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the Scottish Chamber Orchestra and Chorus -《莫扎特:安魂曲》(Mozart Requiem, Adagio & Fugue)Sir Charles Mackerras[SCO,CKD211][24bit/96KHz][FLAC]

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    发行时间2002年
  • 时间: 2008/08/27 11:51:31 发布 | 2008/08/27 11:51:33 更新
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专辑英文名Mozart Requiem, Adagio & Fugue
专辑中文名莫扎特:安魂曲
版本Sir Charles Mackerras[SCO,CKD211][24bit/96KHz][FLAC]
发行时间2002年
地区英国
简介

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作曲家:Wolfgang Amadeus Mozart
指挥:Sir Charles Mackerras
演奏乐团:Scottish Chamber Orchestra and Chorus
发行版本:Linn (CKD211)
专辑类型:Classical / Choir
录制版本:at Caird Hall, Dundee, UK 14-16 December 2002
独唱人员:
Susan Gritton – soprano
Catherine Wyn-Rogers – contralto
Timothy Robinson – tenor
Peter Rose – bass

专辑介绍:

沃尔夫冈·阿玛迪乌斯·莫扎特,Wolfgang Amadeus Mozart(1756~1791)奥地利作曲家,维也纳古典乐派的代表人物。1756年1月27日生于奥地利萨尔茨堡粮食街9号,1791年12月5日卒于维也纳,享年35岁。

《安魂曲》,莫扎特完成的部分主要是《进台咏》与《求主垂怜》,这两个段落不仅完成了声乐部分,器乐伴奏也已经是完整详细的配器谱。第三部分《继叙咏》(Sequenz)除了最后一段《落泪之日》(Lacrimosa)之外都完成了旋律谱,在配器方面莫扎特亦有较为具体的指示,《落泪之日》部分莫扎特只写了八小节,绪斯迈尔续写了整个《继叙咏》,而这个部分的管弦乐配器则是由艾伯勒完成的。第四部分《奉献经》莫扎特写了声乐部分,从这里直到整部《安魂曲》结束都是由绪斯迈尔谱写完的,但《安魂曲》最后两部分《羔羊经》和《领主咏》(Communio)绪斯迈尔并没有重新谱曲,而是分别采用了现成的《弥撒曲》(KV220)与开头部分《垂怜经》里的赋格,这恐怕来自莫扎特的嘱托。

莫扎特完成部分与后人续写部分的详细分析:
Requiem in D minor,K626
1 Introitus(垂怜经):Requiem(进台咏)---莫扎特完成声乐部分,器乐伴奏以呈完整详细的器乐谱。
2 Kyrie(求主垂怜)---莫扎特完成声乐部分,器乐伴奏以呈完整详细的器乐谱。
3 Sequenz(继叙咏)Dies irae(震怒之日)---莫扎特完成旋律谱,具体指示配器方面。艾伯勒完成管弦乐配器。随斯迈尔续写完剩余的。
4 Tuba mirum(号角声起)---莫扎特完成旋律谱,具体指示配器方面。随斯迈尔续写完剩余的。
5 Rex tremendae(你是可怕威严的君王)---莫扎特完成旋律谱,具体指示配器方面。随斯迈尔续写完剩余的。
6 Recordare(至慈耶稣求你垂怜)---莫扎特完成旋律谱,具体指示配器方面。随斯迈尔续写完剩余的。
7 Confutatis(恶人群魔径受审判)---莫扎特完成旋律谱,具体指示配器方面。随斯迈尔续写完剩余的。
8 Lacrimosa(落泪之日)---莫扎特写了八小节,永远停下了他的笔,成为了他自己真正的安魂弥撒曲。艾伯勒完成管弦乐配器。随斯迈尔续写完剩余的。
9 Offertorium(奉献经)omine Deus(主耶稣)---莫扎特写了声乐部分。由随斯迈尔写完剩余的。
10 Hostias(牺牲)---莫扎特写了声乐部分。由随斯迈尔写完剩余的。
11 Sanctus(圣哉经)---完全由随斯迈尔写成,优美、动人,可能莫扎特生前曾经勾勒出整部安魂曲的草稿。
12 Benedictus(降福经)---完全由随斯迈尔写成,优美、动人,可能莫扎特生前曾经勾勒出整部安魂曲的草稿。
13 Agnus Dei(羔羊经)---采用K220《弥撒曲》:可能来自莫扎特的嘱托。
14 CommuniLux aeterna(领主咏)---采用开头部分《垂怜经》中的赋格:可能来自莫扎特的嘱托。


The Levin edition of Mozart's compelling Requiem performed in thrilling splendour by Mackerras and the SCO.

"The string lines carry all the expressive weight one could want, and the woodwind and brass have a sovereign authority." The Guardian

Mozart's Requiem—the composer's last and unfinished work—was commissioned by Count Franz von Wallsegg, who wished to have it performed in memory of his departed wife as his own composition. In order not to forfeit the handsome commission fee, Mozart's widow Constanze decided to have the work completed in secrecy, so that the finished version could be presented as her husband's final effort. The Requiem is known to the general public in the version undertaken by Mozart's pupil Franz Xaver Süssmayr. Süssmayr based his completion on Mozart's virtually complete score of the INTROITUS and drafts of all sections from the Kyrie fugue to the Hostias. These contain the completed vocal parts (solo and chorus) and the orchestral bass line, with occasional motives for the orchestral accompaniment. However, the Lacrimosa breaks off after the eighth bar. To these Mozartean materials Süssmayr added settings of the SANCTUS/Hosanna, Benedictus, AGNUS DEI and COMMUNION (Lux aeterna —Cum sanctis tuis). (The COMMUNION is merely a newly texted version of part of the INTROITUS and of the Kyrie fugue.)

In making his completion Süssmayr could draw on the partial completion of the SEQUENCE done by Joseph Eybler soon after Mozart's death. He may have had access to a further important source—a sketch leaf which includes contrapuntal studies for the Rex tremendae as well as the beginning of an Amen fugue to close the Lacrimosa. However, Süssmayr did not include a realization of this fugue in his version; he set the Amen with two chords at the end of the Lacrimosa.

The key question about Süssmayr's version is whether any of the portions of the Requiem that are not in Mozart's hand were based on his ideas. Although Süssmayr claimed to have composed these alone, they display the tight motivic construction of Mozart's fragment, in which a small number of themes recurs from movement to movement. (Süssmayr's own music lacks such motivic interrelationships.) Perhaps, then, the "few scraps of music" Constanze Mozart remembers giving to Süssmayr together with Mozart's manuscript contained material not found in Mozart's draft. Mozart also may have suggested certain ideas to Süssmayr on the piano.

A clear evaluation of the movements Süssmayr claimed to have composed is clouded by unmistakable discrepancies within them between idiomatically Mozartean lines and grammatical and structural flaws that are utterly foreign to Mozart's idiom. First attacked in 1825, these include glaring errors of voice leading in the orchestral accompaniment of the SANCTUS and the awkward, truncated Hosanna fugue. Furthermore, Süssmayr brings back this fugue after the Benedictus in B-flat major rather than the original D major—in conflict with all church music of the time.

The version heard in this evening’s performance seeks to address the problems of instrumentation, grammar and structure within Süssmayr's version while respecting the 200-year-old history of the Requiem. A clearly drawn line of separation, in which everything except the contents of Mozart's autograph was to be considered spurious per se, was explicitly rejected. Rather, the goal was to revise not as much, but as little as possible, attempting in the revisions to observe the character, texture, voice leading, continuity and structure of Mozart's music. The traditional version has been retained insofar as it agrees with idiomatic Mozartean practice. The more transparent instrumentation of the new completion was inspired by Mozart's other church music. The Lacrimosa has been slightly altered and now leads into a non-modulating Amen fugue. (Other completions of the fugue modulate extensively.) The second half of the SANCTUS resolves the curious tonal discrepancies of Süssmayr's version, and the revised Hosanna fugue, modeled after that of Mozart's C-minor Mass K.427/417a, displays the proportions of a Mozartean church fugue. The second half of the Benedictus has been slightly revised and is connected by a new transition to a shortened reprise of the Hosanna fugue in the original key of D major. The structure of the AGNUS DEI has been retained, but the infelicities of Süssmayr's version have been averted in the second and third strophes. In the final Cum sanctis tuis fugue, the text setting has been altered to correspond to the norms of the era.

It is hoped that the new version honors Mozart's spirit while allowing the listener to experience Mozart's magnificent Requiem torso within the sonic framework of its historical tradition. Robert D. Levin: 1995

Adagio and Fugue in C minor, K546
Mozart neither disparaged Bach, nor considered it in any way retrogressive to be influenced by Bachian counterpoint. In 1782, as director of Baron van Swieten’s Sunday concerts in Vienna, he played Bach fugues, made transcriptions of Bach fugues, and wrote fugues of his own in tribute to his connoisseur patron’s enthusiasm for baroque music. In 1789, en route to Berlin, he visited Bach’s Thomaskirche in Leipzig where he improvised for an hour on the chorale Jesu meine Zuversicht. Bach’s Leipzig successor, Cantor Doles, sat beside him at the organ, pulling the stops and saying ‘old Sebastian Bach has risen again.’ The visitor, it was observed, was ‘a young, modishly dressed man of medium height,’ who played ‘beautifully and artfully for a large audience.’ The choir sang Bach’s fine motet, Singet den Herrn, in his honour, and Mozart examined Bach’s autographs, ‘the parts spread all around him, held in both of his hands, on his knees, and on the adjoining chairs.’ Two years later, in The Magic Flute, he would give the two Armed Men stern, beautiful, hauntingly Bachian music to sing.

The Fugue in C minor dates from six years earlier, when Mozart was first immersed in contrapuntal studies. Originally written for two pianos, it was arranged in 1788 for strings and given the slow, sombre introduction which so strikingly adds to its intensity, yet which Mozart described as no more than ‘a short adagio for two violins, viola, and bass, for a fugue I wrote a long time ago.’ The adagio is filled with bold, expressive harmonic progressions. The fugue, once set in motion, rolls on relentlessly to its close. The music, playable by string quartet or string orchestra, has a hard-edged severity quite uncommon in Mozart, but confirming how the baroque and the rococo could co-exist in classical Vienna. A dark, somewhat spooky, conductorless performance of it was given at Herbert von Karajan’s funeral in 1989. Conrad Wilson

引用
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Original Studio Master FLAC files
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24bit/96KHz
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Downloaded from Linn Records.
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专辑曲目

Requiem in D minor, K626 ed. R. Levin
01. Requiem in D Minor: I. Introitus (Requiem aeternam)
02. Requiem in D Minor: II. Kyrie
03. Requiem in D Minor: III. Sequenz - 1. Dies Irae
04. Requiem in D Minor: III. Sequenz - 2. Tuba Mirum
05. Requiem in D Minor: III. Sequenz - 3. Rex Tremendae
06. Requiem in D Minor: III. Sequenz - 4. Recordare
07. Requiem in D Minor: III. Sequenz - 5. Confutatis
08. Requiem in D Minor: III. Sequenz - 6. Lacrimosa
09. Requiem in D Minor: III. Sequenz - 7. Amen
10. Requiem in D Minor: IV. Offeratorium - 1. Domine Jesu
11. Requiem in D Minor: IV. Offeratorium - 2. Hostias
12. Requiem in D Minor: V. Sanctus
13. Requiem in D Minor: VI. Benedictus
14. Requiem in D Minor: VII. Agnus Dei
15. Requiem in D Minor: VIII. Communio - Lux Aeterna
16. Requiem in D Minor: VIII. Communio - Lux aeterna-Cum sanctis tuis
Adagio & Fugue in C minor - K546
17. Adagio & Fugue in C minor - K546 - Adagio
18. Adagio & Fugue in C minor - K546 - Fugue

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