（古典音乐）John Butt,Dunedin Consort & Players - BACH: Mass in B Minor,BWV 232 (巴哈b小调弥撒/2007) （FLAC/24/96）

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John Butt,Dunedin Consort & Players - BACH: Mass in B Minor,BWV 232 (巴哈弥撒曲/2007) [FLAC/24/96]
There are few who strive sincerely to juxtapose the bedfellows of academic rigour and inspired musicianship. Given his recent Handelian activity at the helm of the Dunedin Consort and Players, some might have forgotten that John Butt is a Bach research specialist and author of the Cambridge Handbook on the Mass in B minor. In the booklet he explains his thoughts about historically informed performance practice (one voice per part, following the evidence outlined in the writings of Joshua Rifkin and Andrew Parrott), and discusses his choice to make the first recording of Rifkin’s recent edition (which reconstructs Bach’s score c1749, without later accretions). Butt’s interpretation owes firm allegiance to the “OVPP” creed that will not please everyone (even if detractors have not yet produced a single scrap of proof to refute it), but the Dunedin Consort and Players are never perfunctory or merely dogmatic. This performance demands to be heard.
Butt has considered every musical connection, context, texture and form. Not only do the individual movements feel spot-on in articulation and affekt but the free-flowing pacing from one section to the next makes it easy for the listener to be pulled along. Each section of the Roman Ordinary is envisaged as continuous music, so there are no pregnant pauses between solo and choral movements. The first chords of the “Kyrie” are sung boldly by the 10 singers (five “principals” and another five “ripienists”), and the solemn fugue is performed with gentle ardency; every gesture, detail, suspension and arching line is judged and executed with transparency, flexibility and rhetorical potency.
Thomas Hobbs and Matthew Brook sing the principal lower-voice contrapuntal passages with sensitive blend and superb intonation: they also declaim their solo movements with confidence and eloquence. The higher-voiced principals are marginally less successful: the combination of Susan Hamilton and Cecilia Osmond in the duet “Christe eleison” occasionally threatens fragility but perhaps more authoritative and smoother-toned soprano soloists would have been less adaptable in the choruses. Butt’s flowing tempo for “Agnus Dei” prevents Margot Oitzinger from conveying the breathtaking timelessness some might hanker after but catharsis is tangible in “Benedictus” (performed movingly by Hobbs and flautist Katy Bircher). The galant character adopted by Butt’s elegant harpsichord continuo, Patrick Beaugiraud’s poignant oboe and tasteful strings during “Qui sedes” proceeds without pause into “Quoniam”; Anneke Scott’s sparky horn playing and Matthew Brook’s conversational authority conspire to take no prisoners, and the momentum carries through into a knock-out “Cum Sancto Spiritu”.

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(转介)：
如果要在所有巴赫所创作的乐作品中，指出哪一部可算作他的顶峰作品，无疑的就是这部“b小调弥撒”了。
巴赫于1733年写成了这部弥撒中的“恳求主，赐怜悯”（Kyrie）和“荣耀颂”（Gloria）这两段，是为了奉献给萨克逊的选侯西格斯蒙德三世（Sopsmundm）的，当时这位选候是巴赫所居之地的地方长官，后来成为波兰的国王，巴赫将这两段乐曲奉献给他并附有一信，请求选侯指派他为选候的宫廷作曲家，信中还说：“这两首作品可以算作我的作品中非常有特殊意义的乐曲。”巴赫所说的完全是事实，这部作品确实是巴赫有非常意义的顶峰作品。
巴赫是一位新教路德宗的信徒，人们自然就会问到：“一位新教（基督教）教徒为什么还要写天主教所用的弥撒呢？我们应当知道当1514年马丁·路德进行宗教改革，成立了新教之后，在新教的崇拜中，并没有将原来天主教所用的弥撒这一崇拜仪式废除掉，新教当时在崇拜中还是应用弥撒这一形式，只是有时把弥撒中“奉献”（Offertory）这一部分改为由牧师宣教，所以“b小调弥撒”中没有“奉献”这一部分。这并不是巴赫的创举，当时新教的作曲家们，也都采用此种办法。新教崇拜仪式中还有传统天主教弥撒中的“恳求主赐怜悯”（Kyrie），“荣耀颂”（Gloria），“使徒信经”（Credo），“圣哉，圣哉，圣哉！”（ Sanctus）和“上帝的羔羊”（ Aenus Dei）五部分，但巴赫的这部“b小调弥撒”却又在路德宗的弥撒仪式中又加上了高度成熟的技术，使之更有浓重的宗教气氛。
美国著名指挥家斯托考夫斯基（ Stokowski， Leopod1882一1977）曾说过：“巴赫的这部作品确实是音乐领域中最崇高的作品。”他又说过：“巴赫的b小调弥撒是从一个很广泛的音域中构筑成功的，音乐的结构非常复杂而且其技术集中反映出巴赫的灵感是缓慢而很丰富地流露出来的，在巴赫笔下，把传统弥撒的段落加以扩充了，几乎在b小调弥撒中，包含了全宇宙所有的情感和意识…”。例如第一段“恳求主赐怜悯”，纯粹是一首祈祷，乐曲表现出最纯朴的情感，和最沉重的意志！也可以说它包含有任何祈祷中所应当有的情感，后面的“荣耀颂”，“使徒信经”“圣哉与和散那”简直像光辉的太阳一样，普照大地，听起来好像大自然，人类，星球和全宇宙都在歌颂上帝，“除掉世界罪的”，“圣灵感孕”和“在本丢·彼拉多手下遇难”等奇妙乐段，若不是真受了上帝感动的人，是不能写出来的。”


曲目:
1 Kyrie eleison 9:38
2 Christe eleison 4:33
3 Kyrie eleison 2:45
4 Gloria in excelsis Deo 1:42
5 Et in terra pax 4:24
6 Laudamus te 4:08
7 Gratias 3:04
8 Domine deus 5:11
9 Qui tollis 2:46
10 Qui sedes 3:58
11 Quoniam tu solus Sanctus 4:10
12 Cum Sancto Spiritu 3:47
13 Credo in unum Deum 1:46
14 Patrem omnipotentem 1:54
15 Et in unum Dominum 4:12
16 Et incarnatus est 2:55
17 Crucifixus 3:03
18 Et resurrexit 4:02
19 Et in Spiritum sanctum 5:28
20 Confiteor 3:40
21 Et expecto 2:07
22 Sanctus 4:58
23 Osanna 2:39
24 Benedictus 4:55
25 Osanna - da capo 2:40
26 Agnus Dei 4:26
27 Dona nobis pacem 3:16

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