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标题: Penguin Guide to 1000 Finest Classical Recordings - Must-Have CDs and DVDs [打印本页]

作者: joseph_li 时间: 2025-5-29 10:33
标题: Penguin Guide to 1000 Finest Classical Recordings - Must-Have CDs and DVDs
本帖最后由 joseph_li 于 2025-5-29 17:40 编辑

今天开个帖，将根据《The Penguin Guide to the 1000 Finest Classical Recordings - The Must-Have CDs and DVDs》，分享相应的资源。

本人是搬砖一族，发帖前需要点时间处理，只能不定期更新。如果着急的话，各位可以自己根据书籍找资源，俄网加磁链搜索引擎并用，大多数资源都不难找。
（俄网链接：rutracker.me 或 rutracker.net; 搜索引擎：https://xiongmaoyx.top ，需要留意的是，搜索引擎有儿童不宜不良广告）

对于古典音乐企鹅指南的三（四）星带花评鉴，众乐友毁誉不一，比较诟病的有几点：一、过于推崇英国本土的艺术家；二、过多推荐历史录音，特别是单声道时代录音；第三，小厂牌占比较高，不易获得。而这个版本的推荐，这几个问题都不突出，选曲无论从时间还是地域跨度都更为平衡，推荐的资源也相对容易获得。

关于评论，吝于我个人水平实在太有限，所以先贴出原文，再用谷歌或DeepSeek 翻译成中文，保持原汁原味。

由于有大量的视频和SACD，而我的度盘空间严重不足，所以只提供5盘链接。欢迎热心乐友搬运到度盘后积极分享。

先分享几本音乐的电子书吧。手里有旧版的企鹅古典音乐指南纸质书，电子版的一直没找到。如果哪位有的话，欢迎分享。谢谢！

音乐书籍
链接: https://***.com/s/18dKCgCjTz4FkJeXbogwBfQ?pwd=3377

作者: joseph_li 时间: 2025-5-29 10:39
Giselle (ballet: complete, DVD version)
Opus Arte DVD OA0993D. Cojocaru, Kobborg, Soloists & Corps of the Royal Ballet, ROHCG O, Gruzin (Producer: Peter Wright)

Giselle (ballet: complete, CD version)
Decca 4783625-2 (2). ROHCG O, Bonynge

Adam’s Giselle is the first of the great classical ballets. The story has a simple romantic opening Act, with plenty of chances for the principal dancers to shine, but the drama rises to a peak in the second, where the female corps de ballet take the form of Willis, deserted maidens who have each died of a broken heart. Urged on by their imperious queen, Myrtha, they are able to return from the grave to entice any unfaithful male lover into a dance leading to death from sheer exhaustion. However, the heroine Giselle forgives her lover and successfully pleads for his life from the queen and her companions, before returning to the underworld. The choreography is richly traditional but includes an extraordinary hopping step for the corps de ballet in Act II, which is uniquely memorable.

The ballet has been extraordinarily successful on DVD with fine versions from Kirov (Warner) and Paris (TDK). But the most recent recording comes from a BBC transmission in January 2006. It is marvellously danced, with the Romanian ballerina, Alina Cojocaru, in the title role and the Danish virtuoso, Johan Kobborg, as Albrecht. They are a touching pair and the remaining roles are no less brilliant and as strongly characterized. The Royal corps de ballet is superb. A compelling performance, with finely supportive playing from the Covent Garden orchestra under Boris Gruzin and expert video direction throughout.

Bonynge’s CD performance offers the complete original score, exactly as Adam wrote it, with all repeats. Also included are the Peasant pas de deux in Act I with music by Frédéric Burgmüller, and two other insertions, possibly by Minkus. The playing is polished and warmly sympathetic. Bonynge’s tempi are very much of the ballet theatre, but the overall tension is well maintained and detail is affectionately vivid. Recorded in London’s Henry Wood Hall, with its glowing acoustics, the sound is richly coloured and sumptuous, the bass resonance almost too expansive, and this is one of the most successful and satisfying of Bonynge’s many ballet recordings made for Decca over the years.

亚当的《吉赛尔》是古典芭蕾的开篇之作。故事开场简洁浪漫，主要演员们大放异彩的机会充足，但戏剧性在第二幕达到顶峰。女芭蕾舞团化身为威利斯，她们是被遗弃的少女，各自因心碎而死。在专横的王后米尔莎的怂恿下，她们得以从坟墓中复活，引诱任何不忠的男情人加入舞蹈，最终精疲力竭而死。然而，女主角吉赛尔原谅了她的情人，并成功地向王后及其同伴们恳求饶命，之后便回到了冥界。这部芭蕾舞剧的编舞富有浓郁的传统韵味，但第二幕中芭蕾舞团的精彩跳跃舞步令人难忘。

这部芭蕾舞剧的DVD发行取得了巨大成功，基洛夫（华纳）和巴黎（TDK）发行了精美的版本。但最近的录音来自BBC 2006年1月的转播。这部作品的舞蹈精彩绝伦，罗马尼亚芭蕾舞女演员阿丽娜·科若卡鲁（Alina Cojocaru）担任主角，丹麦大师约翰·科博格（Johan Kobborg）饰演阿尔布雷希特。他们是一对令人动容的搭档，其余角色也同样精彩绝伦，个性鲜明。皇家芭蕾舞团的演出也同样精彩绝伦。这场演出引人入胜，鲍里斯·格鲁津（Boris Gruzin）指挥的科文特花园管弦乐团也提供了精彩的伴奏，并由专业的视频指导贯穿始终。

波宁格的CD收录了亚当创作的完整原谱，所有重复乐段均与原作完全一致。此外，还收录了第一幕由弗雷德里克·伯格米勒（Frédéric Burgmüller）作曲的《农民双人舞》，以及另外两段可能由明库斯（Minkus）创作的插入曲目。波宁格的演奏精湛，充满温暖的共鸣。他的节奏非常符合芭蕾舞剧的风格，但整体张力保持得当，细节生动逼真。该唱片在伦敦亨利伍德音乐厅录制，其音响效果极佳，声音色彩丰富、华丽，低音共振几乎过于广阔，这是多年来 Bonynge 为 Decca 录制的众多芭蕾舞唱片中最成功、最令人满意的唱片之一。

（源于Google翻译）

手里刚好有蓝光碟
https://115cdn.com/s/swwftmq3hq9?password=3377&#
Adam - Giselle (Boris Gruzin, the Royal Opera House; Cojocaru, Kobborg) [2006 Blu-ray]

https://115cdn.com/s/swwftmd3hq9?password=3377&#
Adam, Adolph - Giselle - Richard Bonynge, the Royal Opera House [DECCA]

作者: joseph_li 时间: 2025-5-29 10:47
本帖最后由 joseph_li 于 2025-5-29 19:01 编辑

John Adams is undoubtedly now the most important contemporary composer in the United States and is already making a worldwide reputation for music which is listener-friendly, highly imaginative and original. He tells us that the first major piece of classical music he experienced in his youth, heard within the glorious acoustic of Boston’s Symphony Hall, was Vaughan Williams’s Fantasia on a Theme by Thomas Tallis conducted by Koussevitzky, which made an overwhelming impression on him.

Having then encountered Webern (which he described as ‘the strangest musical experience in my whole life’), Adams believes that ‘in the distant future musicians will look back on a period in the twentieth century – the era of Schoenberg, Stockhausen and Boulez – when composers aggressively destroyed the pulse and tonal syntax of music’, and this is a view with which we have considerable sympathy.

After a year’s sabbatical in 1974 he was exposed to the music of Steve Reich, notably Drumming. But he later moved on from the ‘Minimalism’ for which Reich is famous, finding it provided only a limited musical experience. ‘Its emotional bandwidth was very small,’ he said, ‘so I tried to stretch it.’ He did just that, and the result has been most illuminating.

约翰·亚当斯无疑是当今美国最重要的当代作曲家，他的作品以其动听悦耳、极富想象力和原创性而享誉全球。他告诉我们，他年轻时接触的第一部重要的古典音乐作品，是在波士顿交响乐大厅辉煌的音响效果下聆听的，是沃恩·威廉姆斯的《托马斯·塔利斯主题幻想曲》，由库塞维茨基指挥，这首作品给他留下了深刻的印象。

后来，他接触了韦伯恩（他称之为“我一生中最奇特的音乐体验”），亚当斯相信，“在遥远的未来，音乐家们会回顾二十世纪的某个时期——勋伯格、斯托克豪森和布列兹的时代——当时作曲家们对音乐的脉搏和调性句法进行了猛烈的破坏”，而我们对此深表赞同。

1974年，经过一年的休假后，他接触到了史蒂夫·莱奇的音乐，尤其是他的《鼓乐》。但后来，他放弃了赖希赖以成名的“极简主义”，发现它只能提供有限的音乐体验。“它的情感带宽非常狭窄，”他说，“所以我尝试拓展它。”他确实这么做了，结果非常令人振奋。
（源于Google翻译）

(i) The Chairman Dances; (ii) Grand Pianola Music; (iii) Shaker Loops; (i) Short Ride in a Fast Machine
EMI 2 06627-2. (i) CBSO Rattle; (ii) Random Wilson, NY Soloists; (iii) NY Soloists, Warren-Green

Under Rattle the foxtrot The Chairman Dances has unabated energy. It is an extraordinary adjunct to Adams’s opera Nixon in China, but not part of it, for Madame Chou outrageously dances a foxtrot in front of the assembled dignitaries at a banquet. Rhythmically unpredictable in its minimalist patterns, its kaleidoscopic scoring is ear-catching. The whizzing Short Ride in a Fast Machine and the exhilarating concertante (and tuneful) Grand Pianola Music both have immediate hit potential; the latter has a thrilling climax. Shaker Loops was the work that first alerted us to the originality and intensity of Adams’s earlier music and Christopher Warren-Green here directs its recording début.

在拉特尔的演奏下，狐步舞《主席之舞》活力四射，始终充满活力。它与亚当斯的歌剧《尼克松在中国》相得益彰，却又并非完全独立，因为周夫人在宴会上面对云集的贵宾，跳起了惊艳的狐步舞。其极简主义的模式中，节奏变幻莫测，千变万化的配乐令人耳目一新。呼啸而过的《快速机器的短途之旅》和令人振奋的协奏曲（旋律优美）《大钢琴音乐》都拥有一炮走红的潜力；后者高潮迭起，扣人心弦。《震环》首次让我们感受到亚当斯早期音乐的原创性和强度，此次由克里斯托弗·沃伦-格林执导了该作品的首张录音专辑。
（源于Google翻译）

https://115cdn.com/s/swwft5k3hq9?password=3377&#
Adams, John - Grand Pianola Music, Shaker Loops, Chairman Dances etc. - Wilson & Warren-Green & Rattle [EMI]

作者: sunjp1963 时间: 2025-5-29 10:50
谢谢分享。听音乐也是一种修行，不仅要听，也得看。

按照有些人的做法，楼主每次分享一本书，可以发十几个帖呢

作者: joseph_li 时间: 2025-5-29 10:51
Harmonielehre; Short Ride in a Fast Machine
SFS 0053. San Francisco SO, Michael Tilson Thomas

This superb disc is as fine a place as any to start exploring the music of America’s greatest contemporary composer, and the performances, splendidly recorded live at the Davies Symphony Hall, are unsurpassed. Adams was influenced by Schoenberg but rejected his atonal compositional style. His Harmonielehre throbbingly moves in arch form from white-hot, energy-absorbing minimalism to poignantly expressive yearning, before returning to the energetic thrust of the opening. ‘The Anfortas Wound’, pictured in the second movement, can never be healed and is evoked with plangent yearning; then the finale – inspired by the composer’s young daughter – at first is glitteringly light-hearted, then becomes a tender berceuse, before gathering pace and culminating in a tidal wave of minimalist brass and percussion. The brief, succinct Short Ride in a Fast Machine is, in the composer’s words, ‘a cranked up, high velocity, orchestral juggernaut insistently urged on by the unyielding pulse of the wood block’.

这张精湛的唱片是探索美国当代最伟大作曲家音乐的绝佳起点，其在戴维斯交响乐厅的精彩现场录制更是无与伦比。亚当斯深受勋伯格的影响，但摒弃了勋伯格的无调性作曲风格。他的《和声学》以拱形结构跃动，从炽热、能量充沛的极简主义到充满表现力的渴望，最终回归开篇的活力四射。第二乐章描绘的“安福塔斯之伤”永远无法治愈，令人不禁感叹不已；而受作曲家年幼女儿启发的终乐章，起初轻快活泼，随后转为温柔的摇篮曲，最终节奏加快，在极简主义铜管乐和打击乐的浪潮中达到高潮。简短、简洁的《快速机器中的短途旅程》用作曲家的话来说，是“一个加速的、高速的、管弦乐的庞然大物，在木块不屈不挠的脉动下不断向前推进”。
（源于Google翻译）

https://115cdn.com/s/swwftvq3hq9?password=3377&#
Adams, John - Harmonielehre, Short Ride in a Fast Machine - San Francisco SO, Michael Tilson Thomas等2个文件(夹)

作者: joseph_li 时间: 2025-5-29 10:52
第三个被卡了，需要审核，

作者: joseph_li 时间: 2025-5-29 10:55

sunjp1963 发表于 2025-5-29 10:50
谢谢分享。听音乐也是一种修行，不仅要听，也得看。

按照有些人的做法，楼主每次分享一本书，可以发十几 ...

哈哈，个性使然，既无其它诉求，又嫌麻烦。

作者: pidandy 时间: 2025-5-29 10:58
等你发完了，弄一个大包分享

作者: muyangxue 时间: 2025-5-29 11:06

感谢楼主！辛苦了！

作者: xunianfeng 时间: 2025-5-29 11:10
太好了，谢谢分享

作者: acornyoung 时间: 2025-5-29 11:25
感谢楼主的无私分享！！！

作者: sdlwh 时间: 2025-5-29 12:00
感谢楼主分享企鹅名盘，关注并期待分享更多资源！

作者: esa 时间: 2025-5-29 12:41
这个好
大多数大包一年也听不完，这样细水长流

作者: xzmumaren 时间: 2025-5-29 14:49
感谢分享，大工程

作者: newmanyan 时间: 2025-5-29 16:06

joseph_li 发表于 2025-5-29 10:47
John Adams is undoubtedly now the most important contemporary composer in the United States and is a ...

感谢分享请继续

作者: dftn888 时间: 2025-5-29 16:25
非常感谢楼主分享，还有文字介绍，非常棒！会一直跟贴更新，

作者: 米里尔 时间: 2025-5-29 16:28
谢谢分享！

作者: joseph_li 时间: 2025-5-29 17:15
Nixon in China (opera: complete)
Naxos 8.669022/24 (3). Orth, Kanyova, Hammons, Heller, Dahl, Opera Colorado Ch., Colorado SO, Alsop

Nixon in China is Adams’s masterpiece, an inspired and wholly original opera, worthy to stand alongside the great operas of the past based on historical subjects and matching Britten’s Peter Grimes in its immediacy and melodic flow. If it seems an extraordinary conception to base a stage work on President Nixon’s visit to communist China in 1972, it projects grippingly in the theatre, and it stands up just as compellingly musically on record. Adams’s special brand of minimalism works magnetically in the rich orchestral accompaniment, and the music has a lyrical flow absent from most modern operas. Adams really can write for the voice and the choral music too is especially telling, but many of the solo arias are magnetic. Marin Alsop has this music in her very being, and her version is cast from strength. Robert Orth is a strong Nixon and his wife Pat is intensely and sympathetically characterized by Maria Kanyova. But Tracy Dahl steals the show in her sympatheic portrayal of Madame Mao, particularly in the coloratura of the closing Act. An unforgettable set, which won the 2010 Gramophone Opera Award.

In some respects the earlier, St Luke’s recording, conducted by Edo de Waart ( None. 79177-2 (3), Sylvan, Craney, Maddalena, St Luke’s Ch. & O), is more sophisticated, particularly the chorus, and Madame Mao (Trudy Ellen Craney) sings splendidly at the climax of the opera’s third Act.

《尼克松在中国》是亚当斯的杰作，一部充满灵感、独具匠心的歌剧，堪比历史上以历史题材为背景的伟大歌剧，其即时性和流畅的旋律堪比布里顿的《彼得·格莱姆斯》。如果说以尼克松总统1972年访问GCZY中国为舞台创作一部作品似乎是一个非凡的构想，但它在剧院中却引人入胜，在唱片中也同样具有令人信服的音乐性。亚当斯独特的极简主义风格在丰富的管弦乐伴奏中展现出磁力，而音乐中也蕴含着大多数现代歌剧所缺乏的抒情流畅。亚当斯确实擅长为人声创作，合唱音乐也尤为突出，但许多独唱咏叹调也极具感染力。马林·阿尔索普的音乐风格浑然天成，她的版本展现了力量。罗伯特·奥斯饰演的是强势的尼克松，而他的妻子帕特则由玛丽亚·卡尼奥娃饰演，她饱含深情，充满同情。但特蕾西·达尔以其对毛夫人的深情演绎，尤其是在闭幕式的华彩部分，抢尽了风头。这套令人难忘的演出，荣获了2010年留声机歌剧奖。

从某些方面来看，之前由艾多·德·华特指挥的圣路加教堂的录音（《None. 79177-2 (3)》、西尔万的《Craney》、《Maddalena》、圣路加教堂的《Ch. & O》）更为精妙，尤其是合唱部分。毛夫人（特鲁迪·艾伦·Craney）在歌剧第三幕的高潮部分演唱得非常出色。
（源于Google翻译）

https://115cdn.com/s/swwf82w3hq9?password=3377&#
Adams, John - Nixon in China - Edo de Waart, Orchestra of St.Luke's; Sylvan, Craney, Maddalena, Hammons [Elektra Nonesuch]等2个文件(夹)

作者: joseph_li 时间: 2025-5-29 17:18
ADÈS, Thomas (born 1971)
(i–ii) Asyla, Op. 17; (i; iii) … But All Shall be Well, Op. 10; (iii–iv) Chamber Symphony for 15 Players, Op. 2; (iii–v) Concerto conciso for Piano & Chamber Orchestra, Op. 18; (i; iii) These Premises are Alarmed, Op. 18
EMI 5 03403-2. (i) CBSO; (ii) cond. Rattle; (iii) cond. composer; (iv) Birmingham Contemporary Music Group; (v) with composer (piano)

Thomas Adès’s brilliant orchestral piece, Asyla, with its exotic use of a vast range of percussion instruments, was Simon Rattle’s choice of work to complete his inaugural programme as the new music director of the Berlin Philharmonic in November 2002. The Chamber Symphony is extraordinarily intricate in its rhythmic ideas, developing ear-tickling colouristic patterns. The Concerto conciso has the solo piano well integrated into the instrumental group, where rhythms are free and jazzy, but it brings a calm central chaconne before the closing ‘Brawl’. These Premises are Alarmed is a brief, witty apoplexy, designed as a brilliant orchestral show-piece for the Hallé Orchestra. Balance is restored in … But All Shall be Well, the title coming from ‘Little Gidding’, the last of T. S. Eliot’s Four Quartets. Remarkable music, splendidly played and most vividly and atmospherically recorded.

托马斯·阿德斯的精彩管弦乐作品《阿塞拉》运用了丰富多样的打击乐器，是西蒙·拉特尔2002年11月就任柏林爱乐乐团新任音乐总监时，为完成其就职演出而选择的曲目。这部室内交响曲的节奏构思极其复杂，发展出令人耳目一新的色彩模式。《简洁协奏曲》将钢琴独奏与器乐组完美融合，节奏自由而爵士，但在结尾的“争吵”之前，它带来了一段平静的恰空。《这些房屋惊慌失措》是一首简短诙谐的中风作品，旨在为哈雷管弦乐团打造一部精彩的管弦乐杰作。在《……但一切都会好起来》中，平衡得以恢复，标题来自T. S. 艾略特的《四个四重奏》中的最后一首《小吉丁》。这是一部非凡的音乐，演奏精彩绝伦，录音生动逼真，氛围浓厚。
（源于Google翻译）

没找到这个碟，找到了一个内容接近的，可以听听。
https://115cdn.com/s/swwf8243hq9?password=3377&#
Ades, Thomas - Anthology [EMI 2CD]

作者: joseph_li 时间: 2025-5-29 17:31
ALBÉNIZ, Isaac (1860–1909)
Iberia (complete); Navarra
Double Decca (ADD) 448 191 2 (2). Alicia de Larrocha (with GRANADOS: Goyescas)

Alicia de Larrocha has recorded Iberia three times with almost equal success, but her 1972 analogue version is rather special. She has a unique feeling for this repertoire, and plays with great character, losing little by comparison with the later digital version (also for Decca). The piano recording is most realistic and the Double Decca reissue is highly desirable for being coupled with an equally recommendable set of Granados’s Goyescas.

Alicia de Larrocha 曾三次录制《伊比利亚》，几乎都取得了同样的成功，但她1972年的模拟版本却格外特别。她对这套曲目有着独特的感受，演奏风格鲜明，与后来的数字版本（也是Decca的）相比，几乎没有任何损失。钢琴录音极其逼真，Double Decca的再版非常值得期待，因为它与同样值得推荐的Granados Goyescas套装搭配使用。
（源于Google 翻译）

三(四)星带花选择了1986年版。

https://115cdn.com/s/swwfj3k3hq9?password=3377&#
Albeniz, Isaac - Iberia & Granados - Goyescas - Alicia de Larrocha [DECCA]

作者: joseph_li 时间: 2025-5-29 17:32
连续发到三个就要审核，

作者: joseph_li 时间: 2025-5-29 20:15
ALBINONI, Tomaso (1671–1751)
Oboe and Double-Oboe Concertos: 12 Concerti a cinque, Op. 7; 12 Concerti a cinque, Op. 9; Sinfonia
Chan. 0602; 0579; 0610. Robson, Latham, Col. Mus. 90, Standage

Like Vivaldi’s, Albinoni’s concertos offer a seemingly infinite variety of invention and imagination within his musical language. His music is more than merely melodically appealing, his occasional quirks of harmony and rhythm keep the listener on his toes and offer a great source of pleasure. Simon Standage’s survey of oboe and double-oboe concertos on Chandos is top choice in this repertoire. Anthony Robson plays all eight solo concertos from Opp. 7 and 9 using a period oboe. His tone is most appealing and his phrasing and musicianship are second to none. Simon Standage provides alert accompaniments, also using original instruments, and creates bright, athletic string timbres. Catherine Latham joins him to complete the Collegium Musicum 90 sets of Opp. 7 and 9, including the works for strings. The artistic results are very lively and refreshing, although the balance is rather close.
Simon Standage has also recorded the composer’s equally appealing Op. 5 concertos (CHAN 0663) – full of lovely melodic invention – and very recently, Albinoni’s rarely recorded Op. 10 set, which includes much delightful music, not least the vivid evocation of flamenco style in the Eleventh Concerto (CHAN 0769).

与维瓦尔第的作品相似，阿尔比诺尼的协奏曲在其音乐语言中展现出近乎无穷的创造力和想象力。他的音乐不仅旋律动人，偶尔在和声与节奏上的巧妙变化更能令听者耳目一新，带来极大的审美愉悦。西蒙·斯坦迪奇（Simon Standage）在Chandos唱片公司录制的双簧管与双重双簧管协奏曲全集，堪称该领域的权威演绎。安东尼·罗布森（Anthony Robson）使用仿古双簧管精彩诠释了作品第7号和第9号中的全部八部独奏协奏曲，其音色极具感染力，乐句处理与音乐造诣无出其右。西蒙·斯坦迪奇同样采用本真乐器进行敏锐的协奏，营造出明亮而富有张力的弦乐音色。凯瑟琳·莱瑟姆（Catherine Latham）加入后，与Collegium Musicum 90乐团共同完成了包含弦乐作品的第7号和第9号全集录音。尽管音响平衡稍显紧凑，但艺术表现力极为鲜活生动。
西蒙·斯坦迪奇还录制了作曲家同样迷人的第5号协奏曲集（CHAN 0663）——其中充满优美的旋律创意，以及近期极少被录音的阿尔比诺尼第10号协奏曲集，后者包含大量令人愉悦的乐章，尤其是第11号协奏曲（CHAN 0769）中对弗拉门戈风格的生动描摹尤为出彩。
（注：翻译时对音乐术语如"period oboe"译为"仿古双簧管"、"original instruments"译为"本真乐器"以符合专业语境；长句拆分如"His tone...second to none"重组为中文短句结构；文化专有名词"flamenco style"保留原有意象译为"弗拉门戈风格"；唱片编号及作品号按国际惯例保留原文格式。）
（源于DeepSeek翻译，比Google翻译准确优美多了。）

https://115cdn.com/s/swwfjkl3hq9?password=3377&#
Albinoni, Tomaso - The Collected Concertos for Oboes and Strings - Collegium Musicum 90, Simon Standage; Robson, Latham [Chandos]

作者: dftn888 时间: 2025-5-29 20:17
楼主辛苦了，谢谢分享！

作者: joseph_li 时间: 2025-5-29 20:20
ALFVÉN, Hugo (1872–1960)
Midsummer Watch, Op. 16 (Swedish Rhapsody); Adagio; Andante religioso; King Gustav II Adolf; Legend of the Skerries; The Mountain King Suite; The Prodigal Son: Suite; Symphonies 1–5
BIS CD1478/80(5). Royal Swedish O, Neeme Järvi (with soloists)

Alfvén was one of the leading nationalist composers working in Scandinavia at the turn of the nineteenth and twentieth centuries. For three decades he was conductor of the celebrated Uppsala male choir, Orfei drängar (Sons of Orpheus). His Midsummer Watch brings the magic of the Swedish midsummer vividly to life and has a wholly individual character, and intoxicating atmosphere. So too has the affecting Elegy from the incidental music to the play Gustav II Adolf. The symphonies are less perfect but are well worth investigating all the same, especially when the five discs are economically priced for the cost of only three. Neeme Järvi conducts his Swedish forces with enthusiasm and authority, and this is altogether most rewarding and not music one meets readily.

阿尔芬是19世纪末20世纪初斯堪的纳维亚地区杰出的民族主义作曲家之一。三十年来，他一直担任著名的乌普萨拉男声合唱团“奥菲之子”（Orfei Drängar）的指挥。他的《仲夏守夜》生动展现了瑞典仲夏节的魔力，具有独特的个性和令人沉醉的氛围。同样动人的还有为戏剧《古斯塔夫二世·阿道夫》所作的配乐中的《悲歌》。他的交响曲虽非尽善尽美，但仍值得一听，尤其是这套五张碟的专辑仅以三张碟的价格出售，性价比极高。指挥家尼姆·雅尔维（Neeme Järvi）以饱满的热情和权威带领瑞典乐团演绎这些作品，整体演绎非常精彩，而这些音乐本身也并不常见。
（源于DeepSeek翻译）

https://115cdn.com/s/swwfjxz3hq9?password=3377&#
Alfven, Hugo - Complete symphonies - Neeme Järvi, Royal Swedish Orchestra [BIS]

作者: joseph_li 时间: 2025-5-29 20:28
哪位有2010年版企鹅古典音乐指南电子版？就是由三星改成四星的那版。最好不是扫描的那种。有的话麻烦分享一下，有大礼包，

作者: martinlee815 时间: 2025-5-29 22:06
楼主是真正的爱乐人，非常支持你的这个计划！虽然我没有115，但是读读这些乐评，仍然觉得挺有意思……谢谢！

作者: toonca 时间: 2025-5-29 22:25
功德无量，多谢多谢。

作者: joseph_li 时间: 2025-5-29 22:58
本帖最后由 joseph_li 于 2025-5-29 23:01 编辑

martinlee815 发表于 2025-5-29 22:06
楼主是真正的爱乐人，非常支持你的这个计划！虽然我没有115，但是读读这些乐评，仍然觉得挺有意思……谢谢 ...

注册一下很简单，不想买会员的话，免费的空间存放收集到的资源，可以定期买个短期会员，集中下载要的资源。其实在某宝上买会员也不贵。无意帮5盘推广哈，我自己有迅雷、5盘和度盘的会员。

作者: joseph_li 时间: 2025-5-29 23:37
ALKAN, Charles-Valentin (1813–88)
Concerto for Solo Piano, Op. 39/8–10; Troisième Recueil de chants, Op. 65
Hyp. CDA 67569. Marc-André Hamelin

12 Etudes in the Minor Keys: Symphony for Piano, Op. 39/4–7; Alleluia, Op. 25; Salut, cendre du pauvre!, Op. 45; Super flumina Babylonis, Op. 52; Souvenirs: 3 Morceaux dans le genre pathétique, Op. 15
Hyp. CDA 67218. Marc-André Hamelin

Grande sonate (Les Quatre Ages); Barcarolle; Le Festin d’Esope; Sonatine, Op. 61
Hyp. CDA 66794. Marc-André Hamelin

All lovers of the piano repertoire must surely come across the remarkable piano music of Charles-Valentin Alkan some day. His music has a reputation for being fiendishly difficult, but his great range and variety of pieces ensured that he was admired by Liszt, Busoni and many others. Marc-André Hamelin continues his remarkable traversal of Alkan’s work with the Concerto for Solo Piano, a gigantic score, the first movement of which alone takes just under half an hour. The Symphony for Piano comprises four movements (Nos. 4–7) from the Douze études. The Symphony and the other pieces on Hyperion must sound effortless, just as a great dancer must seem weightless, and Hamelin makes light of their many difficulties. Superb playing and very good recording – and noteworthy not only for its virtuosity but for its refined music-making. Alkan’s Grande sonate over its four massive movements represents the hero at various ages, with the second, Quasi-Faust, the key one. The Sonatine, the most approachable of Alkan’s major works, is done just as dazzlingly, with the hauntingly poetic Barcarolle and the swaggering Festin d’Esope as valuable makeweights.
所有钟爱钢琴曲目的人，终有一天会邂逅夏尔-瓦朗坦·阿尔康那非凡的钢琴音乐。他的作品虽以魔鬼般的难度著称，但其丰富的风格与多样的体裁仍赢得了李斯特、布索尼等众多大家的推崇。马克-安德烈·阿姆林延续了他对阿尔康作品的精彩探索，此次演绎的《独奏钢琴协奏曲》是一部鸿篇巨制——仅第一乐章便长达近半小时。而《钢琴交响曲》则选自《十二首练习曲》中的第四至第七乐章。

在Hyperion唱片公司的这版录音中，《交响曲》与其他作品皆呈现出举重若轻的质感，恰如顶尖舞者看似毫不费力的腾跃，阿姆林以轻盈之姿化解了乐谱中的重重险阻。精湛的演奏与出色的录音相得益彰——其价值不仅在于炫技，更在于精妙的音乐性表达。阿尔康的《大奏鸣曲》以四个恢弘乐章刻画英雄人生的不同阶段，其中第二乐章《近似浮士德》堪称核心。《小奏鸣曲》作为阿尔康重要作品中最平易近人的一首，同样被演绎得流光溢彩，而意境幽远的《船歌》与意气风发的《伊索的盛宴》更是不可多得的精彩补白。
（源于DeepSeek翻译）

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Alkan, Charles-Valentin - Concerto for Solo Piano; Troisième Recueil de chants - Marc-André Hamelin [Hyperion]等3个文件(夹)

作者: hanyc22 时间: 2025-5-30 09:38
企鹅唱片指南（中文全译本）,1999年6月由商务印书馆国际有限公司出版。

https://115cdn.com/s/swwf1l13zjh?password=ieb4&#
企鹅激光唱片指南 (伊万·马奇等编著, ()伊万·马奇等编著, 马奇, 马奇伊万).pdf
访问码：ieb4

企鹅激光唱片指南 (伊万·马奇等编著, ()伊万·马奇等编著, 马奇, 马奇伊万)_页面_0001.jpg (68.78 KB, 下载次数: 0)

作者: joseph_li 时间: 2025-5-30 09:44
ALWYN, William (1905–85)
William Alwyn composed vigorously over the whole span of his musical life. His music is recognizably English and has an enticing amalgam of romantic as well as neoclassical character. In spite of a wide coverage of excellent recordings, he has never made it into the mainstream concert hall, although there is evidence that his music is coming back into fashion. It is certainly rewarding enough to do so.

威廉·阿尔文在其整个音乐生涯中始终保持着旺盛的创作力。他的音乐具有鲜明的英格兰特质，巧妙融合了浪漫主义与新古典主义风格，呈现出令人沉醉的艺术魅力。尽管已有大量优秀录音作品流传，但他始终未能在主流音乐厅占据一席之地——不过有迹象表明，其作品正重新获得当代乐坛的青睐。这样的复兴确实值得期待，因为他的音乐完全配得上更广泛的认可。

(i) Autumn Legend (for cor anglais); (ii) Lyra Angelica (concerto for harp); (iii) Pastoral Fantasia (for viola); Tragic Interlude
Chan. 9065. (i) Daniel; (ii) Masters; (iii) Tees; City of L. Sinfonia, Hickox

Autumn Legend (1954) is a highly atmospheric tone-poem, very Sibelian in feeling. So too is the Pastoral Fantasia, yet the piece has its own developing individuality. The Tragic Interlude is a powerful lament for the dead of wars past. But the highlight of this disc is the Lyra Angelica, a radiantly beautiful, extended piece (just over half an hour in length) inspired by the metaphysical poet Giles Fletcher’s ‘Christ’s victorie and triumph’. The performance here is very moving, and the recording has great richness of string tone and a delicately balanced harp texture. Rachel Masters’s contribution is distinguished. The classic Lyrita recording of Autumn Legend and Lyra Angelica, under the direction of the composer, is still also available on SRCD 230.

《秋日传奇》（1954）是一部极具氛围感的音诗，其意境与西贝柳斯作品颇有神似。《田园幻想曲》同样如此，但该作品在发展过程中逐渐形成了独特的个性。而《悲剧插曲》则是一曲对战争亡魂的沉痛哀歌。本专辑最耀眼的明珠当属《天使之诗》——这部时长逾半小时的鸿篇巨制灵感源自玄学派诗人吉尔斯·弗莱彻的《基督的胜利与凯旋》，作品散发着摄人心魄的美。此版演绎感人至深，录音中弦乐音色丰沛饱满，竖琴织体层次精妙，蕾切尔·马斯特斯的演奏尤为出彩。作曲家亲自执棒的《秋日传奇》与《天使之诗》经典录音（Lyrita厂牌，编号SRCD 230）目前仍有发行。
（源于DeepSeek翻译）

https://115cdn.com/s/swwf1fn3hq9?password=3377&#
Alwyn, William - Autumn Legend, Pastoral Fantasia, Tragic Interlude, Lyra Angelica - Hickox, City Of London Sinfonia [Chandos]
此碟收自本论坛乐友分享，感谢。

作者: joseph_li 时间: 2025-5-30 10:10
ANSERMET, Ernest (conducting various orchestras)
BACH: Cantata 31: Sonata. HAYDN: Symphony 22. BEETHOVEN: Symphony 4. WEBER: Der Beherrscher der Geister: Overture; Preciosa: Overture. MENDELSSOHN: Ruy Blas: Overture. BORODIN: Polovtsian Dances. LIADOV: Kikimora. STRAVINSKY: Scherzo à la Russe; Pulcinella: Suite. SIBELIUS: Symphony 4. DELIBES: Coppélia: excerpts; Sylvia: excerpts. FRANCK: Le Chasseur maudit. CHABRIER: Joyeuse Marche; Danse Slave. FAURÉ: Masques et Bergamasques; Pénélope: Prélude. SCHUMANN: Carnaval. RAVEL: Le Tombeau de Couperin. DEBUSSY: 6 Epigraphes Antiques; Petite Suite. RESPIGHI: Fountains of Rome; Rossiniana. HONEGGER: Pacific 231; Le Roi David. DUKAS: La Péri. RIMSKY-KORSAKOV: Dubinushka. MARTIN: Concerto for 7 Wind Instruments, Timpani, Percussion & String Orchestra
Decca (ADD) 475 8140 (6)

It was the advent of Decca’s Full Frequency Range Recording recordings (ffrr) in the late 1940s that put both Ansermet and Decca at the forefront of hi-fi classical recordings. Ansermet’s mono accounts of La boutique fantasque and Petrushka are landmarks in recording history. During the 1950s and ’60s, Ansermet made an extraordinary number of LPs, mainly with his Suisse Romande Orchestra. He became especially famous for his interpretations of twentieth-century repertoire (though not the exponents of the twelve-tone row) and French music. If many of Ansermet’s performances can be criticized for their lack of polish and sheer virtuoso brilliance, they (usually) make up for it in terms of character and musical substance. Ansermet sparkles in the lighter French repertoire: Chabrier’s Joyeuse marche and Danse slave are among the best performances of these works on disc. Just listen to the sense of exhilaration in the music-making, not achieved by mere speed: it is the rhythmic pulse which makes them so striking, along with the 1964 recording. Decca provide similar brilliance in the Tarantella from Rossiniana, the most entertaining movement from the Rossini/Respighi suite.

The Delibes items show Ansermet’s gift for ballet music (both his complete Coppélia and Nutcracker are classics). The Mazurka from Coppélia positively dances out of the speakers, while Les Chasseresses from Sylvia is rich in pageant and classical drama. We are strikingly summoned to attention with Dukas’s Fanfare from La Péri, and the ensuing ballet music is both lively and sharply characterized. A rarity on this disc is an orchestrated version (by Glazunov, among others) of Schumann’s Carnaval and it works surprisingly well in its nineteenth-century orchestral dress. César Franck’s ominous hunting calls in Le Chasseur maudit sound splendid in Ansermet’s 1961 performance, building up a fine sense of drama (what a wonderfully entertaining work this is!). Ansermet’s classic version of Fauré’s Masques et Bergamasques, dating from 1961, finds the conductor on top form, with light and sensitive playing making the most of this delightful music.

Ravel and Debussy are composers with whom Ansermet often excelled. Ansermet fans will recognize the oboe almost like an old, if not always completely stable, friend. Still, the finely etched colours of Ravel’s Le Tombeau de Couperin are well brought out and there is a cool beauty in the charming Petite Suite. Ansermet’s extensive and innate understanding of orchestral texture is well displayed in his orchestration of Debussy’s Six Epigraphes Antiques. This was originally written as a piano duet but Ansermet’s orchestration fits the music perfectly. The mono sound is very good but it is a pity he didn’t re-record it in stereo.

It is hard to imagine a more powerful performance of Honegger’s masterpiece, Pacific 231, than Ansermet’s 1963 account: the opening tingles with excitement, with Honegger’s steam-engine brought to startling life. The same composer’s ‘Dramatic psalm’, Le Roi David, is a distinctive pageant offering very agreeable musical ideas in the composer’s distinctive sound-world. The performance is strong in character and, with its distinguished French cast (Suzanne Danco is especially impressive), it is completely idiomatic.

Frank Martin is represented by his Concerto for Seven Wind Instruments, Timpani, Percussion and String Orchestra. The shifting emotions of the music, with its unusual colours and the angular quality of the melodic lines, make for a highly rewarding and distinctive piece. Again, the woodwind playing is not the last word in brilliance (that oboe again!), but the performance is concentrated and full of conviction.

With his ear for colour, it is not surprising that Ansermet made some impressive LPs of Russian music. His Polovtsian Dances may not be in the Solti league of exhilaration, but the orchestra is lively enough, even if the chorus is a bit limp. Liadov’s Kikimora and Rimsky-Korsakov’s Dubinushka receive excellent performances.

Stravinsky’s Scherzo à la Russe, a relaxed reading, allows the textures to shine out, deliciously so in the quiet, chamber-like section of the work. Pulcinella was one of Ansermet’s most successful stereo Stravinsky recordings, not least because of the vividness of the 1956 recording. True, it sounds a little dry by today’s standards, but it has an intimate quality which is most attractive. Listen to the double basses in the vivo section and the rasp of the brass – crisp and vibrant. The gentleness of the following Minuetto is quite melting and one even forgives the oboe player’s lack of polish.

Ansermet was a mathematician and there is a sense that his mathematical mind sometimes worked too hard in the romantic repertoire. His Beethoven cycle is unfailingly interesting though, and his poised, direct approach works well (the Ninth Symphony, with Joan Sutherland, won universal praise). The Fourth Symphony with its subdued opening is almost chilling in its beauty here, and he warms up nicely in the main allegro. Ansermet’s always reliable sense of phrasing makes the string playing especially enjoyable, with the articulation in the finale particularly memorable.

The Weber overtures, The Ruler of the Spirits and Preciosa, are highly enjoyable, the latter with its sparkling Turkish music section. Ansermet’s account of Mendelssohn’s Ruy Blas Overture is among the very best versions with its vivid sound and sense of drama.

Most unlikely repertoire for Ansermet is Bach, but actually he was rather warm-hearted when playing this composer: listen to the vitality of the opening of Cantata 31. Ansermet’s Haydn is memorable too, mainly for its elegant phrasing of the strings. The finale of Symphony No. 22 is especially enjoyable, with its hunting rhythms, all very lively but not at all forced.

Sibelius’s Fourth Symphony is the least successful item here. Those who know this symphony well will get something out of this performance, because Ansermet always has a way of illuminating strands of a score in an interesting way. However, the tension notably sags in the slow movement and the performance as a whole lacks enough concentration to hold the work compellingly together.

Ansermet was the opposite of the flashy showman conductor: the excitement of listening to Ansermet performances is more in the detail than overt brilliance. But they are always enjoyable for their spontaneity.

20 世纪 40 年代末，迪卡全频录音 (ffrr) 的出现使安塞美和迪卡都站在了高保真古典录音的前沿。安塞美对《幻想精品店》和《彼得鲁什卡》的单声道演绎是录音史上的里程碑。20 世纪 50 年代和 60 年代，安塞美制作了大量 LP 唱片，主要与他的瑞士罗曼德管弦乐团合作。他因对 20 世纪曲目（尽管不是十二音列的代表）和法国音乐的诠释而闻名。如果说安塞美的许多表演可以因其缺乏润色和纯粹的技艺而受到批评，那么它们（通常）在特色和音乐实质方面弥补了这一点。安塞美在较轻松的法国曲目中闪闪发光：夏布里埃的《快乐进行曲》和《奴隶之舞》是这些作品在唱片中的最佳演绎之一。聆听音乐创作中那种令人愉悦的感受，并非仅仅靠速度就能实现：正是节奏的脉动让它们如此震撼，正如1964年的录音一样。迪卡在罗西尼组曲《罗西尼》中最具娱乐性的塔兰泰拉舞曲中也展现了同样的光彩。

德利布的作品展现了安塞美在芭蕾舞音乐方面的天赋（他的《葛蓓莉亚》和《胡桃夹子》全集都是经典之作）。《葛蓓莉亚》中的玛祖卡舞曲仿佛从扬声器中跃动而出，而《西尔维娅》中的《女猎人》则充满了华丽的场面和古典的戏剧性。杜卡斯的《仙女》中的《号角》则引人注目地吸引了我们的注意力，随后的芭蕾舞音乐既活泼又鲜明。这张唱片中罕见的曲目是舒曼《狂欢节》的管弦乐版本（由格拉祖诺夫等人创作），它在十九世纪管弦乐的氛围中效果出奇地好。塞萨尔·弗兰克在《猎手的诅咒》中不祥的狩猎鸣叫在安塞美1961年的演奏中显得格外动听，营造出一种绝妙的戏剧感（这真是一部引人入胜的作品！）。安塞美1961年演奏的福雷《假面舞会与贝尔加马舞会》的经典版本，展现了指挥家的巅峰状态，轻盈灵动的演奏将这首悦耳的音乐淋漓尽致地展现出来。

安塞美与拉威尔和德彪西合作的作曲家往往都表现出色。安塞美的乐迷会认出他的双簧管，仿佛他们是一位老朋友，即便并非总是那么亲密。尽管如此，拉威尔《库普兰之墓》精雕细琢的色彩依然展现得淋漓尽致，而迷人的《小组曲》则散发着一种冷峻的美感。安塞美对管弦乐织体深厚而与生俱来的理解，在他为德彪西《六首古铭文》编曲时得到了淋漓尽致的展现。这首曲子原本是钢琴二重奏，但安塞美的编曲与音乐完美契合。单声道的音色非常出色，可惜他没有重新录制成立体声。

很难想象还有比安塞美1963年的版本更能演绎奥涅格的杰作《太平洋231》的：开场激动人心，奥涅格的蒸汽机栩栩如生。同一位作曲家的“戏剧圣歌”《大卫王》是一部独特的盛会，在其独特的音响世界中展现了令人愉悦的音乐理念。演出风格鲜明，加上杰出的法国演员阵容（苏珊娜·丹科尤其令人印象深刻），使其完全地道地地道道。

弗兰克·马丁的代表作是他的协奏曲，由七种管乐器、定音鼓、打击乐和弦乐团组成。音乐中情感的变幻，加上其独特的色彩和棱角分明的旋律线条，成就了这部极具感染力且独具特色的作品。尽管木管乐器的演奏并非最精彩（又是双簧管！），但演奏却专注而充满感染力。

凭借他对色彩的敏锐嗅觉，安塞美创作了一些令人印象深刻的俄罗斯音乐LP唱片也就不足为奇了。他的波罗维茨舞曲或许无法与索尔蒂的激动人心相提并论，但管弦乐队的活力十足，即使合唱部分略显乏味。利亚多夫的《基基莫拉》和里姆斯基-科萨科夫的《杜比努什卡》都有出色的表演。

斯特拉文斯基的《俄罗斯谐谑曲》是一首轻松的乐曲，其织体在作品中静谧的、类似室内乐的段落中展现得淋漓尽致。《普契奈拉》是安塞美最成功的立体声斯特拉文斯基录音之一，这在很大程度上归功于1956年录音的生动活泼。诚然，以今天的标准来看，它听起来略显枯燥，但它却蕴含着一种亲切的气质，这才是最引人入胜的。聆听“活”音部分的低音提琴和铜管乐器的沙哑声——清脆而充满活力。接下来的《小步舞曲》的柔美令人动容，甚至让人能够体会到双簧管演奏者缺乏精湛技艺的不足。

安塞美是一位数学家，他的数学思维在浪漫主义曲目中似乎有时显得过于用力。然而，他的贝多芬全集始终引人入胜，他沉着冷静、直截了当的演奏手法也同样出色（与琼·萨瑟兰合作的《第九交响曲》赢得了普遍赞誉）。第四交响曲的开头低调，美得令人心旷神怡，而他在主快板中则热情洋溢。安塞美一贯精准的乐句表达能力使弦乐演奏格外动听，尤其是终乐章的清晰表达令人难忘。

韦伯的序曲《幽灵的统治者》和《宝仕奥莎》都令人赏心悦目，后者的土耳其音乐部分更是精彩绝伦。安塞美改编的门德尔松《鲁伊·布拉斯》序曲以其生动的音色和戏剧感跻身最佳版本之列。

巴赫是安塞美最意想不到的曲目，但实际上，他在演奏这位作曲家时却相当热情：聆听《康塔塔31》开头的活力。安塞美的海顿作品也令人难忘，主要是因为其优雅的弦乐乐句。第二十二交响曲的终乐章尤其令人愉悦，其狩猎节奏活泼却不做作。

西贝柳斯的《第四交响曲》是本场演出中最不成功的。熟悉这部交响曲的观众或许能从这场演出中有所收获，因为安塞美总能以引人入胜的方式阐释乐谱的脉络。然而，慢乐章的张力明显减弱，整场演出缺乏足够的集中度，无法将作品引人入胜地串联起来。

安塞美与那些浮夸的作秀指挥截然相反：聆听安塞美的演出，其兴奋点更多在于细节，而非表面的才华。但安塞美的演奏总是因其即兴发挥而令人愉悦。

https://115cdn.com/s/swwf1i93hq9?password=3377&#
Ansermet, Ernest - Decca Recordings 1953-1967 [6CD]
这个Decca Original Masters套装多数人应该都有。

作者: joseph_li 时间: 2025-5-30 10:16
ANSERMET, Ernest, with the Suisse Romande Orchestra
‘Ouvertures Françaises’: LALO: Le Roi d’Ys. AUBER: Le Domino Noir; Fra Diavolo. HÉROLD: Zampa. THOMAS: Mignon; Raymond. BOIELDIEU: La Dame Blanche. OFFENBACH: La Belle Hélène; Orphée aux enfers
Australian Decca Eloquence (ADD) 4800023

This recording of once popular French overtures was always one of Ansermet’s most successful records. Lalo’s Le Roi d’Ys is full of melodrama and builds up to a particularly exciting finale, while La Dame Blanche receives a suitably more reserved, though delicately stylish, reading. Auber’s infectious overture, Le Domino noir, with its string of colourful, formal dances, goes splendidly, with Ansermet’s strikingly articulated strings (at 5 minutes 40 seconds) in the crescendo á la Rossini particularly effective. The opening section of the Fra Diavolo Overture is also effectively pointed – what a fine overture that is! Both the Offenbach overtures come off very well, with La Belle Hélène (in Haensch’s ingenious arrangement) sounding most enticing with its many wittily memorable tunes. If the final Can-can in the Orphée aux enfers overture is taken at a slower speed than one might expect, it is invested with such rhythmic vigour that music sounds freshly minted. Zampa also receives one of its best performances on disc, with the dramatic tremolo strings near the beginning sounding especially vibrant. With both of Thomas’s most famous and delightful overtures (Mignon is an inspired piece, beautifully scored), this makes a most welcome reissue, with any slight imperfections of ensemble easily forgivable in the fresh, lively music-making.

这张录制的法国序曲曾风靡一时，一直是安塞美最成功的唱片之一。拉罗的《伊斯国王》充满戏剧张力，并以激动人心的结尾收尾；而《白衣女子》的演绎则略显内敛，却不失精致优雅。奥贝尔的序曲《黑色多米诺》极具感染力，其丰富的舞曲段落华丽华丽，演奏得精彩绝伦，安塞美在5分40秒处以罗西尼式的渐强演奏，清晰锐利的弦乐尤为突出。《魔鬼修士》序曲的开头部分也恰到好处地突出——这真是一首精彩绝伦的序曲！两首奥芬巴赫的序曲都十分出色，其中《美丽的海伦》（由亨施巧妙编排）以其众多妙趣横生、令人难忘的旋律令人回味无穷。《地狱中的奥菲欧》序曲中最后的康康舞曲速度可能比预期慢，但其节奏活力十足，使音乐听起来焕然一新。赞帕的专辑也呈现出了其在这张唱片中的最佳演绎之一，开头附近戏剧性的弦乐颤音尤为生动。这张专辑收录了托马斯最著名、最令人愉悦的两首序曲（《迷娘》是一首灵感迸发、配乐优美的作品），使其成为一张备受欢迎的再版专辑，在清新活泼的音乐氛围中，任何细微的合奏瑕疵都很容易被原谅。
（源于Google翻译）

这张雄辩系列的碟我没找到，封面长下面这样。

作者: 很不牛的俺 时间: 2025-5-30 10:22
大工程，向楼主致敬！

作者: joseph_li 时间: 2025-5-30 11:02

很不牛的俺发表于 2025-5-30 10:22
大工程，向楼主致敬！

有请牛哥帮忙补充我找不到的资源，

作者: dftn888 时间: 2025-5-30 11:08
谢谢楼主持续分享！

作者: joseph_li 时间: 2025-5-30 11:12

hanyc22 发表于 2025-5-30 09:38
企鹅唱片指南（中文全译本）,1999年6月由商务印书馆国际有限公司出版。

感谢分享，这与我手里的纸质版的书完全一样。礼包已发送，有效期15天，请及时查收，希望你喜欢。

继续求三星改为四星评鉴的版本。

作者: xunianfeng 时间: 2025-5-30 11:43
本帖最后由 xunianfeng 于 2025-5-30 11:44 编辑

joseph_li 发表于 2025-5-30 10:16
ANSERMET, Ernest, with the Suisse Romande Orchestra
‘Ouvertures Françaises’: LALO: Le Roi d ...

这张Tidal上有，但是没下载成功：https://tidal.com/browse/album/30416122?u

作者: joseph_li 时间: 2025-5-30 11:48
ARENSKY, Anton (1861–1906)
(i) Piano Concerto in F min., Op. 2; Fantasia on Russian Folksongs. To the Memory of Suvorov; Symphonic Scherzo
Naxos 8.570526. (i) Scherbakov; Russian PO, Yablonsky

Arensky occupies a small but not insignificant place in the history of Russian music. While not possessing the distinction of, say, Rimsky, his music has genuine merit and often has considerable melodic appeal. This inexpensive Naxos CD is an ideal way to explore his orchestral music. Not surprisingly, these performances are very Russian in feeling, and after a bold opening both orchestra and the excellent soloist make the very most of the concerto’s memorable secondary theme. The Fantasia on Russian Folksongs is hardly less idiomatic, and again shows the pianist, Konstantin Scherbakov, in brilliant form. There are attractive couplings too; the commemorative march celebrates General Suvorov with plenty of fanfare, yet has a contrasting, folksy centrepiece, and the lively Symphonic Scherzo shows the composer’s orchestral palette vividly. A most enjoyable collection.

阿连斯基在俄罗斯音乐史上的地位虽小，却意义非凡。虽然他的音乐不如里姆斯基那样杰出，但他的音乐确实值得称道，而且旋律优美动听。这张纳克索斯唱片公司发行的平价CD是探索他管弦乐作品的理想之选。不出所料，这些演出都充满了浓郁的俄罗斯风情。在大胆的开场之后，乐团和出色的独奏家都充分展现了协奏曲令人难忘的次要主题。《俄罗斯民歌幻想曲》同样地道，再次展现了钢琴家康斯坦丁·谢尔巴科夫的精湛技艺。此外，专辑中还有一些引人入胜的配乐：纪念进行曲以恢弘的号角声歌颂苏沃洛夫将军，却又以一首民谣风格的主旋律作为对比；而活泼的交响谐谑曲则生动地展现了作曲家精湛的管弦乐技艺。这是一张令人赏心悦目的合辑。

Violin Concerto in A min., Op. 54
Hyp. CDA 67642. Gringolts, BBC Scottish SO, Volkov – TANEYEV: Suite de concert, Op. 28

The concerto’s second theme is an adorable idea that is both touching and difficult to dislodge from one’s memory. Ilya Gringolts plays it with disarming elegance and warmth, yet elsewhere he offers effortless brilliance and is expertly and sensitively partnered by Ilan Volkov and the BBC Scottish Orchestra. The balance between soloist and orchestra is truthful and most musically judged. If you fancy the attractive Taneyev coupling, this can be strongly recommended.

这首协奏曲的第二主题构思巧妙，感人至深，令人难以忘怀。伊利亚·格林格茨的演奏优雅而温暖，令人倾倒，而在其他方面，他却展现出浑然天成的才华，并与伊兰·沃尔科夫和BBC苏格兰管弦乐团合作，技艺精湛，细腻入微。独奏家与管弦乐队之间的平衡恰到好处，极具音乐性。如果您喜欢塔涅耶夫的精彩合作，强烈推荐这首作品。
（源于Google翻译）

第一张没找到。封面长下面这样：

https://115cdn.com/s/swwf1pv3hq9?password=3377&#
Arensky, Anton - Violin Concerto & Taneyev - Suite de concert - Ilya Gringolt, BBC Scottish SO, Volkov [Hyperion]

作者: joseph_li 时间: 2025-5-30 11:53
ARGENTA, Ataulfo (with various orchestras)
CHABRIER: España. RIMSKY-KORSAKOV: Capriccio espagnol. GRANADOS: Andaluza. MOSZKOVSKY: Spanish Dances, Book 1 (with LSO). DEBUSSY: Images (with SRO). LISZT: Piano Concertos 1 & 2 (with Katchen, LPO); Faust Symphony (with Paris Conservatoire O); Les Préludes (with SRO). ALBÉNIZ: Iberia Suite. BERLIOZ: Symphonie fantastique. TURINA: Danzas fantásticas (with Paris Conservatoire O). TCHAIKOVSKY: Violin Concerto (with Campoli, LSO); Symphony 4 (with SRO)
Decca mono/stereo 475 7747 (5)

Argenta’s early death came before he realized his full potential. His recording career was cut short, but before then he made a series of colourful records for Decca which have been gathered here complete for the first time. The first CD in the box is a vintage, early stereo collection, España, mainly from the pens of non-Spaniards, but readily displaying the conductor’s flair, not least in the sparkling account of Chabrier’s title-piece. The slight but endearingly dated Moszkowski dances are stylishly played, and the last three are especially successful. The highlight of the disc is Rimsky’s Capriccio espagnol which (alongside Maazel’s DG Berlin version from the same period) has seldom been matched for its brilliance and Mediterranean colour, with real virtuosity from the LSO. The 1957 Kingsway Hall recording with its glittering percussion is dazzling in this CD transfer, and only a slight tightness in the upper range of the strings gives a hint that this is not a new recording. The Debussy Images, recorded in Geneva the same year, shows the conductor’s fine ear for intricate detail, so well etched by the recording; but the response from the SRO has less body of tone than that produced by the LSO. The more familiar Liszt Piano Concertos with Katchen are brilliantly extrovert readings, vividly recorded. The Berlioz Symphonie fantastique (stereo) is an individual account, with the balance between reflection and neurosis remarkably well judged. The orchestral playing is impressive and the French brass is full of character. Argenta observes the repeat in the March to the Scaffold (for the first time on LP) and the finale is strong on atmosphere as well as drive. What both Les Préludes and the Faust Symphony lack in the polish of the orchestral playing they more than make up for in character and personality. The mono sound is again excellent. Argenta is again on top form in Albéniz’s Iberia and Turina’s Danzas fantásticas, though he characteristically brings out the colour rather than the sensuousness of the music. The 1953 mono sound is sharp and vivid. It is good to have a reminder of the art of Campoli; his account of the Tchaikovsky Violin Concerto has always been praised for its combination of technical brilliance and a natural sense of style. The soloist’s judicious editing of his part does not interfere with the music’s impulse and line and, although this is a personal reading, its natural warmth and spontaneity are appealing. The stereo sound is exceptionally warm and vivid for its date (1956). The Fourth Symphony, however, is not on the same adrenalin level, though it is a decent, lusty account, with characterful rather than brilliant playing from the orchestra, and good early stereo sound from 1955.

阿根塔英年早逝，未能充分发挥其潜力。他的录音生涯戛然而止，但在此之前，他为迪卡唱片公司录制了一系列精彩纷呈的唱片，这些唱片首次完整收录于此。盒中的第一张CD是一张复古的早期立体声合辑《西班牙》，主要出自非西班牙人之手，但却充分展现了这位指挥家的才华，尤其是在对夏布里埃同名作品的精彩演绎上。莫什科夫斯基的舞曲虽然略显老套，但却充满着复古气息，演奏风格优雅，其中最后三首尤为成功。唱片的亮点是里姆斯基的《西班牙随想曲》，其（与马泽尔同期的DG柏林版本并列）的辉煌和地中海风情少有能与之媲美，伦敦交响乐团的精湛技艺更是令人叹为观止。 1957年在国王大道大厅录制的打击乐声部闪耀夺目，在这张CD中令人目眩神迷。只有弦乐高音区略显紧绷，暗示着这并不是一张新唱片。同年在日内瓦录制的《德彪西意象》展现了指挥家对复杂细节的敏锐听觉，录音也将其完美地刻画出来；但SRO的回应不如LSO的音色饱满。与卡钦合作的李斯特钢琴协奏曲更为人熟知，演绎得精彩外向，录音生动。柏辽兹的《幻想交响曲》（立体声）是一部个人作品，在反思与紧张之间的平衡把握得非常到位。管弦乐演奏令人印象深刻，法国铜管乐充满个性。阿让塔在《走向断头台》进行曲（首次以LP形式录制）中观察到了重复，终乐章既有强烈的氛围感，也有强劲的动力。《前奏曲》和《浮士德交响曲》在管弦乐演奏方面略显不足，但它们的特色和个性却足以弥补这些不足。单声道的声音再次令人赞叹。阿亨塔在阿尔贝尼兹的《伊比利亚》和图里纳的《幻想之舞》中再次展现了巅峰状态，尽管他一贯强调的是音乐的色彩而非感性。1953年的单声道声音清晰而生动。这让人想起了坎波利的艺术；他对柴可夫斯基小提琴协奏曲的诠释一直因其精湛的技艺和自然流畅的风格而备受赞誉。独奏者对其声部的巧妙编排并未干扰音乐的节奏和线条，尽管这是一次个人解读，但其自然的温暖和自发性令人动容。就其创作年份（1956年）而言，立体声的声音格外温暖而生动。然而，第四交响曲却没有达到同样的震撼人心的程度，尽管它是一部不错的、充满活力的作品，管弦乐队的演奏很有个性而非才华横溢，并且具有 1955 年早期良好的立体声效果。
（源于Google翻译）

https://115cdn.com/s/swwf1tq3hq9?password=3377&#
Argenta, Ataúlfo - Complete Decca Recordings 1953-1957 [DECCA 5CD]
这套同属Decca Original Masters系列，大多数人应该都有。

作者: joseph_li 时间: 2025-5-30 12:07
ARNE, Thomas (1710–78)
8 Overtures (1751); Overtures: Alfred; Thomas and Sally
Chan. 0722. Col. Mus. 90, Standage

Thomas Arne, the composer of Rule Britannia, was a highly active composer for the theatre, owing in part to his Catholic religion which precluded him from posts in the church. He had a flair for writing simple, attractive melody, and his set of Eight Overtures, published in 1751, was an attempt to broaden his appeal through a series of separate publications. The invention is tuneful and elegant, cosmopolitan in style; they also have a certain eighteenth-century English pastoral spirit which is very refreshing. The two theatre overtures make for equally enjoyable listening, with the Scottish Gavotte of Thomas and Sally adding a dash of ‘local’ colour. Very stylish and alert playing from Simon Standage and Collegium Musicum 90, and the sound is vivid and full. An unexpectedly distinctive and enjoyable collection, easy to live with.

托马斯·阿恩（《不列颠万岁》的作曲家）是剧院音乐的杰出创作者，其天主教信仰使他无法担任教堂职位，反而令他在戏剧领域大放异彩。他擅长谱写简洁动人的旋律，1751年出版的《八首序曲集》正是通过独立刊印的曲谱系列来扩大影响力的尝试。这些作品旋律精巧优雅，风格兼容并蓄，同时蕴含18世纪英格兰田园特有的清新气质。另两首剧院序曲同样令人愉悦，其中《托马斯与莎莉》的苏格兰加沃特舞曲更添一抹“本土”风情。西蒙·斯坦达奇与科勒吉姆音乐90乐团的演绎风格鲜明、灵动跃动，录音效果亦饱满生动。这套曲集出乎意料地独具魅力，耐听易赏，令人回味无穷。
（源于DeepSeek翻译）
《统治吧不列颠尼亚》的作曲家托马斯·阿恩是一位非常活跃的戏剧作曲家，部分原因是他的天主教信仰使他无法在教会任职。他擅长创作简洁动听的旋律，而他于1751年出版的《八首序曲》系列作品正是他试图通过一系列独立出版物来提升影响力的尝试。这套作品旋律优美优雅，风格国际化；同时还带有一种令人耳目一新的十八世纪英国田园风情。两首戏剧序曲同样令人愉悦，而托马斯和萨莉的苏格兰加沃特舞曲则增添了一丝“本土”色彩。西蒙·斯坦迪奇和Collegium Musicum 90乐团的演奏风格时尚、灵动，音色生动饱满。这是一张出乎意料的独特而动听的合辑，易于欣赏。
（源于Google翻译）
把两种翻译对比一下，

https://115cdn.com/s/swwf1xo3hq9?password=3377&#
Arne, Thomas - Overtures - Simon Standage, Collegium Musicum 90 [Chandos 24-96]

作者: joseph_li 时间: 2025-5-30 12:08
帖子又被卡住要审核了，以这个速度，没个一年半载发不完，

作者: xzmumaren 时间: 2025-5-30 12:39

joseph_li 发表于 2025-5-30 12:08
帖子又被卡住要审核了，以这个速度，没个一年半载发不完，

楼主辛苦了

作者: qinyanyi 时间: 2025-5-30 12:54

joseph_li 发表于 2025-5-30 10:16
ANSERMET, Ernest, with the Suisse Romande Orchestra
‘Ouvertures Françaises’: LALO: Le Roi d ...

Famous French Overtures_Ernest Ansermet 2009 4800023
https://***.com/s/1mOXcogTUn5oLuXYpdabA8w?pwd=2025

作者: joseph_li 时间: 2025-5-30 12:57

qinyanyi 发表于 2025-5-30 12:54
Famous French Overtures_Ernest Ansermet 2009 4800023
https://***.com/s/1mOXcogTUn5oLuXYpdabA8w?pw ...

感谢分享。

作者: xunianfeng 时间: 2025-5-30 13:51

joseph_li 发表于 2025-5-30 11:48
ARENSKY, Anton (1861–1906)
(i) Piano Concerto in F min., Op. 2; Fantasia on Russian Folksongs. To ...

https://115cdn.com/s/swwfcie3w0i?password=v174&#
Arensky, A. - Piano Concerto Ryabinin Fantasia To the Memory of Suvorov Symphonic Scherzo
访问码：v174

作者: joseph_li 时间: 2025-5-30 14:33

xunianfeng 发表于 2025-5-30 13:51
https://115cdn.com/s/swwfcie3w0i?password=v174&#
Arensky, A. - Piano Concerto Ryabinin Fantasia ...

感谢分享。众人拾柴火焰高，这个帖子成抛砖引玉之地了，

作者: joseph_li 时间: 2025-5-30 16:48
ARNOLD, Malcolm (1921–2006)
Anniversary Overture, Op. 99; Beckus the Dandipratt (Comedy Overture), Op. 5; The Fair Field, Op. 110; A Flourish for Orchestra, Op. 112; A Grand Grand Festival Overture, Op. 57; Peterloo Overture, Op. 97; Robert Kett Overture, Op. 141; The Smoke, Op. 21; A Sussex Overture, Op. 31; Tam O’Shanter Overture, Op. 51
Chan. 10293. BBC PO, Rumon Gamba

Arnold was master of the short orchestral form, his English Dances being a supreme example. However, he wrote a series of strikingly attractive overtures, which have been gathered together on this mightily impressive Chandos recording. Beckus the Dandipratt came first in 1943, possibly something of an uninhibited self-portrait. Tam O’Shanter is another flamboyant portrayal, with a spectacular realization of bagpipes at its witty climax. A Grand Grand Festival Overture came a year later. The scoring included four vacuum cleaners and a floor polisher. (On the night of its première, they were dispatched by the rifles of a firing squad!) But this is far more than an occasional piece, not least because it has a really good tune. The noisily dramatic Peterloo also has one – but then, so have all the other works here. They are marvellously played, with a truly Arnoldian infectious exhilaration, and the Chandos recording is in the demonstration bracket.

阿诺德是短管弦乐的大师，他的《英国舞曲》堪称典范。然而，他还创作了一系列引人入胜的序曲，这些序曲汇集在这张令人印象深刻的钱多斯录音中。《丹迪普拉特的贝库斯》首先创作于1943年，或许可以算作一幅奔放的自画像。《塔姆·奥尚特》是另一个华丽的描绘，在其诙谐的高潮部分，风笛的演奏精彩绝伦。一年后，《盛大节日序曲》问世。配乐包括四台吸尘器和一台地板抛光机。（在首演之夜，它们被行刑队的步枪射杀了！）但这远非偶然，尤其因为它的旋律优美。喧闹而戏剧化的《彼得卢》也有这样的旋律——不过，这里的其他作品也都如此。它们的演奏精彩绝伦，带有真正阿诺德式的感染力和兴奋感，而Chandos的录音则被收录在示范曲目中。
（源于Google翻译）

https://115cdn.com/s/swwf0pw3hq9?password=3377&#
Arnold, Malcolm - Overtures - Rumon Gamba, BBC PO [Chandos 24-96]

作者: joseph_li 时间: 2025-5-30 17:03
本帖最后由 joseph_li 于 2025-5-30 17:21 编辑

(i; ii) Double Piano Concerto (three hands); (iii) English Dances 3 & 5; (iv) Beckus the Dandipratt: Overture; (i) Peterloo: Overture; (v) Solitaire; Symphonies: 1; (iv) 2; (i) 5; (iii) Tam O’Shanter
EMI mono/stereo 3 82146-2 (2). (i) CBSO; (ii) Cyril Smith, Phyllis Sellick (piano duo, 3 hands); (iii) Philh. 0; (iv) RPO; (v) Bournemouth SO; all cond. composer

Sir Malcolm Arnold was the finest of the twentieth-century English composers who suffered from the destructive era of atonalism, the weird experimentation of Stockhausen, and the music of Boulez and his followers, which failed to communicate with the ordinary music-lover. Melody became unfashionable and traditional writing, however original, fell completely by the wayside. Arnold was a natural melodist and musical communicator and, while he survived by writing film scores, his serious works gradually became unfashionable and absent from the concert hall. But fortunately much of his music has survived on record (including the remarkable symphonies).

He was a brilliant advocate of his own works, revealing their emotional depth but also their passages of electrifying exuberance. Symphonies 1, 2 and 5 are just three of the treasures in this superb compilation, which brings together all the recordings Arnold made for EMI. Beckus the Dandipratt is a deliciously light-hearted characterization hailed as a cross between Strauss’s Till and Walton’s Scapino. Tam O’Shanter is another flamboyant portrayal. The Concerto for Two Pianos ends with a delightfully infectious rumba, full of cross-rhythms. No Arnold collection captures his special magic quite as compellingly as this.

马尔科姆·阿诺德爵士是二十世纪英国最杰出的作曲家之一，他饱受无调性主义的毁灭性时代、斯托克豪森的怪诞实验以及布列兹及其追随者的音乐的摧残，这些音乐无法与普通音乐爱好者产生共鸣。旋律变得不再流行，传统的写作方式，无论多么独创，也完全被抛在了一边。阿诺德是一位天生的旋律家和音乐传播者，虽然他靠创作电影配乐维持生计，但他的严肃作品却逐渐变得冷漠，从音乐厅中销声匿迹。幸运的是，他的大部分作品（包括那些非凡的交响曲）都以唱片的形式流传了下来。

他是一位杰出的乐手，不仅展现了自己作品的情感深度，也展现了其中令人振奋的活力段落。第一、第二和第五交响曲只是这张精湛合辑中的三首珍品，这张合辑汇集了阿诺德为EMI唱片公司录制的所有唱片。丹迪普拉特的贝库斯（Beckus the Dandipratt）是一个轻松愉快的人物，被誉为施特劳斯笔下的蒂尔（Till）和沃尔顿笔下的斯卡皮诺（Scapino）的结合体。塔姆·奥尚特（Tam O’Shanter）是另一个华丽的人物。《双钢琴协奏曲》以一段充满交叉节奏、令人愉悦的伦巴舞曲收尾。阿诺德没有哪张专辑能像这张专辑一样，如此引人入胜地捕捉到他独特的魅力。

4 Cornish Dances; 8 English Dances, Sets 1 & 2; 4 Irish Dances; 4 Scottish Dances; 4 Welsh Dances
Naxos 8.553526. Queensland SO, Penny

This disc was an early Naxos success and enjoys the inclusion of all six sets of the dances which are among Arnold’s most spontaneous and attractive shorter works. The cheerful, tuneful ebullience of the masterly English Dances came first in 1950 51 and the others followed on, with wide changes of mood to continually capture the ear. The performances have the composer’s imprimatur (he was present at the recording sessions) and can be recommended as an ideal representation of Arnold’s spontaneous orchestral writing.

这张唱片是Naxos早期的成功之作，收录了阿诺德所有六套舞曲，这些舞曲是他最具即兴发挥、引人入胜的短篇作品之一。1950-51年，《英国舞曲》以其欢快、优美的旋律首次问世，其他作品也相继问世，情绪变化丰富，不断抓住听众的耳朵。这些演出都得到了作曲家的认可（作曲家本人也参与了录音），堪称阿诺德即兴发挥的管弦乐作品的理想代表。（源于Google翻译）

这两张我都没找到，封面分别如下。本来想着不发没找到的，但是想到论坛里藏龙卧虎，尝试发了几个，果然都找到了，不服不行啊。实在找不到，就当欣赏评鉴吧。

作者: joseph_li 时间: 2025-5-30 17:20
AUBER, Daniel (1782–1871)
Overtures: Le Domino noir; Le Cheval de bronze; Crown Diamonds; Fra Diavolo; Masaniello
Australian Decca Eloquence (ADD) 480 2385 (2). Paris Conservatoire o, Wolff (see also under the conductor: WOLFF, Albert)

Auber had the knack of writing catchy tunes and he stuffed the best of them into his superbly crafted overtures. Take The Crown Diamonds, for example – after a long string cantilena, Auber gives the first section of the Allegro over to brass and woodwind, and a delicious effect his scoring makes. Fra Diavolo, with its side-drum introduction followed by a dainty tune on the violins before moving on to the vivacious militaristic aspects of the score, is as enjoyable as any of the overtures by Rossini. Each of these works is hugely enjoyable.

奥贝尔擅长创作朗朗上口的旋律，并将其中的精华融入他精湛的序曲之中。以《皇冠钻石》为例——在一段长长的弦乐轻快吟唱之后，奥贝尔将快板的第一部分交由铜管和木管演奏，他的配乐营造出美妙的效果。《魔鬼修士》以侧鼓引子，随后是一段优美的小提琴旋律，最后过渡到乐谱中充满活力的军事风格，其优美程度不亚于罗西尼的任何一部序曲。这些作品每一部都令人赏心悦目。
（源于Google翻译）

这张雄辩系列的碟还是没找到，只找到了LP转的24-192高码格式

https://115cdn.com/s/swwf0cv3hq9?password=3377&#
Albert Wolff & PCO – Overtures In Hi-Fi [DECCA 24-192]

作者: joseph_li 时间: 2025-5-30 17:41
BACH, Carl Philipp Emanuel (1714–88)
Cello Concertos: in A min., Wq. 170; in B flat, Wq. 171; in A, Wq. 172
BIS CD 807. Hidemi Suzuki, Bach Col., Japan

These works show their fine composer at his most inventive. Hidemi Suzuki, who is soloist/director here, is another fine artist from this remarkably talented family, and he creates a dashing flow of energy in the orchestral ritornellos of outer movements; and the Bach Collegium play with great zest and commitment. In slow movements Suzuki’s eloquent phrasing, warmth of feeling and breadth of tone are totally compelling, producing a cello line of heart-stopping intensity. The recording is splendid.

这些作品展现了这位杰出作曲家最富创造力的才华。担任独奏/指挥的铃木秀美是这个才华横溢的家族中另一位杰出的艺术家，他在外部乐章的管弦乐重复乐段中创造出了奔放的能量；巴赫学院的演奏充满热情和投入。在慢乐章中，铃木雄辩的措辞、温暖的情感和宽广的音色令人信服，创造出了令人心跳加速的大提琴旋律。这张录音非常精彩。

(i) Flute Concertos: in D min., Wq. 22; in A min., Wq. 16; in B flat, Wq. 167; in A, Wq. 168; in G, Wq. 169. Sonata for solo flute, Wq. 132
Naxos 8.555715/16. Patrick Gallois, (i) Toronto Camerata, Mallon

Patrick Gallois is a masterly flautist, and he gives a set of superb performances of these fine concertos, written for the court of Frederick the Great and arranged by the composer from works originally featuring the harpsichord as soloist. There is much sparkling vivacity in the Allegros, and the expressive range of the solo instruments, sometimes quite dark in feeling, is fully captured by both Gallois and the Toronto Camerata under Kevin Mallon.

帕特里克·加洛瓦是一位技艺精湛的长笛演奏家，他精彩演绎了一系列为腓特烈大帝宫廷创作的优秀协奏曲，这些作品由作曲家本人改编，原作以羽管键琴独奏。快板部分活力四射，独奏乐器的表达范围有时略显阴郁，加洛瓦和凯文·马伦指挥的多伦多室内乐团都充分展现了这些作品的魅力。
（源于Google翻译）

https://115cdn.com/s/swwf23a3hq9?password=3377&#
Bach C.P.E. - Flute Concerto - Patrick Gallois, Kevin Mallon, Toronto CO [NAXOS]等2个文件(夹)

作者: joseph_li 时间: 2025-5-30 17:48
6 Hamburg Sinfonias, Wq. 182 / 1 – 6
Naxos 8.553285. Capella Istropolitana, Benda

The Six Hamburg String Sinfonias are particularly striking in their unexpected twists of imagination, and they contain some of Bach’s most inspired and original ideas. Using modern instruments at higher, modern pitch, Benda directs light, well-sprung accounts with extra light and shade. The excellent sound is full and open as well as immediate, and these winning works are well worth exploring.

六首汉堡弦乐交响曲以其出人意料的想象力转折而格外引人注目，蕴含着巴赫一些最具灵感和原创性的理念。本达运用现代乐器，以更高的现代音高，指挥着轻盈灵动、充满光影的乐章。优美的音色饱满开阔，直击人心，这些获奖作品值得细细品味。
（源于Google翻译）

Keyboard sonatas Wq. 52/4; 59/1; 61/2; 65/17 & 31; 65/32: Andante only Rondos in A. Wq 58/1; in C min, Wq59/4; in D min Wq 61/4.
DG 469 0356 Mikhail Pletnev (piano) (with BEETHOVEN: Piano Sonata 26 (Les Folieux))

Altogether remarkable playing even by Pletnev’s exalted standards. He finds both the wit and depth of this music and his resource of keyboard colour and refinement of articulation are pretty awesome. The Beethoven Sonata comes as a digital bonus online.

即便以普雷特涅夫崇高的标准来看，他的演奏也堪称非凡。他觉得这首乐曲的智慧与深度，以及他对键盘色彩的运用和演奏技巧的精妙之处，都令人叹为观止。贝多芬奏鸣曲以数字版的形式在线发行。

Naxos的这张没找到。DG这张找到的是其它碟号，Bach C.P.E 的曲目一致，不含贝多芬奏鸣曲。

https://115cdn.com/s/swwf2nr3hq9?password=3377&#
Bach C.P.E. - Sonatas & Rondos - Mikhail Pletnev [DG]

作者: joseph_li 时间: 2025-5-30 17:55
BACH, Johann Christian (1735–82)
Harpsichord or Clavier Concertos, Opp. 1, 7, 13 & 14 (complete)
CPO 999930-2 (6). Halstead, Hanover Band

Bach’s early Berlin concertos (from the 1750s) undoubtedly influenced the young Mozart. These splendid performances from Anthony Halstead directing the Hanover Band from a Broadwood piano are appealingly fluent, full of flair and vitality. Slow movements are deeply expressive and outer movements bustle vigorously. Halstead has recorded Op. 7 in chamber form with just an accompanying string trio. His solo playing is very persuasive and the result is delightfully intimate. Bach’s Op. 13 appeared in 1777 and shows him still developing in ideas and orchestration. Op. 14 is more ambitious, although it may have been written earlier. Halstead accompanies himself brightly and gracefully.

巴赫早期的柏林协奏曲（创作于18世纪50年代）无疑影响了年轻的莫扎特。安东尼·霍尔斯特德指挥汉诺威乐队，在布罗德伍德钢琴上演奏的这些精彩作品流畅动人，充满才华和活力。慢乐章富有表现力，外部乐章则充满活力。霍尔斯特德将作品7录制成了室内乐版本，仅由弦乐三重奏伴奏。他的独奏极具感染力，效果令人愉悦而亲切。巴赫的作品13于1777年问世，展现出他在创作理念和编曲方面的发展。作品14则更具野心，尽管创作时间可能更早。霍尔斯特德的伴奏明亮而优雅。

6 Sinfonias, Op. 3; 6 Sinfonias, Op. 6; 3 Sinfonias, Op. 8; Sinfonias in C (Venier 46 – 2 versions); in F (manuscript); Sinfonias, Op. 9/1–2 (standard and original versions), Op.9/3; Sinfonia in E flat with Clarinets; 6 Sinfonias, Op. 18
CPO 999896-2 (5). Hanover Band, Halstead

Anthony Halstead continues his exploration of J. C. Bach with his Sinfonias, which share the same three-part format as the Italian overture, and at the time the descriptive titles were interchangeable. Indeed, as we discover in Opp. 9 and 18, Bach borrowed overtures from his own operas to include in his published sets. The works were initially intended for his London concerts and this is the first complete coverage on period instruments – and very impressive it is.

安东尼·霍尔斯特德继续探索J.C.巴赫的交响曲，他的交响曲与意大利序曲采用相同的三声部结构，当时的描述性标题可以互换。事实上，正如我们在作品9和18中发现的那样，巴赫从自己的歌剧中借用了序曲，并将其收录到他出版的套曲中。这些作品最初是为他在伦敦的音乐会准备的，这是首次完整涵盖古乐器的版本——令人印象深刻。
（源于Google翻译）

https://115cdn.com/s/swwf26p3hq9?password=3377&#
Bach, J.C. - Complete Symphonies - Anthony Halstead, The Hanover Band [CPO 5CD]等2个文件(夹)

明天该开始发 J.S. Bach了，大部头之一

作者: qinyanyi 时间: 2025-5-30 18:15

joseph_li 发表于 2025-5-30 17:20
AUBER, Daniel (1782–1871)
Overtures: Le Domino noir; Le Cheval de bronze; Crown Diamonds; Fra Diav ...

Invitation to the Dance_Albert Wolff 2CD 2010 4802388
https://***.com/s/1AMJd_Wg4QhEys037zM7Q_w?pwd=2025

Overtures in Hi-Fi_Albert Wolff 2CD Decca 2010 4802385
https://***.com/s/1Bp_Bi08ydlg3YY9nyeLZzA?pwd=2025

作者: joseph_li 时间: 2025-5-30 18:42

qinyanyi 发表于 2025-5-30 18:15
Invitation to the Dance_Albert Wolff 2CD 2010 4802388
https://***.com/s/1AMJd_Wg4QhEys037zM7Q_w?p ...

感谢分享

作者: 不亦乐乎lh 时间: 2025-5-30 22:54
感谢楼主分享大工程！
资源+解说+翻译，太贴心周到啦！

作者: xunianfeng 时间: 2025-5-30 23:49

joseph_li 发表于 2025-5-30 17:03
(i; ii) Double Piano Concerto (three hands); (iii) English Dances 3 & 5; (iv) Beckus the Dandipratt: ...

通过网盘分享的文件：Arnold, M. - Dances等2个文件
链接: https://***.com/s/1kU-1N7Iu7A6Bc_sPEGb-AQ?pwd=nr27 提取码: nr27
--来自百度网盘超级会员v7的分享

作者: xunianfeng 时间: 2025-5-31 09:44

joseph_li 发表于 2025-5-30 17:48
6 Hamburg Sinfonias, Wq. 182 / 1 – 6
Naxos 8.553285. Capella Istropolitana, Benda

通过网盘分享的文件：Bach, C.P.E. - Hamburg Sinfonias Nos. 1 - 6, Wq. 182
链接: https://***.com/s/1pSNofBDA8tY4yS8t_tHIkg?pwd=c6a6 提取码: c6a6
--来自百度网盘超级会员v7的分享

作者: joseph_li 时间: 2025-5-31 11:32

xunianfeng 发表于 2025-5-31 09:44
通过网盘分享的文件：Bach, C.P.E. - Hamburg Sinfonias Nos. 1 - 6, Wq. 182
链接: https://***.com/s ...

感谢补充分享，端午安康，

作者: joseph_li 时间: 2025-5-31 11:57
BACH, Johann Sebastian (1685–1750)
Brandenburg Concertos 1–6, BWV 1046–51; (i) Harpsichord Concertos 1–7, BWV 1052–8; (i–ii) Double Harpsichord Concertos 1–3, BWV 1060–62; (i–iii) Triple Harpsichord Concertos 1–2, BWV 1063–4; (i–iv) Quadruple Harpsichord Concerto, BWV 1065; (i; v; vi) Triple Concerto for Flute, Violin & Harpsichord, BWV 1044; (vi; vii) Double Concerto for Oboe & Violin, BWV 1060; (vii) Oboe d’amore Concerto, BWV 1055; (vi) Violin Concertos 1–2; (vii–viii) Double Violin Concerto, BWV 1041–3; Orchestral Suites 1–4, BWV 1066–9
DG 477 9510 (8). English Concert, Trevor Pinnock; with (i) Pinnock; (ii) Kenneth Gilbert; (iii) Lars Ulrik Mortensen; (iv) Nicholas Kraemer; (v) Lisa Beznosiuk; (vi) Simon Standage; (vii) David Reichenberg; (viii) Elizabeth Wilcock

This admirable box collects together, on eight CDs, the English Concert’s recordings of Bach, directed by Trevor Pinnock and made in the 1970s and early 1980s, which have dominated the catalogue ever since. Pinnock’s Brandenburg Concertos represent the peak of his achievement as an advocate of authentic performances, with sounds that are clean and refreshing but not too abrasive. Interpretatively, he adopts faster speeds in outer movements, but is relatively slow in Andantes, a style that others have followed since, yet from first to last there is no routine. The soloists are outstanding.

In the solo concertos he plays with real panache, his scholarship tempered by excellent musicianship. Pacing is again brisk but, to today’s ears that are used to period performances, the effect is always convincing when the playing is so spontaneous and the sound so bright and clear. The transcribed Concertos for flute, violin and harpsichord, for oboe and violin and for oboe d’amore are equally persuasive, both vigorous and warm, with consistently resilient rhythms, while the Violin Concertos are equally welcome. Rhythms are again crisp and lifted at nicely chosen speeds – not too fast for slow movements – and the solo playing here, led by Simon Standage, is very stylish.

In the Orchestral Suites Pinnock improves on his readings of many years earlier, with sound that is rather warmer and string-tone sweeter. In the dance movements of the Suite No. 2 Lisa Beznosiuk takes her flute solos faster and more brilliantly than her predecessor, Simon Preston, but otherwise speeds are a fraction broader in all four Suites, with Allegros more jauntily sprung and phrasing a degree more espressivo. Above all, the great Air of Suite No. 3 sounds far warmer, persuasively played on multiple violins instead of on a single, acid-toned instrument.

Those hankering after first-class modern-instrument performances of the Violin Concertos might add Grumiaux’s fine mid-priced analogue disc (Decca 420 700-2) in which he is satisfyingly joined in the Double Concerto by Hermann Krebbers and in the Concerto for Violin and Oboe by the equally distinguished Heinz Holliger. This is in every way satisfying.

这套令人赞叹的套装收录了八张CD，涵盖了英国音乐会乐团在20世纪70年代和80年代初录制的巴赫作品，这些作品由特雷弗·平诺克（Trevor Pinnock）执导，录制于20世纪70年代和80年代初，自此便占据了乐团曲目的主导地位。平诺克的勃兰登堡协奏曲代表了他倡导真实演奏的巅峰之作，其声音干净清新，却又不至于过于粗糙。在诠释方面，他在外部乐章中采用了更快的速度，但在行板部分则相对较慢，这种风格后来被其他人效仿，但从始至终都没有任何套路可言。独奏家们也同样出色。

在独奏协奏曲中，他演奏得淋漓尽致，他的学识渊博与卓越的音乐造诣相得益彰。节奏同样轻快，但对于如今习惯了时代音乐演出的人来说，当演奏如此自然流畅、音色如此明亮清晰时，其效果总是令人信服的。改编的长笛、小提琴和羽管键琴协奏曲、双簧管和小提琴协奏曲以及爱之双簧管协奏曲同样引人入胜，既充满活力又温暖，节奏始终富有弹性。小提琴协奏曲也同样受欢迎。节奏再次清晰明快，速度也经过精心选择——对于慢乐章来说并不算太快——由西蒙·斯坦迪奇领衔的独奏非常有风格。

在管弦乐组曲中，皮诺克在他多年前的演绎基础上有所改进，声音更加温暖，弦乐音色更加甜美。在第二组曲的舞蹈部分，丽莎·贝兹诺苏克的长笛独奏比她的前任西蒙·普雷斯顿更快、更精彩，但除此之外，四首组曲的速度都略宽一些，快板更加轻快，乐句表达也更具表现力。最重要的是，第三组曲中那首伟大的咏叹调听起来温暖得多，用多把小提琴演奏，而不是用单把、音色酸涩的小提琴，令人信服。

那些渴望聆听一流现代乐器演奏小提琴协奏曲的人，不妨看看格鲁米欧的精美中等价位模拟唱片（Decca 420 700-2），这张唱片完美地融合了赫尔曼·克莱伯斯的双重协奏曲，以及同样杰出的海因茨·霍利格的小提琴与双簧管协奏曲。这张唱片无论从哪方面来看都令人心满意足。
（源于Google翻译）

https://115cdn.com/s/swws6yr3hq9?password=3377#
Bach, J.S. - Violin Concertos - Arthur Grumiaux, Krebbers, Holliger [Philips]等3个文件(夹)
Philips 格鲁米欧这张小协是我自抓，WAV格式，可以洗版了。

作者: joseph_li 时间: 2025-5-31 12:29
Brandenburg Concertos 1–6, BWV 1046–51
EuroArts Invitation DVD 2050316. Freiburg Bar. O, Von der Gölz

The beautifully handwritten score for Bach’s Brandenburg Concertos was presented to Christian Ludwig, Margrave of Brandenburg, in 1721, to whom they were dedicated in French. We are not told whether he liked them or not, but they have since become the composer’s most familiar and cherished orchestral works. Their design (with stimulating contrasts between the full ensemble and the concertino of soloists) shows strong Italian influences, notably that of Vivaldi, and their performance requires considerable virtuosity, notable from the pair of horns in No. 1, the solo trumpet in No. 2, the obbligato harpsichord in No. 5 and the violas and cellos in No. 6.

The very finest of all DVDs of these highly rewarding works is by the Freiburg Baroque Orchestra directed by Gottfried von der Gölz. Visually entrancing, it is appropriately photographed against the magnificently restored Spiegelsaal of the Castle Cöthen, which has an ideally spacious acoustic. The performance itself, on period instruments, is freshly spontaneous in the most appealing way and the imaginative video direction often takes us among the players to create the complete illusion of being present. Tempi are ideally chosen and the performance has great finesse and easy virtuosity. The recording is in the demonstration bracket.

1721年，巴赫的勃兰登堡协奏曲手写精美的乐谱被赠予勃兰登堡侯爵克里斯蒂安·路德维希，并以法语献给他。我们不得而知侯爵是否喜欢这些作品，但自此之后，它们便成为作曲家最为人熟知和珍视的管弦乐作品。作品的设计（全套合奏和独奏协奏曲之间形成鲜明对比）展现出浓厚的意大利风格，尤其是维瓦尔第的影响。演奏这些作品需要相当的技巧，尤其需要注意的是第一首中的圆号双簧管、第二首中的小号独奏、第五首中的羽管键琴助奏以及第六首中的中提琴和大提琴。

这些备受好评的作品中最精美的DVD是由戈特弗里德·冯·德·戈尔茨指挥的弗莱堡巴洛克管弦乐团制作的。这部作品在视觉上令人着迷，其背景是科滕城堡（Castle Cöthen）修复精美的镜厅（Spiegelsaal），其音响效果空旷开阔，堪称理想之选。演奏本身以古乐器演奏，以最引人入胜的方式展现出新鲜自然的韵味，而富有想象力的视频导演则常常带领我们置身于演奏者之中，营造出身临其境的错觉。节奏的选择堪称完美，演奏技巧娴熟，技艺精湛。录音已收录于演示版中。
（源于Google翻译）

DVD：
https://115cdn.com/s/swws6ey3hq9?password=3377&#
Bach J.S. - Brandenburg Concertos - Freiburger Barockorchester, Gottfried von der Gölz [EuroArts DVD9]

CD：
https://115cdn.com/s/swws6ra3hq9?password=3377&#
Bach J.S. - Brandenburg Concertos - Freiburger Barockorchester, Gottfried von der Gölz [EuroArts]

作者: joseph_li 时间: 2025-5-31 12:41
Orchestral Suites Nos. 1–4, BWV 1066/9 (with alternativements dances)
Harmonia Mundi HMC 90 2113/14. Freiburg Bar. O, Gottfried von der Goltz

As we have discovered in their outstanding DVD of the Brandenburgs, the Freiburg Baroque Orchestra are unsurpassed in this repertoire, their performances consistently stimulating and splendidly recorded. But they also include the alternativements dances in all four suites, which gives them a competitive edge over all other versions. This is a key recording, although the sound is a little dry.

正如我们在他们出色的勃兰登堡组曲DVD中发现的那样，弗莱堡巴洛克管弦乐团在这一曲目中无与伦比，他们的演奏始终令人振奋，录音也十分出色。此外，他们还在所有四部组曲中都加入了替代舞曲，这让他们比其他所有版本都更具竞争力。尽管声音略显干涩，但这张碟仍是一张关键的录音。

Clavier Concertos 1–7, BWV 1052–8; (i) Double Clavier Concertos 1–3, BWV 1060–62; (i ii) Triple Clavier Concertos 1–2, BWV 1063–4; (iii) Triple Concerto for Flute, Violin & Harpsichord, BWV 1044. Italian Concerto in F, BWV 971
Decca 478 2363 (4). András Schiff (piano), with (i) Peter Serkin (piano); (ii) Canino (piano); (iii) Nicolet (flute), Shiokawa (violin), CO of Europe or Camerata Bern

As is instanced by the performance of the Italian Concerto, splendidly articulated and alive, and by his other Bach solo records, Schiff’s control of colour and articulation never seeks to present merely a harpsichord imitation, and in the concertos his shaping of Bach’s lovely slow movements brings finely sustained lines and a subtle variety of touch. In the composite concertos, joined by Bruno Canino, Aurèle Nicolet and Yuuko Shiokawa – equally fine artists – he and they are just as satisfying. He directs both the Chamber Orchestra of Europe (in the solo concertos) and the Camerata Bern from the keyboard and chooses spirited, uncontroversial tempi for Allegros, at the same time providing decoration that always adds to the joy and sparkle of the music-making. This makes a clear first choice for those who, like us, enjoy Bach on the piano, and the composite concertos are particularly successful, notably BWV 1044.

席夫演奏的意大利协奏曲精彩绝伦、充满活力，他的其他巴赫独奏专辑也同样如此。他对色彩和表达的掌控并非仅仅局限于羽管键琴的模仿，在协奏曲中，他对巴赫优美慢乐章的演绎带来了细腻的持续线条和微妙的触感变化。在与布鲁诺·卡尼诺、奥雷勒·尼科莱特和盐川优子等同样优秀的艺术家合作的复合协奏曲中，他和他们同样令人欣喜。他指挥欧洲室内乐团（在独奏协奏曲中）和伯尔尼室内乐团，并用键盘演奏，为快板选择了充满活力、不带争议的节奏，同时又添加了装饰，为音乐创作增添了乐趣和光彩。对于像我们一样欣赏巴赫钢琴演奏的人来说，这无疑是首选，而他的复合协奏曲尤其成功，尤其是BWV 1044。
（源于Google翻译）

https://115cdn.com/s/swws6a83hq9?password=3377&#
Bach J.S. - Complete Keyboard Concertos - Andras Schiff [DECCA]等2个文件(夹)

作者: joseph_li 时间: 2025-5-31 12:54
(Unaccompanied) Cello Suites 1–6, BWV 1007–12
EMI DVD DVA 5 99159-9 (2). Rostropovich

Whether on DVD (filmed against the comparatively severe backcloth of the Basilique Sainte-Madeleine, Vézelay, in France) or on the companion CD version, both of which are included here, Rostropovich’s performances are masterly and all-involving, drawing distinctions between each work in his spoken introductions, although one can choose to hear the music without the commentaries. Unsurpassed and unsurpassable. There is also a CD-only set, offered less expensively on EMI 5 18158-2, which is just as welcome.

无论是DVD（以法国韦兹莱圣玛德莲教堂相对严肃的背景为背景拍摄）还是CD版本（均包含在内），罗斯特罗波维奇的演奏都堪称大师级，引人入胜，他的朗诵引言清晰地展现了每部作品之间的区别，当然，你也可以选择不听解说。无与伦比，无可比拟。此外，还有一套价格更低的纯CD套装，售价EMI 5 18158-2，同样受欢迎。

Unaccompanied Violin Sonatas 1–3, BWV 1001, 1003 & 1005; Violin Partitas 1–3, BWV 1002, 1004 & 1006
Hyp. CDA 67691/2. Alina Ibragimova

The young Russian virtuoso Alina Ibragimova has been making waves for some time, but in these accounts of the Bach solo sonatas and partitas her mastery is very striking indeed. Hers are traditional readings and they pay no homage to the authentic-instrument lobby. She brings a refined, quiet sensitivity to the slow sarabandes of the First and Second Partitas as well as to the slow openings of the three Sonatas, and finds great spirit and incisiveness in the more vigorous movements. There is elegance and character in every single piece. We have a special affection for Grumiaux (Philips 438 736-2) and Milstein (DG 457 702-2) in these works, but this modern version from Hyperion is outstanding in every way.

年轻的俄罗斯演奏家阿丽娜·伊布拉吉莫娃（Alina Ibragimova）声名鹊起已久，但在这些巴赫独奏奏鸣曲和帕蒂塔的演绎中，她的精湛技艺确实令人叹为观止。她的演绎风格传统，丝毫没有向原汁原味的乐器演奏致敬。她为第一和第二帕蒂塔的慢萨拉班德舞曲以及三首奏鸣曲的慢节奏开头注入了精致而宁静的敏感，并在更具活力的乐章中展现出强大的精神和敏锐的洞察力。每一部作品都充满优雅和个性。我们对这些作品中的格鲁米欧（Philips 438 736-2）和米尔斯坦（DG 457 702-2）情有独钟，但Hyperion的这套现代版本在各个方面都堪称杰出。
（源于Google翻译）

DVD：
https://115cdn.com/s/swws6pf3hq9?password=3377&#
Bach J.S. - Cello Suites - Mstislav Rostropovich [2 DVD9]

CD & SACD：
https://115cdn.com/s/swws6t73hq9?password=3377&#
Bach, J.S. - Complete Sonatas and Partitas for Solo Violin - Arthur Grumiaux [DECCA]等4个文件(夹)
DECCA 格鲁米欧这张碟是我自抓，WAV格式。

作者: joseph_li 时间: 2025-5-31 13:47
Goldberg Variations, BWV 988
Sony 696998924322. Perahia (piano)

We are agreed that Murray Perahia’s set of the Goldberg Variations is uniquely revealing, essentially thoughtful and intimate, often introvert, and with his involvement and dedication present in every bar. The piano recording, too, is wonderfully natural. An obvious first choice. Even so, Rosalyn Tureck’s VAI account is very special indeed, with insights all its own. For I.M. it is enormously compelling and would be a desert island choice (VAI VAIA 1029); but Perahia’s account is hardly less inspired.

我们一致认为，穆雷·佩拉希亚（Murray Perahia）演奏的《哥德堡变奏曲》具有独特的启发性，本质上是深思熟虑且亲密的，常常内省，每一小节都倾注了他的投入与专注。钢琴录音效果也极其自然，无疑是首选。尽管如此，罗莎琳·图雷克（Rosalyn Tureck）在VAI厂牌的录音版本（编号VAIA 1029）同样非凡，拥有独到的洞见。对I.M.而言，这一版极具感染力，堪称荒岛唱片之选；但佩拉希亚的演绎同样充满灵感，毫不逊色。

15 2-Part Inventions, BWV 772–86; 15 3-Part Inventions (Sinfonias), BWV 787–801; 6 Little Preludes, BWV 933–8; 6 Little Preludes, BWV 939–43 & 999; 6 Little Preludes from the Clavierbüchlein for Wilhelm Friedemann Bach, BWV 924–31; 3 Fughettas, BWV 952, 953 & 961; Prelude and Fugue, BWV 895; Preludes and Fughettas, B WV 899, 900, & 902a; French Suite 6, BWV 817; Partita 2, BWV 826
Dynamic CDS 629/1-2 (2). Andrea Bacchetti (piano)

Bach’s Klaviermusic (including the 2-Part Inventions and the rather more complex 3-Part Sinfonias) was mainly written in Köthen from 1717 to 1723 for Bach’s eldest son, Wilhelm Friedmann, and the Sixth French Suite and Second Partita also seem to come from the end of this period. So for Andrea Bacchetti to include them in his survey seems very appropriate, and they are wholly welcome musically. The monothematic Inventions are simply structured and usually brief, but their very simplicity adds to their immediacy of appeal, with changes of style from dance to fugue, from expressive writing to canon. Bacchetti, who has already given us a first-rate DVD of the Goldberg Variations (Arthaus 101447), plays them with spontaneous freshness and plenty of expressive life, and these two discs make very appealing listening. The Inventions are also available, admirably played on the harpsichord, by Masaaki Suzuki (BIS CD 1009), but he does not include the other items, and in any case this simple music makes its mark more readily on the piano.

巴赫的键盘音乐（包括《二部创意曲》和结构更复杂的《三部交响曲》）主要创作于1717至1723年的克滕时期，是为长子威廉·弗里德曼所作，《第六法国组曲》与《第二帕蒂塔》同样诞生于这一时期尾声。因此安德烈亚·巴切蒂将这批作品纳入研究范畴显得恰如其分，从音乐性而言更是锦上添花。

这些单主题的创意曲结构简洁且篇幅精炼，但正是这种纯粹性强化了其直击心灵的感染力——风格在舞曲与赋格、抒情段落与卡农之间自如流转。曾以出色演绎《哥德堡变奏曲》（Arthaus 101447 DVD）赢得赞誉的巴切蒂，此番以充满即兴活力的触键与丰沛的情感生命力诠释这些作品，两张唱片令人耳目一新。虽然铃木雅明（BIS CD 1009）的羽管键琴版创意曲同样精彩，但未收录其他曲目，况且这类简约的音乐在钢琴上往往能更直接地传递神韵。
（源于DeepSeek翻译）

Dynamic这张没找到，这个厂牌比较多见出版帕格尼尼和D. 斯卡拉蒂的作品。

https://115cdn.com/s/swws60a3hq9?password=3377&#
Bach J.S. - Goldberg Variations, BWV 988 - Rosalyn Tureck [VAI]等3个文件(夹)
图雷克这张是我自抓，WAV格式。

作者: xunianfeng 时间: 2025-6-1 09:13

joseph_li 发表于 2025-5-31 13:47
Goldberg Variations, BWV 988
Sony 696998924322. Perahia (piano)

通过网盘分享的文件：Bach - Two-Part Inventions & Sinfonias and Other Keyboard Works
链接: https://***.com/s/1fbhB6rLEBeKdx024UwgxuA?pwd=wdt6 提取码: wdt6
--来自百度网盘超级会员v7的分享

作者: dxs390413 时间: 2025-6-1 11:22

xunianfeng 发表于 2025-6-1 09:13
通过网盘分享的文件：Bach - Two-Part Inventions & Sinfonias and Other Keyboard Works
链接: https: ...

热心爱乐坛友，赞！
感谢分享！

作者: huajun 时间: 2025-6-1 11:42
感谢分享！

作者: joseph_li 时间: 2025-6-1 14:26

xunianfeng 发表于 2025-6-1 09:13
通过网盘分享的文件：Bach - Two-Part Inventions & Sinfonias and Other Keyboard Works
链接: https: ...

老兄超级给力，感谢，

作者: joseph_li 时间: 2025-6-1 14:38
本帖最后由 joseph_li 于 2025-6-1 16:00 编辑

Partitas 1–6, BWV 825–30
Sony BMG 88697443612 (1, 5 & 6); 88697226952 (2, 3 & 4). Perahia (piano)

Bach’s six Partitas appeared one at a time at approximately yearly intervals between 1725 and 1730. He obviously valued them highly for they were the first works he published at his own expense. With the character of French dance movements underlying the writing, they show true mastery of the style français and are as diverting to listen to as they are demanding to play. Murray Peahia is again in his element here. Bach keyboard playing does not come any finer than this. A set of true distinction, most truthfully recorded.

巴赫的六部帕蒂塔在1725年至1730年间大约每年出版一部，每次出版一部。他显然非常重视这些作品，因为它们是他自费出版的第一批作品。这些作品以法国舞蹈动作为基调，展现了他对法式风格的真正掌握，聆听起来引人入胜，演奏起来也同样费力。穆雷·佩希亚在此再次展现了他的高超技艺。巴赫的键盘演奏堪称巅峰之作。这套作品真正杰出，记录得最为真实。、
（源于Google翻译）

https://115cdn.com/s/swwsb6p3hq9?password=3377&#
Bach J.S. - Partitas 1–6, BWV 825–30 - Murray Perahia [Sony]
Perahia是企鹅的宠儿，三四星带花入选得也很多。

作者: dftn888 时间: 2025-6-1 14:59
非常感谢楼主及补缺的各位大佬们，

作者: joseph_li 时间: 2025-6-1 15:07
Allabreve in D, BWV 589; Aria in F, BWV 587; Canzona in D min., BWV 588; Canonic Variations on ‘Vom Himmel hoch’, BWV 769; Chorale Partitas, BWV 766-8, 7; Clavier-Übung (Prelude & Fugue in E flat, BWV 552/1–2 & Chorale settings, BWV 669–89; 4 Duets, BWV 802–5); Concertos for organ solo, BWV 592; (after Vivaldi), BWV 593, 594 & 596; (after Ernst, Prince of Sachen-Weimar), BWV 592. Fantasia, BWV 562; BWV 563 (con imitazione); BWV 570; BWV 572; Fantasia and Fugue, BWV 537 & BWV 542; Fugue on a theme by Giovanni Legrenzi, BWV 574; Fugues, BWV 575, 577–8; Fugue on a theme of Corelli, BWV 579; Orgelbüchlein: Chorales BWV 599–644; Kirnberger Chorales, BWV 691–713 & Chorale settings, BWV 714–41 & BWV 753; 764, BWV AnH. ll/55 & without BWV number. 18 Leipzig Chorales, BWV 651–68; 6 Schübler Chorales, BWV 645–50; 18 Chorales of diverse kinds, BWV 659–67; Passacaglia & Fugue in C minor, BWV 582; Pastorale, BWV 590; Pedal-Exercitium, BWV 598; Preludes, BWV 568; 569 (con organo pleno); Preludes & Fugues, BWV 531–46; 543; 551; 535a; Toccatas and Fugues (Dorian), BWV 538; 540; in D min., BWV 565; BWV 566; Toccata, Adagio & Fugue, BWV 564; Trio Sonatas 1–6 BWV 525–30; Trios, BWV 583 & BWV 586
DG 477 8628 (14). Simon Preston (various organs)

Simon Preston’s survey was recorded digitally over more than a decade, from 1987 onwards, beginning with the solo Concertos. The performances which set the standard for the whole series are first class in every way and the recording of the various organs (from Lübeck Cathedral, Tonbridge School, Kent, St Peter’s Waltrop, Saint John’s, Smith Square, Klosterkirke, Sora, Trinity College, Cambridge, Nidaros Domkirke, Trondheim, among others) is admirably clear, yet with an attractive ambient resonance. Preston revels in the extrovert brilliance of the early Weimar Preludes and Fugues (and indeed also the flamboyant Toccatas) with their virtuoso use of pedals; but he also relishes the more tightly structured works, which he plays with genuine panache. Another highlight of the series is the (1993) set of Trio Sonatas on the first disc, recorded on the Klais organ at St Katharina, Blankenburg (near Bonn). Some of the repertoire has been recorded on separate discs, including a few works omitted here, such as the 8 Little Preludes and Fugues which are wrongly attributed to Bach. But apart from these few omissions the whole set now reappears in a DG bargain box, with the various genres sensibly grouped together. The performances are consistently alive and distinguished and the choice of organs ear-tinglingly perceptive. The reissued box includes a new analysis of the music by Dorotheas Schröder.

西蒙·普雷斯顿（Simon Preston）的巴赫管风琴作品全集以数字录音形式历时十余年完成（自1987年起），从《协奏曲》独奏作品开始录制。这一系列中树立标杆的演奏在各方面均属一流，对不同管风琴（吕贝克大教堂、汤布里奇学校、瓦尔特罗普圣彼得教堂、伦敦史密斯广场圣约翰教堂、索拉修道院教堂、剑桥三一学院、特隆赫姆尼达洛斯主教座堂等）的录音既清晰透彻，又保留了迷人的空间残响。普雷斯顿以张扬的激情演绎了魏玛时期充满炫技色彩的《前奏曲与赋格》（尤其是华丽的《托卡塔》），淋漓尽致地展现了踏板技巧；同时，他对结构严谨的作品同样倾注热忱，演奏时带着真正的潇洒气度。该系列的另一个亮点是1993年录制于波恩附近布兰肯堡圣凯瑟琳教堂克莱斯管风琴的《三重奏鸣曲》（首张碟片）。部分曲目曾以单碟形式发行，包括此处未收录的伪作《八首小前奏曲与赋格》。除这些零星遗漏外，DG的平价套装现已完整再版，并按作品类型合理归类。演奏始终充满生命力且卓尔不群，管风琴的选择更展现出令人耳尖发颤的鉴赏力。再版套装附有多萝西娅·施罗德（Dorotheas Schröder）新撰写的乐曲解析。

A generous and well chosen 146-minute collection of major Bach organ works taken from Peter Hurford’s alternative cornerstone Decca survey on 17 discs (444 410-2) makes a recommendable alternative choice. This selection, devised for the general collector, brings two separate recitals, each framed by major concert pieces, with beautifully played chorales used in between the large-scale works to add contrast. The analogue recordings are splendidly remastered.

彼得·赫福德（Peter Hurford）在Decca录制的17碟全集（编号444 410-2）是另一里程碑式版本，而从中精选出的146分钟巴赫管风琴重要作品合集（为普通乐迷编排）提供了绝佳替代选择。这套选辑包含两场独立演奏会，每场均以大型音乐会曲目为框架，其间穿插优美演奏的众赞歌作为对比。模拟录音经出色重制后音效极佳。
（源于DeepSeek翻译）

https://115cdn.com/s/swwsbw43hq9?password=3377&#
Bach, J.S. - Complete Organ Works - Peter Hurford [DECCA]等2个文件(夹)
四星带花推荐的是Peter Hurford版，三星带花是Marie-claire Alain版，不知道多少人听完了，

作者: joseph_li 时间: 2025-6-1 15:23
Complete Cantatas:
Ongoing BIS Masaaki Suzuki Series with Japan Bach Collegium (also Concerto Palatino), Masaaki Suzuki; Volumes 1 47 (Soloists include: Kurisu, Tachikawa, Kantano, Kooy, M. Suzuki, Yanagisawa, Mera, Türk, Sakurada, Schmithüsen, Frimmer, Blaze, Urano, Persson, Wessel, Nonoshita, Sollek-Avella, Kupfer, MacLeod, Hatano, Gilchrist, Kobow, Hida, Taylor, Kenworthy-Brown, Rydén, Bertin, Mields, Sampson, Weller, Kobow, Wörner, Blažíková, Nicholls).

Vol. 1: Cantatas BWV 4; 150; 196 (BIS CD 751); Vol. 2: BWV 71; 106; 131 (BIS CD 781); Vol. 3: BWV 12; 54; 162; 182 (BIS CD 791); Vol. 4: BWV 163; 165; 185; 199 (BIS CD 801); Vol. 5: BWV 18; 143; 152; 155; 161 (BIS CD 841); Vol. 6: BWV 21 (with alternative movements); 31 (BIS CD 851); Vol. 7: BWV 61; 63; 132; 172 (BIS CD 881); Vol. 8: BWV 22; 23; 75 (BIS CD 901); Vol. 9: BWV 24; 76; 167 (BIS CD 931); Vol. 10: BWV 105; 179; 186 (BIS CD 951); Vol. 11: BWV 46; 95; 136; 138 (BIS CD 991); Vol. 12: BWV 21; 147 (BIS CD 1031); Vol. 13: BWV 25; 50; 64; 69a; 77 (BIS CD 1041); Vol. 14: BWV 48; 89; 109; 148 (BIS CD 1081); Vol. 15: BWV 40; 60; 70; 90 (BIS CD 1111); Vol. 16: BWV 119; 194 (BIS CD 1131); Vol. 17: BWV 73; 144; 153; 154; 181 (BIS CD 1221); Vol. 18: BWV 66; 67; 134 (BIS CD 1251); Vol. 19: BWV 37; 86; 104; 166 (BIS CD 1261); Vol. 20: BWV 44; 59; 173; 184 (BIS CD 1271); Vol. 21: BWV 65; 81; 83; 190 (BIS CD 1311); Vol. 22: BWV 7; 20; 94 (BIS CD 1321); Vol. 23: BWV 10; 93; 107; 178 (BIS CD 1331); Vol. 24: BWV 8; 33; 113 (BIS CD 1351); Vol. 25: BWV 78; 99; 114 (BIS CD 1361); Vol. 26: BWV 96; 122; 180 (BIS CD 1401); Vol. 27: BWV 5; 80; 115 (BIS CD 1421); Vol. 28: BWV 26; 62; 116; 139 (BIS SACD 1451); Vol. 29: BWV 2; 3; 38; 135 (BIS SACD 1461); Vol. 30: BWV 51; 1127 (BIS SACD 1471); Vol. 31: Cantatas BWV 91; 101; 121; 133 (BIS SACD 1481); Vol. 32: BWV 111; 123; 124; 125 (BIS SACD 1501); Vol. 33: BWV 41; 92; 130 (BIS SACD 1541); Vol. 34: BWV 1; 126; 127 (BIS SACD 1551); Vol. 35: BWV 74; 87; 128; 176 (BIS SACD 1571); Vol. 36: BWV 6; 42; 103; 108 (BIS SACD 1611); Vol. 37: BWV 35; 169; 170; 200 (BIS SACD 1621); Vol. 38: BWV 52; 55; 58; 82 (BIS SACD 1631); Vol. 39: BWV 28; 68; 85; 175; 183 (BIS SACD 1641); Vol. 40: BWV 79; 137; 164; 168 (BIS SACD 1671); Vol. 41: BWV 56; 82; 84; 158 (BIS SACD 1691); Vol. 42: BWV 13; 16; 32; 72 (BIS SACD 1711); Vol. 43: BWV 57; 110; 151 (BIS SACD 1761); Vol. 44: BWV 43; 88; 146 (BIS SACD 1791); Vol. 45: BWV 39; 129; 187; Sinfonia in D, BWV 1045 (BIS SACD 1801); Vol. 46 BWV 17; 19; 45; 102 (BIS SACD 1851); Vol. 47: BWV 27 (with appendix); 36; 47 (BIS SACD 1861); Vol. 48:***** BWV 34; 98; 117; 120 (BIS SACD 1881); Vol. 49: BWV 156; 159; 171; 188 (BIS SACD 1891); Vol. 50: BWV 49; 145; 149; 174 (BIS SACD 1941); Secular Cantatas, BWV 210 (Wedding); 211 (Coffee) (BIS CD 1411); Christmas Oratorio, BWV 248 (BIS 941/2)
BIS CD 9030/32 Volumes 21 30 (Limited Edition)

Bach’s more than two hundred cantatas were among his most amazing achievements, especially when one remembers that he actually composed about 300 in all, and the remainder are lost. Although some of Bach’s earliest cantatas date from before he became court organist at Weimar in 1708, most of the surviving cantatas were composed during two inspired periods, between 1713 and 1716 in Weimar (where he was expected to provide a new work every month), and between 1723 and 1729 in Leipzig. At Cöthen, between 1717 23, cantatas were not required but, once established at Leipzig, he wrote five annual cycles (for use during all the Sundays and Festivals of the liturgical year) at the almost incredible rate of one a week. The first two Jahrgang (volumes) of 1724 and 1725 have come down to us nearly complete, but many works from the remaining three are, alas, no longer preserved.

All these cantatas are of the highest musical quality and many show Bach at his most inspired. Their formal design is simple, usually framed by two choruses, with solo movements at the centre plus a central chorale. The Weimar cantatas are more adventurous in style, often including recitative and arias, with a da capo return to the opening section. The imaginative reader might picture his many sons gathered round the composer during the week, helping to copy out the solo vocal, choral, instrumental and continuo parts ready for the forthcoming weekend’s rehearsal and performance.

There are about five recorded surveys of this richly rewarding repertoire, three of them still in progress; but, to our minds, Suzuki’s BIS series with the Japan Collegium stands as a clear first choice and one of the gramophone’s greatest achievements, offering performances of total conviction and consummate artistry. They are certainly among the finest ever, radiating freshness, and their vitality is matched by a wonderfully rich and present recording, which in the later volumes, with the addition of the surround sound of SACD, is very realistic indeed; one has the feeling of sitting in the auditorium where the performances are taking place. Played back through ordinary CD equipment, the effect is hardly less impressive. With Carolyn Sampson, Robin Blaze and Yukari Nonoshita, among others, joining the soloists once the series got well under way, the quality of the solo singing, and indeed of the instrumental obbligati, seems unsurpassable.

Suzuki is proceeding chronologically, using a higher pitch (A = 465), with its concomitant brighter sound, which is especially effective against the warmly expansive background acoustic. The strings are clean yet have bloom, and the sense of inhibition – of excessive awareness of the constraints of period performance – is refreshingly absent here. The set which comes, CD by CD, with texts and translations included, is fully documented, and the BIS recordings are altogether exemplary. The CDs, all available separately, are in the premium price range. It will probably be two more years before the set is complete, so we suggest collectors interested in collecting this wonderful music should simply explore the individual issues, any one of which is worthy for inclusion in our 1,000 finest recordings. The celebrated Christmas Oratorio (also available separately) is in essence a special collection of six linked cantatas, in which Bach drew on earlier music. It was written for Christmas in Leipzig in 1734 5, performed over six feast days from Christmas Day to Epiphany (6th January). Suzuki’s performance is a joyfully alive reading, with good soloists and a first-class choral contribution.

巴赫的两百多部康塔塔是他最令人惊叹的成就之一，尤其是当我们记得他实际上一共创作了大约 300 部，其余的都已丢失的时候。虽然巴赫的一些最早的康塔塔可以追溯到他 1708 年成为魏玛的宫廷管风琴师之前，但大多数幸存的康塔塔是在两个充满灵感的时期创作的，即 1713 年至 1716 年在魏玛（在那里他被要求每月提供一部新作品），以及 1723 年至 1729 年在莱比锡。1717 年至 1729 年在科滕，康塔塔并不是必需的，但是一旦在莱比锡建立，他就会以每周一部的速度创作五套年度循环（供礼仪年的所有星期日和节日使用），几乎令人难以置信。 1724年和1725年的前两卷《年轮》（Jahrgang）几乎完整地流传至今，但其余三卷的许多作品却已失传。

所有这些康塔塔都拥有极高的音乐品质，其中许多展现了巴赫最激动人心的创作状态。它们的形式简洁，通常由两个合唱部分构成，以独唱乐章为中心，外加一个中央合唱部分。魏玛康塔塔的风格更具冒险精神，通常包含宣叙调和咏叹调，并以“返始”的方式回到开头部分。富有想象力的读者可能会想象，他的众多儿子们在一周内聚集在作曲家身边，帮忙抄写独唱、合唱、器乐和通奏低音部分，为即将到来的周末排练和演出做好准备。

这套内容丰富的曲目大约有五份录音，其中三份仍在进行中；但在我们看来，铃木与日本Collegium合作的BIS系列无疑是首选，也是留声机最伟大的成就之一，其演奏令人信服，艺术造诣精湛。这些作品无疑是迄今为止最优秀的作品之一，散发着清新的气息，其活力与极其丰富和逼真的录音相得益彰。在后期发行的版本中，加上SACD环绕声，其效果非常逼真；观众仿佛置身于演出现场的礼堂之中。即使通过普通的CD设备播放，效果也同样令人印象深刻。随着卡罗琳·桑普森、罗宾·布雷兹和野之下由加里等人的加入，系列演出顺利进行后，独唱的质量，以及乐器伴奏的质量，似乎无与伦比。

铃木按时间顺序演奏，采用更高的音高（A = 465），并伴有更明亮的音色，与温暖广阔的背景音色形成鲜明对比。弦乐干净利落却又充满活力，令人耳目一新的是，那种对时代演奏局限的过度关注所带来的压抑感在这里消失了。这套CD包含歌词和译文，内容详实，BIS的录音堪称典范。所有CD均可单独购买，价格也相当高昂。这套CD可能还需要两年时间才能完成，因此我们建议有意收藏这套精彩音乐的收藏家直接浏览单行本，其中任何一本都值得收录到我们“千佳唱片”的榜单中。著名的《圣诞清唱剧》（也可单独购买）本质上是一部包含六部相互关联的康塔塔的特别合集，巴赫在其中借鉴了早期音乐。这首乐曲创作于1734年，为莱比锡的圣诞节而作，从圣诞节到主显节（1月6日），共演出了六天。铃木的演奏充满欢快活力，独唱家技艺精湛，合唱团的贡献也堪称一流。
（源于Google翻译，有些生硬。无奈字数太多，转DeepSeek太麻烦，将就一下吧）

可以看出这份推荐清单是多年前的事了，全集也早已录制结束，还录制了巴赫其它不少作品。收集这个系列的SACD和高码是众乐友的乐趣之一。

https://115cdn.com/s/swwsbbt3hq9?password=3377&#
Bach J.S. - Complete Cantatas - Masaaki Suzuki [BIS 55CD]

作者: joseph_li 时间: 2025-6-1 15:59
Cantatas (i) 82; (i–iii) 159; (ii) 170
Decca Australian Eloquence (ADD) 476 2684. ASMF, Marriner, with (i) Shirley-Quirk; (ii) Baker; (iii) Tear

Classic accounts of three cantatas, including Sehet, wir gehn hinauf gen Jerusalem (BWV 159) – one of Bach’s most inspired works. Particularly glorious is the meditation, Es ist vollbracht (‘It is finished’), with its poignant oboe obbligato (played by Roger Lord). Both Dame Janet Baker and John Shirley-Quirk are in marvellous voice, as they are in Nos. 82 and 170 – hardly less inspired works and performances. Indeed, this group of cantatas ought to be in every collection, and the recordings (mid-1960s) are of Decca’s best vintage quality.

三部康塔塔的经典演绎，包括《Sehet, wir gehn hinauf gen Jerusalem》（BWV 159）——巴赫最具灵感的作品之一。尤其精彩的是冥想曲《Es ist vollbracht》（“一切都结束了”），其凄美的双簧管伴奏（由罗杰·洛德演奏）令人叹为观止。珍妮特·贝克女爵士和约翰·雪莉-奎克的歌声都令人叹为观止，就像他们在第82号和第170号作品中的表现一样——这些作品和表演同样充满灵感。事实上，这组康塔塔应该出现在每一张唱片中，而这些录音（20世纪60年代中期）更是迪卡唱片公司最优质的复古录音。

Mass in B min., BWV 232 (DVD version)
Virgin DVD 0094637063699. Ziesak, DiDonato, Taylor, Agnew, Henschel, Maîtrise Notre-Dame de Paris, O Ens. de Paris, Nelson
Mass in B min., BWV 232 (CD version)
DG 415 514-2 (2). Argenta, Dawson, Fairfield, Knibbs, Kwella, Hall, Nichols, Chance, Collin, Stafford, Evans, Milner, Murgatroyd, Lloyd Morgan, Varcoe, Monteverdi Ch., E. Bar. Sol., Gardiner

John Nelson gives Bach’s great Mass a highly distinguished DVD début, with a deeply expressive performance, full of life. His soloists, including Daniel Taylor and Joyce DiDonato, are all first rate. Ruth Ziesak sings radiantly and her duet with DiDonato in the Kyrie is an early highlight. The choral group is dominated by the female voices, but the singing in the Gloria, Sanctus, and notably the Osanna is thrilling. Nelson’s tempi cannot be faulted, and the performance moves forward spontaneously to its richly satisfying closing Dona nobis pacem. The authentic-sized orchestra achieves a compromise, playing modern French instruments, and Olivier Simonnet’s video coverage is fully worthy of the performance.

约翰·尼尔森为巴赫的伟大弥撒贡献了首张DVD，其演奏深刻而富有表现力，充满活力。他的独奏家，包括丹尼尔·泰勒和乔伊斯·迪多纳托，都是一流的。露丝·齐萨克的歌声明亮动听，她与迪多纳托合唱的《Kyrie》成为开场亮点。合唱团以女声为主，但《Gloria》、《Sanctus》以及《Osanna》的演唱令人震撼。尼尔森的节奏无可挑剔，演奏自然流畅，最终以令人心满意足的结尾曲《Dona nobis pacem》结束。规模适中的管弦乐队在演奏现代法国乐器方面取得了妥协，而奥利维尔·西蒙内的视频录制也完全配得上这场演出。

On CD, John Eliot Gardiner gives a magnificent account of the B minor Mass, one which attempts to keep within an authentic scale, but which also triumphantly encompasses the work’s grandeur. Gardiner masterfully conveys the majesty (with bells and censer-swinging evoked) simultaneously with a crisply resilient rhythmic pulse. The choral tone is luminous and powerfully projected. The regular solo numbers are taken by choir members, making a cohesive whole. The recording is warmly atmospheric, but not cloudy.

这张CD中，约翰·艾略特·加德纳对B小调弥撒曲进行了精彩的演绎，力求保持作品的原汁原味，同时又完美地展现了作品的宏伟气势。加德纳巧妙地将作品的庄严气势（钟声和香炉摇曳的旋律）与清脆而富有弹性的节奏脉动完美地融合在一起。合唱团的音色明亮而有力。常规的独唱部分由合唱团成员演唱，构成了一个紧密的整体。这张唱片氛围温暖，却不显得浑浊。
（源于Google翻译，始终感觉差点意思）

DVD:
https://115cdn.com/s/swwsby53hq9?password=3377&#
Bach J.S. - Mass Mass in B min., BWV 232 - John Nelson, Ensemble Orchestral de Paris [Virgin DVD9]

CD：
https://115cdn.com/s/swwsbde3hq9?password=3377&#
Bach, J.S. - Cantatas 170, 82 & 159 - Neville Marriner, ASMF, Baker, Shirley-Quirk, Tear [DECCA]等2个文件(夹)

作者: joseph_li 时间: 2025-6-1 16:31
Motets: Singet dem Herrn ein neues Lied, BWV 225; Der Geist hilft unser Schwachheit auf, BWV 226; Jesu, meine Freude, BWV 227; Fürchte dich nicht, ich bin bei dir, BWV 228; Komm, Jesu, Komm!, BWV 229; Lobet den Herrn, alle Heiden, BWV 230; O Jesu Christ, mein Lebens Licht, BWV 118; Ich lasse dich nicht, du segnest mich den, BWV Anh. 159
BIS SACD 1841. Nonoshita, Matsui, Guillon, Mizukoshi, Bach Col. Japan, Masaaki Suzuki

Bach’s Motets, which include some of the greatest music he ever wrote for chorus, have previously been recommended by us in a fine performance by the Stockholm Bach Choir under Harnoncourt. This is one of his best CDs and, beautifully recorded, it is still worth exploring at mid-price (Teldec 0630 17430-2). But the newest collection from Japan is finer still, and it includes also Ich lasse dich nicht, du segnest mich den, BWV Anh. 159 (which was only partly written by Bach, but includes richly complex polyphony which is most appealing) and the sonorous O Jesu Christ, mein Lebens Licht, lavishly scored, alternatively for strings and brass, so making a resonantly sonorous close to the collection. The familiar motets are memorable too, the opening Singet dem Herrn particularly fresh, and Jesu, meine Freude strikingly beautiful. So is the recording, particularly fine using surround sound in the Kobe Shoin Women’s University Chapel in Japan.

巴赫的经文歌，收录了他为合唱创作的一些最伟大的作品，此前我们曾推荐过，由哈农库特指挥的斯德哥尔摩巴赫合唱团演奏。这是他最好的CD之一，录音精美，仍然值得以中等价位欣赏（Teldec 0630 17430-2）。但日本最新推出的合辑更加精彩，其中还收录了《我若不听，你便会唱出我的心声》（BWV Anh. 159）（这首曲子只有部分由巴赫创作，但其丰富的复音非常引人入胜），以及铿锵有力的《哦，耶稣基督，我的生命之光》，这首乐曲的谱曲华丽，弦乐和铜管乐交替演奏，为这张合辑画上了铿锵有力的句号。那些耳熟能详的经文歌也令人难忘，开场的《男人之歌》尤其清新自然，而《耶稣，我的欢乐》则优美动听。录音效果也很好，尤其是在日本神户松阴女子大学礼拜堂使用环绕声录制，效果特别好。

https://115cdn.com/s/swwsbrg3hq9?password=3377&#
Bach, J.S. - Motets - Masaaki Suzuki, Bach Collegium Japan [ BIS 2009 SACD]等2个文件(夹)

作者: joseph_li 时间: 2025-6-1 16:32
卡住两个审核了，

作者: dxs390413 时间: 2025-6-1 16:44
楼主若完成这个贴子，那可是乐友的巨大成就了！
没空间了，眼馋中...
待完成结贴时，买块硬盘支持下

作者: joseph_li 时间: 2025-6-1 16:44
St John Passion, BWV 245
TDK DVD DV-BAJPN. Türk, Midori Suzuki, Blaze, Urano, MacLeod, Bach Col. Japan, Masaaki Suzuki

Recorded in Suntory Hall, Tokyo, on 28 July 2000 – the day marking the 250th anniversary of Bach’s death – this is an outstanding version on DVD of the St John Passion, another tribute to the work of Masaaki Suzuki in Japan. In a brief interview which comes as a supplement, he comments on the intensive training in period performance he undertook in Holland, and this performance consistently demonstrates the vigour and sensitivity of his approach to Bach. The interpretation remains very similar to Suzuki’s earlier CD account on BIS, with fresh, light textures and generally brisk speeds, which yet allow for depth of feeling; and the sense of occasion is irresistible. Only Gerd Türk as the Evangelist is presented as a soloist in front of the choir, giving an achingly beautiful performance, with his profound involvement all the more evident when seen as well as heard. Türk also sings the tenor roles, and the other soloists, all first rate, also have double roles, singing in the sixteen-strong choir (4-4-4-4) before stepping forward when needed as soloists, Stephen MacLeod singing Christus as well as the bass arias, Chiyuki Urano singing Pilate and other incidental solos, Robin Blaze a superb soloist, and the ravishing Midori Suzuki in the two soprano arias.

这张DVD于2000年7月28日（巴赫逝世250周年纪念日）在东京三得利音乐厅录制，是《约翰受难曲》的杰出DVD版本，也是对铃木雅明在日本作品的又一次致敬。在作为补充的简短采访中，他谈到了自己在荷兰接受的时代剧演奏的强化训练，而这次演出始终展现了他演奏巴赫作品的活力和敏锐度。这张CD的诠释与铃木雅明早期在BIS唱片公司发行的CD非常相似，质地清新轻盈，速度通常轻快，却又不失深度，其盛况令人难以抗拒。只有福音传教士格尔德·图尔克在合唱团面前担任独唱，奉献了一场令人心碎的优美演出，他深刻的投入在视觉和听觉上都更加明显。 Türk 还演唱男高音角色，其他独唱演员也都是一流的，他们也扮演双重角色，先在 16 人的合唱团 (4-4-4-4) 中演唱，然后在需要时担任独唱，Stephen MacLeod 演唱 Christus 以及男低音咏叹调，Chiyuki Urano 演唱 Pilate 和其他偶然的独唱，Robin Blaze 是一位出色的独唱演员，而令人着迷的 Midori Suzuki 则演唱两首女高音咏叹调。

St Matthew Passion, BWV 244 (CD version)
image Decca 478 2194 (2). Johannes Chum, Hanno Müller-Brachmann, Christina Landshamer, Marie-Claude Chappuis, Maximilian Schmitt, Thomas Quasthof, Klaus Häger, Leipzig Thomanerchor, Tölz Boys’ Ch., Leipzig GO, Chailly

Riccardo Chailly’s glorious new live account of the St Matthew Passion, recorded in the ideal acoustic of the Leipzig Gewandhaus in 2009, is very recommendable indeed. The balance is excellent, as is immediately shown in the opening double chorus, which has striking but not exaggerated antiphonal separation, and there is an ideally wide range of dynamic between soloists and chorus, so the effect is very real, with a fine bloom on the solo voices. Indeed the soloists sing very beautifully, with Johannes Chum’s dedicated Evangelist standing out. The two great arias in Part II, Marie-Claude Chappuis’s Erbarme dich and Christina Landshamer’s Aus Liebe will mein Heiland sterben (with its delicately played obbligato acompaniment for flute and two oboes da caccia) are movingly beautiful, as indeed are the chorales. Chailly’s pacing is freshly resilient and the refined orchestral playing often has the lightest touch.

里卡多·夏伊（Riccardo Chailly）于2009年在莱比锡布商大厦（Leipzig Gewandhaus）理想的音响效果下录制的《马太受难曲》全新现场版本，非常值得推荐。开场的双合唱部分就体现了极佳的平衡性，其对位分离度惊人却又不夸张。独唱和合唱之间的动态范围非常宽广，效果非常真实，独唱部分也绽放出完美的光彩。独唱部分的歌声确实优美动听，其中约翰内斯·丘姆（Johannes Chum）饰演的《福音传道者》（Evangelist）尤为突出。第二部分中的两首伟大的咏叹调，玛丽-克劳德·查普伊斯（Marie-Claude Chappuis）的《我的爱》（Erbarme dich）和克里斯蒂娜·兰德沙默尔（Christina Landshamer）的《我的爱将属于我的天堂》（Aus Liebe will mein Heiland sterben）（其伴奏由长笛和两支卡恰双簧管伴奏，演奏精妙），以及众赞歌，都美得动人。夏伊的节奏充满新鲜弹性，精致的管弦乐演奏往往带有最轻柔的触感。

DVD：
https://115cdn.com/s/swwsbav3hq9?password=3377&#
Bach J.S. - St.John Passion - Masaaki Suzuki, Bach Collegium Japan [DVD9]

CD：
https://115cdn.com/s/swwsbgx3hq9?password=3377&#
Bach, J.S. - St. John Passion, BWV 245 - Masaaki Suzuki, Bach Collegium Japan [BIS 2020 24-96]等4个文件(夹)
铃木的《约翰受难曲》都推荐了，《马太受难曲》岂可错过？

作者: joseph_li 时间: 2025-6-1 17:29
Chorale Preludes: Ein’ feste Burg ist unser Gott; Komm, süsser Tod; Mein Jesu, was vor Seelenweh. Christmas Oratorio: Sinfonia. English Suite 2 in A min., BWV 807: Bourrée. Fugue in G min., BWV 578 (Little Fugue); Orchestral Suite 3 in D, BWV 1068: Air on the G String. Passacaglia and Fugue in C min., BWV 582; Toccata and Fugue in D min., BWV 565; Violin Partitas: 1 in B min., BWV 1002: Sarabande; 3 in E, BWV 1006: Preludio (with Bonus DVD: DEBUSSY: Prélude à l’après-midi d’un faune)
EMI Legend (ADD) 557758. Symphony O, Stokowski

Stokowski was a conducting phenomenon. Perhaps his very showmanship has in the past overshadowed his reputation as a ‘great’ conductor, but great he certainly was. He moulded his orchestras into the sound he wanted and created great warmth and tension in the strings. The results were often electrifying. In these times, when so-called ‘authenticity’ is paramount, his arrangements of Bach are the antithesis of modern orchestral practice but, taken on their own terms, they remain just as valid and enjoyable as ever, with one marvelling anew at the sheer richness of sound Stokowski created. The American (Capitol) late-1950s recordings of Bach arrangements have tended to be overshadowed by his later, more flamboyant, Decca Phase Four recordings (now, alas, deleted). The earliest versions here were made in 1957, and if the sound, understandably, displays a degree of thinness, it is still remarkably warm and well balanced, and certainly impressive for its time. Stokowski’s brand of lyricism is apparent throughout, with the conductor clearly wallowing in the sheer richness of sound he creates in the quiet numbers (which predominate). They may be inauthentic but are often very moving. The Chorale Preludes are played with great intensity, while in the obvious show-pieces, such as the D minor Toccata and Fugue and the Passacaglia, with their splashes of romantic colour, plenty of electricity is generated. As a DVD bonus we are offered the 1972 film of Debussy’s Prélude à l’après-midi d’un faune, recorded at the Royal Festival Hall, in which Stokowski is a joy to watch – marvellously intense and magical.

斯托科夫斯基是一位杰出的指挥家。或许他过去过于张扬的表演风格掩盖了他“伟大”指挥家的名声，但他的确是一位伟大的指挥家。他将管弦乐队塑造成他想要的音色，并在弦乐中营造出温暖而富有张力的氛围。其效果往往令人振奋。在当今这个所谓的“真实性”至上的时代，他对巴赫作品的改编与现代管弦乐的实践截然相反，但就其本身而言，它们依然一如既往地具有感染力和令人愉悦的魅力，让人再次惊叹于斯托科夫斯基所创造的纯粹而丰富的音色。美国（国会唱片公司）在20世纪50年代末录制的巴赫改编作品，往往被他后期更为华丽的迪卡Phase Four唱片（可惜现已删除）所掩盖。此处最早的版本录制于1957年，如果说声音略显单薄（这是可以理解的），但它仍然非常温暖，平衡性也很好，在当时无疑令人印象深刻。斯托科夫斯基的抒情风格贯穿始终，指挥家显然沉浸在他为那些（占主导地位的）静谧乐段所创造的纯粹丰富的音色之中。这些乐段或许略显生涩，却往往动人心弦。《众赞歌前奏曲》的演奏力度十足，而那些显而易见的代表作，例如D小调托卡塔与赋格以及帕萨卡利亚舞曲，则凭借其浪漫主义色彩的点缀，迸发出澎湃的活力。DVD附赠了1972年德彪西《牧神午后前奏曲》的电影版，该片在皇家节日音乐厅录制，斯托科夫斯基在其中的表演令人赏心悦目——精彩绝伦，充满魔力。

‘Johann, I’m only Dancing’: Brandenburg Concerto 3, BWV 1048; Harpsichord Concerto in F min., BWV 1056: Arioso. Double Violin Concerto in D min., BWV 1043: Largo. (Orchestral) Suite 2 in B min., BWV 1067: Minuet & Badinerie. Cello Suite 6, BWV 1012: Prelude in D. English Suite 3 in A min., BWV 807: Bourrée. Sarabande. Flute Sonatas: in A, BWV 1032: Largo e Dolce; in C, BWV 1033: Allegro; in E min., BWV 1034: Andante. Harpsichord Prelude in G min., BWV 885. Oboe Sonata in G min. BWV 1020; Prelude & Fugue in C min., BWV 847. Toccata in D, BWV 1012. Toccata and Fugue in D min., BWV 565; Violin Partita in E, BWV 1006: Prelude
Red Priest Recordings RP 007. Red Priest (Piers Adams (recorders); Julia Bishop (violin); Angela East (cello); Howard Beach (harpsichord))

A brilliantly and affectingly different collection of transcriptions of favourite Bach movements, at times uniquely exhilarating, at others showing Bach at his most expressively touching, as in the lovely Arioso from BWV 1056, the slow movement of the transcribed Double Violin Concerto and Howard Beach’s delicate solo harpsichord contributions. Piers Adams’s recorder playing is musically dazzling (the Badinerie from the Second Orchestral Suite is uniquely virtuosic) but the other players complete an ensemble which is delightfully fresh and alive, and most effectively balanced. The sleeve-picture might suggest that the group are jazzing up Bach, but they certainly don’t do that; instead they make his music come to life and communicate with wonderful freshness. The recording is admirably vivid and present.

这张唱片汇集了巴赫最受欢迎的乐章，精彩绝伦，令人动容，风格迥异，有时令人振奋，有时则展现了巴赫最动人心弦的表达，例如BWV 1056中优美的咏叹调、改编的双小提琴协奏曲的慢乐章，以及霍华德·比奇精妙的羽管键琴独奏。皮尔斯·亚当斯的竖笛演奏令人目眩神迷（第二管弦乐组曲中的“戏谑”更是技艺精湛），其他演奏家则组成了一支充满活力、令人愉悦的合奏，并且达到了最佳的平衡。唱片封套上的图片或许暗示着乐队正在为巴赫的音乐增添爵士乐的色彩，但他们绝非如此；相反，他们赋予了巴赫音乐生命力，并以绝妙的新鲜感传达着信息。这张唱片生动逼真，令人钦佩。

两张碟都欠奉。
第一张碟手上有一张CALA 的版本（如下分享），但感觉与描述不一。

第一张封面：

第二张封面：

https://115cdn.com/s/swwsb1w3hq9?password=3377#
Cala - Stokowski - Bach Transcriptions

作者: joseph_li 时间: 2025-6-1 17:34

dxs390413 发表于 2025-6-1 16:44
楼主若完成这个贴子，那可是乐友的巨大成就了！
没空间了，眼馋中...
待完成结贴时，买块硬盘支持下{:4_9 ...

犹豫再三才开这个帖，若无特殊原因，会努力更完，争取半年内，最长一年。

作者: joseph_li 时间: 2025-6-1 20:12
本帖最后由 joseph_li 于 2025-6-1 20:13 编辑

BAKER, Janet (mezzo)
‘The Beloved Mezzo’: BRAHMS: Alto Rhapsody (with John Alldis Choir). WAGNER: Wesendonck-Lieder. R. STRAUSS: Liebeshymnus; Das Rosenband; Ruhe, meine Seele; Muttertändelei (with LPO, Boult). ELGAR: Sea Pictures (with LSO). Dream of Gerontius: Angel’s Farewell (with Choirs, Hallé O). BERLIOZ: Nuits d’été. RAVEL: Shéhérazade (with New Philh. O; all cond. Barbirolli). CHAUSSON: Poème de l’amour et de la mer (with LSO, Previn). MAHLER: Kindertotenlieder; 5 Rückert-Lieder; Lieder eines fahrenden Gesellen (with Hallé O or New Philh. O, Barbirolli); Symphony 2: Urlicht (with CBSO, Rattle). HANDEL: Messiah: He was despised (with ECO, Mackerras). Ah! Crudel nel pianto mio, HWV 478; Armida abbandonata, HWV 105 (with ECO, Leppard). BACH: Cantata 82, Ich habe genug: Schlummert ein (with Bath Festival O, Y. Menuhin); Christmas Oratorio: Bereite dich, Zion. St John Passion: Es ist vollbracht. Bist du bei mir (with ASMF, Marriner). Early English Songs: DOWLAND: Come again, sweet love. CAMPION: Never love again unless you can; Oft have I sighed; If thou longst so much to learn; Fain would I wed (with Robert Spencer, lute). PURCELL: Sleep, Adam, sleep; Lord what is man. BOYCE: Tell me, lovely shepherd. MONRO: My lovely Celia. ARNE: Where the bee sucks (with Martin Isepp (harpsichord), Ambrose Gauntlett (viola da gamba)). Lieder: SCHUBERT: Gretchen am Spinnrade (with Gerald Moore (piano)); Heidenröslein; An die Musik; Die Forelle; Auf dem Wasser zu singen; Du bist die Ruh; Nacht und Träume; An Sylvia. MENDELSSOHN: Neue Liebe; Auf Flügeln des Gesanges; Nachtlied. LISZT: Lorelei; Über allen Gipfeln ist Ruh (with Geoffrey Parsons (piano)). SCHUMANN: Frauenliebe und -Leben, Op. 42 (with Daniel Barenboim (piano))
image EMI (ADD) 2 08087-2 (5)

Indeed Janet Baker was one of the most loved English singers of our time and this admirable anthology covers her key recordings between 1965 and 1980, with the voice staying ever fresh. She had a remarkable communicative ability. As John Steane comments in the booklet which accompanies this set: ‘For those who heard her “in the flesh” the voice commanded immediate attention. If you happened to be looking down at your programme, with the first sung notes you looked up. She had a way of so directing the voice that everybody felt she was singing for them. And she was lucky in being one of those whose recordings preserve a true reflection.’

Whether in English, French or German song, she felt the idiom naturally but there was also a special feeling for Mahler, encouraged by her association with Barbirolli. But others formed serendipitous musical partnerships with her, not least Sir Adrian Boult, whose account of Brahms’s Alto Rhapsody opens this programme arrestingly. She closes with Lieder, the intimacy of which found a special place in her heart, especially when singing with her favourite accompanist, Geoffrey Parsons. Indeed this is a treasurable set, and one can only feel a little disappointed by EMI’s decision not to include translations.

珍妮特·贝克确实是我们这个时代最受喜爱的英国歌手之一，这本令人钦佩的选集涵盖了她1965年至1980年间的重要录音，她的歌声始终保持着鲜活的活力。她拥有非凡的沟通能力。正如约翰·斯蒂恩在随附的小册子中所评论的那样：“对于那些‘亲耳’聆听过她演唱的人来说，她的声音立刻吸引了人们的注意力。如果你正低头看着节目单，当第一个音符响起时，你就会抬起头来。她巧妙地引导着自己的声音，让每个人都感觉她是在为他们演唱。她很幸运，因为她的录音保留了真实的表达。”

无论是英语、法语还是德语歌曲，她都能自然地感受到这些语言的魅力。此外，由于与巴比罗利的合作，她对马勒也怀有特殊的感情。但也有一些人与她结成了偶然的音乐伙伴，其中最著名的是阿德里安·博尔特爵士，他演绎的勃拉姆斯《女高音狂想曲》为这套节目单的开场曲扣人心弦。她以一首抒情艺术歌曲收尾，这首歌的亲切感在她心中占据着特殊的位置，尤其是在与她最喜欢的伴奏者杰弗里·帕森斯一起演唱时。这的确是一套弥足珍贵的曲目，EMI 不收录译作的决定多少让人有些遗憾。（源于Google翻译）

https://115cdn.com/s/swwsotr3hq9?password=3377&#
Baker, Janet - Philips & Decca recordings 1961-1979 (5CD)等3个文件(夹)
推荐的是EMI ICON系列之一，大部分乐友应该都有。另外再分享两个合集。三四星带花她的入选量很多，英国人的原因？

作者: joseph_li 时间: 2025-6-1 20:20
BAKER, Janet, with the Melos Ensemble of London
‘French Songs’: RAVEL: Trois poèmes de Stéphane Mallarmé; Chansons Medécasses. CHAUSSON: Chanson perpétuelle, Op. 37. DELAGE: Quatre poèmes hindous
Australian Decca Eloquence (ADD) 480 3670

A classic disc if ever there was one. This beautiful recital was made in 1966 and sounds as fresh today as the day it was made. Chausson’s cycle of a deserted lover has a direct communication, which Janet Baker contrasts with the subtler beauties of the Ravel songs. She shows great depth of feeling for the poetry here, and an equally evocative sensitivity to the songs about India written by Ravel’s pupil, Maurice Delage, in 1912. The superb playing from the Melos group adds much to the pleasure of this recording, with the exquisite instrumental writing which is such a part of this repertoire brought out with both vividness and delicacy, helped by vintage Decca sound. This may be placed among Janet Baker’s most outstanding recordings.

这张唱片堪称经典。这张优美的独奏专辑录制于1966年，至今听起来依然如同录制当天般清新自然。肖松的《被抛弃的情人》循环曲传达着直接的情感，珍妮特·贝克将其与拉威尔歌曲中更为细腻的美感进行了对比。她展现了对诗歌的深厚情感，并对拉威尔的学生莫里斯·德拉赫于1912年创作的关于印度的歌曲同样感人至深。梅洛斯乐团的精湛演奏为这张唱片增添了不少乐趣，曲目中精湛的器乐谱写得生动细腻，在经典迪卡音响的映衬下，更显生动。这张唱片堪称珍妮特·贝克最杰出的唱片之一。
（源于Google翻译）

手里有的DECCA 雄辩系列并不算少，但是推荐的这几张大多都缺，

作者: joseph_li 时间: 2025-6-1 20:37
本帖最后由 joseph_li 于 2025-6-1 20:50 编辑

BANTOCK, Granville (1868–1946)
Caristiona; A Celtic Symphony; Cuchullan’s Lament; The Cyprian Goddess (Symphony 3); Dante and Beatrice; Fifine at the Fair; Hebridean Symphony; Helena Variations; Kishmul’s Galley; Omar Khayyám: Prelude & Camel Caravan; Overture to a Greek Tragedy; Pagan Symphony; Pierrot of the Minute; Processional; Sapphic Poem for Cello & Orchestra; Sappho; The Sea Reivers; Song of Songs (Prelude & extracts); Thalaba the Destroyer; The Wilderness and the Solitary Place; The Witch of Atlas
Hyp. CDS 44281/6 (6). Lloyd Webber; Bickley; Connell; Begley; RPO (with Ch.), Handley

Between 1990 and 2003 Vernon Handley recorded all the principal orchestral works of Bantock (although the complete Omar Khayyám had to wait until 2006/7 and now appears on Chandos CHSA 5051 (3)). It was a considerable achievement, revealing Bantock as a major figure in English music in the late nineteenth and early twentieth century. Handley is a dedicated advocate and the standard of performances and recordings in this box is very high indeed. If you have not already invested in this rewarding composer, Hyperion’s box (with the sirens visually enticing on the front cover) offers a chance to respond to their allure, with a promise of many rewards from this often sumptuously scored and consistently inventive music.

1990年至2003年间，弗农·汉德利（Vernon Handley）录制了班托克所有主要的管弦乐作品（尽管完整的《奥马尔·海亚姆》直到2006/07年才录制完成，目前收录于Chandos唱片公司CHSA 5051 (3)）。这是一项了不起的成就，它表明班托克是19世纪末20世纪初英国音乐界的一位重要人物。汉德利是一位忠实的拥护者，这盒唱片中的演出和录音水准确实非常高。如果您还没有投资这位回报丰厚的作曲家的作品，那么Hyperion唱片公司的这盒唱片（封面上印着极具视觉吸引力的塞壬女妖图案）将为您提供一个机会来感受它的魅力，并承诺从这套通常配乐华丽、始终富有创意的音乐中收获诸多回报。
（源于Google翻译）

https://115cdn.com/s/swwso1u3hq9?password=3377&#
Bantock, Granville - Omar Khayyam - Vernon Handley, BBC SO & Chorus [Chandos MP3]等2个文件(夹)
只找到MP3格式，聊胜于无吧。

作者: joseph_li 时间: 2025-6-1 20:44
本帖最后由 joseph_li 于 2025-6-1 20:49 编辑

BARBER, Samuel (1910–81)
Complete Orchestral Works (as below)
Naxos 8.506021 (6). Soloists, RSNO, Marin Alsop

Adagio for Strings; (i) Cello Concerto, Op. 22. Medea (ballet suite), Op. 23
Naxos 8.559088. RSNO, Alsop; (i) with Wendy Warner
(i) Canzonetta for Oboe & Strings; (i–ii) Capricorn Concerto. Fadograph of a Yestern Scene; Mutations from Bach; (iii) A Hand of Bridge (opera). Vanessa (opera): Intermezzo
Naxos 8.559135. RSNO, Alsop; with (i) Stéphane Rancourt; (ii) John Gracie, Karen Jones; (iii) Lesley Craigie, Louise Winter, Simon Wall, Roderick Williams
(i) Piano Concerto. Commando March; Die Natali, Op. 37; Medea’s Meditation and Dance of Vengeance
Naxos 8.559133. RSNO, Alsop; (i) with Steven Prutsman
(i) Violin Concerto. Music for a Scene from Shelley, Op. 7; Serenade for Strings, Op. 1; Souvenirs (ballet suite), Op. 28
Naxos 8.559044. RSNO, Alsop; (i) with James Buswell
First Essay for Orchestra, Op. 12; The School for Scandal Overture, Op. 5; Symphonies 1, Op. 9; 2, Op. 19
Naxos 8.559024. RSNO, Alsop
Second Essay for Orchestra, Op. 17; Third Essay for Orchestra, Op. 47; (i) Toccata Festiva for Organ & Orchestra, Op. 36; (ii) Knoxville: Summer of 1915, Op. 24
Naxos 8.559134. RSNO, Alsop; with (i) Thomas Trotter; (ii) Karina Gauvin

This is among Marin Alsop’s finest achievements to date, among her many other impressive recordings, and this box can hardly be recommended too highly. Barber’s Cello Concerto of 1945 is more elusive than his Violin Concerto but Wendy Warner concentrates on its sometimes wry lyricism, and she articulates with brilliant point in the gentle scherzando passage of the finale. Alsop is a persuasive partner, relishing the often plangent orchestral backcloth and securing a splendidly committed response from the Scottish players, both here and in the often astringent score for Medea. The selection is generous, with the atmospheric central portrait of Medea herself and her dance of vengeance made the final point of the score. The famous Adagio for Strings then becomes essentially an elegy, but reaches a passionate climax.

The neoclassical Capricorn Concerto, which takes its name from the house that Barber and Menotti shared, is a relative rarity, but this Scottish account is in every way appealing. The Canzonetta was left in short score on Barber’s death, but this arrangement with strings is expertly done, and the piece is as moving as the very best of Barber. The Fadograph of a Yestern Scene is another rarity, a ruminative and reflective score with a strong vein of melancholy to sustain it. The witty ten-minute opera, A Hand of Bridge, which Barber wrote for Menotti’s festival at Spoleto, also comes off well. In short, this is a most pleasurable disc and repays repeated listening.

Stephen Prutsman gives a powerful reading of Barber’s formidable Piano Concerto, fully in command of the bravura writing of the outer movements and tenderly expressive in the central Canzonetta. Again with Marin Alsop a most sympathetic Barber interpreter, the Concerto is effectively supplemented by the well-known concert work drawn from the Medea ballet, the genial and colourful fantasia on Christmas carols, Die Natali, written at the same period as the Concerto in memory of Serge and Natalie Koussevitzky, and the wartime Commando March.

Marin Alsop then backs up the masterly Violin Concerto with the witty and delightfully parodic ballet, Souvenirs, and two early works, the evocative Scene from Shelley and a long-neglected three-movement Serenade, which is based on a string quartet written when Barber was nineteen and which anticipates the Adagio for Strings. James Buswell is a refined, sensitive soloist in the Concerto, warm without being soupy, if not quite as individual as Ehnes in his vintage version with Tovey.

In the fifth Naxos collection, the two Symphonies are played by the Scottish orchestra with passionate commitment and deep lyrical feeling. The account of the complete Second Symphony will surely confirm the reputation of a wartime work which the composer partly withdrew in despondency after its neglect. The First Essay for Orchestra also generates a powerful atmosphere when played with such depth of expression, helped by the spectacular recording.

Marin Alsop then backs up the masterly Violin Concerto with the witty and delightfully parodic ballet, Souvenirs, and two early works, the evocative Scene from Shelley and a long-neglected three-movement Serenade, which is based on a string quartet written when Barber was nineteen and which anticipates the Adagio for Strings. James Buswell is a refined, sensitive soloist in the Concerto, warm without being soupy, if not quite as individual as Ehnes in his vintage version with Tovey.

In the fifth Naxos collection, the two Symphonies are played by the Scottish orchestra with passionate commitment and deep lyrical feeling. The account of the complete Second Symphony will surely confirm the reputation of a wartime work which the composer partly withdrew in despondency after its neglect. The First Essay for Orchestra also generates a powerful atmosphere when played with such depth of expression, helped by the spectacular recording.

Marin Alsop’s final outstanding collection gathers together a most attractive group of works, including one of the most popular of all, the evocative setting of a prose poem by James Agee, Knoxville: Summer of 1915, with the Canadian soprano Karina Gauvin as the opulent soloist. The voice is so rich that the diction is not as clear as it might be, but happily the booklet provides the full text. Alsop’s reading brings out the contrasts between the different sections more sharply than usual; similarly, in both of the Essays (No. 3 a late work, written in 1976) she highlights contrasts to bring out the feeling in each of these compressed symphonic structures. The Toccata Festiva for organ and orchestra, written for the unveiling of a new organ for the Philadelphia Orchestra, is an exuberant piece that brings the widest expressive range in the organ part and, with the orchestral contribution colourful too, the work (surprisingly) is a great rarity on disc. But, like the whole six-disc collection, it is superbly played and recorded.

这是马林·阿尔索普迄今为止最杰出的成就之一，也是她众多令人印象深刻的录音之一，这套录音盒无论如何推荐都不为过。巴伯1945年的大提琴协奏曲比他的小提琴协奏曲更难以捉摸，但温迪·华纳专注于其时而略带讽刺的抒情风格，并在终乐章柔和的谐谑曲段落中展现得淋漓尽致。阿尔索普是一位极具说服力的搭档，她充分发挥了时而凄婉的管弦乐背景，并获得了苏格兰乐手们的精彩回应，无论是在这部作品中，还是在《美狄亚》那略显尖锐的乐谱中。作品选材丰富，其中，美狄亚本人的形象和她复仇之舞的氛围构成了乐谱的压轴。随后，著名的弦乐柔板变成了一首挽歌，但最终达到了充满激情的高潮。

新古典主义风格的摩羯座协奏曲以巴伯和梅诺蒂共同居住的房子命名，相对罕见，但这张苏格兰版本却处处引人入胜。巴伯去世时留下的短篇小调乐谱虽然简短，但其弦乐编排堪称精湛，堪比巴伯最优秀的作品，令人动容。《昨日场景的法朵格拉夫》也是另一首珍品，其乐谱引人深思，并带有强烈的忧郁气息。巴伯为梅诺蒂在斯波莱托的音乐节创作的十分钟诙谐歌剧《桥牌之手》也同样精彩。总而言之，这是一张令人愉悦的唱片，值得反复聆听。

斯蒂芬·普鲁茨曼对巴伯令人敬畏的钢琴协奏曲进行了强有力的诠释，他完全掌控了外部乐章的华丽，并在中间的小调乐章中展现出温柔的表达。马林·阿尔索普再次以极具感染力的演绎诠释了巴伯的协奏曲，这首协奏曲与著名的芭蕾舞剧《美狄亚》音乐会作品、与纪念塞尔日和娜塔莉·库塞维茨基的协奏曲同期创作的、充满亲切色彩的圣诞颂歌幻想曲《娜塔莉》以及战时的《突击队进行曲》相得益彰。

随后，马林·阿尔索普以诙谐诙谐、妙趣横生的芭蕾舞剧《纪念品》和两部早期作品——令人回味的《雪莱场景》和长期被忽视的三乐章《小夜曲》——为大师级的小提琴协奏曲伴奏。《小夜曲》改编自巴伯十九岁时创作的弦乐四重奏，预示着《弦乐柔板》的到来。詹姆斯·巴斯韦尔在协奏曲中是一位优雅细腻的独奏家，温暖而不浮夸，尽管不如埃内斯与托维合作的经典版本那样独具特色。

在纳克索斯第五辑中，苏格兰管弦乐团以饱满的热情和深沉的抒情演绎了这两部交响曲。第二交响曲的完整演绎无疑将巩固这部战时作品的声誉，作曲家在作品被忽视后曾一度沮丧地放弃创作。《第一管弦乐随笔》在如此深刻的表达下，也营造出了一种强大的氛围，这得益于其精彩的录音。

随后，马林·阿尔索普用诙谐诙谐、妙趣横生的芭蕾作品《纪念品》以及两部早期作品——令人回味的《雪莱场景》和一部长期被忽视的三乐章《小夜曲》——为大师级的小提琴协奏曲伴奏。《小夜曲》改编自巴伯十九岁时创作的弦乐四重奏，预示了《弦乐慢板》的到来。詹姆斯·巴斯韦尔在协奏曲中是一位优雅细腻的独奏家，温暖而不浮夸，尽管不如埃内斯与托维合作的复古版本那样独具个性。

在纳克索斯第五部合辑中，苏格兰管弦乐团以饱满的热情和深沉的抒情演绎了这两部交响曲。第二交响曲的完整演绎无疑将巩固这部战时作品的声誉，作曲家在作品被忽视后曾一度沮丧地放弃了这部作品。《第一管弦乐随笔》在如此深刻的表达下，也营造出了一种强大的氛围，这得益于其精彩的录音。

马林·阿尔索普的最后杰作汇集了一组极具吸引力的作品，其中包括最受欢迎的作品之一——詹姆斯·艾吉散文诗《诺克斯维尔：1915年的夏天》的令人回味的背景，由加拿大女高音卡琳娜·高文担任华丽的独唱。由于声音如此浑厚，以至于措辞不够清晰，但令人欣慰的是，小册子提供了完整的文本。阿尔索普的朗诵比以往更加鲜明地展现了不同部分之间的对比；同样，在两部《随笔集》（第三号是她1976年创作的晚期作品）中，她都强调对比，以突出每个紧凑交响乐结构中的情感。为费城交响乐团新管风琴揭幕而作的《托卡塔·节日》是一部充满活力的作品，其管风琴声部展现了最广阔的表达范围，管弦乐的演奏也同样精彩纷呈，因此这部作品（令人惊讶地）在唱片中极为罕见。但与整套六碟合集一样，它的演奏和录制都非常出色。（源于Google翻译）

https://115cdn.com/s/swwso0k3hq9?password=3377&#
Barber, Samuel - Complete Orchestral Works - Marin Alsop, RSNO [Naxos]
与三四星带花不同，这个推荐系列里不少Naxos厂牌。

作者: joseph_li 时间: 2025-6-1 20:49
Adagio for Strings, Op. 11
Decca (ADD) 475 8237. ASMF, Marriner (with COWELL: Hymn and Fuguing Tune; CRESTON: Rumour; COPLAND: Quiet City; IVES: Symphony 3)

Americans have now adopted Barber’s Adagio (a transcription of the slow movement of a string quartet) as their equivalent to Elgar’s Nimrod favoured by listeners on this side of the Atlantic. Marriner’s nobly restrained performance with the ASMF, which dates back to 1976, is still unsurpassed. Its climax is absolutely gripping and the remastered Argo recording shows just how good Decca string-sound was in the mid-1970s. The couplings are as attractive as they are imaginative, and this splendid anthology shows five twentieth-century American composers all on top form.

如今，美国人已将巴伯的《柔板》（弦乐四重奏慢乐章的改编版）视为与大西洋彼岸听众所钟爱的埃尔加《猎鹰》相媲美的作品。马里纳与美国音乐节音乐节（ASMF）合作的那场高贵而克制的演出，可追溯至1976年，至今仍无人能及。其高潮部分绝对扣人心弦，而Argo唱片的重制版则展现了迪卡在20世纪70年代中期弦乐音色的精湛。这些作品的搭配引人入胜，充满想象力，这本精彩的选集展现了五位二十世纪美国作曲家的巅峰状态。

Violin Concerto, Op. 14
Onyx 4016. Ehnes, Vancouver SO, Tovey – KORNGOLD; WALTON: Violin Concertos

Barber’s Violin Concerto grows in stature with every hearing, and the young Canadian violinist James Ehnes proves an ardent and committed advocate, mirrored by Bramwell Tovey’s glowing partnership, particularly in the lyrical, beautiful slow movement, which has exquisite delicacy of feeling. It is an inspired coupling, as well as a generous one, having the Barber alongside two other high-romantic concertos together. Ehnes gives superb performances of all three, bringing out their full emotional thrust without vulgarity or exaggeration. An altogether indispensable CD.

巴伯的小提琴协奏曲在每一次聆听中都愈发高贵，年轻的加拿大小提琴家詹姆斯·埃内斯展现了其热情而坚定的拥护，与布拉姆韦尔·托维的出色合作更是相得益彰，尤其是在抒情优美的慢乐章中，其情感细腻细腻。将巴伯的这首协奏曲与另外两首浪漫主义风格的协奏曲完美融合，既是一次充满灵感的合作，也是一次慷慨的合作。埃内斯对这三首协奏曲的演绎都堪称精湛，将作品的情感力量淋漓尽致地展现出来，丝毫不庸俗或夸张。这是一张绝对不容错过的CD。

Vanessa (complete)
RCA (ADD) 88697446172 (2). Eleanor Steber, Nicolai Gedda, Rosalind Elias, Regina Resnik, Giorgio Tozzi, Met. Op. O, Mitropoulos

Vanessa inhabits much the same civilized world as Strauss or Henry James. Although it has not held the stage, its melodic freshness and warmth will ensure a reversal of its fortunes some day. This recording was made at the time of its first performance in 1958, but no apologies are needed for its quality; it stands the test of time as well as does the opera itself, and this reissue is well worth seeking out.

《凡妮莎》与施特劳斯或亨利·詹姆斯的作品一样，栖息于一个文明世界。尽管它未能登上舞台，但其清新温暖的旋律终有一天会扭转它的命运。这张唱片录制于1958年首演时，但其品质毋庸置疑；它和歌剧本身一样经受住了时间的考验，这张再版唱片非常值得一听。
（源于Google翻译）

https://115cdn.com/s/swwso2y3hq9?password=3377&#
Barber, Samuel & Korngold & Walton - Violin Concertos - James Ehnes, Bramwell Tovey, Vancouver SO [Onyx]等3个文件(夹)

作者: wpx426 时间: 2025-6-1 21:27

joseph_li 发表于 2025-6-1 20:20
BAKER, Janet, with the Melos Ensemble of London
‘French Songs’: RAVEL: Trois poèmes de Stéphane ...

呵呵，您这是骑驴找驴了。您share的Philips Decca的套装CD5就是。除了法国歌，还有Britten等的。此外，俺是Baker夫人的粉丝，她可不是浪得虚名

作者: joseph_li 时间: 2025-6-1 21:38
本帖最后由 joseph_li 于 2025-6-1 21:41 编辑

wpx426 发表于 2025-6-1 21:27
呵呵，您这是骑驴找驴了。您share的Philips Decca的套装CD5就是。除了法国歌，还有Britten等的。此外，俺 ...

感谢提醒。找晕了，这张碟同时评为企鹅三四星带花。

作者: huagang 时间: 2025-6-1 21:41
芭蕾蓝光太棒了！

作者: qinyanyi 时间: 2025-6-2 01:31

joseph_li 发表于 2025-6-1 20:20
BAKER, Janet, with the Melos Ensemble of London
‘French Songs’: RAVEL: Trois poèmes de Stéphane ...

French Songs_Janet Baker 2010 4803670
https://***.com/s/1fj7i6aSlMcLHiOlJbp3XMw?pwd=2025

下载源自 pippo9
https://nitroflare.com/view/05336D1ED27912C/Elo.JB.FS.rar

作者: 平和从容 时间: 2025-6-2 11:00

joseph_li 发表于 2025-6-1 15:59
Cantatas (i) 82; (i–iii) 159; (ii) 170
Decca Australian Eloquence (ADD) 476 2684. ASMF, Marriner, ...

老兄分享超级给力，感谢！

73，74楼“Bach, J.S. - Motets - Masaaki Suzuki, Bach Collegium Japan [BIS 2010 24-44.1]”重复！73楼未见加德纳！

作者: joseph_li 时间: 2025-6-2 11:00

qinyanyi 发表于 2025-6-2 01:31
French Songs_Janet Baker 2010 4803670
https://***.com/s/1fj7i6aSlMcLHiOlJbp3XMw?pwd=2025

感谢分享。我架梯子就没搞定过，是需要办理会员吗？

去年还可以从MEGA上下载，年底就限流，也下不了了。

作者: joseph_li 时间: 2025-6-2 11:09

joseph_li 发表于 2025-6-1 15:59
Cantatas (i) 82; (i–iii) 159; (ii) 170
Decca Australian Eloquence (ADD) 476 2684. ASMF, Marriner, ...

感谢平和从容兄的提醒，遗漏了加德纳的B小调弥撒，BWV 232，原帖已经不能修改，补充如下：
Mass in B min., BWV 232 (CD version)
DG 415 514-2 (2). Argenta, Dawson, Fairfield, Knibbs, Kwella, Hall, Nichols, Chance, Collin, Stafford, Evans, Milner, Murgatroyd, Lloyd Morgan, Varcoe, Monteverdi Ch., E. Bar. Sol., Gardiner

https://115cdn.com/s/swwsyhx3hq9?password=3377&#
Bach J.S. - Mass in B minor - Gardiner, Monteverdi Choir, English Baroque Soloists [Archiv]

作者: joseph_li 时间: 2025-6-2 11:20
BARBIROLLI, Sir John, with various orchestras
IRELAND: A London Overture (with LSO). VAUGHAN WILLIAMS: Fantasia on ‘Greensleeves’; Fantasia on a Theme by Thomas Tallis (with Sinfonia of London); Symphonies: 2 (London) (with Hallé O); 5 in D (with Philh. O). BAX: The Garden of Fand (with Hallé O); Tintagel. DELIUS: The Walk to Paradise Garden (with LSO); In a Summer Garden. BUTTERWORTH: A Shropshire Lad. SIBELIUS: Finlandia; Karelia Suite; Pohjola’s Daughter; The Swan of Tuonela; Valse triste (with Hallé O). ELGAR: Cello Concerto (with Navarra, Hallé O); Enigma Variations (with Philh. O); Introduction and Allegro (with Allegri String Qt, Sinfonia of London); Sea Pictures (with Baker, LSO); Serenade in E min., Op. 20 (with Sinfonia of London); Elegy; Sospiri (with New Philh. O); Symphony 1 (with Philh. O). MAHLER: 5 Rückert-Lieder (with Baker, New Philh. O); Symphony 5 (with New Philh. O). DEBUSSY: La Mer. RAVEL: Daphnis et Chloé: Suite 2; Ma Mère l’Oye: Suite; La Valse (with Hallé O). TCHAIKOVSKY: Serenade in C for strings (with LSO); Symphony 4 in F min. (with Hallé O). BRAHMS: Tragic Overture; Symphony 3 (with VPO). PUCCINI: Madama Butterfly (excerpts, with Scotto, Stasio, Palma, Panerai, Morresi, Opera Theatre O, Rome). BERLIOZ: Les Nuits d’été (with Baker, New Philh. O)
EMI (ADD) 457767-2 (10)

Sir John Barbirolli, born in London of Italian and French parents, was one of the finest and most successful British conductors of the last century. He was especially associated with the Hallé Orchestra, which he took over in 1943 when it was reduced to only 23 players. Over the next few years he built it up to stand alongside London’s finest orchestras. Barbirolli was an outstanding interpreter of the late-romantic classics, particularly Mahler, Sibelius and Brahms, but perhaps his greatest sympathy was with British music, of which he was a supreme champion.

CD 1 opens with Ireland’s London Overture with its pithy main theme – and very successful it is too. This is followed by his very special (1957) recording of Vaughan Williams’s London Symphony – an inspirational reading that gathers power as it proceeds. The slow movement has great intensity and eloquence, with the Hallé strings surpassing themselves. Bax’s Garden of Fand follows, recorded at the same time another performance full of character and atmosphere.

CD 2 opens with Barbirolli’s almost Italianate Delius – richly romantic accounts of The Walk to the Paradise Garden and In a Summer Garden, with different orchestras, but both with passionate and characteristically arching string phrasing. Next (and new to CD) is a 1957 performance of Butterworth’s A Shropshire Lad, with its opening as rapt and as haunting as can be imagined. Vaughan Williams’s Symphony No. 5 which follows is one of Barbirolli’s greatest recordings, opening magically and unsurpassed in lyrical intensity, with many wonderfully glowing moments.

CD 3 reminds us what an excellent Sibelian Barbirolli was, especially with Pohjola’s Daughter: it is an extremely impressive performance, spacious, yet no less exciting for its slower than usual tempi. Curiously, Barbirolli’s 1957 recording of the Cello Concerto with Navarra has been chosen, rather than the iconic reading he made later with Du Pré. The performance culminates in a most moving account of the Epilogue. Only the Scherzo falls short – slower than usual and not completely assured.

Disc 4 begins with the 1969 reading of Mahler’s Fifth Symphony – one of the most warmly affecting performances ever committed to disc, expansive, yet concentrated in feeling, especially the Adagietto. The recording sounds excellent, and this is undoubtedly one of the classic versions of this much recorded symphony.

CD No. 5 shows Barbirolli’s feeling for the French repertoire too, with his 1959 Hallé version of La Mer fully encompassing the work’s atmosphere and vivid impressionism. In Ravel’s Daphnis et Chloé Suite, Barbirolli’s characteristically languorous shaping of Ravel’s yearning string phrase in Daybreak brings a real sense of ecstasy. He has the advantage of using a chorus, well balanced into the texture; the 1959 recording is full and luminous. The flute playing in the Pantomime is brilliant and sensitive; the Danse générale sparkles, with the chorus contributing very vividly to the climax. La Valse also has plenty of temperament and excitement, and Ma Mère l’Oye has delicacy and innocence, and the ear would hardly guess that this later recording derives from a 1957 mono master, so translucent the sound.

CD6 is devoted to Tchaikovsky and includes Barbirolli’s exciting (1957) account of the Fourth Symphony, but is not one of his great recordings. After a lively first movement, the elegantly structured Andantino has many characteristic touches of individuality. The following Serenade for Strings (1964) is characteristically ripe and romantic, especially in the Élégie. In the first movement, Barbirolli is surprisingly metrical when the second subject arrives, but he is naturally expressive in the Waltz and prepares the bustling finale with subtle, loving anticipation.

CD 7 includes some of Barbirolli’s finest Elgar recordings. His Introduction and Allegro and Serenade in E minor are certainly among them and the Elegy and Sospiri are hardly less fine, while the Vaughan Williams Tallis Fantasia which follows is a uniquely inspirational performance. The magically quiet playing of the second orchestra is unforgettable. The recording has magnificent definition and sonority, achieving dramatic contrasts between the main orchestra and the ethereally distanced solo group. The CD ends with Barbirolli’s full-blooded (1967) account of Bax’s Tintagel, another of his greatest recordings, with the sea vistas magnificently evoked by players and recording engineers alike, and Sir John sees that the memorable principal tune is given a fine romantic sweep.

CD 8 brings Janet Baker’s unforgettable recording of the Sea Pictures. Like Du Pré, Baker is an artist who has the power to convey on record the vividness of a live performance. With the help of Barbirolli she makes the cycle far more convincing than it usually seems, with the words clothed in music that seems to transform them. The First Symphony which follows is very good, without possessing the surging exhilaration of his earlier, Pye account. Barbirolli is perhaps just a bit too affectionate here, though his identification with the music is not in doubt.

Again in Brahms’s Third Symphony (CD 9), dating from 1967, with the Vienna Philharmonic Orchestra, one feels that Barbirolli is just that bit too indulgent with this score. To sustain a performance as slow as this demands the keenest concentration, and though the playing of the VPO is refined and beautiful, tension tends to fall. The Tragic Overture is similarly expansive, but full of vigour. This CD is completed by Barbirolli’s superb (1962) account of Elgar’s Enigma Variations. It was a work that Barbirolli, himself a cellist, made especially his own, with wonderfully expansive string-playing and much imaginative detail. The recording was made when he was at the very peak of his interpretative powers.

The final CD (No. 10) is devoted to Barbirolli’s classic opera and vocal recordings. Madama Butterfly (1967) inspired the conductor to make a recording in which the singers perform with a dedication and intensity rare in opera recordings made in Italy, and the whole score glows more freshly than ever. (The complete opera is also available on EMI 5 67885-2.) There is hardly a weak link in the cast and the ardour and perception of Renata Scotto’s portrayal of Butterfly more than make up for any shortcomings in the basic beauty of her tone colour. Following Butterfly comes the magical Berlioz cycle, Les Nuits d’été. The collaboration with Janet Baker produced some remarkable records. Even if the great singer is admittedly just slightly strained in the first song, Villanelle, the half-tones in the middle songs are exquisitely controlled and the elation of the final song, L’Île inconnue, with its vision of an idyllic island, has never been more rapturously captured on record. Finally, Dame Janet’s totally idiomatic recording of the 5 Rückert-Lieder completes this CD. Her range of tone and colour is matched by dedicated playing from the New Philharmonia, and this recording is first class.

CD 1 以爱尔兰的《伦敦序曲》开场，其简洁的主旋律也非常成功。接下来是他非常特别的（1957年）沃恩·威廉姆斯《伦敦交响曲》录音——这是一部鼓舞人心的演绎，随着乐曲的推进，力量逐渐增强。慢乐章强度高，旋律优美，哈雷的弦乐演奏更是超越了自身。紧接着是巴克斯的《芳德花园》，也是同期录制的另一部充满个性和氛围的演出。

CD 2 以巴比罗利近乎意大利风格的《戴留斯》开场——这部作品以浓郁浪漫的笔触演绎了《通往天堂花园的路》和《在夏日花园中》，虽然乐队不同，但两部作品都充满了激情，弦乐的旋律也极具特色。接下来（也是CD中的新作品）是1957年巴特沃斯的《什罗普郡少年》，其开场令人如痴如醉，令人难以忘怀。接下来是沃恩·威廉姆斯的第五交响曲，这是巴比罗利最伟大的录音之一，其开场充满魔力，抒情强度无与伦比，其中不乏精彩绝伦的瞬间。

第三张CD让我们回想起巴比罗利是一位多么优秀的西贝柳斯式演奏家，尤其是在演奏《波赫约拉的女儿》时：这是一场极其令人印象深刻的演出，气势恢宏，但即使速度比以往更慢，也丝毫不减其激动人心的激情。令人称奇的是，巴比罗利选择的是他1957年与纳瓦拉指挥家录制的大提琴协奏曲，而不是他后来与杜普雷合作的标志性版本。演出以动人心弦的尾声部分达到高潮。唯独谐谑曲略显不足——节奏比以往更慢，且不够流畅。

第四张CD以1969年对马勒第五交响曲的演绎开场——这是迄今为止最温暖动人的录音之一，气势恢宏，情感却又凝练，尤其是小柔板。这张CD的音质非常出色，无疑是这部被广泛录制的交响曲的经典版本之一。

第五张CD也展现了巴比罗利对法国曲目的深厚感情，他1959年哈雷版的《大海》充分展现了作品的氛围和鲜明的印象派风格。在拉威尔的《达夫尼斯与克洛伊组曲》中，巴比罗利以其独特的慵懒风格演绎了拉威尔《破晓》中充满渴望的弦乐乐句，营造出一种真正的狂喜之感。他巧妙地运用了合唱，使其与乐曲的织体完美融合；1959年的这张CD饱满而明亮。哑剧中的长笛演奏精彩绝伦、细腻灵动；《通用舞蹈》光彩夺目，合唱部分为高潮部分增添了生动的色彩。《圆舞曲》同样富有律动感和激情，《鹅妈妈》则细腻而纯真。这张后期录音的声音如此通透，几乎让人难以想象它出自1957年的单声道母带。

CD6是柴可夫斯基的专场录音，收录了巴比罗利1957年激动人心的《第四交响曲》，但这并非他最杰出的录音之一。在充满活力的第一乐章之后，结构优雅的小行板展现出许多独特的个性。接下来的《弦乐小夜曲》（1964）则以成熟的浪漫风格收录，尤其是在《挽歌》中。在第一乐章中，巴比罗利在第二主题出现时，律动感十足，令人惊叹；但在圆舞曲中，他自然而富有表现力，并以微妙而充满爱意的预演为喧闹的终乐章铺垫。

CD7收录了巴比罗利一些最优秀的埃尔加作品录音。他的《引子》、《快板》和《E小调小夜曲》当然也位列其中，《挽歌》和《叹息》也同样精彩绝伦，而紧随其后的沃恩·威廉姆斯的《塔利斯幻想曲》更是一场独具匠心、令人心驰神往的演出。第二管弦乐队那如魔法般静谧的演奏令人难忘。这张唱片清晰度极高，音色浑厚，在主管弦乐队和空灵飘渺的独奏组之间形成了鲜明的对比。这张CD以巴比罗利1967年充满激情地演绎巴克斯的《廷塔杰尔》结束，这是他另一部最杰出的唱片，演奏家和录音师都对海景进行了精彩的描绘，约翰爵士认为这首令人难忘的主旋律被赋予了浪漫的气息。

第8张CD收录了珍妮特·贝克令人难忘的《海景》录音。与杜普蕾一样，贝克是一位能够将现场演奏的鲜活感通过唱片传达出来的艺术家。在巴比罗利的帮助下，她使这套作品远比通常看起来更令人信服，歌词被音乐包裹，仿佛要将歌词改变。接下来的《第一交响曲》非常出色，却少了早期派伊版本中那种奔腾的激情。巴比罗利在这里或许略显深情，但他对音乐的认同毋庸置疑。

再次回顾1967年与维也纳爱乐乐团合作录制的勃拉姆斯《第三交响曲》（CD 9），我们能感觉到巴比罗利对这部乐曲的过度放纵。要维持如此缓慢的演奏需要高度集中的注意力，尽管维也纳爱乐乐团的演奏精致优美，但张力却有所减弱。《悲剧序曲》同样气势恢宏，却充满活力。这张CD的收尾部分是巴比罗利1962年对埃尔加《谜语变奏曲》的精彩演绎。这部作品是巴比罗利本人也是一位大提琴家的作品，弦乐演奏极其开阔，细节之处也极富想象力。这张CD的录制正值他诠释能力的巅峰时期。

最后一张CD（CD 10）收录了巴比罗利的经典歌剧和声乐作品。《蝴蝶夫人》（1967）激发了指挥家的灵感，他录制了一张专辑，歌唱家们的演绎投入了意大利歌剧录音中罕见的专注和激情，整部乐谱也因此焕发出前所未有的光彩。（完整歌剧也可在EMI 5 67885-2上购买。）演员阵容几乎无可挑剔，雷娜塔·斯科托对蝴蝶夫人的演绎充满热情和洞察力，足以弥补其音色美感上的不足。紧随《蝴蝶夫人》之后的是柏辽兹魔幻的套曲《夏夜》。与珍妮特·贝克的合作也成就了一些非凡的唱片。尽管这位伟大的歌唱家在第一首歌《维拉内尔》中略显生硬，但中间几首歌的半音控制得非常精妙，而最后一首歌《无名岛》中对田园诗般岛屿的描绘，其带来的喜悦之情从未被如此令人陶醉地记录在唱片中。最后，珍妮特女爵士完美演绎的五首吕克特之歌为这张CD画上了圆满的句号。她音色的广度和丰富的色彩与新爱乐乐团的倾力演奏相得益彰，这张录音堪称一流。

https://115cdn.com/s/swwsyqi3hq9?password=3377&#
Barbirolli, John - The Great EMI Recordings [EMI 10CD]
一个专辑得到逐张解说，可见Barbirolli的分量。

作者: joseph_li 时间: 2025-6-2 11:29
本帖最后由 joseph_li 于 2025-6-2 12:38 编辑

BARTÓK, Béla (1881–1945)
Concerto for Orchestra; Dance Suite; Divertimento; Hungarian Sketches; The Miraculous Mandarin: Suite; Music for Strings, Percussion & Celesta; Romanian Folk Dances
Double Decca 470 516-2 (2). Chicago SO, Solti

A self-recommending collection of Solti’s digital Bartók recordings which has special individuality and distinction. Solti had a great and natural affinity with Bartók and, although his Chicago performances may not have the searing intensity of his vintage LSO accounts (alas, not currently available), the extra warmth of the music-making brings out the lyrical qualities of the music. The Concerto for Orchestra has great zest and bold colouring; the Divertimento is superbly done, incisive and full-blooded; and the Hungarian and Romanian Dances have all the atmosphere one could wish for. In short, this is excellent value in the Double Decca series and brings particularly fine Decca sound.

索尔蒂的巴托克数字录音合集，独具特色，值得推荐。索尔蒂与巴托克之间有着天然的亲和力，尽管他在芝加哥的演出或许不如他早期伦敦交响乐团的录音那样充满激情（可惜目前已停售），但音乐创作中额外的温暖，更凸显了音乐的抒情特质。管弦乐协奏曲热情奔放，色彩大胆；嬉游曲精湛绝伦，犀利而充满活力；匈牙利舞曲和罗马尼亚舞曲则将人们所期待的氛围发挥得淋漓尽致。简而言之，这是Double Decca系列中超值的佳作，带来格外细腻的Decca音色。

(i–ii) Piano Concertos 1–3. Violin Concertos: (iii–iv) 1; (iii; ii) 2
Double Decca (ADD/DDD) 473 271-2 (2). (i) Ashkenazy; (ii) LPO; (iii) Chung; (iv) Chicago SO; all cond. Solti

If, in the Violin Concertos, Chung is rather forwardly balanced, the hushed intensity of the writing, as well as the biting Hungarian flavour, is caught superbly, thanks to Solti as well as to the soloist, and there is no sentimental lingering. In the Piano Concertos, the partnership between Ashkenazy and Solti works equally well. The Second and Third Concertos spark off the kind of energy one would expect from a live performance. The First Concerto (digital) is even tougher, urgent and biting, and the slow movements in all three works bring a hushed inner concentration, beautifully captured in warmly refined sound. Indeed, the recording throughout, whether analogue or digital, is of vintage Decca quality.

如果说郑京和在小提琴协奏曲中表现得较为平和，那么作品中低沉的张力以及辛辣的匈牙利风味则被完美地展现出来，这要归功于索尔蒂和独奏家，丝毫没有伤感的余韵。在钢琴协奏曲中，阿什肯纳齐和索尔蒂的合作也同样精彩。第二和第三钢琴协奏曲激发出现场演奏应有的能量。第一钢琴协奏曲（数字版）则更加强劲、紧迫且辛辣，三部作品的慢乐章都传达出一种安静的内在专注，并以温暖精致的音色完美呈现。事实上，无论是模拟还是数字录音，整部作品的录音都保持着经典的Decca品质。
（源于Google翻译）

https://115cdn.com/s/swwsyoe3hq9?password=3377&#
Bartok, Béla - Orchestral Masterpieces - Gerog Solti, Chicago SO [DECCA]等2个文件(夹)
两个都是DECCA小双张，大多数人应该都有。

作者: joseph_li 时间: 2025-6-2 12:10
本帖最后由 joseph_li 于 2025-6-2 15:49 编辑

String Quartets 1–6
Decca 455 292-2 (2). Takács Qt

The Takács Quartet bring to these masterpieces the requisite virtuosity, tonal sophistication and command of the idiom, as well as passion. These are full-blooded accounts of enormous conviction, with that open-air quality which suggests the Hungarian countryside. The recording too is wholly natural. These works have been lucky on disc, but this Decca set remains unsurpassed.

塔卡奇四重奏乐团为这些杰作注入了必备的精湛技艺、音色上的精妙处理、对音乐风格的娴熟驾驭，以及饱满的激情。他们的演绎充满坚定信念，富有鲜活的生命力，那种开阔明朗的特质仿佛让人置身匈牙利乡野。录音效果也浑然天成。这些作品虽不乏优秀唱片版本，但DECCA这套专辑依然堪称无与伦比。

(i–iii) Sonata for Two Pianos & Percussion; (i) Out of Doors; Sonatina
Decca (ADD) 478 2467. (i) Kovacevich; (ii) Argerich; (iii) Goudswaard, Roo (with: (i; ii) MOZART: Andante with five Variations in G for Piano Duet, K.501. DEBUSSY: En blanc et noir)

Recorded in 1977, this strongly atmospheric and finely characterized performance of the Sonata for Two Pianos and Percussion still remains a top choice. This is most imaginative playing and the recording is exceptionally wide-ranging and truthful. It is difficult to imagine a more eloquent or better-recorded account of this powerful work. The rapport between the artists produces undoubted electricity, and sparks fly in the brilliant finale and in the Allegro of the first movement. Comparable rapport is also found in the delightful Mozart Variations which follow. Although they are taken at quite a brisk tempo, the playing is unfailingly sensitive and vital. Debussy’s En blanc et noir is one of the composer’s most neglected works. It comes from the last years of his life and is full of unexpected touches. This account, also from 1977, was then the finest version to have appeared, with both artists at their imaginative and sensitive best. The solo piano pieces were recorded in 1969 and emerge with immediacy and tremendous freshness here. Indeed, the piano sound is outstanding by any standards, and Stephen Bishop Kovacevich gives splendidly vivid readings and plays with tremendous fire and intensity. The opening of Out of Doors is thrillingly vibrant, as is the final ‘Chase’, and there is contrasting light delicacy in the intervening movements (Night’s Music is hauntingly atmospheric), as there is in the closing section of the Sonatina.

这段1977年录制的《双钢琴与打击乐奏鸣曲》演绎极富氛围感且个性鲜明，至今仍是首选版本。演奏充满惊人想象力，录音效果更是层次宽广、真实传神。很难想象还有比这更具表现力或录音更出色的诠释——艺术家间的默契催生出无可置疑的电流，在辉煌终章与第一乐章快板中迸溅出耀眼火花。随后演绎的《莫扎特变奏曲》同样展现出令人愉悦的默契：尽管采用相当轻快的速度，演奏始终保持着细腻的敏感性与蓬勃生命力。德彪西《白与黑》是作曲家最受忽视的作品之一，诞生于其晚年岁月，充满出人意表的笔触。这个同样录制于1977年的版本，凭借两位艺术家臻至化境的想象力与敏感度，成为当时问世的绝佳演绎。而1969年录制的钢琴独奏作品在此重现出直击人心的鲜活质感——史蒂芬·毕晓普·科瓦谢维奇的演奏确实具有震撼性的炽烈与强度，其琴声之妙在任何标准下都堪称卓越：《户外》开篇令人颤栗的震颤感与终曲《追逐》同样摄人心魄，其间乐章（如萦绕迷离的《夜之音乐》）又呈现对比性的轻盈雅致，《小奏鸣曲》尾声段落亦复如是。
（源于Deepseek翻译）
https://115cdn.com/s/swwskjn3hq9?password=3377&#
Bartók, Béla - Sonata for Two Pianos and Percussion; Out of Doors etc. & Debussy & Mozart - Argerich, Kovacevich [DECCA]等2个文件(夹)

作者: dftn888 时间: 2025-6-2 12:48
谢谢楼主分享，辛苦了！

作者: joseph_li 时间: 2025-6-2 16:02
Allegro barbaro; 14 Bagatelles; 3 Burlesques; Dance Suite; 4 Dirges; 10 Easy Pieces; 2 Elegies; 7 Esquisses; First Term at the Piano; For Children, Books 1–4; 3 Hungarian Folksongs from Csik; 3 Hungarian Folk Tunes; 15 Hungarian Peasant Dances; Petite Suite; Improvisations on Hungarian Peasant Songs; Kossuth; 9 Little Piano Pieces; Marche funèbre from Kossuth; Mikrokosmos (complete); Out of Doors; 4 Pieces; Rhapsody 1 (2 versions); Romanian Christmas Carols; 2 Romanian Dances; 6 Romanian Folk Tunes; 3 Rondos on Folk Tunes; Sonatina; Sonata; 3 Studies; Suite
Decca 478 2364 (8). Kocsis

Decca have restored Zoltán Kocsis’s coverage of the complete piano music to the catalogue, and it remains the classic set for the foreseeable future. Bartók playing doesn’t come any better than this – nor does piano recording. Kocsis penetrates to the very centre and soul of this music more deeply than almost any rival. Scrupulously attentive to the composer’s wishes, Kocsis can produce power and drama when required, but he also commands a wide-ranging palette and a marvellously controlled vitality. His playing calls to mind Bartók’s own injunction that performances must be ‘beautiful but true’.

迪卡唱片公司已将佐尔坦·科奇斯（Zoltán Kocsis）的钢琴全集收录到唱片目录中，并且在可预见的未来，这套唱片仍将是经典之作。巴托克的演奏无人能及，钢琴录音亦是如此。科奇斯对巴托克音乐的核心和灵魂的理解几乎比任何对手都更加深刻。科奇斯一丝不苟地遵循作曲家的意愿，能够在需要时展现力量和戏剧性，同时，他也拥有宽广的音色和对生命力的掌控。他的演奏令人想起巴托克本人的箴言：表演必须“优美而真实”。

Bluebeard’s Castle (DVD version)
Decca DVD 074 3254. Sass, Kováts, LPO, Solti (V/D: Miklós Szinetár)

Solti made his electrifying video recording of Bluebeard’s Castle in 1981. His two soloists could not have been better chosen, for both the dark-timbred Kolos Kováts and the rich-voiced Sylvia Sass are totally convincing in their roles as a grim, unmoving Bluebeard and an increasingly apprehensive but determinedly wilful Judith. The sets in Miklós Szinetár’s production are extraordinarily imaginative, creating an uncannily gloomy atmosphere as Duke Bluebeard and his wife make their way slowly through the dank, ill-lit passages of his castle, and always bringing a vivid surprise to the viewer as well as to Judith as each door is opened. The tension steadily increases until the seventh door reveals Judith’s own destiny. With the LPO responding with great concentration, Solti’s orchestral commentary is superbly controlled: the taut grip for which his conducting is celebrated is felt at its most magnetic, and the powerful closing scene is haunting. The recording and camerawork are of the highest quality and, for good measure, Chris Hassall has provided the translation for the subtitles

Kertész also set new standards when he made his analogue recording in 1966 with Walter Berry and Christa Ludwig, not only in the playing of the LSO at its peak and the brilliance of the recording, but also in the firm sensitivity of the soloists, with the natural Hungarian inflexions inspired by the conductor (Decca 466 377-2).

索尔蒂于1981年录制了一部令人震撼的蓝胡子城堡录像。他的两位独唱演员的选择再合适不过了：音色深沉的科洛斯·科瓦茨和嗓音浑厚的西尔维娅·萨斯，将冷峻、僵硬的蓝胡子和日益焦虑却又执拗固执的朱迪思演绎得惟妙惟肖。米克洛什·西涅塔尔的制作布景极富想象力，在蓝胡子公爵和他的妻子缓慢穿过城堡阴暗潮湿的通道时，营造出一种诡异的阴郁氛围，而每一扇门的开启，都给观众和朱迪思带来意想不到的惊喜。紧张感逐渐增强，直到第七扇门揭开了朱迪思自身的命运。在伦敦爱乐乐团全神贯注的回应下，索尔蒂的管弦乐评论控制得非常出色：他指挥风格中备受赞誉的紧绷感在乐迷心中激荡，极具磁性，而结尾的震撼人心也令人难以忘怀。录音和摄影技术均达到顶级水平，克里斯·哈索尔还提供了字幕翻译。

凯尔泰斯在1966年与沃尔特·贝里和克里斯塔·路德维希合作录制模拟录音时也树立了新的标准，不仅展现了伦敦爱乐乐团巅峰时期的演奏和录音的辉煌，也展现了独奏者坚定而敏锐的洞察力，以及受指挥启发而自然流露的匈牙利语调（Decca 466 377-2）。
（源于Google翻译）

DVD：
https://115cdn.com/s/swwsk173hq9?password=3377&#
Bartok, Bella - Bluebeard’s Castle - Georg Solti, LPO; Sylvia Sass, Kolos Kováts [DVD5]

CD：
https://115cdn.com/s/swwsk1n3hq9?password=3377&#
Bartók, Béla - Complete Solo Piano Works - Zoltan Kocsis [Philips 8CD]等2个文件(夹)

作者: xunianfeng 时间: 2025-6-2 19:52

joseph_li 发表于 2025-6-1 17:29
Chorale Preludes: Ein’ feste Burg ist unser Gott; Komm, süsser Tod; Mein Jesu, was vor Seelenweh. ...

第一张找不到，但Naxos的这个双张比较接近
https://115cdn.com/s/swwsmfk3w0i?password=o446&#
Bach-Stokowski - Transcriptions [Naxos Historical]
访问码：o446

作者: joseph_li 时间: 2025-6-2 20:03

xunianfeng 发表于 2025-6-2 19:52
第一张找不到，但Naxos的这个双张比较接近
https://115cdn.com/s/swwsmfk3w0i?password=o446&#
Bach-St ...

嗯，Naxos这个我也有，但是录制时间相差非常大，Naxos这个还是单声道的。

作者: xunianfeng 时间: 2025-6-2 20:09

joseph_li 发表于 2025-6-2 20:03
嗯，Naxos这个我也有，但是录制时间相差非常大，Naxos这个还是单声道的。

还找到了这张

https://115cdn.com/s/swwsmog3w0i?password=j297&#
Stokowski Symphony Orchestra & Leopold Stokowksi - J.S. Bach Transcriptions, Vol. 2 (Remastered) (2021) [24-96]
访问码：j297

作者: joseph_li 时间: 2025-6-2 21:24

xunianfeng 发表于 2025-6-2 20:09
还找到了这张

https://115cdn.com/s/swwsmog3w0i?password=j297&#

感谢分享。

欢迎光临耳机网-耳机大家坛 (http://erji.net/)