[Eng. subtitles] 2023 香港聖樂團 孟德爾遜 聖保羅 Mendelssohn Saint Paul by Hong Kong Oratorio Society (HKOS) скачать в хорошем качестве

[Eng. subtitles] 2023 香港聖樂團 孟德爾遜 聖保羅 Mendelssohn Saint Paul by Hong Kong Oratorio Society (HKOS)

指揮: 陳永華教授 Conductor: Prof. CHAN Wing-wah, JP 女高音：陳小華 Soprano: Julia CHEN 女低音：陳珮珊 Alto: Anna CHAN 男高音：曾鈺棋 Tenor: Freddie TSANG 男低音：張健華 Bass: Petrus CHEUNG 合唱：香港聖樂團 Choir: Hong Kong Oratorio Society 風琴：黄健羭 Organ：WONG Kin-yu 樂隊：香港弦樂團 Orchestra: Hong Kong Strings 節目內容 Programme: 2: Lord, Thou alone art God 3:To God on high 4a: And the many that believed 4b: We verily have heard 5: Now this man ceaseth not 7: Jerusalem, Jerusalem 8a: Then they ran upon him 8b: Stone him to death 9a: And they stoned him 9b: To Thee, O Lord 10: And the witnesses 11: Happy and blest are they 12a: And Saul made havoc of the church 12b: Consume them all 13a: And he journeyed with companions 13b: But the Lord is mindful of His own 15: Rise up, arise 16: Sleepers, wake, a voice is calling 18: O God, have mercy 21: And Ananias went his way 22: O great is the depth 24: And Paul came to the congregation 25: Now we are ambassadors 26: How lovely are the Messengers 27: I will sing of Thy great mercies 30: But Paul and Barnabas spake freely 31: For so hath the Lord 32: And there was a man at Lystra 33: The gods themselves 34: And they called Barnabas Jupiter 35: O, be gracious, ye immortals 40: Be thou faithful unto death 43: See what love 44: And though he be offered 45: Not only unto Him ++++++++++++++++++ 曲目介紹 PROGRAMME NOTES 孟德爾遜 Felix Mendelssohn (1809-1847): 《聖保羅》作品三十六 《 Saint Paul 》 Op. 36 《聖保羅》得到舒曼讚口不絕，稱之為「當代珍寶」，大力表揚他「燦爛不絕色彩繽紛的配器」和「出色地展現所有作曲格式」。甚至華格納也充滿欽佩之情，雖然後來他抹黑詆毀孟德爾遜。時至今天，《聖保羅》仍然居於聖樂合唱作品曲目的核心地位。這套作品的主題，是掃羅轉變成保羅的經過，寫於一八三四至一八三六年間，是孟德爾遜創作的第一套神劇，於一八三六年五月二十二日在杜塞多夫首次演出，用上樂器一百七十二件，由三百六十四人組成的業餘合唱團演唱。那次首演之後，《聖保羅》立刻就在海外多地演出無數場，包括英格蘭、北歐半島、荷蘭、波蘭、俄羅斯、美國，全都贏得盛讚，孟德爾遜自己也經常在音樂節上親自演出這套作品。 《聖保羅》的歌詞大部分出自新約聖經的《使徒行傳》，由孟德爾遜親自搜集，並得到一位新教牧師舒布林協助。這套神劇分為上下兩集。上集描述司提反受迫害、基督在大馬士革路上向掃羅顯現，以及掃羅歸主的經過。下集述說保羅與巴拿巴由敍利亞、亞細亞及亞該亞等地的宣教旅程經歷、保羅受到從前同奉猶太教的信眾迫害、他在路司得用神蹟醫好一個兩腳無力的人、猶太人與異教徒抗拒他、保羅離開以弗所，最後保羅預備往耶路撒冷為主殉道而與眾信徒的臨別贈言。 孟德爾遜於一八二九年演出巴赫的《馬太受難曲》，是巴赫幾從湮沒中再度流行起來的重要功臣。他也把巴赫譜寫合唱曲的方式用在自己的《聖保羅》裏。不單如此，傳統神劇有一位敘述者，他也借用過來演唱宣敘調，述說劇中的戲劇行動。另一方面，孟德爾遜也向韓德爾借鏡，從他多種形式的合唱，有些直接投進戲劇行動中，有些用不同形式的賦格方式演唱，可見一斑。《聖保羅》最受人喜愛的合唱曲《報喜訊者的腳蹤何等佳美》，就是出自下集。 舒曼預言孟德爾遜這位「光輝未來的先知」將會再創作另一套神劇。果然，這個預言於一八四六年實現。孟德爾遜於去世前一年完成了《以利亞》。神劇於十九世紀再次興起，孟德爾遜並不是那個世代唯一一位創作神劇的作曲家，但只有他這兩套已完成的作品能歷久不衰，成了那個時代的代表作。 Saint Paul, a "jewel of the present", was praised by Robert Schumann of its "inextinguishable colour of the instrumentation" and the "brilliant play with all the forms of composition." Even Richard Wagner, who later denigrated Mendelssohn, was full of admiration. Today, Saint Paul belongs to the core repertoire of sacred choral music. On the subject of the conversion of Saul to Paul, the work was composed between 1834 and 1836 as Mendelssohn's first oratorio. It was first performed in Düsseldorf on 22nd May 1836, with an orchestra of 172 and an amateur chorus of 364. After its première, Saint Paul at once achieved numerous triumphant performances abroad, in England, Scandinavia, the Netherlands, Poland, Russia and the USA. Mendelssohn himself frequently performed the oratorio at music festivals. Mostly after The Acts of the Apostles, Mendelssohn compiled the libretto himself with the assistance of the Protestant clergyman Julius Schubring. The oratorio was conceived in two parts. Part I illustrates the persecution of Stephen, the appearance of Christ before Saul on the road to Damascus and Saul's conversion. Part II of the oratorio continues with missionary journeys of Paul and Barnabas from Syria, Asia and Achaia, Paul's continuous persecution by his former Jewish believers, the miraculous healing at Lystra of a lame man, the resistance of the Jews and heathen, Paul's departure from Ephesus, inally Paul's parting words to all believers when he prepared to go to Jerusalem for his martyrdom. As the important reviver of J. S. Bach's St. Matthew Passion in 1829, Mendelssohn integrated chorale settings into Saint Paul. Moreover, he borrowed the use of the traditional narrator, whose recitatives relate the dramatic action of the work. On the other hand a debt to Handel is revealed in the rich variety of the choruses that either directly engage in the dramatic action, or cast in a variety of fugal styles. In Part II, we will hear one of the oratorio's best-loved choruses, "How lovely are the messengers." Schumann predicted that Mendelssohn, a "prophet of a glorious future", would produce another oratorio. The prediction came true in 1846, the penultimate year of Mendelssohn's life, when the composer completed Elijah. Mendelssohn was not the only 19th-century composer to revive the oratorio, but these two completed works were the only representatives of his time to achieve lasting popularity.