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艺术家：弗莱堡巴洛克乐团（Freiburger Barockorchester）、RIAS室内合唱团（RIAS Kammerchor）、勒内·雅各布斯（René Jacobs）
标题：贝多芬：庄严弥撒，作品123号
发行年份：2021年
厂牌：harmonia mundi
类型：古典音乐
音质：分轨FLAC格式 / 24位-96kHz分轨FLAC格式（含小册子）
总时长：1小时11分54秒
总大小：301兆字节 / 1.18吉字节
网站：专辑预览
曲目列表
01. 庄严弥撒，作品123号：垂怜经“主啊，求你垂怜” - “基督，求你垂怜” - “主啊，求你垂怜”（8分43秒）
02. 庄严弥撒，作品123号：荣耀经“在至高之处荣耀归于神”（3分00秒）
03. 庄严弥撒，作品123号：荣耀经“我们因你大荣耀而感谢你”（2分32秒）
04. 庄严弥撒，作品123号：荣耀经“除去世人罪孽者”（2分28秒）
05. 庄严弥撒，作品123号：荣耀经“坐在天父右侧者”（2分37秒）
06. 庄严弥撒，作品123号：荣耀经“因为唯有你是圣的”（6分38秒）
07. 庄严弥撒，作品123号：信经“我信唯一真神”（3分45秒）
08. 庄严弥撒，作品123号：信经“因圣灵感孕”（4分46秒）
09. 庄严弥撒，作品123号：信经“第三日复活”（2分49秒）
10. 庄严弥撒，作品123号：信经“及来世的生命”（6分00秒）
11. 庄严弥撒，作品123号：圣哉经“圣哉，主，万军之神” - “和散那，在至高之处”（3分35秒）
12. 庄严弥撒，作品123号：圣哉经：前奏曲（1分24秒）
13. 庄严弥撒，作品123号：降福经“奉主名来的当受赞美” - “和散那，在至高之处”（9分36秒）
14. 庄严弥撒，作品123号：羔羊经“除去世人罪孽的神羔羊”（6分41秒）
15. 庄严弥撒，作品123号：羔羊经“赐我们平安”（7分26秒）
指挥家勒内·雅各布斯（René Jacobs）对贝多芬作品的重新诠释成果斐然，他通过回归原作并从头审视，赋予音乐全新生命力。继成功复兴歌剧《莱奥诺拉》（Hess 109，1805年初版《费德里奥》作品72号）后，其2021年对《庄严弥撒》（作品123号）的演绎更堪称典范——这部作品素以诠释难度极高著称：音域对歌唱家极富挑战，情绪转折常出人意料，结尾亦充满微妙的不确定性。然而，这部弥撒绝非贝多芬的次要作品：作曲家耗时多年雕琢，数度延期，甚至重新研习经文，使其成为这位被海顿称为“无神论者”、又被视作不可知论者或自由思想者的作曲家的个人信仰宣言。
雅各布斯将这部弥撒视为“受难剧”般的存在，以强烈的对比揭示音乐中的思想脉络，精准捕捉贝多芬对经文的内在回应。例如在“道成肉身”（Incarnatus）段落，他巧妙展现出作曲家相较“受难”主题对“道成肉身”的相对疏离。随专辑附赠的访谈式小册子中，雅各布斯进一步阐释了其理念，尤其对奇异的“羔羊经”终章的解读极富说服力。整体而言，音乐仿佛引领听众踏上一场精神之旅，令人沉浸其中。
演奏与演唱均堪称卓越：使用历史乐器的弗莱堡巴洛克乐团全无巴洛克式的机械感，独奏家们对声乐挑战的应对亦无可挑剔。这版《庄严弥撒》每一次聆听都能带来新启示，注定将在未来多年持续被聆听与探讨。
Artist: Freiburger Barockorchester, RIAS Kammerchor, René Jacobs
Title: Beethoven: Missa solemnis, Op. 123
Year Of Release: 2021
Label: harmonia mundi
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:11:54
Total Size: 301 MB / 1.18 GB
WebSite: Album Preview
Tracklist:
01. Missa solemnis, Op. 123: Kyrie "Kyrie eleison" - "Christie eleison" - "Kyrie eleison" (8:43)
02. Missa solemnis, Op. 123: Gloria "Gloria in excelsis Deo" (3:00)
03. Missa solemnis, Op. 123: Gloria "Gratias agimus tibi propter magnam gloriam tuam" (2:32)
04. Missa solemnis, Op. 123: Gloria "Qui tollis peccata mundi" (2:28)
05. Missa solemnis, Op. 123: Gloria "Qui sedes ad dexteram Patris" (2:37)
06. Missa solemnis, Op. 123: Gloria "Quoniam tu solus Sanctus" (6:38)
07. Missa solemnis, Op. 123: Credo "Credo in umum Deum" (3:45)
08. Missa solemnis, Op. 123: Credo "Et incarnatus est de Spiritu Sancto" (4:46)
09. Missa solemnis, Op. 123: Credo "Et resurrexit tertia die" (2:49)
10. Missa solemnis, Op. 123: Credo "Et vitam venturi sæculi" (6:00)
11. Missa solemnis, Op. 123: Sanctus "Sanctus Dominus Deus Sabaoth" - "Hosanna in excelsis" (3:35)
12. Missa solemnis, Op. 123: Sanctus. Präludium (1:24)
13. Missa solemnis, Op. 123: Benedictus "Benedictus qui venit in nomine Domini" - "Hosanna in excelsis" (9:36)
14. Missa solemnis, Op. 123: Agnus Dei "Agnus Dei qui tollis peccata mundi" (6:41)
15. Missa solemnis, Op. 123: Agnus Dei "Dona nobis pacem" (7:26)
Conductor René Jacobs' turn to Beethoven has yielded impressive results by going back to Beethoven's works and rethinking them from the ground up. His revival of the opera Leonore, Hess 109, the original 1805 version of Fidelio, Op. 72, made a strong case for that little-performed version. Even better, perhaps, is this 2021 reading of the Missa Solemnis, Op. 123, a notoriously difficult work to interpret. It does not lie easily in the voice ranges of the singers; its mood shifts gears seemingly out of nowhere, and it ends on a seemingly uncertain note. Yet, in no way can the mass be considered a minor Beethoven work. The composer struggled with it for years, missing deadlines and returning to the mass text for fresh study. The work is a personal religious statement from a composer who has variously been called an atheist (by Haydn), an agnostic, or a freethinker. Jacobs treats the mass as a kind of passion play, bringing out the currents of thought in the music with strong contrasts and giving an uncanny sense of Beethoven's own responses to the text. Listen to the Incarnatus, where Jacobs catches the composer's relative lack of interest in the Incarnation as compared with the Crucifixion. Listeners are directed toward the interview-style booklet notes in which Jacobs expands on his ideas; his interpretation of the odd Agnus Dei finale is highly persuasive. In general, the music draws the listener in as if witnessing a spiritual journey. The performances are very strong; there is no hint of Baroque mechanistic quality in the work of the historical-instrument Freiburg Barockorchester, and the soloists handle the vocal challenges as well as any have. This is a Missa Solemnis that yields new insights with each hearing, and it is one that will be heard for many years to come. © TiVo
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发表于 2025-6-8 08:09:39