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Choir of King's College Cambridge -《本杰明·布里顿:合唱作品》(Benjamin Britten - Choral Works)[FLAC]

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    古典类型合唱
    发行时间2004年
  • 时间: 2013/08/20 12:10:30 发布 | 2013/08/20 17:46:40 更新
  • 分类: 音乐  古典音乐 

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专辑英文名Benjamin Britten - Choral Works
专辑中文名本杰明·布里顿:合唱作品
古典类型合唱
资源格式FLAC
发行时间2004年
地区英国
语言英语
简介

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作曲:Benjamin Britten
指挥:Sir David Willcocks & Sir Philip Ledger
演唱:Choir of King's College Cambridge
录音日期:2004
发行公司:EMI Classics
资源出处:电驴搜索

专辑介绍:

作曲者简介:
爱德华·本杰明·布里顿,布里顿男爵,OM,CH(英语:Edward Benjamin Britten, Baron Britten,1913年11月22日-1976年12月4日),英国作曲家、指挥家和钢琴演奏家,他是20世纪古典音乐的重要人物。也被认为是英国最伟大的作曲家之一。由於他的出生日和相传掌管音乐的主保圣人圣西西里亚(Saint Cecilla)的圣日相同,因此有人认为他有过人的音乐才华是上天所赋于的。
布里顿生于英国东南沿海萨福克郡洛斯托夫特小镇(Lowestoft),父亲是一名牙医,也是一位有才华的业余音乐爱好者,母亲是一位优秀的业余女高音,他曾随母学习钢琴。布里顿在二战期间与彼得•皮尔斯(Peter Pears)产生恋情并长期同居,是当时艺术圈半公开的同志。
布烈顿的乐曲种类算多样化,而他的歌唱类作品(不论是歌剧、合唱曲、独唱曲还是宗教合唱)及管絃乐配器都是被公认为相当出色的。这与他的合作伙伴及亲密伙伴彼得·皮尔斯甚有关连,皮尔斯不但为布烈顿提供了大量创作灵感,亦是作为他各类型歌唱作品首演的演唱者。布烈顿所完成的13齣歌剧,除了第1齣《保罗·班扬》(或译作《吹牛大王》)外,其他所有的男高音主角都是由皮尔斯所担任。同时,由於布烈顿自少已在教会中献唱,因此亦创作出不少具水準的宗教合唱作品。
布烈顿的代表作为数不少,大致可按早、中、后期创作来划份。早期的代表作有《简易交响曲》、《弗兰克·布里奇主题变奏曲》、《灵光集》、《交响安魂曲》、《圣诞颂歌》、为男高音、圆号和絃乐团所写的《小夜曲》等;中期则有《彼得·格林》等多部歌剧、《青少年管弦乐队指南》、为男高音、7件独奏乐器和絃乐团所写的《夜曲》、《战争安魂曲》等,晚期代表作则有为大提琴家罗斯卓波维契所写的《大提琴交响曲》、第2,3号大提琴组曲,以及多首以圣经内容为题裁的教会寓言剧。

创作
少年
布里顿童年时代已表现出对音乐的兴趣,并尝试作曲。开始师从布里奇(Frank Bridge)学习作曲,16岁进入皇家音乐学院,师从艾尔兰(John Ireland)学习作曲。在这期间,他受到了佛汉•威廉斯(Ralph Vaughan-Williams)的鼓励。他亦学习钢琴和中提琴。后来他以钢琴家的身份作演出。
布烈顿于少年时代所创作的作品大都没有编号,据统计,这段时期的作品或者乐曲片段数量多达八百多份。较著名的是于1930年所创作的童贞女的赞美诗(A Hymn to the Virgin )。而第1首获出版并符有编号的作品,是为室乐团所写的《小交响曲》(Sinfonietta),1934年,为英国广播电台合唱团(the BBC Singers)而写成的《有一婴孩诞生了》(A Boy was Born,作品3)以及毕业习作《简单交响曲》(A Simple symphony,作品4),令布烈顿开始在乐坛引起了注意。

早期
毕业后,布烈顿主要为电影创作电影配乐。在1935到1939的四年中,他相继完成十六部电影配乐,这些经验帮助他后来的歌剧创作。1937年5月,他受指挥家尼尔(Boyd Neel)的委托,为三个月后的萨尔茨堡音乐节创作一首弦乐作品。布烈顿只用了十天的时间,便把新乐曲定了初稿,再多用了一个月的时间配器,7月12日正式把乐曲写好。这首作品,便是以启蒙老师布里奇的一首弦乐四重奏中的主题所写成的《弗兰克•布里奇主题变奏曲》。
同年他还认识了男高音彼得•皮尔斯(Peter Pears),后者成为他音乐创作的合作伙伴和亲密伙伴。

赴美及返英
1939年他和彼得•皮尔斯跟随诗人奥登(W. H. Auden)前往美国。在美国他创作了轻歌剧《保罗.班扬》(Paul Bunyan)、《小提琴协奏曲》、《灵光集》(Les Illuminations)、《安魂交响曲》(Sinfonia da Requiem)等。在美期间,布烈顿有机会与作曲家科普兰见面,科普兰的作品亦成为启发布烈顿在美创作的一大因素。
1942年他和皮尔斯决定返回英国(而奥登则选择留在美国),在回英的航程中,布烈顿完成了两首重要的合唱作品:分别是取材自奥登的诗歌,以音乐守护者圣西西里亚为题的《圣西西里亚赞美歌》(Hymn to St. Cecilia),以及《圣诞颂歌》(A Ceremony of Carols)。两人回到英国后,随即向当局申请免服兵役(最初布烈顿的申请并不获批准,后来经上诉后得直)。及后布烈顿便开始撰写其第2出歌剧《彼得•格林》(Peter Grimes),并且找来剧作家斯莱特(Montagu Slater)撰写剧本。这套歌剧于1945年6月7日于伦敦首演,获得了好评。然而,这却引来一些反对的声音,认为以英文演译歌剧而非惯常的意大利语或德语,实乃「难登大雅之堂」。这些言论都导致布烈顿后来渐渐放弃了伦敦的剧院。

战后
二战结束后,人民的生活开始回复正常。1946年,布烈顿应当年英国教育部的委托,为一套介绍管弦乐团及乐器的教育影片中创作音乐,于是他运用了二百多年前的另一位英国作曲家浦塞尔(Purcell)的歌剧《摩尔人的复仇》中的一段回旋曲(Rondeau)为主题,再以此主题写成变奏曲和赋格曲,而每一段变奏均用上不同的乐器。这首乐曲便是《浦塞尔主题、变奏及赋格曲》(Variation and Fugue on a Theme of Purcell),又或是更广为人所熟识的名称-《青少年管弦乐队指南》(The Young Person's Guide to the Orchestra)。
同时,经历过那些反对以英语演出歌剧的奇怪言论,布烈顿决定自行创立了「英国歌剧团」(English Opera Group),专门演译英语歌剧;又于翌年(1948年)创办了著名的「奥尔德堡艺术节」(Aldeburgh Festival),这个音乐节首演了不少布里顿和其它英国作曲家的作品,至今每年六月都会举行。
1950年代是布烈顿的歌剧黄金时期,作品有《比利•毕特》(Billy Budd)、庆祝英女皇伊莉莎伯二世登基的《格洛丽安娜》(Gloriana,或称《荣光女皇》)、《碧庐冤孽》(The Turn of the Screw)、《挪亚方舟》(Noye's Fludde)及改篇自莎士比亚同名戏剧《仲夏夜之梦》(A Midsummer Night's Dream)。1953年,适逢伊莉莎伯二世登基,布烈顿获封为名誉勋位(Order of the Companions of Honour,CH)。
1957年他和皮尔斯到东方旅行,对印度尼西亚甘美兰音乐和日本能剧音乐产生兴趣,早在留美时间,布烈顿便初次接触佳美兰。他后期的作品,亦加入具东方风情的要素,如芭蕾舞剧《宝塔王子》(The Prince of the Pagodas)、一系列的宗教寓言剧-《麻鹬河》(Curlew River)、《炽烈燃烧的火炉》(The Burning Fiery Furnace)及《浪子》(The Prodigal Son)等。

中后期
虽然布烈顿把大部份精力都放在歌剧及其他类型剧乐上,管弦乐和室乐的产量较少,但每一首都是精炼之作。当中首推创作于1961-62年,为考文垂大教堂(Coventry Cathedral)重建而应邀委约的大型合唱曲《战争安魂曲》,另外继作品31的《小夜曲》后,再为皮尔斯所创作的室乐联篇歌曲《夜曲》。
1960年代,他认识了两位俄国重量级音乐家:作曲家萧士达高维契和罗斯卓波维契并成为好友,布里顿为罗斯卓波维契创作了多首大提琴作品。包括有C大调大提琴奏鸣曲(1960)、大提琴交响曲 (Symphony for Cello and Orchestra, 1963) 及三套大提琴独奏组曲 (1964-1971);至于萧士塔高维契,布烈顿把《浪子》题献给他,萧士塔高维契亦将受《战争安魂曲》所启发的《第14号交响曲》回献给布烈顿。此曲于1970年由布烈顿亲自指挥,作苏联以外的首演。1965年,布烈顿再获颁发功绩勋章(Order of Merit,OM)。
踏入1970年代,布烈顿的健康开始转差,创作量亦变得疏落,但他依然能完成两出歌剧:《欧文.温格瑞夫》(Owen Wingrave)和《魂断威尼斯》(Death in Venice)。另外《第3大提琴组曲》、《第3弦乐四重奏》和联篇歌集《英国民歌组曲》也是他晚期的重要创作。
1976年7月2日被授予终身贵族,进入上议院。不久之后,1976年12月4日在萨福克的奥尔德堡去世,享年63岁。

文章摘引:维基百科


此专辑为布里顿合唱作品精选,包括曲目:
Hymn to St. Cecilia 赞美诗圣塞西莉亚, Op. 27 (1942)
A Ceremony of Carols 颂歌仪式, Op. 28 (1942)
Missa brevis in D 弥撒, Op. 63 (1959)
Festival Te Deum, for trumpet, chorus & organ 感恩赞节, Op. 32 (1944)
Rejoice in the Lamb 欢乐耶稣, Op. 30 (1943)
Te Deum in C 感恩赞, for trumpet, chorus & organ in C major (1934)
Jubilate Deo in C for Chorus and Organ in C major 欢喜迪奥 (1961)


Hymn to St. Cecilia 赞美诗圣塞西莉亚, Op. 27

Hymn to St Cecilia, Op. 27 is a choral piece by Benjamin Britten (1913-1976), a setting of a poem by W. H. Auden written between 1940 and 1942. Auden's original title was "Three Songs for St. Cecilia's Day", and he later published the poem as "Anthem for St. Cecilia’s Day (for Benjamin Britten)".
For a long time Britten wanted to write a piece dedicated to St Cecilia for a number of reasons. Firstly, he was born on St Cecilia's day; secondly, St Cecilia is the patron saint of music; and finally, there is a long tradition in England of writing odes and songs to St Cecilia. The most famous of these are by John Dryden ("A song for St. Cecilia's Day" 1687) and musical works by Henry Purcell, Hubert Parry, and George Frideric Handel. Another briefer work by Herbert Howells has the similar title A Hymn for St Cecilia, but was written later in 1960. The first extant reference to Britten's desire to write such a work is from 1935 when Britten wrote in his diary "I’m having great difficulty in finding Latin words for a proposed Hymn to St. Cecilia spend morning hunting."
At this point, Britten had already worked with Auden on a number of large-scale works, including the operetta Paul Bunyan (1941). Britten asked that Auden provide him a text for his ode to St Cecilia, and Auden complied, sending the poem in sections throughout 1940, along with advice on how Britten could be a better artist. This was to be the last work they collaborated on. According to Britten's partner Peter Pears in 1980 "Ben was on a different track now, and he was no longer prepared to be dominated– bullied – by Wystan, whose musical feeling he was very well aware of. ...Perhaps he may have been said to have said goodbye to working with Wystan with his marvelous setting of the Hymn (Anthem) to St. Cecilia."
Britten began setting Hymn to St Cecilia in late 1940 in the United States. In 1942 (the midst of World War II) Britten and Pears decided to return home to England. Unfortunately, the customs inspectors confiscated all of Britten's manuscripts, fearing they could be some type of code. Britten re-wrote the manuscript while aboard the MS Axel Johnson, and finished it April 2, 1942. It was written at the same time as A Ceremony of Carols, which shares the same affect.
The text itself follows in the tradition of odes, including an invocation to the muse: "Blessed Cecilia/Appear in visions to all musicians/Appear and inspire". Britten uses this as a refrain throughout piece, whereas it is the last portion of Auden's first section.
The piece is in three sections, plus three iterations of the refrain, with slight variations, following each section. The first section is very similar to the refrain, based around the E phrygian scale and with the same melody. The second section is a scherzo with a modified fugue form. The third section is more lyrical, with solos in each voice describing a different instrument, traditional in odes to St. Cecilia.



A Ceremony of Carols 颂歌仪式, Op. 28

A Ceremony of Carols, Op. 28, is a choral piece by Benjamin Britten, scored for three-part treble chorus, solo voices, and harp. Written for Christmas, it consists of eleven movements, with text from The English Galaxy of Shorter Poems, edited by Gerald Bullett; it is in Middle English. A number of the texts were subsequently used by other composers, notably Adam lay ybounden by Boris Ord. The piece was written in 1942 while Britten was at sea, going from the United States to England. It was written at the same time as his Hymn to St. Cecilia and is stylistically very similar. Originally conceived as a series of unrelated songs, it was later unified into one piece with the framing processional and recessional chant in unison based on the Gregorian antiphon "Hodie Christus natus est", heard at the beginning and the end. A harp solo based on the chant, along with a few other motifs from "Wolcum Yole", also serves to unify the composition. In addition the movements "This Little Babe" and "Deo Gracias" have the choir reflecting harp-like effects by employing a canon at the first in stretto.
Movements

1. "Procession" ("Hodie Christus natus est", Gregorian antiphon to the Magnificat at Second Vespers of Christmas)
2. "Wolcum Yole!"
3. "There is no Rose" (Trinity College MS 0.3.58, early 15c)
4a. "That yonge child"
4b. "Balulalow" (The brothers Wedderburn, fl. 1548)
5. "As dew in Aprille" (Sloane 2593, first quarter 15c)
6. "This little Babe" (from Robert Southwell's "Newe Heaven, Newe Warre", 1595)
7. "Interlude" (harp solo)
8. "In Freezing Winter Night" (Southwell)
9. "Spring Carol" (16c., also set by William Cornysh)
10. "Deo Gracias" (Sloane 2593)
11. "Recession" ("Hodie")


Missa brevis in D 弥撒, Op. 63

The Missa Brevis in D, Op. 63 is a setting of the Mass composed by Benjamin Britten on Trinity Sunday, 1959.[1] It was first performed at London's Roman Catholic Westminster Cathedral on 22 July of the same year.[1] The piece is set for three-part treble chorus and organ.
The printed dedication reads "For George Malcolm and the boys of Westminster Cathedral Choir".[2] The Missa Brevis was composed for Malcolm's retirement as organist and choirmaster at Westminster.[1] It was Britten's first published setting of the Mass.[3] Malcolm's live recording of the piece, from a service at the cathedral, lasts ten minutes.
Contents
1 Liturgy
2 Music
3 Notes
4 References

Liturgy

The Missa Brevis contains only four movements, omitting the Credo, notable since the sung Masses of the Westminster Cathedral Choir would have usually included this movement, central to the Catholic faith.[4] The piece rather seems predisposed towards the liturgy of the Church of England or the Protestant Episcopal Church of America, which traditionally omit the Credo.[5] In the Sanctus, Britten writes an optional transition between the first Hosanna and the Benedictus. This serves two functions: 1) it allows the sections to be elided seamlessly if the work is performed non-liturgically, and 2) it allows the section to be easily cut altogether for certain liturgical purposes, e.g. in the United States, the Benedictus was not officially approved by canon law and many Episcopal churches omitted it.[5]
Music [edit]

The Kyrie immediately presents the D major / F-sharp major relationship that is a unifying element of the work, occurring also in the Gloria and the Sanctus.[1] F sharp is the key center despite the key signature.[1] The movement is in ternary form, with the central "Christe" inverting the melody of the Kyrie.
The Gloria is based on a 7/8 ostinato derived from the incipit Gloria XV that would be intoned by the celebrant in some liturgical settings.[6] The additive time signature allows for various patterns of word stress.[7] The central "Qui Tollis" juxtaposes F Major against the prevailing D / F-sharp bitonality and contrasts short phrases for solo voice with those for tutti unison.
The brilliant Sanctus in 3/2 presents a single melodic line dominated by the interval of a perfect fourth, and shared between the three enharmonically overlapping voices. D Lydian, F sharp Major, and F Major are all suggested (the three prominent keys of the Gloria).[8] The "Pleni sunt caeli" section features free imitative polyphony in the voices with the original melody transferred to the organ pedals. The Benedictus is a bitonal duet for two soloists, the first in G major, and the second in C major. This results in parallel fourths and false relations between F sharp and F natural. Following is an exultant contraction of all of the material preceding the Benedictus into just five measures.[6]
The Agnus Dei, marked "Slow and Solemn", is in D minor. In 5/4 time, an organ pedal ostinato of rising thirds outlines the interval of a minor ninth.[9] The threefold repeat of the Agnus Dei text gains intensity with each repetition through rising dynamics and register. The closing Dona Nobis Pacem builds to fortissimo; it is set with hammered repeated notes and overlapping intervals of a second between the voices. The organ ostinato finally breaks its pattern for the last two bars and the chorus closes with a pianississimo D minor triad.

文章摘引:
维基百科

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试听:
01.Britten - Hymn to St. Cecilia 赞美诗圣塞西莉亚, Op. 27 - I. Inady (2:58)




21.Britten - Festival Te Deum 感恩赞节, Op. 32 (6:28)




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感谢原发布者!!介绍均来自网络。
仅作试听,请勿用于商业用途。喜欢这张专辑,请购买正版。
曲目比较生僻,刚开始上传速度较慢,本人做源至少1年。



专辑曲目

01 Hymn to St. Cecilia, for chorus, Op. 27: I. In a garden shady this holy lady
02 Hymn to St. Cecilia, for chorus, Op. 27: II. I cannot grow
03 Hymn to St. Cecilia, for chorus, Op. 27: III. O ear whose creatures cannot wish to fall
04 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: I. Procession
05 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: II. Wolcum Yole!
06 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: III. There is no rose
07 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: IV. ( a ) That yongë child
08 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: IV. ( b ) Balulalow
09 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: V. As dew in Aprille
10 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: VI. This little babe
11 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: VII. Interlude (Andante pastorale)
12 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: VIII. In freezing winter night
13 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: IX. Spring Carol
14 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: X. Deo gracias!
15 A Ceremony of Carols, for treble voices (or chorus) & harp, Op. 28: XI. Recession
16 Missa Brevis, for boys' chorus & organ in D major, Op. 63: I. Kyrie
17 Missa Brevis, for boys' chorus & organ in D major, Op. 63: II. Gloria
18 Missa Brevis, for boys' chorus & organ in D major, Op. 63: III. Sanctus
19 Missa Brevis, for boys' chorus & organ in D major, Op. 63: IV. Benedictus
20 Missa Brevis, for boys' chorus & organ in D major, Op. 63: V. Agnus Dei
21 Festival Te Deum, for trumpet, chorus & organ, Op. 32
22 Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: Rejoice in God, O ye Tongues
23 Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: For I will consider my Cat Jeoffry
24 Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: For the Mouse is a creature of great personal valour
25 Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: For the flowers are great blessings
26 Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: For I am under the same accusation with my Saviour
27 Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: For H is a spirit and therefore he is God
28 Rejoice in the Lamb, festival cantata for trumpet, ATB soloists, chorus & organ, Op. 30: Hallelujah from the heart of God
29 Te Deum, for trumpet, chorus & organ in C major
30 Jubilate Deo, for chorus & organ in C major

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