앨범: 바흐: 부활절 & 승천 오라토리오 - Masaaki Suzuki, cond (2006 BIS)

Easter & Ascension Oratorio 바흐: 부활절 & 승천 오라토리오 Johann Sebastian Bach 1685 - 1750 1. Ⅰ. Sinfonia - Track 전곡 연주   Album Title: Bach: Easter Oratorio [Hybrid SACD] [Hybrid SACD - DSD, Import] Composer: Johann Sebastian Bach Lyricist: Philipp Nicolai Conductor: Masaaki Suzuki Performer: Patrick van Goethem (counter-tenor)                  Jan Kobow (tenor)                  Yukari Nonoshita (soprano)                  Chiyuki Urano (bass) Choir: Bach Collegium Japan Chorus Orchestra: Bach Collegium Japan Audio CD (January 24, 2006) Please Note: Requires SACD-compatible hardware SPARS Code: DDD Number of Discs: 1 Recorded in: Multi Format: Hybrid SACD, SACD - DSD, Import Label: BIS Copyright: (c) 2006 BIS Total Length: 1:10:16 Genres: Classical Music, Genre: Choral - Sacred, Baroque Period, Cantata, Oratorio, Easter Style: Classical Sacred, Baroque, Classical Vocal Period: Baroque (1600-1750) 1-11. Easter Oratorio (Oster-Oratorium: "Kommt, eilet und laufet"), BWV 249 (BC D8)  (41:31)    Common Name   Kommt, Eilet Und Laufet, Easter Oratorio Oster Oratorium    Catalog No.   BWV 249    Composer   Johann Sebastian Bach (1685 - 1750)    Lyricist   Anonymous    Conductor   Masaaki Suzuki    Performer   Patrick van Goethem (Countertenor)                    Yukari Nonoshita (Soprano)                    Jan Kobow (Tenor)                    Chiyuki Urano (Bass)    Orchestra   Bach Collegium Japan    Genre   Baroque Period / Oratorio    Date Written   1732-1735, 1743-1746; Leipzig, Germany    Period   Baroque    Country   Germany    Language   German    Venue   Kobe Shoin Women's University Chapel, Japan    Recording Date   05/2004 1. Ⅰ. Sinfonia 2. Ⅱ. Adagio 3. Ⅲ. Chorus: Kommt, eilet und laufet, ihr flüchtigen Füßen 4. Ⅳ. Recitativo (soprano, alto, tenore, basso): O kalter Männer Sinn! 5. Ⅴ. Aria (soprano): Seele, deine Spezereien 6. Ⅵ. Recitativo (alto, tenore, basso): Hier ist die Gruft 7. Ⅶ. Aria (tenore): Sanfte soll mein Todeskummer 8. Ⅷ. Recitativo (soprano, alto): Indessen seufzen wir 9. Ⅸ. Aria (alto): Saget, saget mir geschwinde 10. Ⅹ. Recitativo (basso): Wir sind erfreut 11. XI. Chorus: Preis und Dank 04:09 03:28 04:59 00:58 11:28 00:42 06:17 00:55 05:55 00:35 02:32 12-20. Ascension Oratorio (Himmelfahrts-Oratorium, "Lobet Gott in seinen Reichen,"), BWV 11 (BC D9)  (27:38)    Common Name   Himmelfahrts Oratorium    Catalog No.   BWV 11    Composer   Johann Sebastian Bach (1685 - 1750)    Lyricist   Philipp Nicolai    Conductor   Masaaki Suzuki    Performer   Patrick van Goethem (Countertenor)                      Yukari Nonoshita (Soprano)                      Jan Kobow (Tenor),                      Chiyuki Urano (Bass)    Orchestra   Bach Collegium Japan    Genre   Baroque Period / Cantata / Oratorio    Date Written   05/19/1735; Leipzig, Germany    Period   Baroque    Language   German    Venue   Kobe Shoin Women's University Chapel, Japan    Recording Date   05/2004 12. Ⅰ. Chorus: Lobet Gott in seinen Reichen 13. Ⅱ. Recitativo (tenore): Der Herr Jesus hub seine Hände auf 14. Ⅲ. Recitativo (basso): Ach, Jesu, ist dein Abschied schon so nah? 15. Ⅳ. Aria (alto): Ach, bleibe doch, mein liebstes Leben 16. Ⅴ. Recitativo (tenore): Und ward aufgehaben zusehends 17. Ⅵ. Choral: Nun liget alles unter dir 18. Ⅶ. Recitativo (tenore, basso): Und da sie ihm nachsahen         Recitativo (alto) - Ach ja! so komme bald zurück         Recitativo (tenore): Sie aber beteten ihn an 19. Ⅷ. Aria (soprano): Jesu, deine Gnadenblicke 20. Ⅸ. Choral: Wenn soll es doch geschehen 4:39 0:30 1:02 7:14 0:28 1:10 2:12     6:27 4:36 바흐: 부활절 & 승천 오라토리오 (BWV 249, BWV 11) 연주: 마사키 스즈키(지휘), 바흐 콜레기움 저팬, 유카리 노노시타(소프라노), 패트릭 반 고뎀(카운터 테너), 얀 코보우(테너), 치유키 우라노(베이스) 이제는 ‘마사키 스즈키’하면 바흐가 떠오를 정도로 바흐의 음악에 있어서만큼은 정통함을 고수하고 있는 스즈키가 역시 바흐 콜레기움 저팬과 함께 부활절 오라토리오와 승천 오라토리오를 레파토리로 하여 새 앨범을 발매하였다. 특히 교회 칸타타로서 구상된 ‘부활절 오라토리오’는 오라토리오로서는 특이한 성격을 가지고 있다. 그리스도 부활의 이야기는 일반적으로 테너의 복음사가에 의해서 노래되고 이야기되는 데 반해, 여기서는 소프라노, 카운터 테너, 테너, 베이스의 4인의 대화로 이야기되기 때문이다. SACD로 제작되었기에 이들의 음성은 더욱 심금을 울리리라 생각된다. (BISSACD 1561) Musica: Eccezionale 5 Stelle. Hard on the heels of Volume 29 in the Bach Cantata series and their recording of the Orchestral Suites comes this new disc from Bach Collegium Japan. Genre-wise the present two works balance between oratorios and … Show entire textcantatas. Though their format is not far removed from that of the longer cantatas, some differences are obvious: for instance, in its earliest version the soloists in the Easter Oratorio were assigned roles (such as Mary Magdalene and Peter), while the Ascension Oratorio features an Evangelist, filling the same function as in the more monumental Passions. Both works - like the Christmas Oratorio - are, at least in part, so-called parodies: reworkings of secular occasional pieces as sacred compositions by adapting their texts. Such origins may to some extent explain the festive note of these two celebrations of the resurrection of Christ, and his ascension to heaven. The opening instrumental movement of the Easter Oratorio, which uses the theme from 'Erschallet, ihr Lieder' of Cantata BWV 172, resounds with jubilant trumpets and timpani, and the Ascension Oratorio begins with a chorus in which choir and orchestra "praise God in His kingdoms" with the splendour worthy of a great prince. Recent reviews have described Bach Collegium Japan's offerings as 'Bach to an unbelievable perfection' (the Suites) and 'musical beyond belief' (Volume 29), and here is more from the seemingly indefatigable Masaaki Suzuki. on the present disc, Cantata cycle veterans Yukari Nonoshita and Chiyuki Urano are joined by Jan Kobow, whose participation on Volume 22 (BIS-CD-1322) received much praise, and counter-tenor Patrick van Goethem, making his BIS début. Some press voices: "The performance is full of life, full of Baroque spirit while being strict to the letter of authentic practice. The horns have just the right amount of grit, the strings just bouncy enough. Balances side to side and front to back are perfect. Balance between instruments, chorus and soloists is perfect. The soloists are exceptional, ... So, I’ve sold you on three recordings of this work which as a collector you must have; but if you buy only one recording, buy the Suzuki." Musicweb.uk.net 03/2006 "Väl avvägda tempi i dessa tolkningar, där kören är suverän och det ljusa, luftiga och spänstiga orkesterspelet på en liknande nivå som på den i höstas utgivna, förstklassige inspelningnen av de fyra orkestersviterna. Barockexpressiva men discplinerade vokalsolister" SVD 04/2006Hide Michelangelo da Caravaggio: The Incredulity of Saint Thomas 1601-02 Oil on canvas 42 1/8 x 57 1/2 in. Neues Palais, Potsdam Renoir: Luncheon Of The Boating Party 잘생긴 꾀꼬리 꽃미남 리차드강 어리버리 돈키호테.