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艺术家：音乐议会乐团、马丁·盖斯特、布列塔尼少年合唱团、让-米歇尔·诺埃尔
标题：波尔波拉：圣母升天节晚祷
发行年份：2012年
厂牌：昂布罗奈出版社
流派：古典音乐
音质：无损FLAC/24位-96.0千赫兹FLAC+小册子
总时长：01小时04分01秒
总大小：341兆字节/1.12吉字节
网站：专辑预览
曲目列表
01. G大调《赞美主，少年们》：第一首 赞美主，少年们（活泼地）[现场录音]
02. G大调《赞美主，少年们》：第二首 从日出之地[小广板][现场录音]
03. G大调《赞美主，少年们》：第三首 谁能像主[快板][现场录音]
04. G大调《赞美主，少年们》：第四首 居住者[中板][现场录音]
05. G大调《赞美主，少年们》：第五首 荣耀[快板][现场录音]
06. F大调《圣母经》：第一首 圣母经[柔板][现场录音]
07. F大调《圣母经》：第二首 我们向你呼喊[小快板][现场录音]
08. F大调《圣母经》：第三首 我们向你叹息[柔板][现场录音]
09. F大调《圣母经》：第四首 因此啊[快板][现场录音]
10. F大调《圣母经》：第五首 求你怜悯他们[柔板][现场录音]
11. F大调《圣母经》：第六首 啊，仁慈的[深情地][现场录音]
12. 《我欢欣》：第一首 我欢欣[现场录音]
13. 《我欢欣》：第二首 因他们坐在那里[现场录音]
14. 《我欢欣》：第三首 愿平安降临[现场录音]
15. 《我欢欣》：第四首 荣耀[现场录音]
16. 《我欢欣》：第五首 如往昔[现场录音]
17. 《耶路撒冷赞美诗》：第一首 耶路撒冷赞美诗[现场录音]
18. 《耶路撒冷赞美诗》：第二首 荣耀[现场录音]
19. 《耶路撒冷赞美诗》：第三首 如往昔[现场录音]
音乐议会乐团、马丁·盖斯特、布列塔尼少年合唱团、让-米歇尔·诺埃尔 - 波尔波拉：圣母升天节晚祷（2012）[高解析度]
波尔波拉的《晚祷》首演于威尼斯的奥斯佩达莱托孤儿院，这是四所专门从事音乐教育的女童孤儿院之一，其专业程度被视为音乐学院。四所中最著名的是维瓦尔第教授小提琴的皮耶塔孤儿院。1744年的《晚祷》由五首诗篇、一首《圣母颂》和一首《圣母经》组成。其中四首作品可在大英图书馆的亲笔手稿中找到，包括五首大诗篇中的三首：附加手稿13126中的《我欢欣》和《若非主》，以及附加手稿1412中的《耶路撒冷赞美诗》，均注明日期为1744年。大英图书馆另一部波尔波拉手稿附加14125包含两首注明1744年的《圣母经》，因旋律优美，为1744年《晚祷》选择了标有“为安焦拉·莫罗而作”的那首。这部音乐采用18世纪20年代由波尔波拉及其对手莱昂纳多·芬奇和约翰·阿道夫·哈塞发展的早期古典风格，其特点是华丽的周期性旋律，这种风格后来在莫扎特的教堂音乐中得到体现。奥斯佩达莱托的波尔波拉大师后来成为乔治·桑小说《康素爱萝》中的角色，女主角是安焦拉·莫罗和波尔波拉最著名学生“拉·明戈蒂”的综合体。在从时尚歌剧作曲家转变为受人尊敬的教堂乐长和教师的过程中，1744年的《晚祷》可能起到了关键作用，有点类似于同时期亨德尔“皈依”清唱剧时的《弥赛亚》或《参孙》。多年来，音乐议会乐团一直在探索威尼斯孤儿院的协奏曲目：在演绎过巴萨尼、维瓦尔第、哈塞、约梅利和拉蒂拉之后，现在聚焦于尼古拉·波尔波拉和他为奥斯佩达莱托孤儿院女声与管弦乐队创作的协奏晚祷。
Artist: Le Parlement de Musique, Martin Gester, Maîtrise de Bretagne, Jean-Michel Noël
Title: Porpora: Vespro per la Festività dell'Assunta
Year Of Release: 2012
Label: Ambronay Éditions
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:04:01
Total Size: 341 mb / 1.12 gb
WebSite: Album Preview
Tracklist
01. Laudate pueri Dominum in G Major: I. Laudate pueri Dominum (Vivace) [Live Recording]
02. Laudate pueri Dominum in G Major: II. A solis ortu (Larghetto) [Live Recording]
03. Laudate pueri Dominum in G Major: III. Quis sicut Dominus (Allegro) [Live Recording]
04. Laudate pueri Dominum in G Major: IV. Qui habitare (Moderato) [Live Recording]
05. Laudate pueri Dominum in G Major: V. Gloria (Allegro) [Live Recording]
06. Salve Regina in F Major: I. Salve Regina (Adagio) [Live Recording]
07. Salve Regina in F Major: II. Ad te clamamus (Allegretto) [Live Recording]
08. Salve Regina in F Major: III. Ad te suspiramus (Adagio) [Live Recording]
09. Salve Regina in F Major: IV. Eia ergo (Allegro) [Live Recording]
10. Salve Regina in F Major: V. Illos tuos misericordes (Adagio) [Live Recording]
11. Salve Regina in F Major: VI. O clemens (Affettuoso) [Live Recording]
12. Laetatus sum: I. Laetatus sum (Live Recording)
13. Laetatus sum: II. Quia illic sederunt (Live Recording)
14. Laetatus sum: III. Fiat pax (Live Recording)
15. Laetatus sum: IV. Gloria (Live Recording)
16. Laetatus sum: V. Sicut erat (Live Recording)
17. Lauda Jerusalem: I. Lauda Jerusalem (Live Recording)
18. Lauda Jerusalem: II. Gloria (Live Recording)
19. Lauda Jerusalem: III. Sicut erat (Live Recording)
Le Parlement de Musique, Martin Gester, Maîtrise de Bretagne, Jean-Michel Noël - Porpora: Vespro per la Festività dell'Assunta (2012) [Hi-Res]
Porpora's 'Vespers' was first performed in Venice at the Ospedaletto, one of four orphanages for girls that specialised in music to the extent that they were regarded as conservatories. The most famous of the four was the Pietà, where Vivaldi taught violin. The Vespers 1744 consists of five psalms, a Magnificat and a Salve Regina. Four of the pieces can be found in autograph manuscripts in the British Library, including three of the five great psalms: the Laetatus sum and Nisi Dominus in Additional 13126 and the Lauda Jerusalem in Additional 1412, all three dated 1744. Another of the Porpora manuscripts in the British Library, Additional 14125, contains two Salve Reginas dated 1744; the one designated ‘Per Angiola Moro’ has been chosen for the Vespers 1744 because of its beauty. The music is conceived in the early Classical style as developed during the 1720s by Porpora and his rivals, Leonardo Vinci and Johann Adolph Hasse. The music is characterised by its ornate periodic melodies which later became exemplified in the church music of Mozart. Maestro Porpora of the Ospedaletto would later become a character in George Sand’s novel 'Consuelo', with the heroine a composite of Angiola Moro and Porpora’s most famous pupil ‘La Mingotti’. In this transformation from fashionable opera composer to revered maestro di cappella and teacher, the Vespers of 1744 probably played a pivotal role, somewhat akin to the contemporary 'Messiah' or 'Samson' in Handel’s ‘conversion’ to oratorio. For several years now Le Parlement de Musique has pursued its investigation of the concertante repertoire of the Venetian ospedali: after Bassani, Vivaldi, Hasse, Jommelli and Latilla, the spotlight is now on Nicola Porpora and his concertato Vespers for female voices and orchestra of the Ospedaletto.
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发表于 2025-6-13 08:19:46