01:04:29
Total Size: 291 / 612 mb
WebSite: Album Preview
Tracklist
01. Virgo Prudentissima: Gaudeamus Omnes in Domino
02. Plain-chant: Salve Sancta Parens (Introït)
03. Missa Virgo Prudentissima: Kyrie Eleison
04. Missa Virgo Prudentissima: Gloria
05. Plain-chant: Benedicta et Venerabilis Es (Graduel)
06. Plain-chant: Alleluia Post Partum
07. Plain-chant: Alleluia Virga Jesse
08. Plain-chant: Sequentia Sancti Evangelii Secundum Lucam (Lecture)
09. Missa Virgo Prudentissima: Credo
10. Plain-chant: Ave Maria (Offertoire)
11. Plain-chant: Preface
12. Missa Virgo Prudentissima: Sanctus
13. Missa Virgo Prudentissima: Agnus Dei
14. Plain-chant et polyphonie à quatre voix: Beata Viscera (Communion)
As with so many of the best early music ensembles performing today, the musical performances of the Ensemble Gilles Binchois have been inextricably tied up with profound musical scholarship and with the leadership of a single powerful personality. In the case of the Ensemble Gilles Binchois, the scholarly tie is to the Center for Medieval Music in Paris, France; most of the group's regular performers both teach and study there. In addition, the ensemble has profited from close collaboration with some of mainland Europe's leading musicologists: Marie-Noël Colette in Paris and Karen Smith and Wulf Arlt in Basel. Its efforts have been recognized by the enthusiastic support of the Musical Affairs Department of the French Ministry of Culture. The single most important personality affecting the ensemble, however, remains its founder and director, Dominique Vellard.
Vellard and some of his close colleagues founded the ensemble in 1978, taking clear positions from the outset that they would perform from original notation and make every effort through their performances to foster deeper understanding of the structure and function of their repertories. The Ensemble changes its personnel depending upon the repertory, from a handful of male voices for plainchant or early polyphony, to a few mixed singers for chanson repertories, to adding festive instruments for splashier repertories. Though the Ensemble began its career in French musics, and has most frequently brought out earlier French repertories, the expansion of the personnel to include specialists from other countries has helped them branch out geographically. It performs throughout eastern and western Europe and has been rewarded with the support of a large number of French governmental institutions. One of the most distinctive features of the group's performing style is its thoughtful consideration of, and experimentation with, the ways that indigenous oral traditions might have impacted more "formal" singing style.
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发表于 2025-5-30 08:07:24