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专辑名称: Johann Sebastian Bach: Motets
创作艺人: [Pygmalion and Raphaël Pichon]
音乐流派: Classical|古典
专辑规格: 1碟21首
出品公司: harmonia mundi
发行时间: 2020/9/25
官方标价: £13.79 （会员免费下载）
域名语言: [de] （AI检测）
曲目介绍：
Lobet den Herrn, alle Heiden, BWV 230
Promptuarium musicum, Pars Tertia: Osculetur me osculo oris sui
Komm, Jesu, komm, BWV 229
Der Geist hilft unser Schwachheit auf, BWV 226
Cantiones sacrae de praecipuis festis totius anni: Tulerunt Dominum meum (Bonus Track)
Fürchte dich nicht, ich bin bei dir, BWV 228
Opus musicum: Ecce quomodo moritur justus
Jesu, meine Freude, BWV 227: "Jesu, meine Freude"
Jesu, meine Freude, BWV 227: "Unter deinen Schirmen"
Jesu, meine Freude, BWV 227: "Denn das Gesetz des Geistes"
Jesu, meine Freude, BWV 227: "Trotz dem alten Drachen"
Jesu, meine Freude, BWV 227: "Ihr aber seid nicht fleischlich"
Jesu, meine Freude, BWV 227: "Weg mit allen Schätzen"
Jesu, meine Freude, BWV 227: "So aber Christus in euch ist"
Jesu, meine Freude, BWV 227: "Gute Nacht, o Wesen"
Jesu, meine Freude, BWV 227: "So nun der Geist"
Jesu, meine Freude, BWV 227: "Weicht, ihr Trauergeister"
Symphoniae sacrae I: Jubilate Deo
Singet dem Herrn ein neues Lied, BWV 225: "Singet dem Herrn ein neues Lied"
Singet dem Herrn ein neues Lied, BWV 225: "Wie sich sein Vater erbarmet" – "Gott, nimm dich ferner unser an"
Singet dem Herrn ein neues Lied, BWV 225: "Lobet den Herrn in seinen Taten"
详细介绍:
Much as, for many listeners, the mere fact that this new Bach motets recording is from Raphaël Pichon and Pygmalion will be reason enough to give it a spin, there%27s actually an even more noteworthy draw to this particular programme: that interspersed between the six Bach motets are three sixteenth century masterpieces drawn from the Florilegium Portense, a collection of almost 365 choral works from 58 leading sixteenth century Italian and German composers which was first published in 1618, and which in Bach%27s day was on the shelves of most central German choir schools – regularly used within the services, and a constant source of compositional inspiration too. What%27s more, the relationship with Bach himself is proven, because as Leipzig kantor he purchased new copies of the collection both in 1729 and 1737; and if you narrow in on Bach%27s handful of motets then the link deepens, because while the composition of his hundreds of cantatas was dictated by the liturgical calendar and often involved working with a librettist, his motets were composed under no such strictures, leaving him genuinely at liberty to draw on the Florilegium Portense in whichever way he fancied.
So the first beauty of Pygmalion%27s programme is the connections you%27re hearing at every turn between these deeply expressive motets of Bach%27s, and those of his forebears. Take the way his emotionally potent double-choir Komm, Jesu, komm BWV 229 comes off the back of the sensuously soaring antiphonal writing of Osculetur me osculo oris sui by Vincenzo Bertolusi (c. 1550-1608). Or the way the peacefully sombre homophony of Jacobus Gallus%27s (1550-1591) Ecce quomodo moritus Justus is followed by the equally homophonic chorale opening to Jesu, meine Freude BWV 227.
Add crisp, supple and silvery choral delivery, exuding understanding of and passion for the texts, plus warmly delicate and unobtrusive instrumental accompaniments, and in the Bach always the ghost of its dance roots, and it%27s hard to imagine how Pichon and his gang could have made this one any more enjoyable. © Charlotte Gardner/Qobuz
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