Vivaldi: stabat mater, nisi dominus, Longe Mala (豆瓣)

表演者: David Daniels, Fabio Biondi, Europa Galante
流派: 古典
专辑类型: 专辑
介质: Audio CD
发行时间: January 8, 2002
出版者: Virgin Veritas
唱片数: 1
条形码: 0724354547423

豆瓣评分

8.9

73人评价

5星

46.9%
4星

49.0%
3星

4.1%
2星

0.0%
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0.0%

想听在听听过

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简介 · · · · · ·

　　Fabio Biondi领衔古乐团Europa Galante与高男高音David Daniels合作演绎Vivaldi圣母哀歌等宗教作品。
　　
　　Antonio Vivaldi
　　Choral Works
　　--------------------------------------------
　　Stabat Mater, RV 621
　　Nisi Dominus, RV 608
　　Longe mala, umbrae, terroris, RV 629
　　David Daniels, countertenor
　　Europa Galante/Fabio Biondi
　　Virgin Veritas 5 45474 2... (展开全部) 　　Fabio Biondi领衔古乐团Europa Galante与高男高音David Daniels合作演绎Vivaldi圣母哀歌等宗教作品。
　　
　　Antonio Vivaldi
　　Choral Works
　　--------------------------------------------
　　Stabat Mater, RV 621
　　Nisi Dominus, RV 608
　　Longe mala, umbrae, terroris, RV 629
　　David Daniels, countertenor
　　Europa Galante/Fabio Biondi
　　Virgin Veritas 5 45474 2 DDD 55:25
　　
　　reviewed by Ray Tuttle
　　
　　Vivaldi's early career as a composer was devoted mostly to instrumental works. Then, in 1712, when Vivaldi was in his mid-30s, he was commissioned to write the Stabat Mater included here for the church of Santa Maria della Pace in Brescia. Current scholarship indicates that it was his first sacred work. Then as now, the singer was a male, although we don't know whether he was a castrato or a countertenor. Perhaps unsurprisingly, this Stabat Mater doesn't feature the soloist at the expense of the instrumentalists, whose music is nevertheless kept to a modest scale. Modesty also figures in the work's thematic content, as the music of the first three sections is recycled in the second three. Virtuoso display and extreme emotion are absent in this work, which is attractive, balanced, and above all, devout.
　　
　　The Nisi Dominus was written in 1717, during the period when Vivaldi, either by luck or by subtle political calculation, had been given the prestigious position of interim choirmaster at the Ospedale della Pietà, the same institution where he already had been teaching and composing instrumental music. In contrast to the Stabat Mater, this music was almost certainly written for a woman, probably one of the students at the Ospedale. Also in contrast, it is a more varied work, dramatically speaking; the soloist alternately expresses fear, awe, satisfaction, and joy at the Lord's strength. Irresistible opportunities for word-painting include the brilliant runs at "Sicut sagittae in manu potentis" ("As arrows in the hand of a powerful man") and a lullaby-like siciliano at "Cum dederit dilectis suis somnum" ("For he gives sleep to his beloved children").
　　
　　It is uncertain who first performed the motet Longe mala, umbrae, terroris (Long-standing ills, shadows, terrors), which was written in 1725. He or she must have been quite a virtuoso. In the furious first movement, Vivaldi unleashes these and other afflictions ("wars, woundings, rages, furies," and so on) to music of staggering floridity. After a short recitative-like section, the work concludes with a calm plea for deliverance and a serene Alleluia. In less than 14 minutes, Vivaldi takes the singer (and the listener) from the fires of Hell to the joys of Heaven.
　　
　　Few singers could do justice to this motet. David Daniels shows why he is rapidly becoming the preeminent countertenor of the current decade with this recording. His voice retains its evenness in all registers, and he cleanly articulates Vivaldi's most difficult runs and fioriture. In the other two works, he consistently makes a favorable impression with his tone, and with his sensitive yet lively interpretations. One of the most interesting things about Daniels is that his voice retains its masculine character no matter how high he sings. Compare him to Jochen Kowalski on Philips Classics and the difference is immediately noticeable.
　　
　　Kowalski is partnered by a larger ensemble than the one that accompanies Daniels. On this recording, seven members of Europa Galante are listed, including conductor Fabio Biondi, who also plays the viola d'amore. Original instruments are used. As we have come to expect from Biondi's earlier Vivaldi discs, there is nothing reticent or modest about his accompaniments. As a result, an interesting and not unpleasant dynamic is created between Daniels and Europa Galante.
　　
　　This recording was made at the American Academy of Arts and Letters in August 2001. Perhaps the engineers have placed the balance too much in favor of Daniels's voice, but it's not a major fault.

曲目 · · · · · ·

Stabat Mater, hymn for voice, strings & continuo in F minor, RV 621
Composed by Antonio Vivaldi
with David Daniels, Fabio Biondi, Europa Galante
Stabat Mater: Stabat Mater dolorossa
Stabat Mater: Cujus animam
Stabat Mater: O quam tristis
Stabat Mater: Quis est homo
Stabat Mater: Quis non posset
Stabat Mater: Pro peccatis
Stabat Mater: Eja Mater
Stabat Mater: Fac ut ardeat
Stabat Mater: Amen
Nisi Dominus (Psalm 127), for voice, viola d'amore, strings & continuo in G minor, RV 608
Composed by Antonio Vivaldi
with David Daniels, Fabio Biondi, Europa Galante
Nisi Dominus: Nisi Dominus
Nisi Dominus: Vanum est vobis
Nisi Dominus: Surgite postquam sederitis
Nisi Dominus: Cum dederit dilectis
Nisi Dominus: Sicut sagittae
Nisi Dominus: Beatus vir
Nisi Dominus: Gloria Patri
Nisi Dominus: Sicut erat
Nisi Dominus: Amen
Longe mala, umbrae, terrores, introduzione to Gloria for voice, strings & continuo in G minor, RV 629
Composed by Antonio Vivaldi
with David Daniels, Fabio Biondi, Europa Galante
Longe mala, umbrae, terrores: Longe mala, umbrae, terrores
Longe mala, umbrae, terrores: Recedite, nubes et fulgura