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

joseph_li

Symphony 5 in B flat
DG 469527-2. Dresden State O, Sinopoli

Sinopoli’s reading is characterful and strong in a positive, even wilful way that is distinctively his. The Dresden Staatskapelle responds with playing of incandescent intensity, totally allied with the conductor in silencing any stylistic reservations. This is a live recording, and the inspiration of the moment comes over at full force. The energy of the Scherzo and the passion of the slow movement complete the picture of an exceptionally high-powered reading, recorded in glowing sound.

西诺波利的演绎个性鲜明，充满力量，积极进取，甚至有些任性，这正是他独有的风格。德累斯顿国家管弦乐团以炽热的演奏回应，与指挥浑然一体，消除了任何风格上的顾虑。这是一场现场录音，瞬间的灵感迸发，气势磅礴。谐谑曲的活力与慢乐章的激情交织，构成了一幅非凡高能演绎的画面，音色闪耀夺目。

Symphony 7 in E
Teldec 3984 24488-2. VPO, Harnoncourt

For I.M. the Bruckner Seventh Symphony is very special. He first heard it live at the beginning of the 1950s, played by the Hallé Orchestra under ‘Glorious John’ in the Albert Hall, Manchester (before the new concert hall was built). For the extra brass in the slow movement, members of the Brighouse and Rastrick Band were employed. At that time steam trains over the Pennines from Yorkshire were notoriously late, and we had to wait for their arrival before the performance could begin. The result was magnificent. Moreover the great cymbal crash in the slow movement (apparently not authentic) was included to great effect. In Harnoncourt’s splendid version from Vienna, he omits it but that does not spoil the performance. With the advantage of the acoustics of the Sofiensaal the sound is splendid, the Viennese strings have a radiant sheen, and the brass is gloriously sonorous. The work is dedicated to Wagner, and in the beautiful coda Harnoncourt draws out the resemblance to Das Rheingold in the valedictory overlapping brass parts. The result is very moving, and the finale caps the performance admirably. This (unexpectedly) is one of Harnoncourt’s best records and not to be missed by his admirers.

对I.M.来说，布鲁克纳第七交响曲意义非凡。他第一次现场聆听这部作品是在20世纪50年代初，当时由哈雷管弦乐团在“光荣的约翰”指挥下于曼彻斯特阿尔伯特音乐厅演奏（当时新音乐厅尚未建成）。慢乐章中额外的铜管乐器部分，由布里格豪斯和拉斯特里克乐队的成员负责。当时，从约克郡出发的蒸汽火车翻越奔宁山脉，晚点现象非常严重，我们不得不等到火车到站后才能开始演出。最终的效果非常出色。此外，慢乐章中那段铙钹的轰鸣声（显然并非原版）也得到了充分的体现。在哈农库特的维也纳版本中，他省略了这段铙钹声，但这丝毫没有影响演出的精彩。得益于索菲恩萨尔音乐厅的音响效果，整部作品的音色非常出色，维也纳弦乐的光泽闪耀，铜管乐器的音色也更加铿锵有力。这部作品献给瓦格纳，在优美的尾声中，哈农库特以告别式的铜管交叠声部，展现出与《莱茵的黄金》的相似之处。最终效果动人心弦，而终曲则为演出画上了圆满的句号。这张唱片（出乎意料地）是哈农库特最优秀的唱片之一，他的崇拜者不容错过。
（源于Google翻译）

https://115cdn.com/s/swwb78y3hq9?password=3377&#
Bruckner - Symphony No.5 - Sinopoli, Staatskapelle Dresden [DG]等2个文件(夹)

joseph_li

Symphony 8 in C min.
DG 427611-2. VPO, Karajan

Karajan’s last version of the Eighth Symphony is with the Vienna Philharmonic Orchestra and is the most impressive of them all. The sheer beauty of sound and opulence of texture is awe-inspiring but never draws attention to itself: this is a performance in which beauty and truth go hand in hand. The recording is superior to either of its predecessors in terms of naturalness of detail and depth of perspective.

卡拉扬与维也纳爱乐乐团合作录制的《第八交响曲》的最后一个版本，也是所有版本中最令人印象深刻的。其纯粹的音色之美和丰富的质感令人叹为观止，却又不失其自身的特色：这是一场美与真相融的演出。这张录音在细节的自然性和视角的深度方面都超越了之前的任何版本。

Symphony 9 in D min. (CD version)
Sony stereo/mono 518812-2. Columbia SO, Walter (with Te Deum: Yeend, Lipton, Lloyd, Harrell, Westminster Ch., NYPO, Walter)

Bruno Walter’s 1959 account of Bruckner’s Ninth Symphony represents the peak of his achievement during his Indian summer in the CBS recording studios, just before he died. His mellow, persuasive reading leads one on through the leisurely paragraphs so that the logic and coherence seem obvious where other performances can sound aimless. Some may not find the Scherzo vigorous enough to provide the fullest contrast, but the final slow movement has a nobility which suggests that, after this, anything would have been an anticlimax.

For the reissue Sony have added Walter’s fine (1959) Carnegie Hall mono recording of the Te Deum, a characteristically spacious account with a well-matched team of soloists and an excellent contribution from the Westminster Choir. The transfer of the very good mono recording is well managed.

布鲁诺·瓦尔特1959年演绎的布鲁克纳第九交响曲代表了他去世前夕在哥伦比亚广播公司录音室度过的那段“秋高气爽”时期的巅峰成就。他圆润而富有说服力的演绎引领听众悠闲地欣赏各个段落，使其逻辑性和连贯性显而易见，而其他演绎则显得漫无目的。有些人可能觉得谐谑曲的力度不足以形成最强烈的对比，但最后的慢乐章却蕴含着一种高贵的气质，暗示着在此之后，任何作品都会显得虎头蛇尾。

索尼在这张再版专辑中加入了瓦尔特1959年在卡内基音乐厅录制的精美单声道《感恩赞》录音，这首乐曲以其独特的开阔空间、均衡的独奏阵容以及威斯敏斯特合唱团的出色贡献而闻名。这张非常优秀的单声道录音的转换工作做得非常出色。
（源于Google翻译）

https://115cdn.com/s/swwb7x93hq9?password=3377&#
Bruckner - Symphony No.8 - Karajan, VPO [DG]等5个文件(夹)

yithorn

joseph_li 发表于 2025-6-12 12:50
Peter Grimes (DVD version)
Decca DVD 074 3261. Pears, Harper, Drake, Robson, Brannigan, Bainbridge, ...

楼主辛苦了！
我打算先查作曲家，无论是否听过，只要是不列颠的一概删除，对于不列颠之外要求更加严格的企鹅来说，留下的必然是经典。

joseph_li

yithorn 发表于 2025-6-13 18:38
楼主辛苦了！
我打算先查作曲家，无论是否听过，只要是不列颠的一概删除，对于不列颠之外要求更加严格的 ...

这个就有点矫枉过正了，英国不乏著名作曲家，Purcell、Tallis、Byrd、Delius、Elagr、Holst、Walton、Britten、Williams大家都应该不陌生。编辑有用力过猛之嫌，但是并非一无可取。

wpx426

joseph_li 发表于 2025-6-13 20:23
这个就有点矫枉过正了，英国不乏著名作曲家，Purcell、Tallis、Byrd、Delius、Elagr、Holst、Walton、Bri ...

我的理解是，企鹅指南（Penguin‘s Guide to.....)是一个系列的书，CD只是其中之一，其针对读者是英国人。系列中还有英语用法的指南书，全是英式的，也没见美国人，澳洲人吐槽

joseph_li

wpx426 发表于 2025-6-13 21:02
我的理解是，企鹅指南（Penguin‘s Guide to.....)是一个系列的书，CD只是其中之一，其针对读者是英国人 ...

这个系列的其它书我不那么了解，拿企鹅古典音乐指南来说，它偏心英国的艺术家没错，但是说企鹅古典音乐指南主要针对英国读者，感觉有些片面。在类似的指南书籍中，无论是销量还是从时间跨度来说，它应该都是最经得起考验的，这就很能说明问题。

leitong

joseph_li 发表于 2025-6-13 22:48
这个系列的其它书我不那么了解，拿企鹅古典音乐指南来说，它偏心英国的艺术家没错，但是说企鹅古典音乐指 ...

以期没有互联网的时候 三大唱片推荐
1. 企鹅古典音乐指南 后来还有过 企鹅历史录音指南 企鹅歌剧指南 企鹅爵士指南 都是非常好的工具书
2. 日本唱片艺术300 新手必读 全面听过后再扩展曲目和版本
3. TAS榜

这三者结合着看 就比较客观了 对于古典乐收藏超过5000张的人来说 上面的推荐已经不重要了 贝交 布交 柴交 等等 谁不是收藏几十个版本的

lovewet3388

sickworm119 发表于 2025-6-3 13:47
帮楼主搭把手~~~

https://115cdn.com/s/swwsah23h7e?password=za09&#

过期了，请再次分享，谢谢

dftn888

感谢楼主分享精彩音乐资源！感谢烧友补档完善！

joseph_li

BUSH, Geoffrey (1920–98)
Symphonies (i) 1; (ii) 2 (Guildford). (iii) Music for Orchestra; (iv) Overture Yorick
Lyrita (ADD/DDD) SRCD 252. (i) LSO, Braithwaite; (ii) RPO, Wordsworth; (iii) LPO; (iv) Philh. O; (iii–iv) Handley

This very well-filled disc brings together fine Lyrita recordings made between 1972 and 1982, and adds a superb, completely new recording of the Symphony No. 2. The vigorous Yorick Overture (1949), written in memory of the comedian Tommy Handley, opens this concert most invitingly. It has all the exuberance of a Walton overture and is an immensely jolly piece, with wit and warm lyricism nicely balanced; in one brief, syncopated idea it offers a rhythmic reminder of Lambert’s Horoscope. The first of the two symphonies dates from 1954 and is a positive, three-movement structure centring on an elegiac slow movement with blues overtones, written in memory of Constant Lambert. The slow movement, Elegiac Blues, actually quotes from The Rio Grande. The work exhibits the traditional values of fine craftsmanship and directness of utterance by which Bush set great store. He did not shrink from the notion that music should entertain, and the main body of the first movement, as well as the finale, is much lighter in character than those of many contemporary British symphonists.

The Second Symphony is outgoing, too. This is no formal exercise but a warm statement of personal feeling. Its four clearly defined sections are played without a break, the first and last suitably genial and festive. Both the central slow movement and the witty Scherzo, with two catchy trios, draw on earlier material, which is then recapitulated in reverse for the finale. Music for Orchestra (1967) is also designed to be played continuously. It is, in the composer’s words, ‘a miniature symphony, with the string parts carefully written to be playable by amateur performers, yet with plenty of opportunities for bravura offered to the wind and brass.’ Ample percussion and a piano add to the vividness. It is a formidable and by no means lightweight piece, with a bleakly poignant Lento at its centre, with the threads of the structure drawn together in the finale, called an Epilogue but which becomes energetic towards the close. All the performances and recordings are outstandingly good, notably that of the Symphony No. 2, conducted by Barry Wordsworth.

这张内容充实的唱片收录了1972至1982年间莱瑞塔公司的精品录音，并新增了一版精彩的《第二交响曲》全新录音。作为开场曲目的《约里克序曲》（1949）是为纪念喜剧演员汤米·汉德利而作，以极具感染力的姿态拉开音乐会序幕。这部作品洋溢着沃尔顿式序曲的蓬勃朝气，诙谐元素与温暖抒情相得益彰，其中一段简短的切分音动机令人想起兰伯特《占星图》的节奏特征。

1954年创作的第一交响曲采用三乐章结构，以带有蓝调色彩的沉痛慢乐章为核心，该乐章《哀伤蓝调》直接引用了《格兰德河》的旋律，以此纪念康斯坦特·兰伯特。整部作品彰显了布什所推崇的精湛技艺与直抒胸臆的传统价值，他毫不避讳音乐应具娱乐性的理念，其第一乐章主体及终章比同期多数英国交响曲更显轻快气质。

第二交响曲同样具有外向型特质，绝非形式化的炫技之作，而是饱含真挚情感的表达。四个界限分明的乐章连续演奏，首尾乐章洋溢着恰如其分的欢庆氛围。核心慢乐章与点缀着两段抓耳三重奏的谐谑曲均取材自早期作品素材，并在终章以倒装再现。1967年创作的《管弦乐组曲》同样采用连贯演奏形式，作曲家自述这是"一部微型交响曲，弦乐声部专为业余演奏者设计，同时为管乐与铜管预留了充分的炫技空间"。丰富的打击乐与钢琴声部更添华彩，这部结构严谨的作品绝非浅薄之作，其阴郁悲凉的缓板乐章居于核心位置，终章《尾声》将全曲线索收束于渐强的激昂乐段。所有演录版本均属上乘之作，其中巴里·华兹华斯指挥的《第二交响曲》尤为出色。
（源于DeepSeek翻译）

https://115cdn.com/s/swwb5il3hq9?password=3377&#
Bush, Geoffrey - Symphonies Nos.1&2, Music for Orchestra - Braithwaite & Wordsworth & Handley [Lyrita]
这个推荐清单里有不少近现代作曲家，是个了解他们的作品很不错的窗口。

joseph_li

BUSONI, Ferruccio (1866–1924)
Piano Concerto, Op. 39
Hyp. CDA 67143. Hamelin, CBSO Ch., CBSO, Elder

Busoni’s Piano Concerto is arguably the most formidable in the repertory, but in such an inspired reading as Hamelin’s it emerges as a genuine Everest of a work. Even before the piano enters, the opening tutti (four minutes long) establishes the rapt, glowing intensity of the performance, thanks to Mark Elder’s dedicated conducting of the Birmingham orchestra, with radiant recording to match. Above all, Hamelin and Elder bring out the warmer, more colourful qualities behind the five massive movements, the dedication of the long Pezzo serioso beautifully sustained.

布索尼的钢琴协奏曲无疑是曲目中最令人敬畏的，但在哈默林如此充满灵感的演绎下，它更显雄伟壮观，堪称一座真正的珠穆朗玛峰。甚至在钢琴声响起之前，开场的四分钟全奏就奠定了全场全神贯注、激情澎湃的氛围，这要归功于马克·埃尔德对伯明翰管弦乐团的悉心指挥，以及与之相得益彰的精彩录音。最重要的是，哈默林和埃尔德将五个宏大乐章背后更温暖、更绚丽的特质展现得淋漓尽致，而长乐章“严肃乐章”的献礼也得到了优美的延续。
（源于Google翻译）

https://115cdn.com/s/swwb5i83hq9?password=3377&#
Busoni, Ferruccio - Piano Concerto - Marc-André Hamelin, Elder, City of Birmingham SO [Hyperion]

joseph_li

Doktor Faust
Arthaus DVD 101 283 (2). Hampson, Groissböck, Kunde, Macias, Trattnigg, Ch. and O of Zurich Op., Philippe Jordan. (Director: Klaus Michael Grüber, V/D: Felix Breisach)

Doktor Faust is Busoni’s last opera and it occupied him for the last two decades of his life. Much of it was composed in Zurich, where both Turandot and Arlecchino were premièred in 1917. But given the demands on his time made by concert tours, the score was left incomplete on his death and this production uses the edition prepared by his pupil, Philipp Jarnach. (The more scholarly reconstruction by his biographer, Antony Beaumont, has been recorded by Erato.) Jarnach’s ending, prepared for the first performance in 1925, does not follow the detailed musical instructions left by the composer. It amounts to about four minutes of Jarnach, while the Beaumont edition, making use of manuscript sketches as well as other original material from 1923 and 1924, is more or less authentic Busoni. The composer Joseph Horowitz thought Antony Beaumont’s completion ‘perhaps less good’ than that of Philipp Jarnach, but the fact remains that it does give us more of Busoni’s original than the Jarnach. All the same, the present version is very powerful, particularly in the hands of Philippe Jordan and his impressive array of soloists – and most notably Thomas Hampson’s account of the eponymous role. For many years Faust was identified with Dietrich Fischer-Dieskau, who rightly acclaimed it one of the greatest operas of the twentieth century, along with Berg’s Wozzeck and Pfitzner’s Palestrina (to which one might add Peter Grimes and The Turn of the Screw). The work has an unique expressive power, even among Busoni’s finest compositions, and makes an indelible impression in this powerful production. Not only is its musical flow so potent and its dramatic intensity so strong, but the individual performances are commanding.

Faust is profound and the distillation of Busoni’s life work. A memorable musical experience well served by the Zurich Opera’s production team and the TV/Video engineers.

《浮士德博士》是布索尼最后一部歌剧，这部歌剧占据了他人生的最后二十年。该剧大部分创作于苏黎世，《图兰朵》和《阿莱基诺》均于1917年在此首演。但由于巡回演出占用了大量时间，他去世时乐谱尚未完成，本次制作沿用了其学生菲利普·雅纳赫编写的版本。（他的传记作者安东尼·博蒙特对其作了更学术性的重构，并由埃拉托出版社收录。）雅纳赫为1925年首演所作的结尾，并未遵循作曲家留下的详细音乐指示。这段乐曲约占雅纳赫作品的四分钟，而博蒙特版本则运用了1923年至1924年的手稿草图以及其他原始素材，或多或少保留了布索尼的原汁原味。作曲家约瑟夫·霍洛维茨认为安东尼·博蒙特的完成版“或许不如”菲利普·雅纳赫的完成版，但事实上，它比《雅纳赫》更能展现布索尼的原作。尽管如此，目前的版本仍然非常震撼，尤其是在菲利普·若尔当及其令人印象深刻的独唱阵容的演绎下——其中最引人注目的是托马斯·汉普森对同名角色的诠释。多年来，《浮士德》一直与迪特里希·菲舍尔-迪斯考联系在一起，他曾正确地称赞它是二十世纪最伟大的歌剧之一，与贝尔格的《沃采克》和普菲茨纳的《帕莱斯特里纳》（或许还可以加上《彼得·格莱姆斯》和《螺丝在拧紧》）并列。这部作品拥有独特的表现力，即使在布索尼最优秀的作品中也毫不逊色，并在这部强大的制作中给人留下了不可磨灭的印象。它不仅音乐流畅有力，戏剧张力十足，而且演员们的表演也令人叹为观止。

《浮士德》意味深长，是布索尼毕生作品的精髓。苏黎世歌剧院的制作团队和电视/视频工程师们为观众带来了一次难忘的音乐体验。
（源于Google翻译）

https://115cdn.com/s/swwb5443hq9?password=3377&#
Busoni, Ferruccio - Doktor Faust (Philippe Jordan, Zürich Opera House;Hampson, Groissböck, Kunde 2006) [Blu-ray]
刚好有蓝光版，可惜没有中文字幕

joseph_li

BUTTERWORTH, George (1885–1916)
The Banks of Green Willow; 2 English Idylls; A Shropshire Lad (rhapsody) (with: WARLOCK: An Old Song for Small Orchestra. HADLEY: One Morning in Spring)
Lyrita (ADD) SRCD 245. LPO, Boult – HOWELLS: Elegy; Merry-Eye, etc.

Butterworth’s Shropshire Lad represents the English folk-song school at its most captivatingly atmospheric – its opening is hauntingly magical – and the other items are in a similarly appealing vein. Whether Butterworth would have gone on, had he lived through the First World War, to develop as his friend Vaughan Williams did is an interesting point, but the delicate genius here is displayed at its most rewarding. Sir Adrian Boult, a tireless exponent of neglected English music, gives noble and radiant performances of these lovely pieces. His natural feeling for the pastoral inflexions and the refinement of texture are unmatched by others, and the 1970s recording is delicately atmospheric. The opening English Idyll No. 1 is exhilarating in its freshness, and its charms are impossible to resist, as is the catchy folk tune which begins The Banks of Green Willow. These classic performances sound superb in their new CD transfer, which brought them to the CD world for the first time. Both the Warlock and Hadley items make a very welcome bonus, the former richly pastoral in nature, and the latter featuring some particularly felicitous woodwind writing. All are outstandingly played and recorded, and the Howells couplings are no less impressive.

巴特沃斯的《什罗普郡少年》代表了英国民歌流派最迷人的氛围——它的开头如同魔幻般萦绕心头——其他曲目也同样引人入胜。如果巴特沃斯亲身经历了第一次世界大战，他是否会像他的朋友沃恩·威廉姆斯那样继续发展，这是一个值得探讨的问题，但这部作品展现了他精妙的才华，令人回味无穷。阿德里安·博尔特爵士是一位孜孜不倦地倡导被忽视的英国音乐的艺术家，他将这些优美的曲目演绎得高贵而光彩夺目。他对田园风情的自然感悟和对织体的细腻把握无人能及，这张1970年代的录音也营造出一种细腻的氛围。开场的《英国田园诗1号》清新怡人，其魅力令人难以抗拒，《绿柳岸》开头那首朗朗上口的民谣也同样令人难以抗拒。这些经典曲目在新CD的转制中音色惊艳，首次将他们带入CD世界。 Warlock 和 Hadley 的作品都是非常受欢迎的惊喜之选，前者充满浓郁的田园风情，后者则以一些尤为巧妙的木管乐曲为主。所有作品的演奏和录音都非常出色，而 Howells 的配器也同样令人印象深刻。
（源于Google翻译）

https://115cdn.com/s/swwb5y63hq9?password=3377&#
Butterworth, George & Howells & Warlock & Hadley - Adrian Boult, LPO & New PO [Lyrita 24-192]等2个文件(夹)

joseph_li

Songs from A Shropshire Lad: Loveliest of trees; When I was young and twenty; Look not in my eyes; Think no more, lad; The lads in their hundreds; Is my team ploughing?; Bredon Hill; O fair enough are sky and plain; When the lad for the longing sighs; On the idle hill of summer; With rue my heart is laden; I will make you brooches; I fear thy kisses; Requiescat. Folk Songs from Sussex: Yonder stands a lovely creature; A blacksmith courted me; Sowing the seeds of love; A lawyer he went out one day; Come my own one; The cuckoo; A brisk young sailor courted me; Seventeen come Sunday; Roving in the dew; The true lover’s farewell; Tarry trousers
Naxos 8.572426. Roderick Williams, Iain Burnside (piano)

Here are Butterworth’s beautiful, melancholy song settings, including the ravishing cycle from A. E. Housman’s A Shopshire Lad, plus further folk songs from Sussex and settings of poems by R. L. Stephenson, Shelley and Wilde. Their delicate atmosphere is perfectly caught by Roderick Williams with his gently glowing light baritone voice, and Iain Burnside’s accompaniments are equally sensitive.

巴特沃斯的歌曲配乐优美而忧郁，包括A. E. 豪斯曼《商店郡少年》中令人陶醉的套曲，以及苏塞克斯的民歌，以及R. L. 斯蒂芬森、雪莱和王尔德诗歌的配乐。罗德里克·威廉姆斯以其轻柔明亮的男中音完美地诠释了这些歌曲的微妙氛围，伊恩·伯恩赛德的伴奏也同样细腻。
（源于Google翻译）

https://115cdn.com/s/swwb5yv3hq9?password=3377&#
Butterworth, George - Songs From A Shropshire Lad & Folk Songs From Sussex - Williams, Burnside [Naxos]

joseph_li

BUXHEIMER ORGELBUCH, DAS (c. 1460)
Preludes; Liturgical Melodies (based on Chorales); Transcriptions of (sacred) Motets
Oehms SACD OC 645. Joseph Kelemen (organs of St Andreaskirche, Soest-Ostönnen, and Holfkirche, Innsbruck

The Buxheimer Organ Book, of course, has nothing to do with Buxtehude but dates from two centuries before that famous composer was born and is a collection of fourteenth- and fifteenth-century repertoire. Indeed, it contains the most extensive collection of keyboard music to have survived before 1600. It uses a system of tablature notation in which the upper voice is written out and the remaining voices are written as letters below, not unlike today’s guitar notation. The music itself shows the transition from two-voice to three-voice counterpoint, with the occasional use of an extra fourth part, and its strongest characteristic is the use of rhythm, offering a fast, ornamented cantus moving over a calmer accompaniment. Twelve of the works included here have instructions for the use of pedal. Composers such as Johannes Ciaconia, Dunstable, Binchois and Dufay contributed.

Kelemen uses two organs, the first (whose builder is unknown), in the church of South Ostönnen which dates back to 1425. It was originally in another church but was moved to its present location in 1721/2 and has recently been restored. The second, in the Innsbruck Hofkirche, dates from 1558 and was built by Jörg Ebert. The music makes diverting listening when so well presented and splendidly recorded in SACD surround sound. The disc opens with the sonorous bell of the Ostönnen church, which dates from 1306.

《布克斯海姆管风琴曲集》虽与著名作曲家布克斯特胡德毫无关联（其成书时间比这位作曲家出生早了两个世纪），却是14至15世纪音乐文献的重要汇编。这部曲集保存了1600年之前最庞大的键盘乐遗产，采用了一种特殊的符号记谱法：上方声部完整记谱，其余声部则以字母标注于下方——与当代吉他记谱方式颇为相似。其音乐本体展现了从二声部对位法向三声部对位法的过渡，偶见第四声部的运用，最鲜明的特色在于节奏处理：快速装饰性的高音声部在沉稳的伴奏声部之上流动。收录的十二部作品包含踏板使用说明，其中可见约翰内斯·恰科尼亚、邓斯泰布尔、班舒瓦和迪费等作曲家的手笔。

凯勒曼选用了两台历史管风琴进行演绎：第一台现存于南厄斯特南教堂（建造者不详），其历史可追溯至1425年，原属其他教堂，1721/22年迁至现址并经近年修复；第二台由约尔格·埃伯特1558年建造，存放于因斯布鲁克宫廷教堂。这些音乐在精湛的SACD环绕声录制技术加持下，呈现出令人愉悦的听觉体验。唱片以厄斯特南教堂（其钟铸造于1306年）浑厚的钟声拉开序幕。
（源于DeepSeek翻译）

https://115cdn.com/s/swwb5y03hq9?password=3377&#
Buxheimer Orgelbuch (DAS) - Ostonnen & Innsbruck - Joseph Kelemen [Oehms SACD]

joseph_li

BUXTEHUDE, Dietrich (c. 1637–1707)
7 Sonatas for 2 Violins, Viola da gamba & Harpsichord, Op. 1
Chan. 0766. Purcell Qt

Opus 1 was Buxtehude’s first surviving collection of instrumental ensemble music, published in 1694. No doubt Bach encountered it (or its companion, Opus 2 of 1696) on his famous walking visit to Lübeck, ostensibly to hear Buxtehude play the organ. The fact that he overstayed his planned visit tells us how much he admired Buxtehude’s instrumental music as well as his organ works, which undoubtedly had an influence on his own writing. Certainly these sonatas are inventive and full of life, and the later ones seem to get steadily more attractive. They are played by the Purcell group with pleasing vitality and freshness, and the Chandos recording is natural and warmly flattering.

作品1是布克斯特胡德第一部现存的器乐合奏曲集，出版于1694年。毫无疑问，巴赫在他著名的吕贝克徒步之旅中接触到了这部作品（或其姊妹作，1696年出版的作品2），表面上是为了听布克斯特胡德演奏管风琴。他比计划停留的时间更长，这说明他非常欣赏布克斯特胡德的器乐作品以及他的管风琴作品，这些作品无疑对他的创作产生了影响。这些奏鸣曲无疑创意十足、充满活力，而后期的作品似乎也越来越引人入胜。珀塞尔乐团演奏的这些作品充满活力和新鲜感，而Chandos唱片的录音则自然流畅、温暖动人。
（源于Google翻译）

https://115cdn.com/s/swwb5ka3hq9?password=3377&#
Buxtehude, Dietrich - VII Suonate, Op. 1 & 2 - Purcell Quartet [Chandos]

joseph_li

Ciacona in E min., BuxWV 160; Chorale Preludes: BuxWV 196; BuxWV 207; BuxWV 220–21. Magnificat primi toni, BuxWV 203; Praeludium in G min., BuxWV 148; Praeludium in A min., BuxWV 153; Toccatas: in D min. & F, BuxWV 155–6
BIS SACD 1809. Masaaki Suzuki (organs of St Nicolai Church, Altenbruch, & St Jacobi Church, Lüdingworth)

Masaaki Suzuki offers a single admirable recital of some of Buxtehude’s most impressive works, using organs at two churches near the mouth of the river Elbe. They could not be better chosen. First, they sound magnificent (especially in surround sound), and secondly, they were built by two organ builders whom Buxtehude especially admired.

Suzuki’s programme readily shows the diversity of the composer’s invention and how his chosen forms set a pattern for music written by his successors, including Bach. Indeed, remarkably the Toccata in D minor curiously anticipates the writing in Bach’s famous BWV 565. The Chorale Preludes setting the same chorale in pairs are strongly contrasted, one simple and the second complex. But it was Bach’s son, J. C. Bach, who was so impressed by the Chaconne in E minor, a set of variations on a four-bar bass theme that is repeated and varied 31 times.

铃木正明（Masaaki Suzuki）奉献了一场令人赞叹的独奏音乐会，演奏了布克斯特胡德一些最令人印象深刻的作品，演奏地点位于易北河口附近的两座教堂。这些教堂的管风琴堪称最佳之选。首先，它们的音质壮丽（尤其是在环绕声下）；其次，它们是由布克斯特胡德尤其敬佩的两位管风琴制造者建造的。

铃木的曲目充分展现了这位作曲家创作的多样性，以及他所选择的曲式如何为包括巴赫在内的后继者的音乐创作树立了典范。事实上，D小调托卡塔令人惊叹地预示了巴赫著名的BWV 565的创作。将同一支众赞歌成对出现的众赞歌前奏曲形成了鲜明的对比，一首简单，另一首复杂。但真正令巴赫的儿子J. C.巴赫印象深刻的是E小调恰空舞曲，这首变奏曲以一个四小节低音主题为基础，重复并变奏了31次。

https://115cdn.com/s/swwb5d33hq9?password=3377&#
Buxtehude, Dietrich - Works for Organ - Masaaki Suzuki [BIS SACD]

joseph_li

BYRD, William (1543–1623)
Masses for 3, 4 & 5 Voices; Ave verum corpus; Diffusa est gratia; Great Service (with anthems); Infelix ego; Ne irascaris; Domine; Nunc dimittis; Prevent us O Lord; Tristia et anxietas; Vigilate.
Gimell DVD GIMDP 902 or CDGIM 218 (2). Tallis Scholars, Peter Phillips

Because Byrd was the greatest composer of Elizabethan England, he was tolerated by his Queen, even though he was a devout Catholic, deploring the reformation of the English church. His three great Masses (written for recusant celebration) have striking beauty and intensity, and are presented here by Peter Phillips and the Tallis Scholars with great eloquence. With the collection expanded to include the Great Service and other memorable items, this is an indispensible representation of some of Byrd’s finest music, recorded creating a warm, fresh sonority, either at Merton College, Oxford, or in Tewkesbury Abbey (on DVD, with some pieces beautifully filmed by candlelight).

由于伯德是伊丽莎白一世时期英国最伟大的作曲家，即使他是一位虔诚的天主教徒，并谴责英国教会的改革，女王也对他表示了宽容。他的三部伟大的弥撒曲（为拒绝服从教派的庆祝活动而作）拥有惊人的美感和张力，由彼得·菲利普斯和塔利斯学者们以雄辩的口才在此呈现。随着藏品的扩展，包含了《大礼拜》和其他值得纪念的作品，这本藏品是伯德一些最优秀音乐作品的不可或缺的代表作，这些作品在牛津大学默顿学院或图克斯伯里修道院（DVD版，部分作品在烛光下拍摄而成）录制，营造出温暖清新的音色。
（源于Google翻译）

https://115cdn.com/s/swwb02z3hq9?password=3377&#
Byrd, William - The Tallis Scholars Sing William Byrd [Gimell]

joseph_li

CALLAS, Maria (soprano)
Rather like the Decca and EMI surveys of Pavorotti’s recordings, EMI, for the eightieth anniversary of Callas’s birth (and the fortieth of her death) brought out three celebratory collections of her recordings, including this 70-disc complete survey. Most of these recordings have been discussed by us over the years and virtually all the operas are reviewed in our pages, so a list of recordings and dates is all that is needed here, plus a few general comments.

与迪卡唱片公司（Decca）和百代唱片公司（EMI）对帕沃罗蒂唱片的回顾一样，百代唱片公司（EMI）在卡拉斯诞辰八十周年（以及她逝世四十周年）之际，也推出了三套她的唱片纪念合集，其中包括这张包含70张唱片的完整回顾合集。多年来，我们一直在讨论这些唱片中的大部分，几乎所有歌剧都在我们的网页上进行了评论，因此这里只需要列出唱片和日期，并附上一些常规评论即可。

EMI 3 95918-2 (70) Complete Callas Edition

Callas undoubtedly made her finest recordings early in her recording career, in the mid-1950s. Where she re-recorded operas later in stereo, the voice usually shows less security, often with hardness, even harshness above the stave, and the mono version remains a better choice. This certainly applies to her often thrilling 1953 performance of Lucia di Lammermoor as compared with the 1959 recording; and she was similarly at her peak in the 1954 Norma and less impressive in the 1960 stereo set. Her early Puccini recordings are all a success; she is a vibrant Mimì in La Bohème and, with Karajan directing, her Madama Butterfly is also memorable, while the close of Manon Lescaut is riveting. Not surprisingly, she makes a formidable Turandot, while her Tosca, with Gobbi as Scarpia, is unforgettable. Among the Verdi sets, Aida proves one of her finest roles, and Forza del destino and La traviata both find her movingly dramatic, while Karajan’s presence again ensures an electrifying Trovatore. Perhaps more remarkable is her touching portrayal of Gilda in Rigoletto, where once again Gobbi is a superb partner. Not to be forgotten is her Rosina in Rossini’s Il barbiere, a set which is still unsurpassed for its humour and lightness of touch from a very distinguished cast. Carmen, which one would have expected to be a triumph, is strangely disappointing, but still offers plenty to enjoy. All these recordings have survived in the catalogue for half a century, which says much for the Callas charisma. Often listed at well under £100, this 70-CD set is hardly an indulgence, but remains an essential purchase for all lovers not only of Maria Callas but of opera in general.

卡拉斯无疑在她录音生涯的早期，也就是20世纪50年代中期录制了她最优秀的唱片。后来，当她以立体声重新录制歌剧时，声音通常显得缺乏安全感，经常显得生硬，甚至在五线谱上方显得刺耳，而单声道版本仍然是更好的选择。与1959年的录音相比，她1953年演绎的《拉美莫尔的露琪亚》激动人心，这一点毋庸置疑；同样，她在1954年演绎《诺尔玛》时达到了巅峰，但在1960年的立体声录音中却不那么令人印象深刻。她早期的普契尼录音都非常成功；她在《波西米亚人》中饰演了充满活力的咪咪，在卡拉扬的指导下，她的《蝴蝶夫人》也令人难忘，而《曼侬·莱斯科》的结尾则引人入胜。毫不奇怪，她演绎的《图兰朵》令人敬畏，而她与戈比饰演斯卡皮亚的《托斯卡》也令人难忘。在威尔第的歌剧中，《阿依达》是她最精彩的角色之一，而《命运之力》和《茶花女》也都展现了她动人心魄的戏剧张力，卡拉扬的加入则再次为《游吟诗人》增添了令人振奋的魅力。或许更令人瞩目的是她在《弄臣》中对吉尔达的动人演绎，戈比再次与她搭档。同样不容错过的还有她在罗西尼歌剧《理发师》中饰演的罗西娜，这套歌剧以其幽默诙谐、轻松诙谐的风格至今仍无人能及，演员阵容也堪称一流。《卡门》原本有望大获成功，但结果却出奇地令人失望，但仍不乏欣赏之处。所有这些录音在歌剧目录中保存了半个世纪，这充分证明了卡拉斯的魅力。这套70张CD的歌剧套装通常售价远低于100英镑，绝非奢侈之举，但对于所有卡拉斯爱好者乃至歌剧爱好者来说，它仍然是必购之物。
（源于Google翻译）

https://115cdn.com/s/swwb0253hq9?password=3377&#
Callas, Maria - EMI Complete Studio Recordings
没有复制冗长的曲目清单。这个大包来自于本论坛乐友（恕我忘记哪位了）分享，为Flac整轨。
还有一个APE格式的大包，磁链：magnet:?xt=urn:btih:0647E38090F1F306C76A11A75F54BDC293B0D884，5盘可秒。

joseph_li

CAMPRA, André (1660–1744)
L’Europe Galante
Australian Decca Eloquence (ADD) 480 2374. ECO, Leppard – LULLY: Pièces de symphonie

The sheer tunefulness of L’Europe Galante has ensured that it hasn’t disappeared for too long out of the catalogues: just sample the Ragaudon I & II for sheer catchiness. Campra, who was a few years older than Couperin, possessed keen melodic instincts and a genuine freshness. His work, partly thanks to this pioneering recording from 1966, seems to be gaining a wider following now, and this suite is marked by characteristic lyrical grace. It is given a thoroughly idiomatic performance, with modern instruments used to good effect, for Leppard had a fine sense of texture. The Kingsway Hall recording still sounds well, with added definition on CD.

《优雅的欧洲》纯粹的旋律优美确保了它不会在唱片目录上消失太久：只需试听一下《拉戈东》第一部和第二部，就能感受到它纯粹的吸引力。坎普拉比库普兰年长几岁，拥有敏锐的旋律直觉和真正的新鲜感。他的作品，部分归功于1966年的这张开创性的录音，如今似乎正获得更广泛的追随者，而这套组曲以其独特的抒情优雅为特色。莱帕德对音乐质感的把握非常出色，现代乐器的运用也达到了极致，演奏风格也十分地道。国王大道音乐厅的录音至今仍令人回味无穷，CD版的清晰度更高。
（源于Google翻译）

https://115cdn.com/s/swwb2383hq9?password=3377&#
Campra, André - L'Europe Galante & Lully - Pièces de Symphonie - Raymond Leppard, ECO [Decca]