Penguin Guide to 1000 Finest Classical Recordings - Must-Have CDs and DVDs

huzuoan

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 ...

大佬：能否劳驾再分享一次呀！来晚了，过期了！可惜啊！谢谢！

joseph_li

BLOCH, Ernest (1880–1959)
Schelomo (Hebraic Rhapsody) for Cello & Orchestra
DG (ADD) 457 761-2. Fournier, BPO, Wallenstein – BRUCH: Kol Nidrei; LALO: Cello Concerto. SAINT-SAËNS: Cello Concerto 1

Bloch’s most famous piece of music is undoubtedly Schelomo (‘A Voice in the Wilderness’) – a rhapsody for cello and orchestra. Its exotic, Semitic harmonies create a richly coloured atmosphere which is quite compelling and almost hypnotic. If Fournier is a bit too closely balanced in this fervent account from 1966, he is excellently supported by Wallenstein, and the sound, apart from the balance, is excellent.

布洛赫最著名的作品无疑是《荒野之声》（Schelomo），这是一部为大提琴与管弦乐队而作的狂想曲。其充满异域风情的闪族和声营造出一种色彩丰富的氛围，引人入胜，近乎催眠。如果说福尼埃在这首1966年热情洋溢的作品中略显平衡，那么华伦斯坦则为他提供了绝佳的支持，而且除了平衡之外，整部作品的音效非常出色。
（源于Google翻译）

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Bloch, Ernest - Schelomo & DvorakCello Concerto & Bruch Kol Nidrei - Pierre Fournier [DG]

joseph_li

BOCCHERINI, Luigi (1743–1805)
(i) Cello Concerto 9 in B flat (original version, revised Gendron); (ii–iii) Flute Concerto in D, Op. 27 (attrib.; now thought to be by Franz Pokorny); (iv) Symphonies 3 in C; 5 in B flat, Op. 12/3 & 5; (v) Guitar Quintets 4 in D (Fandango); 9 in C (La Ritirata de Madrid); (vi) String Quartet in D, Op. 6/1; (iii) String Quintet in E, Op. 13/5: Minuet (only)
Decca 438 377-2 (2). (i) Gendron, LOP, Casals; (ii) Gazzelloni; (iii) I Musici; (iv) New Philh. O, Leppard; (v) Pepe Romero, ASMF Chamber Ens.; (vi) Italian Qt

Surely no one can hear Boccherini’s ‘Minuet’ without thinking of The Lady Killers – it is a real charmer of a work and, of course, has to be included on any ‘Best of Boccherini’ collection, such as this. In fact, Boccherini wrote much music of equally melodic appeal and this inexpensive two-CD set is a good way to start to explore it. It includes Gendron’s version of the Cello Concerto; it was he who pioneered the return of the original version (without Grützmacher’s re-working), and what an enjoyable work it is too. Equally pleasing (and one can see why it was attributed to Boccherini) is the Flute Concerto, a splendidly sparkling galant work with a very catchy finale. Splashes of Spanish colour are found in the Guitar Quintet No. 4 with its Fandango finale, and in the Quintet No. 9 (‘La Ritirata di Madrid’), both works reflecting his time spent in that country. Both receive excellent performances from Pepe Romero and the ASMF Chamber Ensemble. The Symphonies are full of vitality in these excellent performances under Raymond Leppard and are very well recorded. The Italian Quartet’s performance of the D major Quartet is notable for its freshness and refinement – and its minor-keyed slow movement is as memorable as its charming finale. All these recordings encourage one to explore more of this composer’s output, and with many fine recordings available from CPO, Naxos, Hyperion, Virgin, Chandos and others, there is plenty of exploring to do.

听到博凯里尼的《小步舞曲》时，想必没有人会不想起《淑女杀手》——这真是一部魅力非凡的作品，当然，任何一张“博凯里尼精选集”都少不了它，比如这张。事实上，博凯里尼创作了许多旋律同样优美的音乐，这套价格实惠的双CD套装是探索博凯里尼作品的绝佳起点。套装收录了根德龙版本的《大提琴协奏曲》；正是他率先回归了原版（没有经过格吕茨马赫的重新编排），这本身就是一部令人愉悦的作品。同样令人愉悦的（人们不难理解为什么它被归为博凯里尼的作品）是《长笛协奏曲》，这是一部光彩夺目、华丽华丽的作品，结尾部分引人入胜。带有西班牙色彩的作品有：第四吉他五重奏以凡丹戈舞曲结尾，第九吉他五重奏（《马德里的狂欢》），这两部作品都反映了作曲家在西班牙度过的时光。佩佩·罗梅罗和 ASMF 室内乐团对这两部作品均进行了精彩的演绎。在雷蒙德·莱帕德的指挥下，这些交响曲充满活力，录音也十分出色。意大利四重奏演奏的 D 大调四重奏以清新精致著称，其小调慢乐章和迷人的结尾一样令人难忘。所有这些录音都鼓励人们去探索这位作曲家的更多作品，而 CPO、Naxos、Hyperion、Virgin、Chandos 等唱片公司都有许多优秀的录音，值得探索的地方还有很多。（源于Google翻译）

https://115cdn.com/s/swwqq033hq9?password=3377&#
Boccherini, Luigi - The Best Of Boccherini [Philips]
这个飞利浦小双张大多数应该都有了。

joseph_li

Cello Quintet (for cello & strings), Op. 37/7
Australian Decca Eloquence 421 637-2. ASMF, Marriner – MENDELSSOHN: Octet, Op. 20

Boccherini’s Quintet is an inspired piece and makes this disc worth getting for its own sake, though the coupled performance of the Mendelssohn Octet is a particularly fine one. The opening movement is curiously haunting, and while the following Menuett is charmingly light in spirit, and its finale as jolly as can be, the slow movement has great eloquence, making this a more substantial work than might be expected from this composer. The 1968 recording remains rich and full.

博凯里尼的五重奏是一部灵感迸发的作品，这张唱片本身就值得收藏，尽管门德尔松八重奏的配乐演奏尤为精彩。开场乐章引人入胜，令人难以忘怀；接下来的小步舞曲轻快迷人，终曲欢快至极；慢乐章则气势磅礴，使其内容比人们对这位作曲家的预期更为充实。1968年的录音依然饱满丰富。
（源于Google翻译）

https://115cdn.com/s/swwqq013hq9?password=3377&#
Boccherini, Luigi - Quintet Op.37 No.7 & Mendelssohn Octet - Neville Marriner, ASMF [DECCA]
还是没找到这张雄辩系列的碟，找到的是Argo标的碟。

joseph_li

BOÏELDIEU, François (1775–1834)
Harp Concerto in 3 Tempi in C
Decca (ADD) 425 723-2. Marisa Robles, ASMF, Brown – DITTERSDORF; HANDEL: Harp Concertos, etc.

Boïeldieu’s Harp Concerto is a work which brings real delight. This (originally Argo) recording is still in the demonstration class and very sweet to the ear. The finale lingers in the imagination long after the music has ended: its mixture of melody, wit and a touch of melancholy is very seductive. To make this reissue even more attractive, three beguiling sets of variations have been added, including music by Beethoven and a Theme, Variations and Rondo Pastorale attributed to Mozart.

布耶尔迪厄的竖琴协奏曲是一部令人愉悦的作品。这张（原版由阿尔戈唱片公司发行）的录音至今仍在示范课中，旋律优美动听。终乐章在音乐结束后仍萦绕心头：它融合了优美的旋律、诙谐的笔触和一丝忧郁，令人沉醉。为了使这张再版专辑更具吸引力，专辑中还添加了三套引人入胜的变奏曲，包括贝多芬的作品以及莫扎特创作的主题曲、变奏曲和田园回旋曲。
（源于Google翻译）

https://115cdn.com/s/swwqq2j3hq9?password=3377&#
Boieldieu, Francois & Handel & Dittersdorf - Harp Concertos - Marisa Robles, Iona Brown, ASMF [Decca]
算得上是名碟了，企鹅三四星都带花。

joseph_li

La Dame Blanche (opera: complete)
EMI 3 95118-2 (2). Rockwell Blake, Naouri, Fouchécourt, Deletré, Massis, Delunsch, Brunet, Dehont, Vajou, R. France Ch., Paris Ens. O, Minkowski

Boïeldieu’s engaging overture to La Dame Blanche is one of the true miniature masterpieces of light music. (It is worth including here a true story of the experience of a first-class bassoon player (William Greenlees) who went straight from the Royal Manchester College of Music to a seasonal summer engagement with the Spa Orchestra at Scarborough. They gave concerts daily, playing everything from sight – something for which British musicians are famous. Bill was warned by his professor at the College to beware of The White Lady Overture, in which the bassoonist turns a page immediately before the second subject arrives, heralded by fast solo bassoon arpeggios (noticeably audible with a small orchestra). Having watched out carefully for the arrival of the piece on a daily basis, Bill realized that his moment had come only when he turned the page of La Dame Blanche and realized that he had been caught out! Instantly translating the title in his head, with great resource he looked quickly at the key signature and quickly filled in the gap by playing a tempo semiquaver scales in the correct key. Afterwards the conductor, Jan Hurst, congratulated him for being the first bassoonist in the history of the concerts not to break down altogether!)

The opera itself is a charmingly delicate score which uses the Scottish-based melodies (from the opera) which the composer infused with a typically Gallic flavour to piquant effect. The opera was hugely successful in its day, but this is its first complete modern recording, and it is a delightful set in every way. Completed in 1826, this light-hearted adaptation of Sir Walter Scott’s novel sparkles from first to last, helped by the inspired direction of Marc Minkowski with an excellent team of soloists who all sing with a natural feeling for the idiom. This is a piece which, with its many lively ensembles, points directly forward to Donizetti’s Daughter of the Regiment and even to Offenbach’s two gendarmes from Geneviève de Brabant. Good teamwork in this opera is more important than great solo singing; but here the cast has no weak link, with the outstanding Rossinian tenor, Rockwell Blake, matched by the others, not least by Annik Massis as Anna and Mireille Delunsch as Jenny. For some non-French speakers there may be rather too much dialogue, but that can easily be excised on CD. Warm, well-balanced sound. It is now available at bargain price, though, alas, without texts or translations.

布瓦尔迪厄那首引人入胜的《白衣夫人序曲》堪称轻音乐领域的微型杰作。（这里不妨分享一段真实轶事：曼彻斯特皇家音乐学院低音管演奏家威廉·格林利斯毕业后，直接加入斯卡伯勒温泉管弦乐团进行夏季演出季。这个以视奏能力闻名于世的英国乐团每天举办音乐会，所有曲目皆需即席演奏。离校前他的教授曾特别警告要当心《白衣夫人序曲》——当第二主题由低音管快速琶音独奏（在小乐队编制中尤为突出）引领出现前，演奏者必须立即翻谱。格林利斯每天密切关注曲目单，却在翻开《白衣夫人》乐谱时才惊觉自己中招！危急关头，他灵光乍现将标题译为英文，扫了眼调号后立即以正确调性即兴演奏出符合节奏的十六分音符音阶填补空白。演出后指挥简·赫斯特称赞他是乐团历史上首位没有演砸这段的巴松管手！）

这部歌剧本身是部精妙雅致的作品，作曲家将苏格兰风格旋律（源自原著小说）注入典型法兰西风情，产生令人回味的效果。虽然当年红极一时，但本套唱片才是其首个现代完整录音版本，各方面都令人欣喜。这部1825年根据沃尔特·司各特爵士小说改编的轻快之作，在马克·明科夫斯基充满灵性的指挥下，配合深谙此中三昧的优秀独唱家阵容，自始至终闪耀着光芒。剧中大量活泼的重唱段落，直接预示了多尼采蒂《军中女郎》乃至奥芬巴赫《布拉班特的吉纳维芙》中著名二重唱的诞生。相较于独唱，该剧更注重团队配合；而本版卡司无一短板，罗西尼式男高音洛克威尔·布莱克与安娜扮演者安妮克·马西斯、珍妮扮演者米雷耶·德伦施等相得益彰。对非法语听众而言剧中对话或许稍多，但CD版本可轻松跳过。录音温暖均衡，现已推出超值版，唯缺歌词译文是为遗憾。
（源于DeepSeek翻译）

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Boieldieu, Francois - La Dame Blanche - Marc Minkowski, Ensemble Orchestral de Paris; Blake, Naouri, Fouchécourt [EMI]

joseph_li

BONYNGE, Richard
‘Overtures and Ballet Music of the Nineteenth Century’ (with (i) New Philh. O, or (ii) LSO): Disc 1: (i) Overtures: AUBER: Marco Spada; Lestocq. ADAM: Giralda; La Poupée du Nuremberg. LECOCQ: La Fille de Madame Angot. THOMAS: Mignon. PLANQUETTE: Les Cloches de Corneville. BOIELDIEU: Le Calife de Bagdad; La Dame Blanche. (ii) Ballet Music: MEYERBEER: Le Prophète: Coronation March. MASSENET: La Navarraise: Nocturne. GOUNOD: La Reine de Saba, Act II: Waltz. BIZET: Don Procopio. Disc 2: (ii) Overtures: DONIZETTI: Roberto Devereux. ROSSINI: Torvaldo e Dorliska. MAILLART: Les Dragons de Villars. OFFENBACH: La Fille du tambour-major. VERDI: Giovanna d’Arco. HÉROLD: Zampa. WALLACE: Maritana. AUBER: La Neige. MASSENET: Chérubin, Act III: Entr’acte; Don César de Bazan: Entr’acte Sevillana; Les Erinnyes: Invocation. GOUNOD: Le Tribut de Zamora, Act III: Danse grecque. SAINT-SAËNS: Henry VIII, Act II: Danse de la gypsy. DELIBES: Le Roi l’a dit, Act II: Entr’acte
Double Decca (ADD) 466 431-2 (2)

This superb programme is based on three Richard Bonynge LPs, two with the LSO and one with the New Philharmonia Orchestra, again from the late 1960s early 1970s. The repertoire of once-popular music is deliciously programmed, and although some of the repertoire is available elsewhere (the Zampa and Mignon Overtures, for example) much of it is still only heard on these recordings. Of the three Auber overtures – all of them rarities – Marco Spada has a most evocative opening, suggesting a sunrise, before bursting into one of the composer’s typical galloping Allegros; Lestocq contains a memorably wistful theme on the oboe, before again launching into an irresistibly jaunty Allegro, while La Neige, more subtle than usual, shows the composer’s gift for writing catchy tunes quite early in his career. Adam’s Giralda and La Poupée de Nuremberg display all the delicacy and skill we know from his ballet scores; the former includes glittering castanets for a dash of local colour while the latter features an unexpected passage for string quartet. Boieldieu’s charming La Dame Blanche is as light as thistledown and The Caliph of Bagdad has never sounded more resplendent. Lecocq’s La Fille de Madame Angot is quite felicitous. Among the LSO performances, Maritana stands out. Bonynge presents this with great affection, the melodramatic opening arresting and the hit tune, ‘Scenes that are Brightest’, lusciously presented. Rossini’s Torvaldo e Dorliska is interesting in including the second subject of the Cenerentola Overture, while Donizetti’s Roberto Devereux even draws on ‘God Save the Queen’. Offenbach’s winning La Fille du tambour-major is piquantly scored, ending with an exuberant Can-can played with superb gusto. We also turn to the LSO for the ballet music. Besides a brilliant account of Meyerbeer’s Coronation March, there is a series of bon-bouches, including Massenet’s haunting Invocation, a cello solo from Les Erinnyes) and the Nocturne from La Navarraise. Gounod’s Grande valse from La Reine de Saba sounds as though it has been left over from the Faust ballet music, while Saint Saëns’s Gypsy Dance from Henry VIII, with its ominous timpani strokes, turns into a tuneful valse macabre. The programme ends with a charming pastiche Minuet from Delibes’s Le Roi l’a dit. Bonynge is a complete master of this repertoire, which he clearly loves, and all this music is chic and poised in his hands and, of course, brilliantly played, so that enjoyment is assured.

这套精彩的曲目精选自理查德·博宁吉的三张黑胶唱片——其中两张与伦敦交响乐团合作，另一张携手新爱乐乐团，均录制于1960年代末至1970年代初。这些曾经风靡的乐段被巧妙编排，虽然部分曲目（如《赞帕》和《迷娘》序曲）另有录音版本，但多数作品仍仅存于这些珍贵唱片中。

奥柏的三首冷门序曲各具特色：
- 《马可·斯帕达》以极具画面感的日出意境开篇，旋即转入作曲家标志性的奔腾快板；
- 《莱斯托克》中双簧管吟唱的忧郁主题令人过耳难忘，而后又跃入欢快的快板；
- 《雪》则展现出奥柏早期创作中不寻常的细腻，其谱写动人旋律的才华已初露锋芒。

亚当的《吉拉尔达》与《纽伦堡的娃娃》延续了其芭蕾音乐的精致笔触——前者以璀璨响板增添异域风情，后者意外插入一段弦乐四重奏段落。布瓦尔迪厄迷人的《白衣夫人》轻盈如羽，《巴格达酋长》的华彩演绎更堪称绝响。勒科克的《昂戈夫人的女儿》同样妙趣横生。

伦敦交响乐团的演绎中：
- 《马里塔娜》尤为夺目，博宁吉以饱满情感呈现戏剧性开场，名曲《璀璨景象》更被演绎得缠绵醉人；
- 罗西尼《托瓦尔与多莉斯卡》序曲竟暗藏《灰姑娘》序曲第二主题；
- 多尼采蒂《罗伯托·德弗罗》甚至化用了《天佑女王》的旋律；
- 奥芬巴赫《鼓手长的女儿》以辛辣配器著称，终章康康舞在乐团酣畅淋漓的演奏中恣意绽放。

芭蕾音乐板块同样精彩：
- 除迈耶贝尔辉煌的《加冕进行曲》外，
- 更有马斯内《伊林尼亚丝》中萦绕心间的大提琴独奏《祷歌》、
- 《纳瓦拉姑娘》夜曲等珍馐美馔。
- 古诺《萨巴女王》中的大圆舞曲恍若《浮士德》芭蕾音乐的遗珠，
- 圣桑《亨利八世》里的吉普赛舞曲以不祥定音鼓开场，竟渐变为旋律优美的死亡圆舞曲。
- 整套曲目在德利布《国王如是说》的复古小步舞曲中优雅收官。

博宁吉无疑是这类曲目的绝对权威，在他举重若轻的掌控下，这些音乐既时髦又从容，加之乐团精湛的演奏，注定为听众带来无上享受。
（源于DeepSeek翻译）

https://115cdn.com/s/swwqb6o3hq9?password=3377&#
Bonynge, Richard - Overtures & Ballet Music of 19 Century - Bonynge, New PO & LSO [Decca]

joseph_li

BORODIN, Alexander (1833–87)
‘The World of Borodin’: (i) In the Steppes of Central Asia. Prince Igor: (ii) Overture; (ii–iii) Polovtsian Dances; (iv) Symphony 2 in B min. (v) String Quartet 2: Nocturne; (vi) (Piano) Scherzo in A flat; (vii–viii) Song: Far from the shores of your native land; (vii; ix) Prince Igor: Galitzky’s Aria
Decca 444 389-2. (i) SRO, Ansermet; (ii) LSO, Solti; (iii) with L. Symphony Ch.; (iv) LSO, Martinon; (v) Borodin Qt; (vi) Ashkenazy; (vii) N. Ghiaurov; (viii) Z. Ghiaurov; (ix) L. Symphony Ch., LSO, Downes

It is not often that a composer’s output can be encapsulated on a single disc in 76 minutes. Solti’s Prince Igor Overture shows him at his finest and the Polovtsian Dances follow on excitingly. Ansermet’s contribution, In the Steppes of Central Asia, too is impressive, as are the Nocturne and the solo vocal items. But the highlight of the disc is Martinon’s unsurpassed (1960) LSO account of the Second Symphony, ideally paced, where the sound has remarkable presence and sparkle. Indeed, the opening of this striking symphony grabs you by the throat in this recording and makes an unforgettable impression, though it is the colour of the score and its memorable tunes which give the most lasting impression.

一位作曲家的作品很少能被浓缩在一张76分钟的唱片里。索尔蒂的《伊戈尔王序曲》展现了他巅峰的创作状态，而波洛维茨舞曲则紧随其后，激动人心。安塞美的《在中亚草原上》同样令人印象深刻，夜曲和独唱部分也同样精彩。但这张唱片的亮点是马丁农1960年在伦敦交响乐团录制的无与伦比的《第二交响曲》，节奏完美，音色饱满，光彩夺目。事实上，这部引人入胜的交响曲的开头就抓住了听众的心弦，给人留下了难以忘怀的印象，但真正令人印象深刻的是乐谱的色彩和令人难忘的旋律。
（源于Google翻译）

没找到这张碟。

wpx426

joseph_li 发表于 2025-6-8 14:54
BORODIN, Alexander (1833–87)
‘The World of Borodin’: (i) In the Steppes of Central Asia. Prince  ...

Decca Double 455 632-2 The Essential Borodin里面都有

xunianfeng

joseph_li 发表于 2025-6-6 21:45
Checkmate (ballet): Suite
Hyp. Helios CDH 55099. E. N. Philh. O, Lloyd-Jones – LAMBERT: Horoscope; ...

通过网盘分享的文件：Lambert -  Horoscope – Bliss -  Checkmate – Walton -  Façade
链接: https://***.com/s/1G4GrF0e_tio-OZuBjhVBDQ?pwd=59hp 提取码: 59hp
--来自百度网盘超级会员v7的分享

xunianfeng

joseph_li 发表于 2025-6-8 14:54
BORODIN, Alexander (1833–87)
‘The World of Borodin’: (i) In the Steppes of Central Asia. Prince  ...

通过网盘分享的文件：The World of Borodin
链接: https://***.com/s/1JCIMrSBlRkJi6pIGbhVl9A?pwd=ykxu 提取码: ykxu
--来自百度网盘超级会员v7的分享

joseph_li

xunianfeng 发表于 2025-6-8 18:04
通过网盘分享的文件：The World of Borodin
链接: https://***.com/s/1JCIMrSBlRkJi6pIGbhVl9A?pwd=ykxu ...

感谢分享补档，

joseph_li

BOUGHTON, Rutland (1878–1960)
The Immortal Hour (opera: complete)
Hyp. Dyad CDD 22040 (2). Kennedy, Dawson, Wilson-Johnson, M. Davies, George Mitchell Ch., ECO, Melville

Enormously successful in its day, to modern ears much of The Immortal Hour may seem like Vaughan Williams and water. But with its famous hit, the Faery Song, its simple tunefulness is most appealing. This fine performance, conducted by a lifelong Boughton devotee, brings out the hypnotic quality which had 1920s music-lovers attending peformances many times over, entranced by the lyrical evocation of Celtic twilight. The excellent cast of young singers includes Anne Dawson as the heroine, Princess Etain, and Maldwyn Davies, headily beautiful in the main tenor rendering of the delightful Faery Song. Warm, reverberant recording, enhanced by its CD format, this engaging opera is not to be missed at its reissued Dyad price.

《不朽的时刻》在其盛行的年代曾大获成功，但对现代听众而言，这部作品很大程度上像是"掺了水的沃恩·威廉姆斯风格"。不过剧中那首著名的《精灵之歌》，以其纯朴动人的旋律依然极具魅力。这场由毕生推崇鲍顿的指挥家执棒的精彩演出，淋漓尽致地展现了作品令人沉醉的特质——正是这种特质曾让1920年代的音乐爱好者们反复观演，沉醉在凯尔特式暮色抒情的魔幻意境中。优秀的年轻演员阵容包括饰演女主角艾婷公主的安妮·道森，以及以令人陶醉的优美男高音演绎《精灵之歌》的马尔杜恩·戴维斯。温暖的共振录音效果因CD格式而更臻完美，这套重新发行的Dyad系列双碟版歌剧绝对不容错过。
（源于DeepSeek翻译）




这张没找到，用DoubleDouble弄了半天，也没搞定，貌似只有Qobuz可以。

joseph_li

BOULANGER, Lili (1893–1918)
Faust et Hélène; Psaume 24; Psaume 130; Du fond de l’abîme; D’un matin de printemps; D’un soir triste
Chan. 9745. Dawson, Murray, Bottone, MacKenzie, Howard, CBSO Ch., BBC PO, Y.-P. Tortelier

There is a haunting and often poignant quality to the music of Lili Boulanger, in part because she died so young. Faust et Hélène has astonishing beauty and a natural eloquence. Like Psaume 24, Du fond de l’abîme and the other music on this disc, it offers testimony to an altogether remarkable talent. There is a distinguished team of soloists (Lynne Dawson and Bonaventura Bottone in the cantata and Ann Murray in one of the Psalms) and first-rate contributions from the Birmingham chorus and the BBC Philharmonic under Yan-Pascal Tortelier. An altogether magical collection.

莉莉·布朗热的音乐萦绕心头，往往令人心酸，部分原因在于她英年早逝。《浮士德与海伦》拥有惊人的美感和与生俱来的雄辩。如同《诗篇24》、《你心中的家》以及这张唱片中的其他作品一样，它展现了一位非凡的才华。唱片中不仅有杰出的独唱团队（琳恩·道森和博纳文图拉·博托内演绎了康塔塔，安·默里演绎了其中一首《诗篇》），还有伯明翰合唱团和BBC爱乐乐团在扬-帕斯卡尔·托特利耶指挥下的精彩演出。这张唱片堪称一张充满魔力的专辑。
（源于Google翻译）


https://115cdn.com/s/swwq5kp3hq9?password=3377&#
Boulanger, Lili - Faust et Helene & Psaume 24, 130 etc. - Yan Pascal Tortelier, BBC PO [Chandos]

joseph_li

BOWEN, York (1884–1961)
(i) Piano Concerto 1, Op. 11; (ii) Violin Concerto, Op. 33
Dutton CDLX 7169. BBC Concert O, Handley, with (i) Michael Dussek; (ii) Lorraine McAslan

The Piano Concerto is an early work, composed when Bowen was nineteen. There are some reminiscences of Saint-Saëns and Litolff, but the piece has refreshing fluency and charm. The Violin Concerto failed to find a persuasive champion and soon disappeared from the repertoire until this excellent recording restored it to circulation. As an eight-year-old boy, York Bowen made his début in a Dussek concerto, so it is appropriate that Michael Dussek, who is descended from the composer, should play it here.

《钢琴协奏曲》是鲍恩十九岁时的早期作品，虽带有圣桑和利托夫的些许影子，但全曲洋溢着清新流畅的韵味。而《小提琴协奏曲》因未能觅得有力的演绎者，很快从演出曲目中消失，直至这份优秀录音的问世才重获新生。约克·鲍恩八岁初登乐坛时演奏的正是杜赛克协奏曲，如今由杜赛克家族后裔迈克尔·杜赛克来诠释这部作品，堪称冥冥之中的安排。

(i) Piano Concertos 2 (Concertstück), Op. 17; 3 (Fantasia), Op. 23. Symphonic Fantasia, Op. 16
Dutton CDLX 7187. (i) Dussek; BBC Concert O, Handley

This couples the Second Concerto (subtitled Concertstück) with the Third (1907) and the Symphonic Fantasia, which no less a conductor than Hans Richter championed with the LSO. Bowen was still in his early twenties when they were written and these pieces all have a youthful freshness and generosity of feeling. Excellent notes from Lewis Foreman enhance the appeal of these most welcome and admirably performed issues.

这段录音将鲍恩的第二协奏曲（副标题为"音乐会小品"）与第三协奏曲（1907年创作）以及《交响幻想曲》一并收录。值得一提的是，连汉斯·里希特这样的大指挥家都曾亲自指挥伦敦交响乐团推广这部《交响幻想曲》。这些作品创作时鲍恩年仅二十出头，洋溢着青春气息与丰沛情感。刘易斯·福尔曼撰写的精彩唱片说明更增添了这些演绎出色、令人欣喜的录音版本的魅力。
（源于DeepSeek翻译）


https://115cdn.com/s/swwq5ea3hq9?password=3377&#
Bowen, York - Piano Concerto No.1 & Violin Concerto - Michael Dussek & Lorraine McAslan, Handley [Dutton]等2个文件(夹)

joseph_li

Ballade 2; 3 Miniatures, Op. 44; 3 Pieces, Op. 20; from 3 Preludes: 2 & 3; 3 Serious Dances, Op. 51; 3 Songs without words, Op. 94
Chan. 10506. Celis
24 Preludes, Op. 102; Sonata 6 in B flat min., Op. 160; Reverie, Op. 86
Chan. 10277. Celis

The Dutch pianist Joop Celis proves an enthusiastic and highly virtuosic exponent of York Bowen and he offers a valuable anthology of his solo piano music. Apart from the shorter pieces, he is very impressive in the magnificent Sixth Sonata, and even more rewarding in the 24 Preludes, eclectic but with something unmistakably English about them.

The B flat minor Sonata, Op. 160, was York Bowen’s last composition, composed just before he died in 1961, and he never wrote anything finer. It is a magnificent work. But it is the 24 Preludes, in all the major and minor keys, written just before the Second World War, which demonstrates the full range of Bowen’s piano writing. Stephen Hough has already recorded a selection, but the Dutch pianist, Joop Celis, gives us the lot and shows us just how fascinating and rewarding they are. There are touches of Rachmaninov, Scriabin and Debussy, and they stem from the spiritual world of Brahms – yet, like in the Sonata, there is something unmistakably English about them. Fine, realistic recording makes this a most desirable issue.

荷兰钢琴家乔普·塞利斯是约克·鲍文热情洋溢、技艺精湛的诠释者，他奉献了一本珍贵的鲍文钢琴独奏选集。除了短篇作品外，他气势恢宏的《第六奏鸣曲》也令人印象深刻，而《二十四首前奏曲》更是令人赞叹，这些作品兼收并蓄，却又带有一丝明显的英式韵味。

降B小调奏鸣曲，作品160，是约克·鲍文的最后一部作品，创作于1961年他去世前不久，此后他再未创作出如此优秀的作品。这无疑是一部杰作。但真正展现鲍文钢琴创作全貌的，是创作于二战前夕的《二十四首前奏曲》，涵盖了所有大调和小调。斯蒂芬·霍夫已经录制了其中一部分，但荷兰钢琴家乔普·塞利斯倾情奉献，向我们展现了这些作品的魅力和价值。这张专辑融合了拉赫玛尼诺夫、斯克里亚宾和德彪西的风格，并源自勃拉姆斯的精神世界——然而，如同奏鸣曲一样，其中又透着一丝明显的英国韵味。这张专辑录音精美逼真，令人梦寐以求。
（源于Google翻译）


https://115cdn.com/s/swwq5ej3hq9?password=3377&#
Bowen, York - 24 Preludes, Sonata No.6; Reverie - Joop Celis [Chandos]等2个文件(夹)

joseph_li

BRAHMS, Johannes (1833–97)
(i) Piano Concertos 1 in D min., Op. 15; 2 in B flat, Op. 83. Fantasias, Op. 116
DG (ADD) 447 446-2 (2). Gilels; (i) BPO, Jochum

This set represents Gilels at his finest, and his partnership with Jochum is similarly masterly. The opening of the Second Concerto, with its glorious Brahmsian horn solo so beautifully matched by Gilels’s reponse, is unforgettable; but all three performances are unsurpassed and the remastered recording is outstanding.

这套作品展现了吉列尔斯的巅峰之作，他与约胡姆的合作同样技艺精湛。第二协奏曲的开场，勃拉姆斯式的圆号独奏与吉列尔斯的回应完美契合，令人难忘；三场演出都堪称巅峰，而修复版录音更是精彩绝伦。

Violin Concerto in D, Op. 77
RCA (ADD) SACD 09026 61742-2. Heifetz, Chicago SO, Reiner – BEETHOVEN: Violin Concerto

Like the Beethoven with which it is coupled, the SACD transfer of Heifetz’s dazzling performance makes vivid and fresh what on LP was originally rather harsh Chicago recording, more aggressive than the Boston sound in the Beethoven. However, with the new CD transfer the excellent qualities of RCA’s Chicago balance for Reiner come out in full, giving a fine, three-dimensional focus. The EMI mono Milstein/Steinberg performance should also not be forgotten. It is simply glorious: a performance of surpassing beauty, its virtuosity effortless, and with a tremendous breadth, warmth and eloquence (EMI 5 67583-2).

如同与之搭配的贝多芬作品一样，海菲兹令人惊艳的演奏在SACD转制下，让LP版原本略显刺耳的芝加哥录音变得生动鲜活，比贝多芬作品中波士顿的声音更具侵略性。然而，在新CD转制中，RCA芝加哥录音为莱纳带来的卓越平衡感得到了充分展现，呈现出一种精致而立体的视觉效果。EMI单声道米尔斯坦/斯坦伯格的演奏也不容错过。它简直是一场辉煌的演出：一场超越美感的演出，其精湛的技艺毫不费力，并拥有巨大的广度、温暖和雄辩 (EMI 5 67583-2)。
（源于Google翻译）

https://115cdn.com/s/swwqv073hq9?password=3377&#
Brahms & Beethoven - Violin Concertos - Jascha Heifetz; Reiner, Chicago SO & Munch, Boston SO [RCA]等6个文件(夹)
钢协为DG大禾花版本，大部分应该都有。
能找到的小协SACD，四大小协的组合打乱了。就像之前发过的贝小协，是与门德尔松的组合。而这个是与老柴的组合。

joseph_li

Double Concerto for Violin, Cello & Orchestra, Op. 102
EMI DVD 490449-9. D. Oistrakh, Rostropovich, Moscow PO, Kondrashin (with BACH: Unaccompanied Cello Suite 1: Bourrées 1–2; Double Violin Concerto). MOZART: Sinfonia concertante for Violin, Viola & Orchestra, K.364 (both with I. Oistrakh, cond. Menuhin)
EMI CD (ADD) 6 31768-2. D. Oistrakh, Rostropovich, Cleveland O, Szell – BEETHOVEN: Triple Concerto

The DVD Brahms and Mozart recordings were made during the Moscow Philharmonic’s visit to London in October 1965 and September 1963 respectively. The Double Concerto is a highly charged account which shows both David Oistrakh and Rostropovich at their most emotionally intense yet profoundly disciplined. Mozart’s heavenly Sinfonia concertante with Oistrakh père et fils was recorded in the Royal Albert Hall and with Menuhin rather than Kondrashin at the helm. David Nice’s notes speak of ‘the elegance and focused tone David Oistrakh draws from the viola’, and this is a joy in itself. The Bach Double Concerto in D minor was recorded in Paris earlier, in October 1958, and affords an admirable opportunity for contrasting the golden tone of the one with (on this occasion) the seraphic playing of the other. Rostropovich’s very intense accounts of the two solo Bourrées make a welcome bonus. Of course the sound calls for some tolerance, but this film is a rarity and it is to be treasured.

The Cleveland version was made in 1969 in Severance Hall. In most respects this is even finer than the earlier London account, having claims to be considered the most desirable of versions, even though the recording is not ideally smooth. With Szell at the helm this is perhaps the most powerful performance since the days of Heifetz and Feuermann, or Thibaud and Casals, and it deserves the strongest recommendation.

DVD版的勃拉姆斯和莫扎特录音分别于1965年10月和1963年9月莫斯科爱乐乐团访问伦敦期间录制。双协奏曲是一部充满激情的记录，展现了大卫·奥伊斯特拉赫和罗斯特罗波维奇最激烈的情感和最严谨的作风。莫扎特与奥伊斯特拉赫父子合奏的天籁般的交响协奏曲是在皇家阿尔伯特音乐厅录制的，指挥是梅纽因而不是康德拉辛。大卫·尼斯的笔记提到“大卫·奥伊斯特拉赫从中提琴中汲取了优雅而专注的音色”，这本身就令人欣喜。巴赫的D小调双协奏曲更早于1958年10月在巴黎录制，这为对比前者金碧辉煌的音色和后者（这次）天使般的演奏提供了绝佳的机会。罗斯特罗波维奇对两首布列舞曲独奏曲的精彩演绎更是锦上添花。当然，声音需要一些容忍度，但张DVD实属难得，值得珍藏。

克利夫兰版本于1969年在塞弗伦斯音乐厅制作。在很多方面，它甚至比早期的伦敦版本更胜一筹，堪称最令人向往的版本，尽管录音并非完美流畅。在塞尔的指挥下，这或许是自海菲兹和费尔曼，或蒂博和卡萨尔斯时代以来最有力量的演出，值得强烈推荐。
（源于Google翻译）

https://115cdn.com/s/swwqvuh3hq9?password=3377&#
Brahms - Double Concerto & Beethoven - Triple Concerto - Oistrakh, Rostropovich, Richter; Cleveland, Szell & BPO, Karajan [EMI]等4个文件(夹)
DVD版欠奉，不过也太过于久远，找到了画质也不会太好。只找到了CD。

scljeff

感谢分享

joseph_li

(i) Serenades 1 in D, Op.11; (ii) 2 in A, Op.16
Warner Apex 2564 61138-2. (i) Royal Stockholm PO, Andrew Davis; (ii) Ens. Orchestral de Paris, Jordan

It is a pity that Kertész’s Decca coupling of both Brahms Serenades has been withdrawn as a single disc, but Andrew Davis and the Stockholm Orchestra give a spirited account of the D major work, and Davis’s direction is as sympathetic as the players’ response. The recording is very good too, even if the texture could be more transparent. For the budget reissue, it is joined by Armin Jordan’s more mellow performance of the companion A major work, which has a warmly played slow movement and an engaging closing Rondo. Again, the sound is pleasingly full with a nice bloom on the woodwind. This is excellent value at Apex price and fills an important gap in the catalogue.

遗憾的是，克特斯（Kertész）指挥的勃拉姆斯两首《小夜曲》Decca合辑已停止单碟发行，但安德鲁·戴维斯（Andrew Davis）与斯德哥尔摩乐团对D大调作品的演绎充满活力，戴维斯的指挥与乐团的响应同样富有感染力。录音效果虽在声部层次透明度上略有欠缺，但整体品质上乘。此次廉价版再版中，该作与阿明·约旦（Armin Jordan）更为醇厚的A大调小夜曲搭配发行——约旦版以温暖如歌的慢板乐章和迷人的回旋曲终章见长。其录音同样令人愉悦，音场丰润，木管声部泛着美妙的光泽。这套Apex价位的唱片性价比极高，填补了目录中的重要空白。

Symphonies 1–4
DG Virtuoso (ADD) 4284218 (1&3); 4284219 (2&4)

Karajan’s set dates from the late 1970s and is unsurpassed among modern recordings, although the Furtwängler performances (see below under the conductor) are not quite eclipsed. Karajan demonstrates that his readings of the Brahms symphonies, with lyrical and dramatic elements finely balanced, changed little over the years, though it is worth noting that his approach to No. 1, the work with which he most completely identified, is even bigger in scale than his earlier Berlin version of 1964. The commanding new version of No. 2 brings a finale which is now very fast, challenging even the Berlin players, while No. 3 has become stronger and more direct. In No. 4 Karajan refuses to overstate the first movement, starting with deceptive reticence (rather like Boehm). His easily lyrical style is fresh and unaffected, and highly persuasive. The Scherzo, fierce and strong, leads to a clean, weighty account of the finale. The playing of the Berlin Philharmonic remains uniquely cultivated, the ensemble is finely polished, and yet there is no lack of warmth or impetus throughout the set. Reissued on a pair of virtuoso separate virtuoso reissues, this is altogether most satisfying.

卡拉扬这套录音制作于1970年代末，在现代录音版本中仍居巅峰地位，尽管富特文格勒的演绎（详见后文指挥家条目）亦未完全被其掩盖。卡拉扬向世人证明，他对勃拉姆斯交响曲的诠释——抒情性与戏剧性精妙平衡的特质——多年来始终如一。但值得注意的是，他对《第一交响曲》的处理（这部他最认同的作品）比1964年早期柏林版更显宏大。新版《第二交响曲》以极具统御力的演绎呈现了速度惊人的终章，甚至对柏林爱乐乐团构成技术挑战；《第三交响曲》则变得更为刚劲直率。在《第四交响曲》中，卡拉扬拒绝过度渲染第一乐章，以颇具欺骗性的克制开场（与伯姆手法相似）。他那举重若轻的抒情风格清新自然，极具说服力。激烈强劲的谐谑曲之后，终章演绎得干净利落又气势恢宏。柏林爱乐乐团无与伦比的精妙技艺在此展露无遗，合奏精准如琢，而整套录音始终保持着充沛的热情与推进力。现以两张独立发行的"大师再版"形式重新问世，堪称完美无憾的典藏之选。
（源于DeepSeek翻译）

小夜曲的没找到。

Kertész的单碟已经在雄辩系列里发行（DECCA 466672-2），我没找到，但是在István Kertész – TheLondon Years 大包子里找到了。

https://115cdn.com/s/swwqr8x3hq9?password=3377&#

Brahms- Serenades Nos. 1 & 2 - István Kertész, LSO [Decca]等3个文件(夹)

交响曲合集没太搞明白为什么不选择常见的DG 双张，而选择了Virtuoso版。