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

joseph_li

卡住了最后三个要审核

xunianfeng

joseph_li 发表于 2025-6-29 17:48
The Black Knight, Op. 3; Scenes from the Bavarian Highlands, Op. 27
Chan. 9436. L. Symphony Ch., LS ...

这个应该是第二张
通过网盘分享的文件：Alexander Gibson - Elgar - Coronation Ode , The Spirit of England
链接: https://***.com/s/1x4VvOGC6xuLBwcHkYFeNXw?pwd=yrur 提取码: yrur
--来自百度网盘超级会员v7的分享

huzuoan

xunianfeng 发表于 2025-6-30 14:44
这个应该是第二张
通过网盘分享的文件：Alexander Gibson - Elgar - Coronation Ode , The Spirit of En ...

其实这个第二张在楼主第372楼发的6个文件夹里面就已经有了，只是封面、封底的图片不相同而已，其他应该完全一样！

joseph_li

感谢楼上xunianfeng、huzuoan两位的补充，

joseph_li

FALLA, Manuel de (1876–1946)
(i–ii) Harpsichord Concerto; (iii–v) El amor brujo; (iv; vi–vii) Nights in the Gardens of Spain; (viii) The Three-Cornered Hat; (ix) La vida breve: Interlude and Dance; (x) Homenaje ‘Le tombeau de Claude Debussy’; (vii) 4 Spanish Pieces; (xi) 7 Canciones populares españolas; (ii; xii) Psyché
Double Decca (ADD/DDD) 466 128-2 (2). (i) Constable; (ii) L. Sinfonia, Rattle; (iii) New Philh. O; (iv) Frühbeck de Burgos; (v) Mistral; (vi) LPO; (vii) De Larrocha; (viii) Montreal SO, Dutoit; (ix) SRO, Ansermet; (x) Fernández; (xi) Horne, Katz; (xii) with Jennifer Smith

A myriad of performances have been perceptively gathered together for this ‘Essential Falla’ compilation, which is surely rightly named. Dutoit’s 1984 complete version of The Three-Cornered Hat is wonderfully atmospheric as well as brilliantly played. Recorded in 1966, Frühbeck de Burgos’s El amor brujo also enjoys exceptionally vivid sound, yet with plenty of light and shade, and the control of atmosphere in the quieter passages is masterful, while Nati Mistral has the vibrant, open-throated production of a real flamenco singer. Alicia de Larrocha’s later, digital version of Nights in the Gardens of Spain is unsurpassed among modern recordings; her playing of the Four Spanish Pieces glitters. The other shorter works are especially worthwhile. Ansermet’s Interlude and Dance from La vida breve, with its melodramatic opening and lively dance section, is always enjoyable, and Marilyn Horne’s Spanish Folksongs are vibrantly idiomatic. John Constable’s crisply vivid account of the delightful Harpsichord Concerto (with Rattle) and the haunting rarity, Psyché, for voice (Jennifer Smith a fine soloist) and orchestra complete an extraordinary survey. Readers may also want to sample Ansermet’s Decca complete recordings of The Three Cornered Hat and El amor brujo, which are uniquely characterful and vibrantly recorded (466 991-2).

这张名为“法雅精粹”的合辑汇集了众多精彩的演出，其名称也名副其实。杜图瓦1984年录制的《三角帽》完整版氛围绝佳，演奏精彩绝伦。弗吕贝克·德·布尔戈斯1966年录制的《巫师之爱》同样音色生动，光影交织，在较为安静的乐段中对氛围的掌控堪称大师级；而《纳蒂·米斯特拉尔》则拥有一位真正弗拉门戈歌手般充满活力、嗓音洪亮的演绎。艾丽西亚·德·拉罗查后期录制的数字版《西班牙花园之夜》在现代录音中更是无可比拟；她对《四首西班牙小品》的演绎更是光彩夺目。其他一些较短的作品也尤其值得一听。安塞美的《短暂的生活》中的间奏曲和舞曲，以其戏剧性的开场和充满活力的舞曲部分，总是令人赏心悦目；玛丽莲·霍恩的西班牙民歌则充满活力地道地道。约翰·康斯特布尔对悦耳的羽管键琴协奏曲（与拉特尔合作）的演绎清晰生动，以及为人声（由优秀的独奏家詹妮弗·史密斯担任）和管弦乐队而作的令人难忘的珍品《普赛耶》，构成了一场非凡的盛宴。读者或许还可以试听安塞美的迪卡完整录音《三角帽》和《巫师之爱》，这两首歌的录音风格独特，充满活力（466 991-2）。

Siete canciones populares españolas (7 Spanish Popular Songs)
Testament mono SBT 1311. Souzay, Bonneau – FAURÉ: Mélodies. RAVEL: Histoires naturelles

Manuel de Falla’s seven Canciones populares españolas could not be sung with greater feeling. The late Gérard Souzay is wonderfully captured here in this 1951 set, made only six years after his Paris début and finding the youthful bloom of his voice at its peak. Highly characterized performances, and expertly accompanied by Jacqueline Bonneau. No need to make any allowances for the age of the Decca recording in Paul Baily’s scrupulous remastering.

曼努埃尔·德·法雅的七首西班牙流行歌曲，唱得无比动人。这套1951年的唱片完美地展现了已故杰拉德·苏扎伊的才华。这套唱片制作于他巴黎首演仅六年后，正值他歌喉的巅峰时期，正值青春绽放之时。演出极具特色，杰奎琳·博诺的伴奏也堪称专业。保罗·贝利的精心复刻，丝毫不会让人觉得迪卡唱片年代久远。
（源于Google翻译）


https://115cdn.com/s/swwim8e3hq9?password=3377&#
Falla, Manuel de - El sombrero de tres picos, El amor brujo - Ernest Ansermet [DECCA SACD]等4个文件(夹)
Testament 这张没找到。不过找到了Jude厂牌的，曲目完全一致。这种历史录音，能找到哪个听哪个，随缘吧。

joseph_li

FAURÉ, Gabriel (1845–1924)
(i) Ballade for Piano & Orchestra, Op. 19; (ii) Berceuse for Violin & Orchestra, Op. 16. Caligula, Op. 52; Les Djinns (orchestral version), Op. 12; (iii) Elégie for Cello & Orchestra, Op. 24; (i) Fantaisie for Piano & Orchestra, Op. 111. Masques et bergamasques, Op. 112; Pelléas et Mélisande, Op. 80; Pénélope: Prélude; Shylock, Op. 57
EMI 5 86564-2 (2). (i) Collard; (ii) Y. P. Tortelier; (iii) Paul Tortelier; Von Stade, Gedda, Bourbon Vocal Ens.; Toulouse Capitole O, Plasson

Although Fauré’s most deeply characteristic thoughts are intimate rather than public, and his most natural outlets are the mélodie, chamber music and the piano, this set of the orchestral music contains much that is highly rewarding. It includes the delightful Masques et bergamasques and the Pelléas et Mélisande and Shylock music, as well as rarities such as Les Djinns and Caligula. Plasson gets an alert and spirited response from the orchestra and he shows a genuine feeling for the Fauréan sensibility, and the fine-spun lyricism of the Nocturne from Shylock is well-conveyed. The two works for piano and orchestra are particularly valuable; Jean-Philippe Collard gives a really distinguished account of the early Ballade and the seldom heard Fantasie, Op. 111. The recordings are generally very good indeed, though the piano tone (not the playing) is a trifle hard. Although the vocal items no longer have texts and translations, as on the original issues, the set is now offered at bargain price. Altogether, this is a lovely collection in every way, offering many delights, and cannot be too warmly recommended.

尽管福雷最具深度的艺术特质倾向于内省而非宏大叙事，其最自然的创作载体是艺术歌曲、室内乐与钢琴作品，但这套管弦乐作品集仍收录了大量极具欣赏价值的珍品。其中包含令人愉悦的《假面与贝加莫舞曲》、《佩利亚斯与梅丽桑德》与《夏洛克》戏剧配乐，更有《精灵》与《卡利古拉》等罕见曲目。普拉松以敏锐的洞察力唤起乐团充满生机的演绎，精准捕捉到福雷式的艺术神韵——《夏洛克》中《夜曲》如丝如缕的抒情性被完美呈现。钢琴与乐队的两部作品尤为珍贵：让-菲利普·科拉尔对早期《叙事曲》及鲜少上演的《幻想曲》（作品111号）的诠释堪称典范。录音整体品质出众，唯钢琴音色（非演奏水准）略显生硬。虽声乐作品不再如原版附带歌词译文，但套装现已调整为超值价位。这套堪称完美的合辑处处绽放艺术魅力，无论如何推荐都不为过。


Piano Quartets: 1 in C min., Op. 15; 2 in G min., Op. 45; Piano Quintets: 1 in D min., Op. 89; 2 in C min., Op. 115
Hyp. CDA 66166 (Quartets); CDA 66766 (Quintets). Domus (available separately)

It goes without saying that the playing of all concerned here is uniformly excellent, alive and subtle, with expert and sensitive contributions from the distinguished pianist, who can hold her own in the most exalted company. Domus have the requisite lightness of touch and just the right sense of scale and grasp of tempi. Fauré’s chamber music is masterly and this is an ideal way of acquiring a lot of the best of it. These performances make one fall for the music all over again. The Second Quintet is among the masterpieces of Fauré’s Indian summer as he approached his eighties. The recording is excellent too.

毋庸置疑，参与演出的所有音乐家都展现出高度统一且精湛的技艺，演奏充满灵性而细腻。其中那位卓越的钢琴家贡献了专业而敏感的演绎，其水准足以跻身顶级音乐家之列。多姆斯乐团不仅拥有恰到好处的轻盈触感，更精准把握了作品的规模尺度与节奏律动。福雷的室内乐作品堪称大师手笔，这套录音堪称集中领略其精华的理想之选。这些演绎令人重新沉醉于音乐的魅力——尤其是《第二钢琴五重奏》，作为作曲家近八十岁高龄时"印度之夏"创作期的杰作之一。录音品质同样出色。
（源于DeepSeek翻译）


https://115cdn.com/s/swwimxk3hq9?password=3377&#
Faure, Gabriel - Orchestral Works Vol.1 & 2 - Michel Plasson [EMI]等3个文件(夹)

joseph_li

Nocturnes 1–13 (complete)
Avie AV 2133. Charles Owen

The Nocturnes span Fauré’s whole composing career, and while the earlier works inherit a moonlight romanticism from Chopin (although the Second Nocturne includes a turbulent centrepiece) the Fourth in E flat is deliciously sensuous, with a specially Fauréan delicacy. The Ninth in B minor is modally haunting, and the later works are rather more harmonically adventurous and develop an added internal intensity. All, however, are among his most rewarding piano miniatures and could not have been written by any other composer. Charles Owen is obviously completely at home in these sometimes elusive works and he plays them beautifully, with subtle feeling for their colour. He is very well recorded.

夜曲贯穿了福莱的整个作曲生涯。早期作品继承了肖邦的月光浪漫主义（尽管第二夜曲的核心部分充满激荡），而降E大调第四夜曲则美得令人心旷神怡，带有福莱式的细腻。B小调第九夜曲的调式令人难以忘怀，后期作品的和声则更具冒险精神，并发展出更强烈的内在张力。然而，所有这些作品都属于他最杰出的钢琴小品，其他作曲家都无法创作出这样的作品。查尔斯·欧文显然对这些有时难以捉摸的作品驾轻就熟，他演奏得非常优美，对作品的色彩有着敏锐的感知。他的录音也非常出色。

Mélodies: (i) Après un rêve; Arpège; Automne; Au bord de l’eau; (ii) C’est l’extase langoureuse; Clair de lune; En sourdine; Green; L’Horizon chimérique (cycle); Mandoline; Prison; Spleen
Testament mono SBT 1311. Souzay, (i) Bonneau or (ii) Baldwin – FALLA: Canciónes populares. RAVEL: Histoires naturelles

Writing in 1955, the authors of The Record Guide spoke of Souzay surpassing his earlier achievements, and they hailed these Fauré songs on Decca LXT 2543 (from which this Testament issue in part derives) as ‘one of the most satisfactory LP song recitals yet issued’. Half a century later it has lost none of its ability to enchant and remains one of the most eloquent of all Souzay’s song records.

《唱片指南》的作者在1955年撰文称，苏泽超越了他早期的成就，并称赞这些收录在Decca LXT 2543唱片上的福莱歌曲（这期《遗嘱》专辑的部分内容即出自该唱片）是“迄今为止最令人满意的LP歌曲独奏专辑之一”。半个世纪过去了，这张唱片依然魅力不减，至今仍是苏泽所有歌曲唱片中最富感染力的一张。

Requiem (1893 version); Ave Maria, Op. 67/2; Ave verum corpus, Op. 61; Cantique de Jean Racine, Op. 11; Maria, Mater gratiae, Op. 42; Messe basse; Tantum ergo, Op. 65/2
Coll. (ADD) COLCD 520. Ashton, Varcoe, Cambridge Singers, L. Sinfonia (members), Rutter

Fauré’s Requiem has received many fine recordings, but John Rutter’s inspired reconstruction of the original 1893 score, using only lower strings and no woodwind, opened our ears to the extra freshness of the composer’s first thoughts. Rutter’s fine, bright recording includes the Messe basse and four motets, of which the Ave Maria setting and the Ave verum corpus are particularly memorable. The recording is first rate, though the choir and instruments are placed relatively close.

福莱的《安魂曲》已录制过许多优秀的唱片，但约翰·鲁特对1893年原谱的精彩重构，只使用了低音弦乐，没有使用木管乐器，让我们感受到了作曲家最初构思的格外清新。鲁特的录音精美明亮，包含低音弥撒和四首经文歌，其中以圣母颂和上主颂为基调的版本尤为令人难忘。录音堪称一流，尽管合唱团和乐器的摆放位置相对较近。
（源于Google翻译）


https://115cdn.com/s/swwim1g3hq9?password=3377&#
Faure, Gabriel - Requiem 1893 And Other Choral Music - John Rutter, City Of London Sinfonia [Collegium]等3个文件(夹)
第二张DECCA再版了。

joseph_li

FERGUSON, Howard (1908–1999)
Piano Sonata in F min., Op. 8; 5 Bagatelles, Op. 9; (i) Partita for 2 Pianos, Op. 5b; (ii) Discovery (song-cycle), Op. 13
Naxos 8.572289. Raphael Terroni; with (i) Vadim Peaceman; (ii) Phillida Bannister

Born in Belfast (in 1908), educated at Westminster School and the Royal College of Music, the young Howard Ferguson was encouraged to further his musical career by the pianist Harold Samuel at the Royal College of Music, and he subsequently studied composition with Vaughan Williams and formed a deep friendship with Gerald Finzi. But it was Samuel who was his mentor, and when the latter died suddenly in 1937 Ferguson was inspired to write his arresting F minor Piano Sonata. It was first performed by Myra Hess at the famous National Gallery wartime concerts, which Ferguson helped to organize. The work opens with a stormy introduction, intensively developed, but this soon leads into movingly dedicated secondary lyrical material and thence naturally into the delicate Poco adagio, full of reflected melancholy (and very beautifully played here by Raphael Terroni). The angular vitality with which the Sonata began returns in the finale, but there remains an underlying gentleness and an appealing romantic feeling until the final section springs to life with a return of the rhythmic intensity of the opening. The five quirky Bagatelles (1944) make an entertaining interlude, each distinctively characterized, with an endearingly whimsical closing Allegretto.

The song-cycle, Discovery, is a late work (1951), combining five brief, sensitive settings of verse by Denton Welch, with the central Babylon ravishingly lyrical, and the penultimate ‘Jane Allen’ (just 36 seconds long) full of life. Phillida Bannister, the responsive soloist, responds ardently, with rich tone and no exaggerated vibrato. The cycle ends soaringly, with ringing bells from the piano, and it is not surprising to learn (from Richard Whitehouse’s excellent notes) that the cycle was a favourite of Kathleen Ferrier’s.

The pseudo-baroque Partita for 2 Pianos (1935/6), also available in an orchestral version, makes the most of the double-piano sonority. It opens Grave, but establishes its classical antecedents with a double-dotted Allegro pesante, then including a gracefully memorable Sarabande and closing with a perky Reel. All in all this is a most rewarding and attractive programme, splendidly played (and sung), and one’s only regret is the absence of the song texts. The recording is absolutely truthful.

出生于贝尔法斯特（1908年），曾就读于威斯敏斯特公学和皇家音乐学院的霍华德·弗格森，早年得到皇家音乐学院钢琴家哈罗德·塞缪尔的鼓励而深耕音乐事业，后随沃恩·威廉斯学习作曲，并与杰拉尔德·芬齐结下深厚友谊。但塞缪尔才是他的精神导师——1937年恩师猝然离世后，弗格森受触动创作了那部震撼人心的《f小调钢琴奏鸣曲》。这部作品由迈拉·赫斯在著名的战时国家美术馆音乐会首演（该系列音乐会正是由弗格森参与策划），开篇以暴风雨般的引子展开激烈发展，随即转入虔诚动人的抒情副部主题，自然过渡至充满含蓄哀愁的"稍慢板"乐章（拉斐尔·特罗尼的演绎极富美感）。末乐章重现开篇的棱角分明活力，但底层始终流淌着温柔特质与迷人浪漫气息，直到终段以开篇的节奏张力将音乐推向高潮。五首诙谐的《小品曲》（1944）构成趣味盎然的间奏，每首都个性鲜明，末乐章"小快板"尤其充满俏皮魅力。

声乐套曲《发现》是其晚期作品（1951年），为丹顿·韦尔奇的五首短诗谱就细腻乐章：中篇《巴比伦》洋溢着醉人抒情性，倒数第二轨《简·艾伦》（仅36秒）则充满生活气息。女高音菲利达·班尼斯特以丰润音色与克制颤音倾情演绎，终曲在钢琴模拟的钟声中翱翔升腾——理查德·怀特豪斯的精彩解说词透露，这部作品曾是凯瑟琳·费里尔的心头挚爱。

1935-36年创作的《双钢琴帕蒂塔》（另有管弦乐版本）充分发挥了双钢琴的音响魅力：庄重的开篇后，以附点音符构成的"沉重快板"确立古典根基，继以优雅难忘的萨拉班德舞曲，终章则以活泼的里尔舞曲收尾。整张专辑演绎精湛（演唱亦属上乘），曲目编排兼具艺术价值与欣赏趣味，唯缺歌词文本令人遗憾。录音品质则堪称忠实无瑕的典范。
（源于DeepSeek翻译）


找了很久，一无所获。

langong2004

388楼...................Naxos 8.572289-Ferguson.H Piano Sonata In F Minor-Raphael Terroni, Phillida Bannister (2010)

1QEdHnnc3y1A-Lz9QLaEk_g?pwd=fgm3

langong2004

385楼.................SBT 1311 Gerard Souzay - de Falla, Ravel & Fauré

1_e1lhodYd7SoSLrUWzRT7Q?pwd=rya9

wpx426

langong2004 发表于 2025-7-1 10:20
385楼.................SBT 1311 Gerard Souzay - de Falla, Ravel & Fauré

1_e1lhodYd7SoSLrUWzRT7Q? ...

赞！

joseph_li

langong2004 发表于 2025-7-1 10:20
385楼.................SBT 1311 Gerard Souzay - de Falla, Ravel & Fauré

1_e1lhodYd7SoSLrUWzRT7Q? ...

感谢，牛人，

joseph_li

FERRIER, Kathleen (contralto)
‘A Tribute’
Decca mono 475 078-2 (2)

This is the best Kathleen Ferrier collection available and it includes many of her famous recordings, from the delightfully fresh folksongs (the haunting, unaccompanied version of Blow the wind southerly has uncanny presence) to her celebrated recordings of Bach and Mahler. The noble account of Oh rest in the Lord from Elijah is another highlight, along with the Schubert lieder (Die junge Nonne and An die Musik are especially moving). Even better, Decca have remastered and improved the sound for this bargain two-CD set, and the booklet includes many fascinating pictures of the great contralto.
这是目前为止最好的凯瑟琳·费里尔合集，收录了她许多著名的录音，从清新怡人的民歌（《南风吹来》那令人难忘的无伴奏版本有着不可思议的临场感），到她著名的巴赫和马勒作品。《以利亚》中那首优美的《安息在主里》也是一大亮点，此外还有舒伯特的艺术歌曲（《少年圣母》和《音乐》尤其感人）。更棒的是，迪卡公司为这套物美价廉的双CD套装重新制作并提升了音质，小册子里还收录了这位伟大女低音歌唱家的许多迷人照片。
（源于Google翻译）


https://115cdn.com/s/swwiexb3hq9?password=3377&#
Ferrier, Kathleen - A Tribute [DECCA]

joseph_li

FIELD, John (1782–1837)
(i) Piano Concertos 1–7; Divertissements 1–2; Nocturne 16 in F; Rondeau in A flat; (ii) Quintetto
Chan. 10468 (4). O’Rourke; (i) LMP, Bamert; (ii) Juritz, Godson, Bradley, Desbruslais

The music of these concertos is uneven, but they are all easy to enjoy and most have their fair share of winning themes, with scintillating passagework, persuasively nocturnal slow movements, and often a catchy closing rondo. The soloist, Mícéal O’Rourke, is very persuasive and he receives admirable support from Bamert and the London Mozart Players and first-class recording. The extra items which complete the CD containing the Seventh Concerto – the two Divertissements, a Rondeau and Nocturne – all include really good tunes, while the serene single-movement Piano Quintet is also delicately charming.

这些协奏曲的音乐质量参差不齐，但都易于欣赏，而且大多数都拥有相当精彩的主题，包括精彩的乐段、引人入胜的夜曲慢乐章，以及常常朗朗上口的结尾回旋曲。独奏家米歇尔·奥罗克的演奏极具感染力，他得到了巴默特和伦敦莫扎特乐团的鼎力支持，录音水平也一流。这张收录了第七协奏曲的CD还收录了两首嬉游曲、一首回旋曲和一首夜曲，这些曲目都相当优美，而宁静的单乐章钢琴五重奏也同样精致迷人。

Nocturnes 1–9; Piano Sonatas 1 in E flat; 2 in A, Op. 1/1–2
Naxos 8.550761. Frith
Nocturnes 10–17; 18 (Midi); Piano Sonata 3 in C min., Op. 1/3
Naxos 8.550762. Frith

Benjamin Frith’s playing is delectably coaxing, and he makes these Nocturnes so often seem exquisitely like Chopin, yet he still catches their naive innocence, especially in the A flat major work. He hops, skips and jumps delightfully in the Irish Rondo finale of the First Sonata and is hardly less beguiling in the rather more imposing opening movement of the Second.

The second CD includes the famous Nocturne 18 whose original title was Midi (or ‘Twelve o’clock Rondo’). The Third Sonata occupies the midway point in the recital. Its first movement is just a little hectoring (Beethovenian con fuoco was not Field’s natural element) but the closing Rondo simulates another popular air for its basis. As before, the recording is very natural. What a charming composer Field was – it is easy to see why Chopin was influenced by him.

本杰明·弗里斯的演奏妙趣横生，引人入胜。他演奏的夜曲常常精妙地模仿肖邦，但他仍然捕捉到了其中的天真烂漫，尤其是在降A大调作品中。在第一奏鸣曲的爱尔兰回旋曲终章中，他跳跃、跳跃、欢快地演奏，在第二奏鸣曲更为气势恢宏的开场乐章中，他的演奏也同样令人着迷。

第二张CD收录了著名的第18号夜曲，原名是《十二点回旋曲》（Midi）。第三奏鸣曲占据了独奏会的中段。它的第一乐章略显咄咄逼人（贝多芬式的“con fuoco”并非菲尔德的拿手好戏），但结尾的回旋曲模仿了另一种流行曲式作为基调。与之前一样，这张录音非常自然。菲尔德是一位多么迷人的作曲家——不难理解肖邦为何受到他的影响。
（源于Google翻译）


https://115cdn.com/s/swwie0e3hq9?password=3377&#
Field, John - Nocturnes - Míċeál O'Rourke [Chandos]等3个文件(夹)

joseph_li

FINZI, Gerald (1901–56)
(i) Cello Concerto; (ii) Clarinet Concerto
Lyrita SRCD 236. (i) Ma, New Philh. O; (ii) Denman, RPO; Handley

In the Cello Concerto, Yo-Yo Ma, in his début recording, responds with the utmost sensitivity, sometimes playing on a mere thread of tone in his magical account of the Andante quieto. His is not a big performance but a greatly inspired one, and many will like his lightness of touch in the finale. The Clarinet Concerto is a comparable masterpiece. If it lacks the contemplative qualities of the Cello Concerto, its more extrovert character and consistent charm are no less compelling. John Denman’s performance is entirely seductive. And in both works Vernon Handley’s sensitive accompaniment brings first-rate playing, while the recording is of Lyrita’s usual excellence.

马友友的首张录音《大提琴协奏曲》展现出极致的敏感，有时在他神奇的《静默行板》中，演奏仅凭一线音调。他的演奏规模虽不大，但却极具启发性，许多人会喜欢他在终乐章中轻盈的触感。单簧管协奏曲堪称杰作。虽然它缺乏《大提琴协奏曲》的沉思特质，但其更外向的性格和始终如一的魅力也同样引人入胜。约翰·丹曼的演奏魅力十足。在这两部作品中，弗农·汉德利细腻的伴奏带来了一流的演奏，而Lyrita的录音也展现了其一贯的卓越品质。

Intimations of Immortality

Lyrita (ADD) SRCD 238. Partridge, Guildford PO Ch. & O, Handley – HADLEY: The Trees so High

This is an astonishingly compelling recording which should be in every English music lover’s collection. Finzi’s music, which is in the richest English choral tradition, is here performed with a passionate sense of commitment. In this the beauty and intensity of Ian Partridge’s singing are a key factor, and equally the choral singing is richly committed, while the Guildford Philharmonic Orchestra is challenged to playing that would not disgrace a much more famous orchestra. The recording is also excellent and, with a most enterprising coupling, it cannot be too highly recommended.

这是一张令人叹为观止的录音，值得每一位英国音乐爱好者收藏。芬齐的音乐秉承了英国最浓郁的合唱传统，而这张专辑的演绎则充满激情和投入。伊恩·帕特里奇演唱的优美和力度是关键因素，合唱部分也同样投入，而吉尔福德爱乐乐团的演奏也挑战了他们，力求不让其他更著名的乐团黯然失色。这张录音同样精彩绝伦，加上极具创意的配器，强烈推荐。
（源于Google翻译）


https://115cdn.com/s/swwie0p3hq9?password=3377&#
Finzi, Gerald- Cello Concerto & Clarinet Concerto - Yo-Yo Ma, John Denman, Handley [Lyrita 24-96]等2个文件(夹)

诗筱梦

xunianfeng 发表于 2025-5-30 23:49
通过网盘分享的文件：Arnold, M. -  Dances等2个文件
链接: https://***.com/s/1kU-1N7Iu7A6Bc_sPEGb-AQ ...

找到了，谢谢

joseph_li

FISCHER-DIESKAU, Dietrich (baritone)
‘The Mastersinger’
DG (ADD) 476 7111 (2)

A self-recommending set, originally released to coincide with Fischer-Dieskau’s Gramophone Lifetime Achievement award in 1993. It must have been an impossibly difficult task to know what to include here (the DG Fischer-Dieskau Lieder Edition alone runs to 44 CDs!) and everything here is vintage stuff. Most of the items are operatic, drawn from both Decca’s and DG’s catalogues, and he is as impressive in the Verdi items (he is superb in Don Carlos, where as Rodrigo he rivals Gobbi in the Death scene) as he is in the Strauss items – his Orestes in Elektra is incomparable. He is always a delight in Mozart, particularly so as Papageno in Die Zauberflöte (a role he never assumed on stage) and he is no less stylish in the enjoyable baroque items included here. The lieder are, of course, wonderfully done and his subtle yet pointful shaping of the words is equally revealing in large operatic repertoire, where his highly individual portrayal of Sachs in Die Meistersinger is a highlight. The recital ends with a glowingly warm excerpt from Mahler’s Rückert-Lieder which receives equally loving care from the conductor. The recordings – all good – date from the 1960s and ’70s and, although the booklet notes are minimal (restricted to a short biography), this makes an excellent bargain sampler of Fischer-Dieskau’s art.

这是一套自选的唱片，最初是为了配合 1993 年菲舍尔-迪斯考获得留声机终身成就奖而发行的。要知道要在这里收录哪些曲目一定是一项极其困难的任务（仅 DG 菲舍尔-迪斯考艺术歌曲版就有 44 张 CD！），而且这里的一切都是复古曲目。大多数曲目都是歌剧曲目，选自 Decca 和 DG 的目录，他在威尔第曲目中的表现同样令人印象深刻（他在《唐·卡洛斯》中演绎得非常出色，而他饰演的罗德里戈在死亡场景中与戈比不相上下），就像他在施特劳斯曲目中的表现一样——他在《厄勒克特拉》中饰演的奥瑞斯忒斯无与伦比。他演绎的莫扎特曲目总是令人愉悦，尤其是在《魔笛》中饰演的帕帕基诺（他从未在舞台上饰演过这个角色），他在这套唱片中饰演的巴洛克曲目也同样风格优美。当然，他的艺术歌曲创作得非常出色，他对歌词的精妙而深刻的诠释在大型歌剧曲目中也同样精彩，其中他对《纽伦堡的名歌手》中萨克斯极具个人特色的演绎更是一大亮点。独奏会以马勒《吕克特之歌》中一段温暖如春的选段收尾，指挥也同样倾注了满腔热情。这些录音——全部都很好——录制于20世纪60年代和70年代。虽然小册子的注释很少（仅限于简短的传记），但这仍然是菲舍尔-迪斯考艺术作品中一份物超所值的珍品。
（源于Google翻译）

这张碟没找到，今天没找到的有点多。






https://115cdn.com/s/swwianl3hq9?password=3377&#
Fischer-Dieskau, Dietrich - Melodramas - Burkhard Kehring [DG]等2个文件(夹)
找到另外两个精选集，可以听听。

菲舍尔-迪斯考的作品超级多，找到了他的DG & Decca全集Qobuz链接，无奈实在太大了，抓不下来。

joseph_li

FISTOULARI, Anatole, conductor (see also under: ROSSINI: William Tell: ballet music)
Ballet music: STRAUSS/DORATI: Graduation Ball. MINKUS: Don Quixote: Pas de deux (with New SO). WEBER/BERLIOZ: Invitation to the Dance. LECOCQ: La Fille de Mam’zelle Angot. WALTON: Façade: Suites (ROHCG O). VERDI: Aida: ballet music. ROSSINI: William Tell: ballet music. SAINT-SAËNS: Bacchanale. MUSSORGSKY: Dance of the Persian Slaves (with Paris Conservatoire O)
Australian Double Decca mono/stereo 480 2391 (2)

Fistoulari made some superb recordings of concertos for Decca in the 1950s and ’60s (many still top choices today, with Ashkenazy, Katchen, Ricci and others as soloists) and some equally remarkable recordings of ballet music. Many of these performances haven’t been seen since the 1960s and ’70s and this reissue makes one realize just how good they were. In the Graduation Ball, he manages to make this collection of miscellaneous Straussiana sound all of a piece, but also brings touches of affection and panache to the playing. One feels that he has the ballet in mind rather than the individual pieces of music of which it is composed. The mono sound is excellent. However, the star performances here are the Lecocq and Walton ballets. La Fille de Mam’zelle Angot was a highly successful operetta of the 1870s. The ballet dates from 1943, following the story of the operetta, but including music from other sources, all by Lecocq. The score is wittily arranged by Gordon Jacob in the manner of Constant Lambert’s Les Patineurs (Meyerbeer). A strong flavour of Adam’s style pervades some of the pieces (the adagio, for instance), and the spirit of Offenbach peeps in too, particularly in the final carnival scene. One could hardly imagine a better recipe for pure enjoyment, and Fistoulari’s vivacious performance is well supported by the Decca (stereo) recording. His account of the Façade Suites is similarly brilliant and witty, and highlights include the delightfully delicate Country Dance and a superb Old Sir Faulk in which the foxtrot style of the 1920s is perfectly parodied. Again, the stereo sound is excellent. The mono version of the Don Quixote Pas de deux is a charming trifle, and the Invitation to the Dance displays a light touch for the waltz itself and finds much beauty and poise in the opening and closing pages. The Dance of the Persian Slaves, like the other stereo items with the Paris Conservatoire Orchestra, displays lively theatrical feeling, with the distinct sound of the Paris orchestra adding piquancy. Verdi’s delightfully tuneful and vivacious ballet music from Aida is given a marvellously alive account; and, with such stylish pointing of strings, Rossini’s ballet music to William Tell sounds freshly minted. The pseudo-exotic elements of the Bacchanale from Samson and Delilah are invariably enjoyable, but rarely do they achieve the adrenalin level of this performance: Fistoulari whips up the end of the piece in a frenzy of excitement. These recordings were last released on Eclipse LPs in the early 1970s and their reappearance on CD finds them sounding as fresh as paint. A highly enjoyable and varied collection of ballet music, performed by a master of the genre.

菲斯托拉里在20世纪50年代和60年代为迪卡唱片公司录制了一些精彩的协奏曲（其中许多至今仍是热门曲目，由阿什肯纳齐、卡钦、里奇等人担任独奏），以及一些同样出色的芭蕾舞曲录音。这些录音中的许多作品自20世纪60年代和70年代以来就再未出现过，而这张重新发行的唱片让人们意识到它们有多么优秀。在《毕业舞会》中，他成功地将这张收录了各种施特劳斯音乐的唱片组合成一个整体，同时又为演奏增添了几分深情和华丽的色彩。人们会感觉到他考虑的是芭蕾舞剧本身，而不是构成这部作品的单个乐曲。单声道的音色非常出色。然而，这张唱片的明星表演是勒科克和沃尔顿的芭蕾舞剧。《安戈特的姑娘》是19世纪70年代一部非常成功的轻歌剧。这部芭蕾舞剧创作于1943年，沿袭了轻歌剧的故事情节，但加入了其他来源的音乐，全部由勒科克创作。戈登·雅各布巧妙地改编了乐谱，模仿了康斯坦特·兰伯特的《打手》（梅耶贝尔作曲）。亚当的风格浓郁地渗透到部分乐段（例如慢板），奥芬巴赫的韵味也隐隐透出，尤其是在最后的狂欢节场景中。几乎没有比这更好的纯粹享受了，菲斯托拉里充满活力的表演得到了迪卡（立体声）录音的有力支持。他对《立面组曲》的诠释同样精彩绝伦、妙趣横生，亮点包括细腻宜人的《乡村舞曲》和精湛的《老福克爵士》，其中完美地模仿了20世纪20年代的狐步舞风格。同样，立体声效果也非常出色。单声道版的《堂吉诃德双人舞》妙趣横生，《舞会之邀》则展现了华尔兹本身的轻盈，在开篇和结尾处展现出非凡的美感和沉稳。《波斯奴隶之舞》与其他由巴黎音乐学院管弦乐团演奏的立体声曲目一样，展现了生动活泼的戏剧感，巴黎管弦乐团独特的音色更增添了其辛辣的韵味。威尔第的《阿依达》芭蕾舞曲优美动听、充满活力，被赋予了极其鲜活的演绎；而罗西尼为威廉·退尔创作的芭蕾舞曲，凭借其精妙的弦乐运用，听起来也焕然一新。《参孙和大利拉》中带有异域风情的酒神节元素固然令人愉悦，但很少能达到这场演出的惊险程度：菲斯托拉里在乐曲结尾处用一种狂热的激情演奏了出来。这些录音最后一次以 Eclipse LP 唱片的形式发行是在 20 世纪 70 年代初，如今再次以 CD 形式呈现，听起来依然焕然一新。这是一张由芭蕾舞大师演绎的、令人愉悦且风格多样的芭蕾舞音乐合集。
（源于Google翻译）


这张碟欠奉。

joseph_li

FOERSTER, Josef Bohuslav (1859–1951)
String Quartets: 1 in E, Op. 15; 2 in D, Op. 39; 3 in C, Op. 61 (rev.113); 4 in F, Op. 182; 5 in G sine Op.; Prayer for String Quartet, sine Op.; (i) Erinnerung for String Quartet & Harp sine Op. String Quintet, Op. 3; Allegro giocoso for String Quartet, sine Op.
Sup. 4050-2. Stamic Qt; (i) with Jana Bousková (harp)

Josef Foerster was naturally at home in the world of chamber music, and the nine works here span his composing career. The single-movement String Quintet came first, in 1886; the First Quartet, dedicated to and influenced by Tchaikovsky, followed two years later; and his Fifth Quartet was dedicated to his second wife, Olga. It closes with a touching slow movement which the composer left unfinished; as he commented, this was ‘to symbolize one’s path in life, which does not close with the physical departure from this earth’. The Prayer also has something of its dedicated feeling, while the Erinnerung for String Quartet and Harp shows a gentle, Mahlerian influence. Throughout, the music is influenced by Dvořák and Smetana, but it has a rich, flowing melodic lyricism which is all Foerster’s own contribution. When played so expertly and with such sympathtic warmth, Foerster is revealed as a composer to return to and to give the listener much pleasure.

约瑟夫·福斯特对室内乐的热爱与日俱增，这九部作品涵盖了他的整个作曲生涯。首先是单乐章弦乐五重奏，创作于1886年；两年后，他创作了第一四重奏，献给柴可夫斯基并深受其影响；第五四重奏则献给他的第二任妻子奥尔加。第五四重奏以一段动人的慢乐章收尾，作曲家并未完成；他曾评论说，这“象征着人生的旅程，它不会随着肉体的离世而终结”。《祈祷》也带有某种献给弦乐四重奏和竖琴的《重生》则展现出一种柔和的马勒式影响。整部音乐都受到德沃夏克和斯美塔那的影响，但其丰富流畅的旋律抒情性完全是福斯特自己的贡献。当演奏得如此熟练并充满同情心和温暖时，福斯特就被证明是一位值得回味并给听众带来无限乐趣的作曲家。
（源于Google翻译）

这套碟也没找到。

在Qobuz上盲找居然找到了。

https://115cdn.com/s/swwiaue3hq9?password=3377&#
Foerster, Josef - Complete String Quartets - Jana Boušková, Jiří Hudec, Stamic Quartet [Supraphon]

joseph_li

FOULDS, John (1880–1939)
A World Requiem
Chan. CHSA 5058 (2). Charbonnet, Wyn-Rogers, Skelton, Finley, Trinity Boys’ Ch., Crouch End Festival Ch., Philh. Ch., BBC Symphony Ch. & O, Botstein

Foulds wrote his A World Requiem for the 1923 Festival of Remembrance, using over a thousand performers. The music is eclectic, with many derivations, and is essentially a cry for world peace. The work subdivides and opens darkly, but the call for deliverance in the second half is exuberant in its message that Christ’s promise to mankind is the world’s salvation. With these huge forces and four soloists, the vocal spectacle obviously recalls Mahler’s Third, Resurrection and Eighth Symphonies, and certainly this performance exerts a gripping hold on the listener. The recording is very much in the demonstration bracket.

福尔兹为1923年的纪念节创作了《世界安魂曲》，启用了一千多名演奏者。这首乐曲风格多样，衍生出许多版本，其核心是对世界和平的呐喊。作品的开头略显阴郁，但后半部分对救赎的呼唤却充满活力，传达出基督对人类的承诺就是拯救世界的信息。如此宏大的旋律和四位独唱家的演绎，使这场声乐盛宴令人联想到马勒的《第三交响曲》、《复活》和《第八交响曲》，这场演出无疑牢牢抓住了听众的心。这段录音非常适合作为示范曲目。
（源于Google翻译）


https://115cdn.com/s/swwiawq3hq9?password=3377&#
Foulds, John - A World Requiem - Leon Botstein, BBC SO; Charbonnet, Wyn-Rogers, Skelton [Chandos 24-96]等2个文件(夹)