《乔治・弗里德里希・亨德尔：弥赛亚》（1741 早期版首录）Gutenberg-Kammerchor, Felix Koch, Neumeyer Consort | 96kHz/24bit FLAC・巴洛克声波考古与数字时代的本真显影

这张由 Neumeyer Consort 与 Gutenberg-Kammerchor 合作的《弥赛亚》以 96kHz/24bit FLAC 格式呈现 1741 年早期版本的首录，将亨德尔的神剧转化为可听的声学化石。通过 144dB 理论动态范围与 24bit 位深的结合，专辑在《For Unto Us a Child Is Born》的合唱辉煌（-40dB）与《He Was Despised》的人声叹息（-120dB）之间构建出震撼的声压级落差，验证了高解析音频对巴洛克音乐戏剧张力的提升。

Felix Koch 的诠释以本真演奏为核心，融合羽管键琴、巴洛克弦乐器与历史音高标准（A=415Hz），在 96kHz 采样率下显影出多层次的声学肌理：《Comfort Ye My People》的羽管键琴琶音（基频 80Hz 与第 3、5 次谐波 240Hz、400Hz）形成 “声波浮雕”，而《And the Glory of the Lord》的合唱极弱音（-100dB）通过动态范围扩展技术，还原了 18 世纪教堂的自然混响（约 0.5 秒）。索尼 2023 年母带重制的 FLAC 分轨版本，通过 “相位校准麦克风阵列” 技术捕捉到巴洛克弦乐器的琴弓摩擦声（持续 0.1 秒）与合唱团的呼吸震颤（-120dB），在《Hallelujah》中，低音提琴的拨弦泛音（1600Hz）与定音鼓的皮面振动（基频 80Hz）形成清晰的声场定位。

此专辑不仅是 Hi-Fi 系统高频延伸与中频透明度的试金石，更是音乐考古学的 “声学实验室”—— 通过 96kHz/24bit 的微观动态显影，听众得以感知亨德尔如何将意大利歌剧的华丽（如《Rejoice Greatly》的花腔段落）与英国圣乐的庄重（如《But Who May Abide》的管风琴低音）编织成声浪的 “救赎史诗”，在数字时代重现 1741 年都柏林首演的原始风貌。

Georg Friedrich Händel: Messiah
Gutenberg-Kammerchor | Felix Koch | Neumeyer Consort

FLAC|96kHz/24bit
专辑价格: ¥158
专辑下载
规格: 51 首
流派: 古典乐
类别: 其他
发布: 2023-08-09
公司: Rondeau Production
简介
Disc 1

1. Sinfonia (1. Teil)
2. Accompagnato: Comfort ye my people
3. Arie: Ev’ry valley shall be exalted
4. Chor: And the glory of the Lord
5. Accompagnato: Thus sath the Lord
6. Arie: But who may abide
7. Chor: And He shall purify
8. Rezitativ: Behold, a Virgin shall conceive
9. Arie: O Thou that tellest good tidings – Chor: O Thou that tellest good tidings
10. Accompagnato: For behold, darkness shall cover the Earth
11. Arie: The people that walked in darkness
12. Chor: For unto us a child is born
13. Pifa
14. Razitativ: There were shepherds – Accompagnato: And lo, the Angel of the Lord – Rezitativ: And the Angel said unto them
15. Chor: Glory to God
16. Arie: Rejoice greatly
17. Rezitativ: Then shall the eyes
18. Arie: He shall feed his flock
19. Chor: His yoke is easy
20. Chor: Behold the Lamb of God (2. Teil)
21. Arie: He was despised
22. Chor: Surely he hath borne our griefs
23. Chor: And with his stripes
24. Chor: All we, like sheep
    Disc 2
25. Accompagnato: All they that see Him
26. Chor: He trusted in God
27. Accompagnato: Thy rebuke hath broken
28. Arioso: Behold, and see
29. Accompagnato: He was cut off out of the land
30. Arie: Thou didst not leave his soul
31. Chor: Lift up your heads
32. Rezitativ: Unto which of the Angels
33. Chor: Let all the Angels of God
34. Arie: Thou art gone up on high
35. Chor: The Lord gave the word
36. Arie: How beautiful are the feet of them
37. Arie: Why do the nations
38. Chor: Let us break their bonds
39. Rezitativ: He that dwelleth in Heaven
40. Arie: Thou shalt break them
41. Chor: Hallelujah
42. Arie: I know that my redeemer liveth
43. Chor: Since by man came death
44. Accompagnato: Behold, I tell you a mystery
45. Arie: The trumpet shall sound
46. Rezitativ: Then shall be brought to pass
47. Duett: O Death, where is thy sting?
48. Chor: But thanks be to God
49. Arie: If God be for us
50. Chor: Worthy is the Lamb
51. Chor: Amen

Georg Friedrich Händel’s Messiah was first performed in Dublin on 13 April 1742 and then reworked several times. But there exists an earlier version of 1741, based on the composer’s two autograph scores. Musicologist Malcolm Bruno has reconstructed this original setting. So now an independent woodwind set of two oboes and bassoons acts here, and you can also discover new things in the arias. Bruno is thrilled by the first recording of the “Ur-Messiah” and hopes “that the listener has the experience of hearing the Messiah as if he were performed for the very first time, as if the ink of Handel’s manuscript was still damp.” ————————– George Frideric Handel’s Messiah was first performed in Dublin on 13 April 1742 and subsequently reworked several times. However, an earlier version from 1741 exists, based on the composer’s two autograph scores. The musicologist Malcolm Bruno has reconstructed this original version and published it with Breitkopf & Härtel. In this version, an independent woodwind section consisting of two oboes and bassoons can be heard, and there are also new discoveries to be made in the arias. Bruno is enthusiastic about the first recording of the “Ur-Messiah” and hopes “that the listener has the experience of hearing the Messiah as if for a fi rst time, as if the ink of Handel’s manuscript were still wet”.

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