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wpx426 发表于 2025-7-21 09:18 不是，是不提供下载资源，用了两个工具都不行。 |
本帖最后由 wpx426 于 2025-7-21 09:33 编辑 joseph_li 发表于 2025-7-21 08:53 刚对比了EMI和Naxos版，Naxos的Manon结尾是完整的。二者的bonus tracks不同，EMI是3轨Chausson，而Naxos是6轨Berloz的夏夜，文件名上有Debussy，也许缺的第44轨就是了。白璧微瑕  又：第44轨不能下载会不会是长文件名？能否先改短再下载？谢谢 |
wpx426 发表于 2025-7-21 08:06 感谢分享，你这个是正价版，非常棒。 Naxos这个来自于Qobuz，刚确认了，第44音轨不能下载，看来还是要更加仔细检查是否缺轨，只要缺轨我就不下了。 |
joseph_li 发表于 2025-7-20 23:31 正牌EMI的，还是天使版。Urina的封面看上出好山寨 。Nasox完全复刻了EMI，包括了bonus的音轨，但缺第44轨，大概文件名太长被吞掉了，麻烦楼主检查一下，谢谢！通过百度网盘分享的文件：2-2 Manon - de Los Angeles, Monteux... 链接：https://***.com/s/1lp0cS35j36tquf-aevJb7Q?pwd=kqld |
joseph_li 发表于 2025-7-20 23:37 呵呵，人家也没想到你会上传国内的网站呀  |
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MELOS ENSEMBLE (with Osian Ellis, harp) RAVEL: Introduction and Allegro for Flute, Clarinet, Harp & Strings. DEBUSSY: Sonata for Flute, Viola & Harp. ROPARTZ: Prélude, Marine et Chansons. ROUSSEL: Sérénade Australian Decca Eloquence (ADD) 480 2153 A desert island disc if ever there was one! The ethereal Debussy sonata and the equally heavenly Ravel Introduction and Allegro receive immaculate performances that have not been surpassed since the present record appeared in the early 1960s. The magical Roussel Sérénade has never been performed better, and the Ropartz rarity gives unfailing delight. Inspired playing and beautifully balanced recorded sound. 这绝对是一张值得珍藏的"荒岛唱片"！德彪西空灵的奏鸣曲与拉威尔同样超凡的《引子与快板》，自1960年代本唱片问世以来，其精湛演绎始终无人超越。鲁塞尔那首充满魔力的《小夜曲》在此获得了空前绝后的诠释，而鲜为人知的罗帕茨作品同样带来恒久的愉悦。充满灵性的演奏与完美平衡的录音效果相得益彰。 （源于DeepSeek翻译） https://115cdn.com/s/swwk76n3hq9?password=3377&# [4802152] Shostakovich, Prokofiev, Seiber - Peter Pears, Dorian Singers, Melos Ensemble [DECCA]等5个文件(夹) 我不太明白为什么DECCA雄辩系列为Melos Ensemble几张碟配的封面图一张比一张劲爆，已经到了难登大雅之堂的程度，还好相关的分享没被5盘卡住。 |
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MAYERL, Billy (1902–59) Piano Miscellany Dutton CDLX 7211. Leslie De’ath Billy Mayerl was the most popular English composer/performer of light music in the syncopated style in the 1920s and 1930s. It is indeed a very English style; he never went to America, not sure if he would be welcome there, with Gershwin reigning. But that only makes his music the more individual. Marigold was his most famous piece and that, alas, is not included here, but much else is, and Leslie De’ath knows just how to play it, with crisp fingers, a swinging rhythm and a light touch. There are two dozen delectable pieces to choose from and the collection is of a quality that you can play right through, or pick and choose. Try the opening and closing Irishry, the charming Meadowsweet and Alpine Bluebell from ‘In my Garden’, or the deliciously frivolous Milkman’s Scherzo and Clowning, and the two insect oddities, Ladybird Lullaby and Praying Mantis. For gentle poetry sample The Forgotten Forest and you will surely be hooked. The recording is excellent. 比利·梅耶尔堪称1920-30年代切分音风格轻音乐领域最受欢迎的英国作曲家兼演奏家。这是一种极具英伦特质的风格——由于格什温在美国乐坛的统治地位，他始终未敢踏足美洲，唯恐不受欢迎。但这份克制反而成就了他更鲜明的个人风格。虽然其最负盛名的《金盏花》未收录于此，但莱斯利·迪亚斯以灵动指触、摇曳节奏与轻盈触键完美诠释了其余佳作。二十四首精致小品既可一气呵成欣赏，亦可随心挑选：开篇与终曲的《爱尔兰风情》、选自《我的花园》的迷人《绣线菊》与《高山蓝铃草》、谐趣横生的《送奶工谐谑曲》与《小丑杂耍》，以及以昆虫为题的两首怪诞之作《瓢虫摇篮曲》与《螳螂祷歌》都值得玩味。若偏爱诗意慢板，《被遗忘的森林》定能令您沉醉。录音品质亦属上乘。 （源于DeepSeek翻译） https://115cdn.com/s/swwk7n03hq9?password=3377&# Mayerl, Billy - A Miscellany for Solo Piano - Leslie De'Ath [Dutton] |
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MATTHEWS, Colin (born 1946) (i) Horn Concerto; (ii) Alphabetical Order Hallé CDHLL 7515. (i) Watkins; (ii) Goodman (nar.); (i–ii) Hallé O, cond. (i) Elder; (ii) Gardner We know Colin Matthews mainly from his brilliant orchestrations of Debussy’s piano Préludes. Now he shows his paces with a highly original Horn Concerto which is mostly gently expressive, but also momentarily boldly forceful. It has a superbly confident soloist in Richard Watkins. Now for something entirely different. Alphabetical Order is an engagingly friendly but never bland setting, spiced with wit, of Christopher Reid’s encapsulation of the alphabet. Narrator Henry Goodman, the Hallé Children’s Chorus and the orchestra under Edward Gardner clearly enjoy themselves, and so do we. 我们最初是通过科林·马修斯对德彪西钢琴《前奏曲》的精妙管弦乐改编而熟知这位作曲家。如今，他以一部极具原创性的《圆号协奏曲》再展才华——作品整体以细腻抒情见长，间或迸发磅礴力量，由技艺超群的独奏家理查德·沃特金斯精彩呈现。而《字母表序曲》则展现出全然不同的风貌：这部为克里斯托弗·里德字母诗谱写的作品充满亲和力却不失棱角，机智诙谐的笔触跃然音符之间。叙述者亨利·古德曼、哈雷儿童合唱团与爱德华·加德纳执棒的乐团显然乐在其中，听众亦能感同身受这般欢愉。 （源于DeepSeek翻译） https://115cdn.com/s/swwk7n93hq9?password=3377&# Matthews, Colin - Alphabicycle Order & Horn Concerto - Henry Goodman [Halle] |
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Thaïs《泰伊丝》 Decca 466 7662 (2). Fleming, Hampson, Sabbatini, Bordeaux Op. Ch. & O, Abel The character of Thaïs in Massenet’s opera finds an ideal interpreter in Renée Fleming. After making the heroine’s unlikely conversion to virtue totally convincing, she crowns her performance with a deeply affecting account of her death scene, ending with a ravishing pianissimo top A. Thomas Hampson as Athanaël, a character working just as improbably in the opposite direction, cannot quite equal her in such total conviction but he is vocally ideal. The others are well cast too, notably Giuseppe Sabbatini as Nicias, and though the Bordeaux Opera Orchestra is not quite as refined as some, Yves Abel draws warmly sympathetic playing from them throughout, with the young French virtuoso, Renaud Capuchon, luxuriously cast in the big violin solo of the Méditation. Excellent sound. A clear first choice. 蕾妮·弗莱明堪称玛斯奈笔下泰伊丝的不二诠释者。她不仅令女主角皈依贞洁的转变极具说服力，更以一段令人心碎的临终场景达到艺术巅峰——以弱音高音A作结的瞬间堪称绝美。托马斯·汉普森饰演的亚他那埃尔（反向转变的角色）虽稍逊说服力，但音色完美契合。其他选角同样精当，朱塞佩·萨巴蒂尼的尼奇亚斯尤为亮眼。尽管波尔多歌剧院乐团细腻度略有不足，但伊夫·阿贝尔始终调动出饱满的伴奏情感，法国新秀雷诺·卡普松在《沉思曲》小提琴独奏中更展露无遗。出色的录音效果使其成为首选版本。 Werther《维特》 EMI 3 81849-2 (2). Alagna, Gheorghiu, Hampson, Petibon, Tiffin School Children’s Ch., LSO, Pappano Though Alagna with his French background is an ideal choice for Werther himself, Gheorghiu with her bright soprano is a less obvious one for the role of the heroine, Charlotte, normally given to a mezzo. But as a magnetic actress she conveys an extra tenderness and vulnerability, with no lack of weight in such a solo as Laisse couler mes larmes in Act III. Thomas Hampson is outstanding as Albert and Patricia Petibon is a sweet-toned Sophie. As in Puccini, Pappano is subtle as well as powerful, using rubato idiomatically and with refinement to heighten the drama and point the moments of climax. Good, warm sound. 尽管法裔背景使阿兰尼亚成为维特的理想人选，但明亮的女高音乔治乌饰演通常由次女高音担纲的夏洛特则属意外之选。然而凭借戏剧天赋，她赋予角色额外的脆弱感，第三幕《让泪水中流》独唱也毫不失重。托马斯·汉普森饰演的阿尔伯特出类拔萃，帕特里夏·佩蒂邦的苏菲音色甜美。帕帕诺延续其在普契尼作品中的敏锐洞察力，通过弹性速度的精妙运用强化戏剧张力，精准烘托高潮段落。录音温暖饱满。 （源于DeepSeek翻译） https://115cdn.com/s/swwk7383hq9?password=3377&# Massenet, Jules - Thais - Yves Abel, Bordeaux Opera Orchestra, Fleming, Hampson [DECCA]等2个文件(夹) |
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Manon (complete, DVD version) 《玛侬》 DG DVD 073 4431. Netrebko, Villazón, Fischesser, Daza, Corazza, Kataja, Berlin State Op. Ch. & O, Barenboim (Producer: Bernhard Fleischer; V/D: Andreas Morell) Manon (complete, CD version) Testament mono SBT 3203 (3). De los Angeles, Legay, Dens, Paris Opéra-Comique O, Monteux We are particularly well served with outstanding versions of Manon. Apart from Renée Fleming’s memorable assumption of the role on TDK, Natalie Dessay is wonderfully characterful in her partnership with Villazón on Virgin. But now Villazón (at his finest) is re-partnered with Anna Netrebko, singing gloriously on DG, in a passionate liaison that proves most moving of all. Moreover, whereas David McVicar’s production on Virgin from the very beginning underlines the seamy side of the world into which the young Manon enters, the producer of the Berlin version, Bernhard Fleisher, emphazises its glamour, underpinned by luscious costuming (from Susan Hilferty) in 1950s style. But Manon herself is totally charismatic as she moves from innocent ingénue on a bench waiting for a train, to a glamorous blonde of Marilyn Monroe vintage in the Hôtel de Transylvanie. The spectacle of the Cours-la-Reine scene is dazzling, but what one remembers most is the tenderly sensuous love scenes between the two principals, notably the delightful aria when Manon nostalgically serenades her little table, and the great emotional climax when she seduces her lover to make him abandon his plan to enter the Church. With Alfredo Daza a fine, dignified Lescaut and Rémy Corazza most convincing as the villain, Guillot, the close of the opera is handled most movingly. Throughout, Barenboim ( who stepped in at the last moment to conduct) achieves first-class orchestral playing and keeps the tension high, and overall the performance is quite unforgettable. However, no one has recorded the role of Manon in Massenet’s opera quite as bewitchingly as Victoria de los Angeles in this historic EMI recording of 1955, girlishly provocative at the start, conveying tragic depth later. The voice is at its most golden, and this vivid new transfer from Testament gives the mono sound extra warmth and immediacy. Henri Legay as Des Grieux also sings with honeyed tones, a believable young lover ensnared, and Pierre Monteux in one of his rare opera recordings is masterly in his timing and phrasing. As a splendid bonus we are also given RCA recordings of Berlioz and Debussy, similarly persuasive, recorded in Boston, also in 1955. For those who would like a very good modern recording on CD, there is Antonio Pappano’s impressive EMI recording (EMI 3 81842-2 (2)). In Act I Gheorghiu instantly establishes the heroine as a vivacious, wilful character with a great sense of fun, and her singing is both imaginative and technically flawless. The aria, Adieu, notre petite table, is tenderly affecting, shaded down to a breathtaking pianissimo at the end. A fine actress, she develops the character too, while Alagna, always at his happiest in French-language opera, portrays Des Grieux as full of eager innocence as well as passion. The other La Monnaie soloists make a splendid team under Pappano, with José van Dam impressively cast as Des Grieux’s father. Pappano himself is as understanding an interpreter of Massenet as he is of Puccini, drawing warmly committed playing and singing from the whole company. Available at mid-price. 我们何其有幸拥有多个杰出版本的《玛侬》。除蕾妮·弗莱明在TDK唱片中令人难忘的演绎外，娜塔莉·德赛与维拉宗在Virgin唱片中的合作亦充满戏剧张力。而如今，维拉宗（处于巅峰状态）与安娜·奈瑞贝科在DG唱片中重聚，两人激情四射的二重唱成就了最动人的诠释。相较Virgin版中大卫·麦克维卡从一开始就着力刻画玛侬堕入的阴暗世界，柏林版制作人伯恩哈德·弗莱舍则更强调浮华表象，1950年代风格的奢华戏服（苏珊·希尔弗蒂设计）更强化了这种视觉冲击。女主角从长凳上等火车的纯真少女，到特兰西瓦尼亚酒店里玛丽莲·梦露式的金发尤物，始终散发着致命魅力。宫廷花园场景的华美场面令人目眩，但最难忘的仍是两位主角间缠绵悱恻的爱情场景——无论是玛侬对旧日小桌的深情咏叹，还是她诱惑情人放弃神职计划的感情爆发点。阿尔弗雷多·达扎将莱斯科特演绎得高贵得体，雷米·科拉扎饰演的反派吉约也极具说服力，终幕的处理尤为催泪。临危受命的巴伦博姆指挥出顶级管弦乐水准，全程保持戏剧张力，整场演出令人过耳难忘。 然而在玛斯奈歌剧的录音史上，无人能超越维多利亚·德·洛斯·安赫莱斯在1955年EMI传奇录音中的表现——从开场少女般的狡黠到后期的悲剧深度都摄人心魄。其嗓音如黄金般辉煌，Testament新版转录更赋予单声道录音额外的温暖质感。亨利·勒盖饰演的格里欧同样以蜜糖般的音色，完美诠释了沉溺爱河的青年形象，皮埃尔·蒙特乌克斯罕见的歌剧录音更展现出对节奏与乐句的绝妙把控。作为额外惊喜，唱片还收录了1955年同期录制的伯辽兹与德彪西作品，同样极具说服力。 若寻求优质的现代录音版本，安东尼奥·帕帕诺的EMI录音（EMI 3 81842-2 (2)）堪称典范。第一幕中，安吉拉·乔治乌以鲜活任性的演绎瞬间立住角色，其演唱兼具想象力与技术精确性。《别了，我们的小桌》咏叹调结尾处弱音处理令人屏息。作为杰出戏剧家，她层层推进角色塑造，而阿兰尼亚（最擅法语歌剧）将格里欧的天真热情刻画得淋漓尽致。在帕帕诺调度下，莫奈剧院歌唱家们组成梦幻阵容，何塞·范·达姆饰演的格里欧父亲尤为出彩。帕帕诺对玛斯奈的理解不亚于普契尼，激发全员投入的演奏与演唱。此版现以中价发行。 （源于DeepSeek翻译） DVD： https://115cdn.com/s/swwk73w3hq9?password=3377&# Massenet, Jules - Manon - Barenboim, Staatskapelle Berlin; Netrebko, Villazon, Daza [DG DVD9]等2个文件(夹) CD： https://115cdn.com/s/swwk73q3hq9?password=3377&# Massenet, Jules - Manon & Debussy & Berlioz - Pirre Monteux; Angeles, Legay, Michel Dens [Naxos]等4个文件(夹) 照例没找到Testament厂牌的资源，也懒得上图了。不过以Discogs查到的信息，也是从EMI（现Warner）购买的版权。个人认为，从对应关系来说，Naxos版更为一致，Naxos比较热衷重制古董级经典资源。但是从资源的保障来说，Erato版会更稳妥一些。 |
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MASSENET, Jules (1842–1912) Le Cid (ballet music) 《勒·熙德》（芭蕾组曲） Australian Decca Eloquence (ADD) 476 2742. Israel PO, Martinon (with DVOŘÁK: Slavonic Dances, Op. 46/1–8; Op. 72/7) – MEYERBEER: Les Patineurs Decca made a house speciality of recording the Le Cid and Les Patineurs ballet music together over the years, but none is more brilliant than this 1958 recording. In Martinon’s hands the tunes fizz and effervesce like the best champagne, while the colourful reflective numbers have picture-postcard atmosphere. Equally remarkable is the vivid recording, the sort of brilliant yet warm sound for which Decca became famous; and it is superbly transferred to CD. A unique collector’s item to be snapped up while it’s around. 多年来，迪卡唱片公司始终将《勒·熙德》与《溜冰者》芭蕾音乐作为招牌曲目录制发行，而这张1958年的录音堪称其中最为璀璨的版本。在马蒂农执棒下，旋律如同顶级香槟般迸发着鲜活气泡，那些色彩斑斓的抒情段落更散发着明信片般的诗意氛围。同样令人惊叹的是极具临场感的录音效果——这种既辉煌又温暖的音质正是迪卡闻名于世的标志性特色，此次CD转制更堪称完美。此乃独一无二的典藏珍品，现世流通时切莫错失良机。 Scènes alsaciennes; Scènes de féerie; Scènes napolitaines; Scènes pittoresques《阿尔萨斯场景》《仙境场景》《那不勒斯场景》《如画场景》 Naxos 8.553125. New Zealand SO, Ossonce Best known are the somewhat ingenuous Scènes pittoresques and the Scènes alsaciennes. The most touching movement is the beautiful Sous les tilleuls (‘Under the lime trees’) with its wilting dialogue between cello and clarinet, played here with an affectionate finesse worthy of a Beecham. With full, sparkling, yet warmly atmospheric recording, this is a first-class disc in every way. A second collection is also available (on Naxos 8.553124) with similarly appealing music: Hérodiade (ballet) Suite; Orchestral Suites 1; 2 (Scènes hongroises) and 3 (Scènes dramatiques), though not quite so well recorded. 其中最为人熟知的是略带纯真气息的《如画场景》与《阿尔萨斯场景》。最动人的乐章当属《椴树下》——大提琴与单簧管缠绵悱恻的二重奏在此被演绎出堪比比彻姆爵士时代的深情细腻。饱满辉煌又氛围温暖的录音效果，成就了这张全方位堪称一流的唱片。另有一张姊妹专辑（Naxos 8.553124）收录同样迷人的曲目：《希罗底》（芭蕾组曲）及三套管弦乐组曲（第一组曲；第二组曲《匈牙利场景》；第三组曲《戏剧场景》），虽录音品质稍逊一筹。 （源于DeepSeek翻译） https://115cdn.com/s/swwkouc3hq9?password=3377&# Massenet, Jules - le Cid & Meyerbeer - Les Patineurs & Dvorak - Slavonic Dances - London SO, Jean Martinon [DECCA](1)等4个文件(夹) 第一张DECCA雄辩分轨是Qobuz版，可以与乐友自抓整轨对比一下。 |
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Cello Sonatas 1, H 277; 2, H 286; 3, H 340; Variations on a Theme of Rossini, H 290; Variations on a Slovak Theme, H 378 大提琴奏鸣曲；罗西尼主题变奏曲；斯洛伐克主题变奏曲 Chan. 10602. Paul Watkins, Huw Watkins The three Cello Sonatas rank high in Martinů’s instrumental output. The First comes from 1939 and was written for Pierre Fournier, who gave its première in Paris with Rudolf Firkušný only a few days before the Nazi invaders took the city. Martinů fled to New York in March 1941 and composed the Second Sonata the following year for Frank Rybka, a Czech musician who had been a pupil of Janáček. In 1943 Martinů met Piatigorsky at Tanglewood, and it was for him that he composed the well-known Variations on a Theme of Rossini (Dal tuo stellato soglio from Act III of Mosè in Egitto). The Third Sonata comes nearly a decade later in 1952, written for the cellist-conductor, Hans Kindler, but first given by František Smetana in Prague. The Slovak Variations were written in the last few months of his life when he was staying with Paul Sacher in Switzerland. Paul and Huw Watkins prove committed advocates of this repertoire and their performances can hold their own against their finest rivals. They are as muscular and vibrant as the alternative Hyperion set with Steven Isserlis and Peter Evans, and score over them in including the two sets of Variations. The Chandos sound is expertly balanced, natural and lifelike. 这三部大提琴奏鸣曲堪称马丁努器乐创作的高峰。1939年创作的第一奏鸣曲题献给皮埃尔·富尼埃，这位演奏家与鲁道夫·菲尔库什尼在巴黎首演该作数日后，纳粹铁蹄便踏入了这座城市。1941年3月马丁努流亡纽约，次年为雅纳切克的学生、捷克音乐家弗兰克·雷布卡创作了第二奏鸣曲。1943年他在坦格伍德音乐节结识皮亚蒂戈尔斯基，遂为其谱写了著名的《罗西尼主题变奏曲》（主题选自《摩西在埃及》第三幕咏叹调《Dal tuo stellato soglio》）。近十年后的1952年，应大提琴家兼指挥家汉斯·金德勒之约创作的第三奏鸣曲，由弗朗蒂谢克·斯美塔那在布拉格完成首演。而《斯洛伐克主题变奏曲》则是他晚年客居瑞士保罗·萨彻宅邸时的绝笔之作。 保罗·沃特金斯与胡·沃特金斯以充满信念的演绎证明了自己是该曲目的权威诠释者，其表现力足以比肩史蒂文·伊瑟利斯与彼得·埃文斯的Hyperion经典版本，更因收录两套变奏曲而略胜一筹。Chandos唱片精准平衡的录音技术完美呈现了自然生动的音效。 String Sextet; 3 Madrigals for Violin & Viola 弦乐六重奏；小提琴与中提琴《三首牧歌》 Hyp. Helios CDH 55321. Raphael Ens. – SCHULHOFF: String Sextet The Sextet for two each of violins, violas and cellos was for many years during the 1950s and ’60s Martinů’s calling card in the concert hall, but it is now rather a rarity. It comes from 1932 and was written rather quickly – in the course of one week. It is a strikingly assured piece in which the musical argument unfolds with a natural sense of organic growth. Rather to his surprise, it earned Martinů the Elizabeth Sprague Coolidge Medal, winning first prize out of 145 entries. The Madrigals are post-war, very typical Martinů, and are despatched with great virtuosity. The Raphael Ensemble give a masterly account of them, and the 1991 recording is truthful and lifelike. 这部为两把小提琴、两把中提琴与两把大提琴而作的六重奏，在1950-60年代曾是马丁努音乐会演出的代表作，如今却鲜少上演。这部1932年仅用一周时间速成的作品，展现出惊人的成熟度，音乐发展如有机生命般自然生长。出乎作曲家意料，该作从145部参赛作品中脱颖而出，为他赢得了伊丽莎白·斯普拉格·柯立芝奖章。《三首牧歌》作为战后创作极具马丁努特色，拉斐尔合奏团以精湛技艺完美呈现，1991年的录音更忠实还原了鲜活的音乐质感。 （源于DeepSeek翻译） https://115cdn.com/s/swwkoud3hq9?password=3377&# Martinu, Bohuslav & Schulhoff - String Sextets etc. - Raphael Ensemble [Hyperion]等4个文件(夹) |
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MARTINŮ, Bohuslav (1890–1959) Violin Concertos 1 & 2 Hyp. CDA 677674. Matouŝek, Czech PO, Hogwood The First Concerto comes from 1931 and was intended for Samuel Dushkin, who had just premièred the Stravinsky Concerto. However, the performance never came off and the manuscript was lost for some time until Harry Halbreich discovered it in a Washington University library in 1968. The Second Concerto was written for Mischa Elman in 1943 and first given in Boston under Koussevitzky. They are both delightful works and Bohuslav Matouŝek plays them with much style and virtuosity. As in other issues in the series, Christopher Hogwood reveals total sympathy with the composer’s sensibility. 第一协奏曲创作于1931年，原为刚刚首演斯特拉文斯基协奏曲的塞缪尔·杜什金所作。然而演出最终未能举行，手稿一度遗失，直至1968年哈里·哈尔布雷希在华盛顿大学图书馆重新发现。第二协奏曲1943年为米沙·埃尔曼创作，由库塞维茨基指挥在波士顿首演。这两部充满魅力的作品在博胡斯拉夫·马托乌谢克兼具风格与技巧的演绎中焕发光彩。正如该系列其他专辑一样，克里斯托弗·霍格伍德展现出与作曲家精神世界的深刻共鸣。 Symphony 1; Concerto for Double String Orchestra, Piano & Timpani Chan. 8950. Czech PO, Bělohlávek Symphonies 1–4 BIS CD362/3. Bamberg SO, Neeme Järvi Symphonies 5; 6 (Fantaisies symphoniques) Sup. SU 4007-2 Czech PO, Bělohlávek Symphony 6; Bouquet of Flowers Sup. 11 1932-2901. Czech PO, Ančerl Martin was a latecomer to the symphony, embarking on the First in 1942, in his early fifties. He composed the next four at annual intervals and then turned to the Sixth in 1953, commissioned and first performed by Charles Munch and the Boston Symphony. The cycle is one of the peaks of symphonic literature; its rhythmic vitality and atmospheric textures are coupled with abundant melodic invention. The opening of the Sixth sounds like an Amazonian chorus of insects and birds, with astonishingly vivid colours. Indeed, the colours are in some way enhanced and intoxicating. All six symphonies are the work of an extraordinary imagination; R.L. recalls Robert Simpson, who produced a performance of the Fifth with the visiting Czech Philharmonic, saying that the Maida Vale studios positively glowed with light during and after this glorious music. Perhaps the most genial and sunny is the Fourth; and this is a good place from which to set out exploring these masterpieces. Its themes are infectiously memorable and its textures transparent and light. The Second (1943) has the classicism of Dvořák and springs gloriously to life in Neeme Järvi’s BIS recording. The Third (1944) is darker but the music’s life-enhancing spirit is still strong. Although they took some time before establishing themselves in the LP and CD catalogue, they are now well served: few recordings fall short of excellence. The Czech Philharmonic cycle under Bělohlávek on Chandos has real authenticity of feeling and very good recording quality to commend it. The Sixth (Fantaisies symphoniques) is arguably the most profoundly original of all these works. The textures are wonderfully transparent – almost luminous – and the mood exalted. Ančerl gave the first Czech performance of No. 6, and this fine recording from 1957 has total naturalness and authority. So if you want a single disc of Martinů’s symphonies, this is the one to go for. It has all the sense of discovery and wonder that makes a strong claim on collectors even though the mono sound has its limitations. It comes with a captivating folk cantata, Bouquet of Flowers, that should be a popular repertory piece. 马丁努作为交响乐领域的后来者，年逾五旬才于1942年创作第一部交响曲。随后他以每年一部的速度连续完成四部，1953年应夏尔·明希与波士顿交响乐团委约创作并首演了第六交响曲。这套交响曲堪称交响文献的巅峰之作，跃动的节奏、极具氛围感的织体与丰沛的旋律创造力相得益彰。第六交响曲开篇宛如亚马逊雨林的虫鸟和鸣，呈现出令人惊叹的鲜活音色，其色彩处理甚至带有某种强化后的迷醉感。这六部交响曲无不彰显非凡想象力——R.L.回忆起罗伯特·辛普森率捷克爱乐乐团访演第五交响曲时称，梅达谷录音棚在这辉煌音乐响起时仿佛沐浴在圣光之中。其中最为明朗欢快的当属第四交响曲，亦是开启这套杰作之旅的理想入口：其主题令人过耳难忘，织体清澈轻盈。1943年的第二交响曲延续了德沃夏克的古典气质，在尼姆·雅尔维的BIS录音中焕发蓬勃生机。1944年的第三交响曲色调转暗，但作品中昂扬的生命力依旧澎湃。尽管这些作品在LP与CD时代经历漫长等待才获得认可，如今已不乏优秀诠释：贝洛拉维克指挥捷克爱乐乐团在Chandos的录音兼具真挚情感与出色音质，堪称典范。第六交响曲《交响幻想》或许可视为六部中最具原创深度的杰作，其织体呈现出近乎透明的光泽感，意境崇高。安切尔曾执棒该作捷克首演，这份1957年的珍贵录音浑然天成、权威十足。若只选一张马丁努交响曲专辑，此版当为首选：即便受限于单声道录音，其中蕴含的探索精神与艺术魔力仍令藏家难以抗拒。专辑另附迷人的民间康塔塔《花束》，这本该是部广受欢迎的标准曲目。 （源于DeepSeek翻译） https://115cdn.com/s/swwkouk3hq9?password=3377&# Martinu, Bohuslav - Bouquet of Flowers, Symphony No.3 - Karel Ancerl, Czech PO [Praga]等9个文件(夹) |
wpx426 发表于 2025-7-20 08:53 哈哈，刚发完才看到你的补充留言。我们所见略同。 |
本帖最后由 joseph_li 于 2025-7-20 10:42 编辑 wpx426 发表于 2025-7-20 08:53 感谢补充，整理的时候确实没想起这个BPO地球版马九。原文没有指明海廷克马九的厂牌及乐团，但这本书出版于2011年，而地球版马九录制于2017年，所以我倾向于认为这里指的是评为企鹅三四星带花的1969年海廷克指挥RCO版本。 地球版[Hi-res]：https://115cdn.com/s/swwklry3hq9?password=3377# 柏林爱乐地球版马勒全集 [Hi-Res] Haitink & RCO Mahler Symphonies [DECCA 24-96] https://115cdn.com/s/swwklq33hq9?password=3377# Mahler - The Symphonies & Song Cycles - RCO, Bernard Haitink (2019) [24-96] |
本帖最后由 wpx426 于 2025-7-20 08:58 编辑 joseph_li 发表于 2025-7-20 08:16 我一直在找这个录音的高码版呐，不得。Haitink和BPO的马9 倒是有，BPO自己出的非Philips https://115cdn.com/s/swwklzs332j?password=v2c3&# Berliner Philharmoniker & Bernard Haitink - Mahler_Symphony No. 9 (2021) [24-96] 不过俺理解书中指的Haitink的马9应该是他和音乐厅管弦乐团的那个著名录音 |
wpx426 发表于 2025-7-20 07:48 感谢指正，确实不是同一个版本。对于马交、贝交、布交这种演出频率特别高的作品，确实需要仔细核对，很容易就弄错了。 |
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多谢分享。 |
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