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

joseph_li

CHRISTOFF, Boris (bass)
‘Russian Opera, Arias and Songs’: excerpts from: MUSSORGSKY: Boris Godunov; Khovanshchina. BORODIN: Prince Igor. RIMSKY-KORSAKOV: Sadko; The Legend of the Invisible City of Kitezh. TCHAIKOVSKY: Eugene Onegin. MUSSORGSKY: Songs. Russian Folksongs
EMI mono 392054-2

The magnetic quality of Christoff’s singing is never in doubt here, and the compulsion of the singer’s artistry as well as the vivid individuality of his bass timbres makes this a real portrait, not just a collection of items. These were his first recordings of the Boris Godunov excerpts (in which he assumes three different characters), and in musical terms he probably never surpassed them. But his characterization here is just as impressive as the singing itself, full of variety. The EMI transfers, of recordings made between 1949 and 1952, are bold and brightly focused with the most vivid projection.

克里斯托夫演唱的磁性魅力在此毋庸置疑，这位歌唱家的艺术感染力与极具个性的男低音音色共同铸就了一幅鲜活的声乐肖像，而非简单的曲目堆砌。这些1949至1952年间录制的《鲍里斯·戈杜诺夫》选段（他一人分饰三角）是他的首次录音，就音乐表现力而言或许是他职业生涯的巅峰。但更令人惊叹的是他对角色的塑造——其丰富层次与演唱本身同样出色。EMI公司对这些历史录音的转录处理大胆而鲜明，音像投射极具临场感。
（源于DeepSeek翻译）


https://115cdn.com/s/swwoyv43hq9?password=3377&#
Christoff, Boris - Russian Opera Arias and Songs [EMI]

吐个槽，Google翻译成中文的能力真的有点弱，“信、雅、达”貌似都欠缺，对比一下它的翻译：
克里斯托夫演唱的磁性毋庸置疑，他极具感染力的艺术造诣以及他低音音色鲜明独特的个性，使这张专辑成为一幅真实的肖像，而非仅仅是一堆零散的片段。这是他首次录制鲍里斯·戈杜诺夫选段（他在其中扮演了三个不同的角色），从音乐角度来看，他或许从未超越过这些作品。但他对人物的刻画与演唱本身一样令人印象深刻，充满变化。EMI 转制的1949年至1952年间的录音大胆而明亮，展现了最生动的表达。

joseph_li

CILEA, Francesco (1866–1950)
Adriana Lecouvreur (CD version)
Decca 475 7906 (2). Sutherland, Bergonzi, Nucci, d’Artegna, Cicuca, Welsh Nat. Op. Ch. & O, Bonynge

This is a curious but attractive opera with one pervading grand tune that should alone ensure its survival. It is the story of a great opera singer caught up in international intrigue and, in the manner of the veristic school, we are given a chance to observe her for a moment or two in her roles before she deals with her own life drama. Sutherland’s performance could not be warmer-hearted, she impresses with her richness and opulence in the biggest test, the aria ‘Io son l’umile ancella’, an actress’s credo, and her formidable performance is warmly backed up by the other principals and equally by Richard Bonynge’s conducting, not just warmly expressive amid the warmth of rich tunes, but light and sparkling where needed, easily idiomatic.

这部歌剧别致迷人，贯穿始终的宏伟旋律单凭其自身便足以流芳后世。剧情讲述一位深陷国际阴谋的著名歌剧女伶的故事，秉承真实主义流派的风格，观众得以先窥见她舞台上的角色演绎，继而目睹她直面自己的人生戏剧。萨瑟兰的演绎饱含赤忱，在最高难度的咏叹调《我是上帝谦卑的侍女》（演员信条）中，她以丰沛华美的音色令人倾倒。这位传奇女高音的震撼演出不仅得到其他主演的默契烘托，更得益于博宁吉的指挥艺术——他既能以温暖笔触勾勒丰盈旋律的情感内核，又在需要时赋予灵动璀璨的华彩，对意大利歌剧风格的把握可谓举重若轻。
（源于DeepSeek翻译）


https://115cdn.com/s/swwoyea3hq9?password=3377&#
Cilea, Francesco - Adriana Lecouvreur - Richard Bonynge, Welsh National Opera; Sutherland, Bergonzi, Nucci [DECCA]

武陵渔家

肖邦的那颗彩蛋好，谢谢分享。

joseph_li

CIMAROSA, Domenico (1749–1801)
Il Maestro di Cappella
Decca 475 8490 (2). Corena, ROHCG O, Quadri – DONIZETTI: Don Pasquale

This sparkling ‘intermezzo’, lasting under 20 minutes, is one of the gems of the operatic catalogue. Corena’s classic assumption of the role of the incompetent Kapellmeister is a joy from beginning to end. Corena shows complete mastery of the buffo bass style, and he is so little troubled by the florid passages that he can relax in the good humour. The vintage (1960) recording is both vivid and atmospheric, with the directional effects naturally conveyed. This music shows Cimarosa at his very best.

这段不足二十分钟的璀璨"间奏曲"，堪称歌剧目录中的瑰宝。科雷纳对那位不称职的乐队指挥角色的经典演绎，自始至终都令人愉悦。这位低音歌唱家展现出对滑稽唱腔的绝对掌控，那些华丽乐段对他而言游刃有余，使他能全然沉浸在欢愉的表演中。这段1960年的经典录音既生动又富有氛围感，方向性音效自然呈现。此时的奇马罗萨，正绽放着最耀眼的创作光芒。
（源于DeepSeek翻译）


https://115cdn.com/s/swwoair3hq9?password=3377&#
Fernando Corena - Cimarosa - Il maestro di Cappella & Verdi - Falstaff – Excerpts [DECCA]
这张碟没找到，Qobuz网站虽有，但是下不下来。找到这张科雷纳的 《Verdi: Falstaff & Cimarosa: Il maestro di Cappella – Excerpts》，奇马罗萨《唱诗班指挥》曲目与之一样。

joseph_li

CLARKE, Rebecca (1886–1979)
(i–ii) Dumka; (i) Chinese Puzzle; I’ll bid my heart be still; Lullaby; Lullaby on an Ancient Irish Tune; Morpheus; Passacaglia on an Old English Tune; (iii) Prelude, Allegro & Pastorale; (i) Viola Sonata
Naxos 8.557934. Dukes, with (i) Rahman; (ii) Hope; (iii) Plane

Rebecca Clarke’s Viola Sonata is arguably the greatest work in that genre written in the twentieth century. It was written for the competition organized by Elizabeth Sprague Coolidge in 1919, and was counted equal first against Bloch’s Viola Sonata, being relegated to second place only by casting vote. It is a ripely romantic piece, with echoes of English pastoral but with a very strong, far more international flavour, not least in the final meditative Adagio. The Sonata, superbly performed by Philip Dukes with Sofia Rahman, is well complemented by Clarke’s other works for viola and piano, plus Dumka with violin added, and the Prelude, Allegro and Pastorale, for viola and clarinet in duet. Most of these works were unpublished at the time of Clarke’s death, a composer, born in England, who spent the last 40 years of her life in New York, writing few but inspired works, all of them fresh, intense and inventive.

丽贝卡·克拉克的《中提琴奏鸣曲》无疑是二十世纪中提琴体裁中最伟大的作品。这部作品为伊丽莎白·斯普拉格·库利奇于1919年组织的比赛而作，与布洛赫的《中提琴奏鸣曲》并列第一，仅凭投票便屈居第二。这是一部浪漫主义的成熟作品，带有英式田园风情，但又带有浓郁的国际化气息，尤其是在最后的冥想柔板部分。菲利普·杜克斯与索菲亚·拉赫曼精彩演绎了这首奏鸣曲，克拉克的其他中提琴与钢琴作品，以及小提琴版的《杜姆卡》，以及中提琴与单簧管二重奏的《前奏曲》、《快板》和《田园曲》也与这首奏鸣曲相得益彰。克拉克去世时，这些作品大部分尚未出版。克拉克是一位出生于英国的作曲家，她生命的最后 40 年在纽约度过，创作的作品不多，但却充满灵感，所有作品都新颖、强烈、富有创造力。
（源于Google翻译）


https://115cdn.com/s/swwoai03hq9?password=3377&#
Clarke, Rebecca - Viola Music - Philip Dukes, Hope, Rahman [Naxos]

joseph_li

CLEMENTI, Muzio (1752–1832)
Symphonies: 1 in C; 2 in D; 3 in G (Great National Symphony); 4 in D
Warner Apex (ADD) 2564 62762-2 (2). Philh. O, Scimone

Six of Clementi’s 20 symphonies survive. The four numbered works are all scored for much larger forces than the Op. 18 set (included on an excellent Chandos CD, CHAN 9234, with the LMP and Bamert). Their musical content explains Clementi’s high reputation in his lifetime as a composer for the orchestra, not just the piano. If the Great National Symphony is the most immediately striking, with God Save the King ingeniously worked into the third movement, the other works are all boldly individual. Scimone’s Philharmonia performances from 1978 are both lively and sympathetic, and the recorded sound is excellent – and all at bargain price.

克莱门蒂的20部交响曲中，有6部尚存。这四部编号作品的配乐力度远超作品18号（收录于Chandos发行的一张名为CHAN 9234的优秀CD，由LMP和Bamert唱片公司发行）。这些作品的音乐内涵解释了克莱门蒂生前作为管弦乐队作曲家而非钢琴作曲家的崇高声誉。如果说《伟大的国家交响曲》最引人注目，其第三乐章巧妙地融入了《天佑吾王》的旋律，那么其他作品也都独具特色，风格鲜明。西蒙尼1978年在爱乐乐团的演出生动活泼，富有感染力，录音效果也十分出色——而且价格实惠。


Piano Sonatas: Op. 24/2; Op. 25/5; Op. 40/2–3
Hyp. Helios CDH 55227. Demidenko

The spirit of Beethoven undoubtedly hovers over the dramatic opening of the D major Sonata, Op. 40/3, with which Demidenko opens his recital, and his performances of both this and the closing Op. 40/2 (both published in 1802) are very arresting. The Molto adagio sostenuto which acts as a prelude to this B minor Sonata is played with moving serenity and both the central Largo mesto e patetico and the Lento patetico of the F sharp minor, Op. 25/5, are very beautiful in Demidenko’s hands. The Allegro confuoco of Op. 40/2 brings dazzling virtuosity, while he provides his own cadenzas for the first movement of Op. 24/2. Recorded at the Snape Maltings, Aldeburgh, in 1994, this reissue is a fine bargain. Those wanting to explore this rewarding repertoire further can turn to Hyperion’s ongoing series of comparable distinction, played by Howard Shelley (CDA 67632, 67717, 67729, 67738, 67814 and 67819). Each is a double album with two discs offered for the price of one.

德米登科独奏音乐会以D大调奏鸣曲（Op. 40/3）的戏剧性开场无疑弥漫着贝多芬的精神，他对这首曲子和结尾的Op. 40/2（均出版于1802年）的演奏都非常引人注目。这首B小调奏鸣曲的前奏“Molto adagio sostenuto”演奏得宁静动人，而F小调（Op. 25/5）的中央“Largo mesto e patetico”和“Lento patetico”在德米登科的手中都显得非常优美。Op. 40/2的Allegro confuoco展现了令人眼花缭乱的精湛技艺，同时他还为Op. 24/2的第一乐章创作了自己的华彩乐段。这张唱片于1994年在奥尔德堡的Snape Maltings录制，再版非常划算。想要进一步探索这套精彩曲目的乐迷，可以关注 Hyperion 乐队持续发行的、同样出色的系列专辑，由 Howard Shelley 演奏（CDA 67632、67717、67729、67738、67814 和 67819）。每张专辑均为双碟装，一张 CD 的价格包含两张。
（源于Google翻译）


https://115cdn.com/s/swwoayl3hq9?password=3377&#
Clementi, Muzio - Complete Piano Sonatas Vol.1~6 - Howard Shelley [Chandos]等4个文件(夹)

joseph_li

COATES, Eric (1886–1957)
Cinderella (Phantasy); Dambusters March; Joyous Youth (Suite); London Suite; Miniature Suite; The Selfish Giant (Phantasy); The Three Bears (Phantasy)
Chan. 9869. BBC PO, Gamba

Eric Coates is undoubtedly the greatest of the many fine British ‘light music’ composers. He was aptly described as ‘the man who writes tunes’ and, touchingly, just when his style of music was going out of fashion, he had one resounding and lasting hit at the end of his life with the Dambusters March – equal in impact to patriotic examples by Elgar and Walton if with a less nobilmente central tune. No praise could be higher, although we believe the piece was based on an earlier march which the composer replaced. This Chandos CD is arguably the finest single-CD collection of Coates’s music before the public. It is a joy to hear his imaginatively coloured orchestration on a full-size orchestra with an ample string group, splendidly served by these superb performances and Chandos’s demonstration-worthy recordings. The finest of the three Phantasies is The Three Bears, with its opening rhythmic phrase, ‘Who’s been sleeping in my bed?’, and its later, beguiling waltz theme. Cinderella boasts another richly romantic example, and two more, both deliciously lightweight, close the Joyous Youth Suite and the Miniature Suite, which shows the composer at his most delicately elegant and graceful. (I.M. remembers that the latter was one of the first pieces he played when he first took up the French horn as a teenager with the Woolwich Civil Defence Orchestra during the war!) More robust is the London Suite, with its vigorous, pacy evocation of the old Covent Garden market, followed by a romantic portrayal of Westminster, complete with Big Ben chimes. The Knightsbridge March finale was famous as a signature tune for the BBC’s In Town Tonight – the first radio ‘chat show’, in which guests who were ‘in town’ came into the studio to be interviewed. All orchestral musicians love playing Coates’s music (particularly so as it is both rewarding and technically demanding) and this is conveyed by the orchestra throughout this wonderfully enjoyable collection.

Also worth considering is a long-available bargain two-CD collection on an EMI Classics for Pleasure (3 52356-2 (2)), conducted by either Groves, Kilbey or Mackerras – all the famous pieces are included, along with rarer items such as the Saxo-Rhapsody, in warmly sympathetic performances and in decent sound. Highlights in that set include Reginald Kilbey’s performance of The Three Elizabeths, the composer’s most inspired triptych, which is done with real flair in catching the composer’s leaping allegro figurations in the first movement, and also in his shaping of the central slow movement – ‘Elizabeth of Glamis’, one of the composer’s loveliest melodies (with a true Scottish snap in the rhythm and an affectionate grace) dedicated to the late Queen Mother.

埃里克·科茨无疑是众多优秀英国“轻音乐”作曲家中最杰出的一位。他被恰如其分地描述为“创作旋律的人”。令人感动的是，就在他音乐风格逐渐过时之际，他晚年创作了一首响亮而持久的热门作品——《轰炸水坝者进行曲》——其影响力堪比埃尔加和沃尔顿的爱国主义作品，只是其核心旋律的贵族气质略逊一筹。尽管我们认为这首曲子是基于作曲家之前创作的一首进行曲，但科茨的作品已被他取代，对此他给予了无上的赞誉。这张Chandos的CD可以说是科茨音乐在公众面前最优秀的单曲合集。聆听他富有想象力的配器，在一支规模庞大的管弦乐队和一支实力雄厚的弦乐组合的伴奏下演绎，令人欣喜不已，而这些精彩的演出和Chandos值得一听的录音更是锦上添花。三部幻想曲中最精彩的是《三只熊》，其开场节奏感十足的乐句是“谁睡在我的床上？”，随后是迷人的华尔兹主题。《灰姑娘》是另一部浪漫主义作品，另有两部轻盈优美的乐曲，分别收录在《欢乐青春组曲》和《迷你组曲》中，展现了作曲家最精致优雅的创作风格。（贝聿铭记得，后者是他十几岁时在战争期间与伍尔维奇民防管弦乐团首次接触圆号时演奏的第一批乐曲之一！）更为强劲有力的是《伦敦组曲》，其充满活力、节奏明快地再现了古老的科文特花园市场，随后是对威斯敏斯特的浪漫描绘，伴随着大本钟的钟声。结尾的骑士桥进行曲是BBC《今夜城里》的标志性曲目——这是第一档广播“脱口秀”，节目中“在城里”的嘉宾来到演播室接受采访。所有管弦乐演奏家都热爱演奏科茨的音乐（尤其因为它既令人满足，又对技术要求极高），而乐团在这张精彩绝伦的合辑中也充分展现了这一点。

同样值得一看的还有一张长期发行的EMI Classics for Pleasure（3 52356-2 (2)）双CD合辑，由格罗夫斯、基尔贝或麦克拉斯指挥——所有著名曲目都收录其中，此外还有《萨克斯狂想曲》等较为罕见的曲目，演奏热情奔放，音色优美。该系列的亮点包括雷金纳德·基尔比 (Reginald Kilbey) 演奏的《三个伊丽莎白》，这是作曲家最有灵感的三联画，它巧妙地捕捉了作曲家在第一乐章中跳跃的快板形象，以及他对中央慢乐章——《格拉米斯的伊丽莎白》的塑造，这是作曲家最美丽的旋律之一（节奏中带有真正的苏格兰风格和深情的优雅），献给已故的王太后。
（源于Google翻译）

https://115cdn.com/s/swwoaas3hq9?password=3377&#
Coates, Eric - The Music of Eric Coates - Groves, Kilbey, Mackerras [Warner]等2个文件(夹)

与企鹅三四星带花相比，这个推荐清单里多了不少廉价版，亲民不少。

joseph_li

The Dambusters March. From Meadow to Mayfair: Suite. The Merrymakers: Overture. Summer Days: Suite. Three Bears (Phantasy); Three Elizabeths Suite: March
Lyrita (ADD) SRCD 246. New Philh. O or LPO, Boult (with GRAINGER: Over the Hills and Far Away. DELIUS: Marche Caprice. WALTON: Hamlet: Funeral March. VAUGHAN WILLIAMS: The Wasps: March Past of the Kitchen Utensils. ROSSINI, arr. BRITTEN: Soirées musicales: March. HOLST: Suite in E flat, Op. 28/1: March)

As ever, Coates’s music has great craftsmanship as well as good tunes and, lightweight though it is, it lies firmly within the English tradition. Here Boult finds its affinities with Elgar in delicacy of scoring and hints of nostalgia. Summer Days, written in the summer of 1919, was the first work that Coates composed as a former orchestral player. It includes a justly famous waltz, At the Dance, graciously elegant and with hardly any Viennese influence. The lollipops added for this reissue are equally welcome, particularly The March Past of the Kitchen Utensils, the hit number from Vaughan Williams’s incidental music for The Wasps. The late-1970s recording is splendid, matching Lyrita’s predictable high standard.

科茨的音乐一如既往地精湛，旋律优美，尽管略显轻盈，却依然秉承着英国传统。博尔特的音乐在配乐的细腻和一丝怀旧气息方面与埃尔加的作品颇为相似。《夏日》创作于1919年夏天，是科茨作为前管弦乐演奏家创作的首部作品。其中包括一首名副其实的华尔兹《舞会上》，优雅大方，几乎不受维也纳音乐的影响。此次再版的热门曲目也同样受欢迎，尤其是沃恩·威廉姆斯为《黄蜂乐队》创作的热门曲目《厨房用具的行进》（The March Past of the Kitchen Utensils）。这张70年代末的录音非常出色，与《利里塔》一贯的高水准相得益彰。

通过网盘分享的文件：Coates, Eric - Boult conducts Coates etc. [Lyrita]
链接: https://***.com/s/1-i5yDN-DpcErHPxc4iZZ9g?pwd=3377 提取码: 3377

joseph_li

COLERIDGE-TAYLOR, Samuel (1875–1912)
Violin Concerto in G min., Op. 80; Legend, Op. 14; Romance in G, Op. 39
Lyrita SRCD 317. McAslan, LPO, Braithwaite (with HARRISON: Bredon Hill)

Coleridge-Taylor’s beautiful Violin Concerto was one of the great discoveries of the Lyrita catalogue; although recorded in 1994 it was not issued until after 2007 (after two other versions had appeared). Lorraine McAslan’s warmly lyrical performance is fully worthy of it and Nicholas Braithwaite and the LPO give passionate support. McAslan provides poetic performances of the Legend and Romance, both with memorable main themes, the Legend especially captivating. Then, for a valuable bonus, we are given the richly atmospheric Bredon Hill rhapsody of Julius Harrison, a lovely piece, obviously influenced by Vaughan Williams’s Lark Ascending, but also by Butterworth – another memorable performance and admirably recorded.

柯勒律治-泰勒优美的小提琴协奏曲是Lyrita唱片公司最伟大的发现之一；尽管录制于1994年，但直到2007年之后才发行（此前已发行了另外两个版本）。洛林·麦卡斯兰热情洋溢的演绎完全配得上这份殊荣，尼古拉斯·布雷斯韦特和伦敦爱乐乐团也给予了热情洋溢的支持。麦卡斯兰对《传奇》和《浪漫》的演绎充满诗意，两部作品都拥有令人难忘的主题，《传奇》尤其引人入胜。此外，还有一项宝贵的额外收获：朱利叶斯·哈里森创作的氛围浓郁的布雷登·希尔狂想曲，这首优美的乐曲显然受到了沃恩·威廉姆斯《云雀高飞》的影响，但也受到了巴特沃斯的影响——这又是一次令人难忘的演绎，录音也堪称一流。
（源于Google翻译）


Coleridge-Taylor, Samuel - Violin Concerto and other works - Lorraine McAslan, Braithwaite, LPO [Lyrita]
链接: https://***.com/s/1amHE4cnw9r340L-kMmzEGw?pwd=3377 提取码: 3377

joseph_li

Ballade in C min., Op. 73; Clarinet Quintet in F sharp min., Op. 10; Piano Quintet in G min., Op. 1
Hyp. CDA 67590. Nash Ens.

The Piano Quintet, written at the age of 18, is an astonishingly precocious work. It brims with assurance in its melodic sweep, and it is remarkable that this is probably its first performance since its première in 1893. Both Schubert and, especially, Dvořák’s influence can clearly be heard in this work. Curiously, the finale is the darkest movement of the four, though this mood is dispelled by a surprise fugato section instead of a development section, and the work ends triumphantly in the major key. The Clarinet Quintet, written shortly after, is perhaps the greater work: it was inspired by a remark of Stanford, who made comment to the effect that after Brahms produced his clarinet quintet, no one would be able to compose another which did not show Brahms’s influence. It was taken up as a challenge, and when he showed Stanford the result, he remarked, ‘You’ve done it, me boy!’ Again, the influence of Dvořák is most apparent. Its freshly energetic first movement is followed by an exquisitely beautiful slow movement which has, as the sleeve-note writer says, ‘the qualities of an idealized folk song’. The Scherzo is a rhythmic tour-de-force, and the finale, with dashes of local colour in the form of a Scotch snap, is delightful. The Ballade is a later work, written for the violinist Michael Zacherewitsh; it was first performed in Leeds in 1907. It is a wonderfully romantic, brooding work, with the spirit of Tchaikovsky (whom Coleridge-Taylor admired) and even of Rachmaninov. It is all masterfully performed by the Nash Ensemble whose unforced yet vital performances are a constant source of joy. Immaculate recording.

创作于18岁的钢琴五重奏，堪称一部令人惊艳的早熟之作。其旋律流畅，自信满满。令人瞩目的是，这很可能是其自1893年首演以来的首次演出。舒伯特，尤其是德沃夏克的影响，在这部作品中清晰可见。令人称奇的是，终乐章是四部作品中最阴暗的乐章，但这种氛围被一段出人意料的赋格部分而非展开部分所化解，最终作品以大调圆满收官。创作于其后不久的单簧管五重奏，或许是更伟大的作品：它的灵感源自斯坦福的一句评论，斯坦福曾说过，在勃拉姆斯创作出他的单簧管五重奏之后，没有人能够创作出不受勃拉姆斯影响的作品。这首乐曲被斯坦福视为一项挑战，当他向斯坦福展示作品时，斯坦福赞叹道：“你成功了，小伙子！” 德沃夏克的影响再次清晰可见。充满活力的第一乐章之后是优美绝伦的慢乐章，正如唱片封套上的作者所说，它“拥有理想化民歌的特质”。谐谑曲是节奏感极强的杰作，终曲以苏格兰脆酒的形式点缀着一丝地方色彩，令人愉悦。叙事曲是他后期为小提琴家迈克尔·扎切雷维奇创作的作品，于1907年在利兹首演。这是一部浪漫而深沉的作品，融合了柴可夫斯基（柯勒律治-泰勒所钦佩的人物）甚至拉赫玛尼诺夫的精神。纳什乐团的演奏技艺精湛，他们自然而又充满活力的表演始终令人愉悦。录音堪称完美。


(i–iii) Hiawatha’s Wedding Feast. (ii; iv) Petite Suite de Concert, Op. 77; (v) La Bamboula (Rhapsodic Dance)
CfP (ADD) 587 0242. (i) Richard Lewis & Royal Choral Soc.; (ii) Philh. O; (iii) Sargent; (iv) Weldon; (v) Bournemouth SO, Alwyn

Coleridge-Taylor’s choral trilogy based on Longfellow’s epic poem had its first performance under the composer at the Royal Albert Hall in 1900. It took a while to catch on, but in every year from 1924 until the outbreak of war in 1939 it was given a staged presentation at the same venue. Often nearly a thousand costumed ‘Red Indian’ performers came to enjoy themselves hugely, singing under the baton of their tribal chief, Sir Malcolm Sargent. His splendid record of Hiawatha’s Wedding Feast (EMI) – the most popular part of the trilogy – remains unsurpassed to this day. This vintage recording – one of the highlights in the Classics for Pleasure catalogue – includes Richard Lewis’s stylish performance of Onaway! Awake, Beloved!, but there is much else to enjoy, of course. The 1961 sound is warmly atmospheric. The Petite Suite de Concert, a salon pastiche, is the composer’s best-known work and is music of great charm, with George Weldon’s polished Philharmonia performance wholly sympathetic and not in the least sentimental, and in first-class sound. La Bamboula, which the composer wrote for his third visit to the USA in 1910, is a ‘series of evolutions’ on a West Indian dance also used by Gottschalk, and makes an attractive encore.

柯勒律治-泰勒根据朗费罗的史诗改编的合唱三部曲于1900年在作曲家的指挥下在皇家阿尔伯特音乐厅首演。这部作品流行了一段时间，但从1924年到1939年战争爆发，每年都会在同一地点上演。通常，近千名身着“印第安人”服装的演员前来，在部落首领马尔科姆·萨金特爵士的指挥下尽情歌唱。他录制的《海华沙的婚宴》（EMI）是三部曲中最受欢迎的部分，至今仍无人能及。这张经典唱片是“古典乐享”唱片目录中的亮点之一，收录了理查德·刘易斯精彩演绎的《奥纳威！醒来吧，亲爱的！》，当然，还有很多其他值得欣赏的地方。1961年的录音温暖而富有氛围。 《小型音乐会组曲》是作曲家最著名的作品，是一部沙龙模仿作品，充满魅力。乔治·韦尔登（George Weldon）精湛的交响乐团演奏充满同情心，丝毫不伤感，音质一流。作曲家为1910年第三次访问美国而创作的《班布拉》（La Bamboula）是戈特沙尔克也曾使用过的西印度舞蹈的“演变系列”，在返场曲中极具感染力。
（源于Google翻译）


https://115cdn.com/s/swwoap73hq9?password=3377&#
Coleridge-Taylor, Samuel - Hiawatha's Wedding Feast, Othello Suite, Petite Suite de Concert - Malcolm Sargent [Beulah]等2个文件(夹)

第二张没找到，找到了一个小公司引进版，缺La Bamboula (Rhapsodic Dance)。对于这种冷门作曲家的历史录音，能找到就听听。

joseph_li

第288、289楼的分享被5盘莫名判定违规，晚上回去整个度盘的分享再更新链接吧。

joseph_li

扯点与分享无关的。

这个帖子开帖以来，浏览数不算少，但是资源转存的数量不多。是用5盘的人不多，还是分享的内容不受欢迎？在这个帖子之前发的《Gramophone Best Classical Music 2024》转存下载量过千，看来并非5盘用户少。估计还是分享的内容过于小众或冷门吧，而且点击的是固定的这几十位乐友。

现阶段的分享只有5盘链接，利用闲余时间发帖，暂时没时间把资源搬运到度盘。等分享告一段落以后，我整理一下再转到度盘，得等一段时间了，而且只能搬运16-44.1格式的普通CD，度盘没空间，转存不了高码或SACD。

Blove0123

别的原因不敢乱评，但至少有一个原因是现在的绿坛感觉人气太少。可能现在的人都忙于生计，没时间听音乐了吧

万物枯荣

joseph_li 发表于 2025-6-19 13:22
扯点与分享无关的。

这个帖子开帖以来，浏览数不算少，但是资源转存的数量不多。是用5盘的人不多，还是 ...

没买115会员，转存不了多少，都是每天200K左右挂点滴下载。

我猜，当您全部完工那时，会有人说，来个度盘打包的全集吧。

joseph_li

万物枯荣 发表于 2025-6-19 19:21
没买115会员，转存不了多少，都是每天200K左右挂点滴下载。

我猜，当您全部完工那时，会有人说，来个 ...

稍等一下吧，等时间充裕的时候分阶段分享一下。度盘扩容太贵是一方面，造成无法存SACD和24K高码资源。最大的问题是文件名过长上传失败不提示，造成丢轨严重，为了避免这个问题，只能下载后再存一次5盘，之后再转存度盘，很费时间。

leitong

joseph_li 发表于 2025-6-19 13:22
扯点与分享无关的。

这个帖子开帖以来，浏览数不算少，但是资源转存的数量不多。是用5盘的人不多，还是 ...

你提供的信息这么丰富，解说这么详细，象我这样不怎么听歌剧的，就会跳过很多录音了。

不必担心下载数据，这个贴本身就是最值得收藏的。

的确现在有很多小众的作曲家和乐队，也会影响大家的下载兴趣的。毕竟不是每个人都喜欢收集这些。

武陵渔家

joseph_li 发表于 2025-6-19 13:04
第288、289楼的分享被5盘莫名判定违规，晚上回去整个度盘的分享再更新链接吧。

说起违规，讲个笑话。两天前突然发现我的五盘一个文件夹下有红字提示“文件含违规内容”，这个文件夹内全都是古典音乐，点看文件夹，里面的每个文件都有违规的标记，百思不得其解。

把这情况反映给小五客服，小五客服也不知原因。

后来把所有文件转移到另一文件夹，那个空文件夹还有提示“内容违规”。

于是知道什么原因了。原来问题出在文件夹的名字，那个小五判“违规”的文件夹名为“室内乐yue”。小五判定为“室内乐le”，在室内做快乐的事情是不对的，是违规的。

于是把“室内乐”改为”室内音乐“，在室内听音乐小五是允许的，就没问题了。

victorov

joseph_li 发表于 2025-6-19 13:22
扯点与分享无关的。

这个帖子开帖以来，浏览数不算少，但是资源转存的数量不多。是用5盘的人不多，还是 ...

五盘相对百度盘来说便宜不少，而且扩容极其方便。转存量大的帖子最好还是用五盘。

joseph_li

COLLINS, Anthony (1893–1963)
Eire; Festival Royal – Overture; The Lady with a Lamp; Louis XV Silhouettes; The Saga of Odette; Santa Cecilia; Symphony 1 for Strings; Vanity Fair; Victoria the Great
Dutton CDLX 7162. BBC Concert O, Wilson

Anthony Collins was the ideal recording conductor, as he was able to bring music vividly to life in the studio, and his Decca Sibelius cycle was a classic of the post-war LP era. This is the first CD devoted to his own highly enjoyable music. It opens with the patriotic Festival Royal – Overture (first performed in 1956) and, while it uses such obvious quotations as God Save the Queen and the ‘Big Ben’ chimes, it builds its own themes into a most entertaining work. The same patriotic spirit pervades his music to the 1937 film Victoria the Great. Ear-tickling colours run through the delightful pastiche, Louis XV Silhouettes. The three-movement suite, Eire, based on Irish folk-tunes, is equally attractive, especially the toe-tapping final Reel, Fluter’s Hooley. Valse Lente is a short and nostalgic evocation, originally used in the 1950 film Odette; and from the 1951 film The Lady with a Lamp the composer extracted the title theme and the music from the ball scenes to produce the Prelude and Variations included here. In the Symphony for Strings (1940), Collins’s penchant for pastiche is to the fore. His most famous piece of all is the disarmingly simple Vanity Fair. First performed in 1952, this is the composition he most wanted to be remembered for, and indeed it is an exquisite little miniature of the sort that cheers you up every time you hear it.

安东尼·柯林斯是理想的录音指挥家，因为他能够在录音室中生动地演绎音乐，他的 Decca Sibelius 循环是战后 LP 时代的经典之作。这是第一张专门收录他自己极具感染力的音乐的 CD。它以爱国主义的《节日皇家 - 序曲》（首次演出于 1956 年）开场，虽然它引用了天佑女王和“大本钟”钟声等明显的引文，但它将自己的主题融入到一部最具娱乐性的作品中。同样的爱国精神也渗透到他 1937 年的电影《维多利亚大帝》的音乐中。悦耳的色彩贯穿于令人愉悦的模仿作品《路易十五剪影》。基于爱尔兰民谣的三乐章组曲《爱尔兰》同样引人入胜，尤其是令人拍手叫绝的最后里尔舞曲，Fluter 的 Hooley。短小的圆舞曲是一首怀旧的短曲，最初用于 1950 年的电影《奥杰塔》；作曲家从1951年的电影《提灯女子》中提取了片名主题曲和舞会场景的音乐，创作了本书收录的前奏曲和变奏曲。在1940年的《弦乐交响曲》中，柯林斯对戏仿的偏爱尤为突出。他最著名的作品是简洁得令人信服的《名利场》。这部作品于1952年首演，是他最希望被铭记的作品，事实上，它就像一部精致的小型作品，每次聆听都会让人心旷神怡。
（源于Google翻译）

这张碟我倒是找到了Qobuz的链接，但是今天早上就不能用DoubleDouble下载了，前几天都很顺利，过几天再试试吧。

Qobuz链接：
https://www.qobuz.com/be-nl/album/anthony-collins-vanity-fair-bbc-concert-orchestra/bopl18ea30gsc

joseph_li

CONNESSON, Guillaume (born 1970)
Cosmic Trilogy: Part 1: Aleph; Part 2: Une lueur dans l’âge sombre; Part 3: Supernova. (i) The Shining One (for piano & orchestra)
Chan. SACD CHSA 5076. RSNO, Stéphane Denève; (i) with Eric Le Sage

Guillaume Connesson is very much of the new generation of composers who have left atonalism well behind in favour of music designed to have a direct and immediate communication with listeners. His Cosmic Trilogy is accessible to anyone familiar with Stravinsky and borrows from that composer’s idiom readily. Its climaxes are thrilling, its palette of colour continually captures the imaginative ear and there is no lack of firm melodic lines. The work is not only inspired by Connesson’s response to the immensity of cosmic space, but also by his familiarity with Stephen Hawking’s treatise A Short History of Time and with Wassily Kandinsky’s painting, ‘Quelques cercles’. Cosmic Trilogy is in three sections, of which Parts 2 and 3 are sub-divided. In mathematics, Aleph is the symbol of the power of infinity and, as Connesson’s opening piece, it is a symphonic dance of life and vitality, the theme swirling giddily, making way at last for a winningly optimistic lyrical tune. The coda is a long ostinato crescendo, given its lift by the spirited woodwind. The first section of Part 2, Une lueur dans l’âge sombre (‘A Glimmer in the Age of Darkness’), evokes the birth of the universe in a delicate spread of incandescence; the second section is ruminative and serene, and the dawning brilliance of light leads to a gentle closing diminuendo of haunting radiance. Part 3, Supernova, the composer tells us, ‘puts us at the heart of the wondrous and tragic death of a star’. The evocation opens in darkness, and a crescendo mounts sinuously and with increasing power to reach a vibrating explosion which leads to the ‘pulsating star’ second section. Stravinsky’s influence is strongly felt in the wild rhythms then generated, and the work ends in a burst of exciting cacophony.

The Piano Concerto, The Shining One, is an engaging lightweight miniature, only nine minutes long. The outer movements are lightly scored in scherzando fashion, while the lyrical central section makes a haunting contrast, with a virtuosic coda to make an exhilarating conclusion in which all participate, especially the soloist. Performances here are of the highest order, with Eric Le Sage, who gave the concerto’s première, on glittering form and the RSNO on their toes throughout. Chandos’s SACD recording is vividly spectacular.

纪尧姆·康纳森（Guillaume Connesson）是新一代作曲家，他们彻底抛弃了无调性音乐，转而追求旨在与听众直接、即时沟通的音乐。任何熟悉斯特拉文斯基的人都能理解他的《宇宙三部曲》，并且他的作品也巧妙地借鉴了这位作曲家的创作风格。作品高潮迭起，色彩斑斓，不断捕捉着富有想象力的耳朵，同时不乏坚实的旋律线条。这部作品的灵感不仅源于康纳森对浩瀚宇宙的回应，也源于他对斯蒂芬·霍金的著作《时间简史》和瓦西里·康定斯基的画作《点点滴滴》（Quelques cercles）的熟悉。《宇宙三部曲》分为三个部分，其中第二部分和第三部分又细分为两个部分。在数学中，阿莱夫象征着无限的力量。作为康纳森的开场曲，它如同生命与活力的交响舞曲，主题轻快地旋转，最终为一段充满乐观向上的抒情旋律铺垫。尾声是一段长长的固定音型渐强，由充满活力的木管乐器演奏。第二部分的第一部分《黑暗时代的一丝微光》（Une lueur dans l’âge sombre）唤起了宇宙在白炽光辉中微妙蔓延的景象；第二部分则沉思而宁静，黎明的光芒最终以柔和的渐弱音收尾，令人难以忘怀。作曲家告诉我们，第三部分《超新星》“将我们置于恒星奇妙而悲惨的死亡的中心”。唤起的旋律始于黑暗，渐强蜿蜒而上，力量渐强，最终达到震颤的爆发，引向“脉动的星辰”第二乐段。斯特拉文斯基的影响在随后产生的狂野节奏中清晰可见，作品在一阵激动人心的不和谐音中结束。

钢琴协奏曲《闪耀者》是一部引人入胜的轻盈小品，时长仅九分钟。外部乐章以谐谑曲风格轻盈地谱写，而抒情的中心部分则形成了令人难忘的对比，精湛的尾声为令人振奋的结局画上了句号，所有人都参与其中，尤其是独奏者。这场演出堪称巅峰，首演这部协奏曲的埃里克·勒萨吉技艺精湛，皇家国家交响乐团也始终保持着高昂的士气。钱多斯的SACD录音更是精彩绝伦。
（源于Google翻译）


https://115cdn.com/s/swwouuc3hq9?password=3377&#
Connesson, Guillaume - Cosmic Trilogy & Shining One - Stéphane Denève, Royal Scottish National Orchestra [Chandos SACD]