目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Nun komm, der Heiden Heiland, BWV 659：Nun komm, der Heiden Heiland, BWV 659 | 00:05:18 |
| 2 | Nun komm, der Heiden Heiland：Nun komm, der Heiden Heiland | 00:00:24 |
| 3 | Nun komm, der Heiden Heiland, BWV 62：I. Coro. Nun komm, der Heiden Heiland | 00:04:10 |
| 4 | Nun komm, der Heiden Heiland, BWV 62：II. Aria. Bewundert, o Menschen, dies große Geheimnis | 00:07:00 |
| 5 | Nun komm, der Heiden Heiland, BWV 62：III. Recitativo. So geht aus Gottes Herrlichkeit | 00:00:44 |
| 6 | Nun komm, der Heiden Heiland, BWV 62：IV. Aria. Streite, siege, starker Held | 00:04:46 |
| 7 | Nun komm, der Heiden Heiland, BWV 62：V. Recitativo. Wir ehren diese Herrlichkeit | 00:00:48 |
| 8 | Nun komm, der Heiden Heiland, BWV 62：VI. Choral. Lob sei Gott, dem Vater | 00:00:56 |
| 9 | Gelobet seist du, Jesu Christ, BWV 604：Gelobet seist du, Jesu Christ, BWV 604 | 00:01:01 |
| 10 | Gelobet seist du, Jesu Christ：Gelobet seist du, Jesu Christ | 00:00:35 |
| 11 | Gelobet seist du, Jesu Christ, BWV 91：I. Coro. Gelobet seist du, Jesu Christ | 00:02:29 |
| 12 | Gelobet seist du, Jesu Christ, BWV 91：II. Recitativo. Der Glanz der höchsten Herrlichkeit | 00:01:47 |
| 13 | Gelobet seist du, Jesu Christ, BWV 91：III. Aria. Gott, dem der Erden Kreis zu klein | 00:02:34 |
| 14 | Gelobet seist du, Jesu Christ, BWV 91：IV. Recitativo. O Christenheit! Wohlan, so mache dich bereit | 00:01:27 |
| 15 | Gelobet seist du, Jesu Christ, BWV 91：V. Aria Duetto. Die Armut, so Gott auf sich nimmt | 00:06:39 |
| 16 | Gelobet seist du, Jesu Christ, BWV 91：VI. Choral. Das hat er alles uns getan | 00:01:05 |
| 17 | Christum wir sollen loben schon, BWV 611：Christum wir sollen loben schon, BWV 611 | 00:02:27 |
| 18 | Christum wir sollen loben schon：Christum wir sollen loben schon | 00:00:36 |
| 19 | Christum wir sollen loben schon, BWV 121：I. Choral. Christum wir sollen loben schon | 00:02:42 |
| 20 | Christum wir sollen loben schon, BWV 121：II. Aria. O du von Gott erhöhte Kreatur | 00:04:41 |
| 21 | Christum wir sollen loben schon, BWV 121：III. Recitativo. Der Gnade unermesslichs Wesen | 00:01:10 |
| 22 | Christum wir sollen loben schon, BWV 121：IV. Aria. Johannis freudenvolles Springen | 00:06:27 |
| 23 | Christum wir sollen loben schon, BWV 121：V. Recitativo. Doch wie erblickt es dich in deiner Krippen | 00:00:57 |
| 24 | Christum wir sollen loben schon, BWV 121：VI. Choral. Lob, Ehr und Dank sei dir gesagt | 00:01:37 |
专辑简介
For a while there in the late \’80s and early \’90s, it looked like Semyon Bychkov was going to be the next big conductor. He was signed to the Philips label and his debut recordings with the Berlin Philharmonic were greeted with reviews that bordered on the rapturous. But it didn\’t last: after a while, Bychkov stopped making recordings and one hardly hears his name mentioned as one of the up and coming great conductors.
What happened? Who knows. Maybe he alienated his manager. Maybe he alienated the orchestras he conducted or their managements. Maybe there just isn\’t enough room at the top for another up and coming great conductor in these days of diminishing interest in classical music. Or maybe Bychkov was never all that hot to begin with: he got lucky and his luck didn\’t hold.
Based on the evidence of his 1990 recording of Shostakovich\’s Eighth with the Berlin Philharmonic, it\’s probably the latter. His interpretation lacks intensity and tension: the great arching span of the opening Adagio doesn\’t quite hold together over its entire length and, despite the increasing tempo through the development, the tauntness of the music seems to dissipate so that the movement\’s climax is anticlimactic and the long English horn solo that follows is simply dull. And, considering that this is the Berlin Philharmonic, the world\’s greatest super-virtuoso orchestra, it doesn\’t play all that well.
There are too many examples in every movement of the ensemble slipping, the entrances being a bit off, and the dynamics being unbalanced. These are not, of course, problems with the orchestra, but problems with the conductor, for he controls entrances and balances. But at least in this recording, Bychkov didn\’t.
