J.S. Bach: Morimur 巴赫：死亡
- 艺人
- The Hilliard Ensemble
- 语种
- 德语
- 厂牌
- ECM Records
- 发行时间
- 2001年09月25日
- 专辑类别
- 录音室专辑
专辑介绍
「古代艺术有其特定的内在含意……，在古远的年代，人们并不写书，他们将知识融入艺术作品裡，我们则藉由这些古代艺术结晶品中寻找到许多伟大的想法，只要你懂得如何阅读它。」这是这张专辑内册里引述G. Gurdjieff所讲的一段话，而从这段话中其实也非常清楚的阐明了这张音乐专辑所企图达成的方向。
The Hilliard Ensemble最早成立于1974年，其风格主要是专注在文艺复兴、前巴洛克、巴洛克时期的人声诗歌吟唱，阵中成员起初都是男性，之后慢慢才有女性成员加入。Hilliard Ensemble追求的是一种纯粹的和谐和声，而他们也以此作为钻研中古世纪音乐最重要的中心思想。因此，聆听这张改自巴哈作品〈Ciaccona, D小调〉与小提琴手Christoph Poppen合作的西低可以听出他们是非常恪守巴哈及那一中古时期音乐的严谨与庄严，其圣慈的和声及慢板的提琴拉奏，都在在显露了基督宗教的精神是如何深植在整个巴洛克的人文精神，当然也是深刻的在巴哈的圣乐里反映出来。那是一种超越死亡、生命与时间之河的内在尊严与圣洁。
A speculative insight into Bach’s mind proves an effective and moving listening experience.
The idea behind this release is the intriguing one‚ that by covertly slipping into his works snippets of Lutheran chorale tunes‚ Bach was offering hints as to those pieces’ hidden meanings. It is a difficult theory to challenge without being as knowledgeable as Helga Thoene‚ the Bach scholar on whose investigations it is based‚ and I am certainly not. But while the sceptic will doubtless consider that the nature of most Lutheran chorale melodies is such that one might well recognise bits of them in any number of pieces (especially when the note values can be changed)‚ the more accepting cannot fail to be impressed by the detail with which Thoene has developed her thesis. The result – elucidated in her booklet article – is a conceptual reading of the three Partitas for solo violin which sees them as representative respectively of Christmas‚ Easter and Pentecost‚ or in other words birth‚ death and rebirth. What this disc sets out to do is to take the Second Partita and turn its notional Easter connotation of ‘in Christo morimur’ (in Christ we die) into an audible one by interspersing its five movements with relevant verses and fragments from the chorales in question‚ suitably paschal numbers such as Christ lag in Todesbanden and Jesu‚ Deine Passion. Most fascinatingly of all‚ though‚ the great final Chaconne – a piece thought to have moving extra significance as a tombeau for Bach’s first wife – is played twice‚ the second time with the Hilliard Ensemble adding the chorale quotations to the texture. This is not the first time this last has been done – lutenist José Miguel Moreno has already recorded the Chaconne in transcription with the chorale tunes superimposed by Emma Kirkby and Carlos Mena (Glossa‚ 3/99) – but with a Baroque violin and a fourpart vocal ensemble the new recording could‚ I suppose‚ claim to be slightly more ‘authentic’. Performed with solemn feeling in a sepulchral acoustic‚ it is also more objectively beautiful‚ though by the same token less intimate and heartfelt. Christoph Poppen plays with secure agility and a vibrant tone‚ bringing drama to the Sarabande and vigour to the Gigue‚ and shaping a satisfying range of moods in the Chaconne‚ grippingly hushed in the long arpeggio passage and joyously excited in the big fanfares. The Hilliard Ensemble sing with appropriately funereal dignity. No one would pretend that this project represents anything that Bach would ever have heard in performance‚ but the thought of those fleeting‚ ghostly chorale fragments being something he could have heard in his head is one that is hard to resist. And in the end‚ when the mind has cleared itself of musicology‚ this is above all one of those increasingly rare things – a moving and intelligently programmed disc that is effective from beginning to end.
-- Gramophone [2001/11]
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