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

joseph_li

FRANÇAIX, Jean (1912–97)
(i–ii) L’Horloge de Flore (for oboe & orchestra); (i; iii) Cor anglais Quartet; (iii) String Quartet; (iv) Trio for Oboe, Bassoon & Piano
CPO 999 779-2. (i) Lencsés; (ii) Stuttgart RSO, Segal; (iii) Parisii Qt; (iv) Françaix Trio

L’Horloge de Flore is captivating. Inspired by the Linnaeus Flower Clock (which ingeniously conveys the time by its formation from different floral species, each of which blossoms at a different hour of the day or night), the music forms a suite of seven miniature movements, mainly gentle. It is beautifully played by Lajos Lencsés, and the accompaniment is admirably tasteful. In short, this is a miniature treasure, and it is supported by other inconsequential chamber works, all playful and presented with much finesse, and each as personable as it is slight. The closing String Quartet is full of whimsy and ends very gently with a molto sostenuo.

《花之钟》引人入胜。其灵感源自林奈的花钟（它巧妙地通过不同种类的花卉组成，并根据昼夜不同时辰开放来计时），音乐构成了七个小乐章的组曲，以轻柔为主。拉约什·朗切斯（Lajos Lencsés）的演奏优美动听，伴奏也令人赞叹不已。简而言之，这是一部微型珍宝，并由其他一些无关紧要的室内乐作品支撑，这些作品都充满趣味，呈现得非常精妙，每一部都既亲切又轻柔。结尾的弦乐四重奏充满奇思妙想，并以“极致的宁静”（molto sostenuo）轻柔地收尾。

Ouverture anacréonique; Pavane pour un génie vivant; Scuola de ballo; Sérénade; Symphony 3 in G
Hyp. CDA 67323. Ulster O, Fischer

Françaix did not number his symphonies, but this amiable G major work is his Third (1953), composed light-heartedly in memory of Papa Haydn. What a happy work this is! The Sérénade, written 20 years earlier, is even more jocular, opening with fake-rhythmic abrasiveness before a melancholy bassoon introduces the Andantino. But high spirits return in the chirping Poco Allegretto and dashingly ribald finale. A touching calm then dominates the rather lovely opening of the Ouverture anacréonique (1978). But the music soon livens up vivaciously and reaches a confident, jazzy climax. The exquisite Pavane pour un génie vivant, a homage to Ravel, evokes that composer’s world idyllically. The programme then ends winningly with a pastiche Scuola de ballo, based on the music of Boccherini. The whole programme is played with warmth, polish and vitality; the recording is first class and this is very highly recommended.

弗朗赛没有为自己的交响曲编号，但这首亲切的G大调作品却是他1953年为纪念海顿老爹而创作的轻松愉快的第三交响曲。真是令人愉悦的作品！20年前创作的《小夜曲》则更加诙谐，以刻意模仿的粗犷节奏开场，随后忧郁的巴松管引出行板。然而，在欢快的小快板和潇洒不羁的终曲中，高昂的情绪再次回归。随后，动人的宁静主导了《舒缓序曲》（1978年）优美的开场。但音乐很快便活跃起来，达到了自信、爵士风格的高潮。精美绝伦的《活精灵帕凡舞曲》是对拉威尔的致敬，以田园诗般的方式唤起了这位作曲家的世界。最后，节目以一首模仿博凯里尼作品的《舞会集》圆满结束。整个节目温暖、精致、充满活力；录音是一流的，非常推荐。
（源于Google翻译）

第一张没找到，Qobuz上是无效链接。





https://115cdn.com/s/swwiat23hq9?password=3377&#
Françaix, Jean -  Symphony, Scuola di Ballo etc. - Thierry Fischer, Ulster Orchestra [Hyperion]等2个文件(夹)
在另一张里找到了《花之钟》。

joseph_li

(i) Huit danses exotiques (for 2 pianos); (ii) Napoléon (suite for 4 hands); 15 Portraits d’enfants d’Auguste Renoir (for 4 hands); (i) Scuola di Ballo, sur des thémes de Boccherini (for 2 pianos). Cinq ‘Bis’; Cinq portraits de jeunes filles; Danse des Trois Arlequins; ‘De la Musique avant tout chose’; Éloge de la danse (6 épigraphes de Paul Valéry); Huit Variations sur le nom de Johannes Gutenberg; Nocturne; La Promenade d ’un Musicologue Éclectique; Pour Jacqueline; Scherzo; Si Versailles m’était conté…; Sonate pour piano; Trois esquisses sur les touches blanches (posth.)
Nimbus NI 5880 (3). Jones; with (i) McMahon; (ii) Farmer

Françaix’s gifts, both as a creative artist and performing musician, were obvious from his early youth. He was praised by Ravel, and studied, like so many other twentieth-century musicians, with Nadia Boulanger. Then he won a ‘premier prix’ as a pianist at the Paris Conservatoire, and went on to give outstanding performances of his own works. He was a prolific composer and, although he wrote during a period dominated by atonalism, his writing resolutely avoids such excesses. His piano music is infectiously tuneful, graceful and full of charm and elegance.

This collection of all his works for solo piano, duo and duet is a delight from first to last. One might start on the first disc with its sparkling Scherzo and continue with the five Portraits de jeunes filles, each delectably characterized, notably ‘La Capriceuse’, the touching, neo-baroque ‘La Tendre’, the extravagantly ironic ‘La Prétentieuse’ and the closing, vivacious ‘La Moderne’. The Danse des Trois Arlequins, a work that follows later on the disc, is also infectiously full of rhythmic uplift, and the Éloge de la danse offers six engaging vignettes in triple time, each describing the same woman.

Cinq ‘Bis’ (encores) increasingly demand real bravura. The first is invitingly named ‘To entice the audiences’, while the second, ‘Pour les dames sentimentales’, is romantically winsome, and the finale ‘En cas de délire’ unleashes a virtuoso moto perpetuo. The Sonate pour piano, however, is traditional in form, yet has a memorably personal central Elégie, while the Gutenberg Variations are predictably diverse. The first disc then ends with a delectable Nocturne.

The two remaining collections are no less appealing. Huit danses exotiques derive from Latin American dance music, although the finale is unexpectedly (and untruthfully) entitled ‘Rock ’n’ Roll’. The 15 Portraits d’enfants d’Auguste Renoir, for 4 younger hands, are each hardly a minute long: every one is as simple as it is delectable. Trois esquisses sur les touches blanches is a gossamer triptych creating the ambience of a child’s music lesson, with the finale bringing an irrepressible rejection from the pupil. The composer’s last piano work, La Promenade d’un Musicologue Éclectique, is a tribute to six different composers, of which the miniature portrait of Scarlatti and a poignant evocation of Ravel are especially rewarding. The ‘Petit Hommage à la Musique Contemporaine’ defiantly ‘cocks a snook’ at the excesses of modernity.

‘De la Musique avant tout chose’ offers ten beautifully crafted ‘pièces enfantines’ picturing young children as they slowly mature, and the comparatively extended portrait Pour Jacqueline, dedicated to the composer’s cousin (a very early composition), catches the young lady’s unpredictable but exquisite femininity to perfection.

The third disc is devoted to highly effective piano transcriptions of Françaix’s film and ballet scores. The score for the epic film Napoléon incorporates pastiches of national music, notably marches of all kinds, plus a mazurka and a polonaise, and many other tuneful snippets, all woven into a kaleidoscopic whole.

The suite from Si Versailles m’était conté…derives from the film of the same name covering the history of the famous palace. Its varied associations with hunting, past wars, courtly dancing, pastorale evocation and romance, are crowned with La Marseillaise. The Scuola di Ballo offers winning excerpts from a ballet score based on neatly varied and ever-catchy themes from Boccherini, taken mainly from his various string quintets.

We have devoted considerable space to describing this splendid anthology of piano music by this outstanding twentieth-century composer, music so little known, and we hope many readers will be tempted to acquire this rewarding box, with highly sympathetic and spontaneous performances throughout from Martin Jones, successfully partnered in the piano duos and duets by Adrian Farmer and Richard McMahon. The recordings are most natural and there are excellent notes.

弗朗赛作为创意艺术家和演奏家的天赋，自幼便显露无疑。他曾受到拉威尔的赞赏，并像许多其他二十世纪音乐家一样，师从纳迪亚·布朗热。之后，他作为钢琴家在巴黎音乐学院赢得了“钢琴一等奖”，并继续出色地演奏了自己的作品。他是一位多产的作曲家，尽管创作于无调性主义盛行的时期，但他的作品坚决避免这种过度的风格。他的钢琴音乐旋律优美，充满感染力，充满魅力和优雅。

这本收录了他所有钢琴独奏、二重奏和二重奏作品的合集，从头到尾都令人赏心悦目。不妨先欣赏首张唱片中闪闪发光的谐谑曲，然后欣赏五首《少女肖像》，每一首都独具特色，尤其值得一提的是《随想曲》（La Capriceuse）、动人心弦的新巴洛克风格《温柔》（La Tendre）、极富讽刺意味的《漂亮女人》（La Prétentieuse）以及结尾充满活力的《摩登》（La Moderne）。紧接着的《三丑舞》（Danse des Trois Arlequins）同样充满感染力，节奏感十足；《舞蹈咏叹调》（Éloge de la danse）则以三拍子呈现六个引人入胜的小片段，每个片段都描绘着同一位女性。

五首“Bis”（返场曲）对演奏技巧的要求越来越高。第一首名为“为了吸引观众”（To entive the viewers），意味深长；第二首名为“为了感性的女人”（Pour les dames sentimentales），浪漫迷人；而终曲《在狂喜中》（En cas de délire）则释放出大师级的永恒动力。然而，《钢琴奏鸣曲》形式传统，却以一首令人难忘的个人化核心挽歌收尾，而《古腾堡变奏曲》则一如既往地风格多样。第一张唱片以一首悦耳的夜曲收尾。

剩下的两张合辑同样引人入胜。《异国舞曲》源自拉丁美洲舞曲，尽管结尾曲出人意料地（且不真实地）被命名为“摇滚”。《奥古斯特·雷诺阿的十五幅儿童肖像》为四位年轻人创作，每幅都不足一分钟：每一幅都简洁而悦耳。《白色触感上的三个小点》是一幅轻盈的三联画，营造出儿童音乐课的氛围，结尾曲中学生抑制不住地拒绝。作曲家的最后一部钢琴作品《杂技音乐家的漫步》（La Promenade d’un Musicologue Éclectique）致敬了六位不同的作曲家，其中对斯卡拉蒂的微型肖像和对拉威尔的凄美致敬尤为令人回味。《向当代音乐致敬》（Petit Hommage à la Musique Contemporaine）则对现代性的过度发展进行了大胆的批判。

《音乐的早期》（De la Musique avant tout chose）收录了十首精美的“儿童曲”（pièces enfants），描绘了孩子们逐渐成长的历程。而献给作曲家表妹的相对较长的肖像画《致杰奎琳》（Pour Jacqueline）（这是一部非常早期的作品），完美地捕捉了这位年轻女士难以捉摸却又精致的女性气质。

第三张唱片则收录了弗朗赛电影和芭蕾舞乐谱的钢琴改编作品，这些作品都堪称佳作。史诗电影《拿破仑》的配乐融合了民族音乐的戏仿，尤其是各种进行曲，以及一首玛祖卡舞曲、一首波兰舞曲，以及其他许多优美的片段，交织成一个千变万化的整体。

《凡尔赛宫》的组曲源自同名电影，讲述了这座著名宫殿的历史。它与狩猎、历史战争、宫廷舞蹈、田园诗般的旋律和浪漫情怀有着千丝万缕的联系，最终以《马赛曲》为巅峰。《舞会集》则以博凯里尼丰富多样、引人入胜的主题为基调，主要取材于他的多部弦乐五重奏，为芭蕾舞剧增添了精彩的片段。

我们用大量的篇幅来描述这位杰出的二十世纪作曲家的这本精彩的钢琴曲选集，这些音乐鲜为人知，我们希望许多读者能够被这套令人心动的选集所吸引。马丁·琼斯的演奏充满感染力，充满即兴，阿德里安·法默和理查德·麦克马洪也成功地合作完成了钢琴二重奏和二重奏。录音非常自然，音符也非常出色。
（源于Google翻译）


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Françaix, Jean - Music for Solo Piano, Duo & Duet - Martin Jones [Nimbus]等2个文件(夹)

joseph_li

最后一个等待审核

joseph_li

joseph_li 发表于 2025-6-25 10:36
Maria Stuarda 《玛丽亚·斯图亚特》(CD version)
Decca (ADD) 425 410-2 (2). Sutherland, Tourangeau, P ...

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Donizetti -  Mary Stuart (Highlights) - Charles Mackerras; Janet Baker [Chandos]等2个文件(夹)

补充一个资源，Janet Baker英语版。

langong2004

401楼............CPO 999 779-2 Françaix L'horloge de Flore,Cor anglais Quartet,Oboe Trio-Lajos Lencsés (2006)401楼

12v5GO4bw2h_e0Q_UwTiqpQ?pwd=mvfr  

xunianfeng

joseph_li 发表于 2025-6-22 23:30
COWARD, Noël (1899–1973)
‘I went to a marvellous party’: 45 Songs (1928–56) from: Parisian ...

https://115cdn.com/s/swwi8mh3w0i?password=v174&#
Noël Coward - Noëi Coward I Went to a Marvellous Party (2010) [16B-44.1kHz] - Qobuz
访问码：v174

joseph_li

感谢langong2004、xunianfeng两位补档，

joseph_li

FRANCK, César (1822 - 90)
(i) Le Chasseur maudit; (ii) Les Éolides; (i) Psyché; Rédemption; (i; iii) Nocturne
Australian DG Eloquence (ADD) 4762800. (i) O de Paris, Barenboim; (ii) SRO, Ansermet; (iii) Ludwig

What a good idea to gather together Barenboim’s 1976 Franck recordings – and also that DG Australia did not include the obvious Symphony, which in any case was not one of Barenboim’s successes instead of the rarer works here. Rédemption is given a splendidly convincing performance, with brass antiphonies gloriously brought out, making one wonder at the work’s relative neglect. Le Chasseur maudit opens with a most evocative Sunday morning ambience; the devilish chase which follows is vividly exciting, with Franck’s portrayal of the accursed huntsman superbly energetic with its arresting horn calls (an excellent version, though not eclipsing Munch’s classic RCA account). The orchestral items from Psyché show real tendresse, and the relatively simple and brief Nocturne, beautifully done by Christa Ludwig, is equally beguiling. The 1967 sound for Ansermet’s Les Éolides is even more vivid, with the conductor finding much feeling in the ebb and flow of the string writing of this haunting piece.

将巴伦博伊姆1976年弗朗克作品录音集结出版真是绝妙主意——尤其值得称道的是DG澳大利亚公司并未收录那部显然不算巴伦博伊姆成功演绎的《交响曲》，转而选择了这里更为稀见的作品。《救赎》的演绎极具说服力，铜管乐器的对位效果辉煌夺目，令人不禁诧异这部作品为何长期遭受冷落。《被诅咒的猎人》开场营造出极具氛围感的周日清晨意境；随后魔鬼般的追逐场景生动刺激，弗朗克笔下受诅咒猎人的音乐肖像在激昂的圆号召唤声中迸发出惊人能量（虽未超越明希的RCA经典版本，仍堪称卓越诠释）。《普赛克》中的管弦乐选段展现出真正的柔情蜜意，而相对简洁简短的《夜曲》在克里斯塔·路德维希优美演绎下同样迷人。安塞美1967年录制的《风神》音效更为鲜活，这位指挥家在弦乐声部起伏流动的乐句中挖掘出这首梦幻作品的丰富情感。

Symphony in D min.
RCA (ADD) SACD 82876 67897-2. Chicago SO, Monteux – STRAVINSKY: Petrushka

Pierre Monteux exerts a unique grip on this highly charged Romantic symphony, and his control of the continuous ebb and flow of tempo and tension is masterly, so that any weaknesses of structure in the outer movements are disguised. As soon as one begins this performance, one is hooked by the electricity of the music-making. The splendid playing of the Chicago orchestra is ever responsive to the changes of mood, and the most recent remastering for SACD brings further improvement to the 1961 recording; indeed, now the quality reflects the acoustics of Chicago’s Orchestra Hall in the same way as Reiner’s recordings, with textures full-bodied and glowing, without loss of detail. The newest coupling is Monteux’s uniquely authoritative (1959) Boston recording of Petrushka.

皮埃尔·蒙特克斯对这部激情澎湃的浪漫主义交响曲展现出独一无二的掌控力，他对乐章间持续起伏的速度与张力变化处理堪称大师手笔，成功掩饰了外乐章结构上的任何弱点。只要开始聆听这场演出，人们立刻会被通电般的音乐表现所俘获。芝加哥交响乐团精湛的演奏始终呼应着情绪变化，而最新为SACD进行的重制使1961年的录音品质更上层楼——如今音质如同莱纳录音般完美呈现芝加哥交响乐厅的声学特性，织体饱满辉煌又不失细节表现。最新搭配的曲目是蒙特克斯1959年与波士顿交响乐团合作的权威版《彼得鲁什卡》（该版本具有无可替代的经典地位）。
（源于DeepSeek翻译）


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Franck, César - Redemption, Psyché etc. -  Daniel Barenboim, Ernest Ansermet [DECCA]等4个文件(夹)

joseph_li

String Quartet in D; (i) Piano Quintet in F min.
Naxos 8 572009. Fine Arts Qt; (i) with Ortiz

Cristina Ortiz and the Fine Arts Quartet couple Franck’s two major chamber works and give very fine accounts of both masterpieces. They have ardour and finesse in equal measure. Of course, Curzon and the Amadeus have a special resonance in the Quintet but this bargain-label version has a very strong claim on the collector, and the pianist has both sensitivity and imagination.

克里斯蒂娜·奥蒂兹与美艺四重奏乐团联袂演绎弗兰克的两部重要室内乐作品，对这两部杰作均呈现了精湛诠释。他们的演奏兼具炽热情怀与精妙技巧。虽然柯曾与阿玛迪斯四重奏的《钢琴五重奏》版本具有特殊历史地位，但这个平价厂牌版本同样极具收藏价值，钢琴家的演绎既充满细腻感知又不乏艺术想象力。


(i) Violin Sonata in A; (ii) String Quartet in D
Australian Decca Eloquence (ADD/DDD) 476 8463. (i) Amoyal, Rogé; (ii) Fitzwilliam Qt

Franck’s D major Quartet is highly ambitious in its scale; its almost orchestral texture and its complex use of cyclic form always seem on the verge of bursting the seams of such an intimate piece of chamber music. Yet as a very late inspiration it contains some of the composer’s most profound, most compelling thought, and this magnificent performance by the Fitzwilliam Quartet, superbly triumphing over the technical demands with totally dedicated, passionately convinced playing, completely silences any reservations. In every sense this is a work which seeks to take up the challenges presented by the late Beethoven quartets in a way that few nineteenth-century composers attempted, not even Brahms. Richly recorded, with the thick textures nicely balanced, this was one of the finest chamber records of the late 1970s. It received a rosette on its original release, which it fully deserved. Amoyal and Rogé, richly recorded in 1995, also provide a superb account of the Violin Sonata, a performance full of fantasy and giving the impression of music emerging spontaneously on the moment.

弗兰克的《D大调弦乐四重奏》在规模上极具野心——其近乎管弦乐般的织体与循环形式的复杂运用，总令人感觉这部本应亲密的室内乐作品几欲突破形式桎梏。然而作为作曲家晚年灵感迸发之作，其中蕴含着他最深邃动人的乐思。菲茨威廉四重奏团以全情投入、充满信念的激情演奏完美克服了技术挑战，彻底打消了所有疑虑。从任何角度看，这部作品都试图直面贝多芬晚期四重奏提出的艺术挑战，这种尝试在十九世纪作曲家中实属罕见，即便勃拉姆斯也未曾涉足。本录音制作精良，厚重织体层次分明平衡得当，堪称1970年代末最杰出的室内乐唱片之一，当年发行时获得"玫瑰奖"实至名归。而1995年阿莫亚尔与罗热合作的《小提琴奏鸣曲》录音同样出色，充满奇幻色彩的演绎令人感觉音乐正在即兴流淌。
（源于DeepSeek翻译）


https://115cdn.com/s/swwi97e3hq9?password=3377&#
Franck, César - String Quartet & Piano Quintet - Fine Arts Quartet, Cristina Ortiz [Naxos]等2个文件(夹)

joseph_li

FRESCOBALDI, Girolamo (1583–1643)
Keyboard Music, Volume 1: Ancidetemi pur d’Arcadelt’s passaggiatto; Capriccio ‘Or che noi rimena’; Canzona Quarta; Cento Partite sopra Passacagli; 7 Toccatas; Keyboard Music, Volume 2: Balletto e Ciaccona; Corrente & Ciaccona; 5 Gagliardes; Partite sopra l’Aria di Monicha; Partite sopra l’Aria di Ruggiero; Partite sopra Ciaccona; Partite sopra Passacaglia; 7 Toccatas; Keyboard Music, Volume 3: Aria detta Balleto; Aria detta la Frescobalda; Balletto Primo – Corrente del Balletto; Balletto Seconda – Corrente del Balletto; Balletto Terzo – Corrente del Balletto – Passacagli; Canzona Prima; Canzona Quinta; Capriccio di Durezze; Capriccio fatto sopra La Cucchù; Capriccio Fra Jacopino sopra l’Aria du Ruggiero; Correntes 1–4; Capric sopra l’aria di Ruggiero; Ricercar 3; 4 Toccatas

Nim. NI 5850 (Vol. 1); NI 5861 (Vol. 2); NI 5870 (Vol. 3). Richard Lester (harpsichord by Giovanni Battista Boni (c.1619), Italian harpsichord (c.1590), Siculus virginals (c.1540) or Vicentius Pratensis virginals (c.1600))

Girolamo Frescobaldi was born in Ferrara, but moved first to Brussels, then to Rome, before climaxing his career in the service of the Medici family in Venice. His music was as highly regarded as it was influential – and understandably so, as it was both highly inventive and spontaneous. The very first item on the first of these two discs, the Capriccio ‘Or che noi rimena’ (based on a Dutch student song) immediately demonstrates the quality and appeal of his variants, and the dance movements in Volume 2 are full of life, the opening gagliardas very jolly. The Toccatas make for an expressive contrast and perhaps include the finest music of all. Performance of Frescobaldi demands a free, improvisatory style of performance, of which Richard Lester is obviously a master. He plays a perfectly chosen harpsichord with a particularly attractive, warm sonority, not in the least ‘clattery’, with the sound perfectly focused in an ideal acoustic.

吉罗拉莫·弗雷斯科巴尔迪出生于费拉拉，先迁至布鲁塞尔，后迁至罗马，最终在威尼斯为美第奇家族服务，成就了他的音乐生涯巅峰。他的音乐备受推崇，影响深远——这自然是可以理解的，因为他的音乐极具创造力，且充满即兴。这两张唱片中的第一张，随想曲《Or che noi rimena》（改编自一首荷兰学生的歌曲）便展现了他变奏曲的品质和魅力；第二张唱片中的舞蹈动作充满活力，开场的加利亚达舞曲欢快欢快。托卡塔与弗雷斯科巴尔迪的音乐形成了鲜明的对比，或许包含了所有音乐中最优美的旋律。弗雷斯科巴尔迪的演奏需要一种自由、即兴的风格，而理查德·莱斯特显然是这方面的大师。他演奏了一架精心挑选的大键琴，音色格外迷人温暖，丝毫没有“咔哒”声，音色在理想的声学环境中完美聚焦。
（源于Google翻译）


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Frescobaldi, Girolamo - Music for Harpsichord - Richard Lester [Nimbus]

joseph_li

FURTWÄNGLER, Wilhelm
‘The Great EMI Recordings

These analogue recordings, made between 1939 and 1954, have been excellently remastered, and they demonstrate how well balanced was the EMI sound afforded to Furtwängler in the 78 era. No apologies need be made: sonically they are most enjoyable to listen to, while they continually demonstrate the conductor’s genius as an interpreter of the major classics, even as far forward as Bartók (with Yehudi Menuhin). This concerto is mandatory listening for anyone who admires the composer, and it sounds splendid in the new transfer, while Menuhin’s noble (1947) Lucerne recording of the Beethoven Violin Concerto also has an authority and intensity that are almost unique in this repertoire. Edwin Fischer’s 1951 recording of the Emperor with the Philharmonia Orchestra is another of the great classics of the gramophone, both imperious and imperial.

By unearthing a live recording of No. 2, made in the Royal Albert Hall in 1948, and borrowing a radio recording of No. 8, made in Stockholm, EMI has put together a complete cycle of the Beethoven Symphonies. The sound of these two ad hoc recordings may be below the standard of the rest, but the performances are electrifying. No. 9 comes in the dedicated performance given at Bayreuth in 1951, but the others are EMI studio versions, not always as inspired as the conductor’s live performances, but still magnetic, with well-balanced mono sound.

The 1953 recording of Fidelio, made in the Musikverein, omits the spoken dialogue, but the voices are very impressive, notably Martha Mödl, then new to the role of Leonora but already commanding. Sena Jurinac was a creamy-toned Marzeline, Otto Edelmann a sinister Pizarro, singing with wonderful clarity, and Wolfgang Windgassen as Florestan was heroic and totally unstrained. Gottlob Frick makes a magnificent Rocco, and Furtwängler is at his most inspired.

Furtwängler’s 1949 account of the Brahms Violin Concerto with Menuhin, and the Double Concerto with (unexpectedly) Willi Boskovsky partnered by Emanuel Brabec, have been submerged under later versions, but in their way they are classic accounts. But the performances of the four Brahms Symphonies with the Vienna Philharmonic are in a class of their own. The live recording of the First Symphony, made in 1952, is partnered with live recordings of the remaining three symphonies, made in 1948 9 and 1952 and presumably taken from radio sources. The performance of the First is particularly fine, with a real feeling of apotheosis in the finale, from the horn call and the great string melody which follows, to the close. The electricity of Furtwängler in Brahms is vividly captured throughout. The music-making is obviously live, particularly at the thrilling close to each of the four Symphonies, except of course No. 3, which ends gently. The first movement of No. 4 is unexpectedly swiftly paced, although the Adagio makes a complete contrast, and the closing passacaglia is splendidly managed. The sound in all four works has been greatly improved in the present remastering, more full-bodied than in their last incarnation. The Variations on a Theme of Haydn are agreeably mellow and perceptively characterized.

It is good that the conductor’s own rare but engagingly romantic Adagio from his Symphonic Concerto, beautifully played by Edwin Fischer, has survived. The performance of Haydn’s Surprise Symphony is splendidly alive and elegant, with a very positive ‘surprise’, and the account of Mozart’s G minor is one of the highlights of the set, the first movement taken briskly, making room for an exposition repeat, and the whole performance is full of character, as indeed is Liszt’s Les Préludes, if of a very different kind, adding dignity to flamboyance and vigour.

Menuhin’s unique gift for lyrical sweetness has never been presented on record more seductively than in his classic (1952) version of the Mendelssohn Violin Concerto with Furtwängler; the recording, made in the celebrated Berlin Jesus-Christus-Kirche, certainly does not sound its age. Nor does the balance of Schubert’s Unfinished Symphony, played with warm lyricism, but with no lack of drama.

Don Juan and Till Eulenspiegel come from 1954, some months before the onset of deafness brought Furtwängler’s career to an end, while Death and Transfiguration was recorded in Vienna in 1950. They are performances of commanding stature and have the glowing naturalness of utterance and mastery of pace that characterized the conductor at his best. Don Juan has real exuberance, Till is deliciously detailed and comes to a very dramatic end with rasping trombones, while Death and Transfiguration has real nobility at its climax. The recordings still sound glorious.

Tchaikovsky’s Pathétique Symphony too is masterly, a truly great performance, with the tender second subject of the first movement matched by the work’s poignant close in its feeling. And the Scherzo is transformed into its march apotheosis with splendid rhythmic power. The 1938 recording is astonishingly vivid and does not sound in the least dated.

This set of treasurable records is capped by the 1952 set of Tristan und Isolde, produced in the Kingsway Hall by Walter Legge. Furtwängler’s concept is spacious from the opening Prelude onwards, but equally the bite and colour of the drama are vividly conveyed, matching the nobility of Flagstad’s portrait of Isolde. The richly commanding power of her singing and her always distinctive timbre make it a uniquely compelling performance. Suthaus is not of the same calibre as a Heldentenor, but he avoids ugliness and strain. Among the others the only remarkable performance comes from the young Fischer-Dieskau as Kurwenal, not ideally cast but keenly imaginative. One endearing oddity is that – on Flagstad’s insistence – the top Cs at the opening of the love duet were sung by Elisabeth Schwarzkopf. The Kingsway Hall recording was admirably balanced, catching the beauty of the Philharmonia Orchestra at its peak. It stands among Furtwängler’s finest memorials, still unsurpassed by later versions in its spacious concentration and intensity.

‘Remembering Furtwängler’, written and narrated by Jon Tolansky: musicians who performed with Wilhelm Furtwängler, and others who saw him, recall how and why he excercised a magnetic and hypnotic effect over them and his audiences, illustrated by recordings made at rehearsals and performances. Our favourite story comes from the timpanist of the Berlin Philharmonic Orchestra. He tells us that at rehearsals he often followed a score during sections of the music in which he was not taking part. On one occasion the orchestra was rehearsing under another conductor and was playing well enough but with no particular distinction. Suddenly the sound changed and instantaneously possessed an extra radiance. He looked up from the score and saw that Furtwängler had just walked in at the door in full view of the orchestra.

Overall, this set is an essential purchase, and it is well documented.

这些录制于1939年至1954年间的模拟录音，经过了精良的修复，展现了EMI在78年代为富特文格勒带来的音质有多么均衡。毋庸置疑：这些录音本身就极具听觉享受，同时不断展现出这位指挥家对经典作品的卓越诠释，甚至远至巴托克（与耶胡迪·梅纽因合作）的演绎。对于任何欣赏这位作曲家的人来说，这首协奏曲都是必听之作，在新版本中，它听起来格外出色。梅纽因1947年在琉森录制的贝多芬小提琴协奏曲，也同样拥有几乎独一无二的权威性和强度。埃德温·菲舍尔1951年与爱乐乐团合作录制的《皇帝》是留声机时代另一部伟大的经典作品，既庄严又恢弘。

通过发掘1948年在皇家阿尔伯特音乐厅录制的第二号交响曲的现场录音，以及借用在斯德哥尔摩录制的第八号交响曲的广播录音，EMI整理出了贝多芬交响曲的完整版本。这两张临时录音的音质或许略逊于其他版本，但演奏却令人振奋。第九号交响曲出自1951年在拜罗伊特的专场演出，其他版本均为EMI的录音室版本，虽然不如指挥家的现场演奏那样充满灵感，但依然充满磁性，单声道音色均衡。

1953年在维也纳金色大厅录制的《费德里奥》省略了对白，但配音令人印象深刻，尤其是玛莎·莫德尔，她当时还只是莱奥诺拉一角的新人，但已经声名鹊起。塞纳·尤里纳克饰演的马泽琳音色柔和，奥托·埃德尔曼饰演的皮萨罗阴险狡诈，歌声清晰动听，沃尔夫冈·温德加森饰演的弗洛雷斯坦英勇无畏，浑然天成。戈特洛布·弗里克饰演的洛科精彩绝伦，富特文格勒则展现出他最饱满的灵感。

富特文格勒1949年与梅纽因合作演绎的勃拉姆斯小提琴协奏曲，以及与（出乎意料的）维利·博斯科夫斯基和埃马纽埃尔·布拉贝克合作演绎的双重协奏曲，虽然已被后期版本所掩盖，但就其本身而言，它们依然是经典之作。而与维也纳爱乐乐团合作演绎的勃拉姆斯四部交响曲则独树一帜。1952年录制的第一交响曲现场录音，与1948年和1952年录制的其余三部交响曲现场录音（推测来自广播源）并存。第一交响曲的演奏尤为精湛，终曲从圆号声响起，到随后的弦乐旋律，直至乐曲结束，都弥漫着一种真正的神化感。富特文格勒演绎勃拉姆斯作品时所展现出的活力贯穿始终。音乐的演绎显然是现场感十足的，尤其是在四部交响曲激动人心的结尾，当然，第三交响曲的结尾却显得平缓。第四交响曲的第一乐章节奏出人意料地快，尽管慢板部分形成了鲜明的对比，而结尾的帕萨卡利亚舞曲也处理得非常出色。在本次重新灌录的版本中，这四部作品的音色都得到了极大的提升，比之前的版本更加饱满。海顿主题变奏曲则柔和悦耳，富有洞察力。

值得庆幸的是，指挥家本人创作的交响协奏曲中那首罕见却充满浪漫情调的慢板，由埃德温·菲舍尔演奏得非常优美，至今仍保存完好。海顿《惊愕交响曲》的演奏精彩绝伦，活力四射，优雅非凡，令人惊喜不已。莫扎特的G小调交响曲更是整套演出的亮点之一，第一乐章节奏轻快，为呈示部重复留下了空间。整场演出充满个性，李斯特的《前奏曲》亦是如此，只是风格迥异，在华丽与活力中增添了一抹庄重。

梅纽因独特的抒情甜美天赋，在他与富特文格勒合作的门德尔松小提琴协奏曲经典版本（1952年）中得到了前所未有的展现；这张在著名的柏林耶稣基督教堂录制的唱片，听起来绝对不落俗套。舒伯特的《未完成交响曲》也同样如此，它以温暖的抒情风格演奏，却又不失戏剧性。

《唐璜》和《蒂尔·尤伦施皮格尔》录制于1954年，几个月后富特文格勒因耳聋而结束了自己的职业生涯。《死亡与变容》则录制于1950年，在维也纳录制。这两部作品气势恢宏，展现了这位指挥家巅峰时期标志性的自然流畅的表达和对节奏的掌控。《唐璜》充满活力，蒂尔的细节刻画得惟妙惟肖，并以刺耳的长号声划出戏剧性的句号，而《死亡与变容》的高潮部分则展现出真正的高贵气质。这些录音至今仍令人赞叹不已。

柴可夫斯基的《悲怆交响曲》同样技艺精湛，堪称一场真正的伟大演出。第一乐章温柔的第二主题与作品凄美的结尾交相辉映。谐谑曲以其精湛的节奏力量转化为进行曲的巅峰之作。1938年的录音令人惊叹地生动，丝毫没有过时的感觉。

这套珍贵的唱片中，瓦尔特·莱格在国王大道音乐厅制作的1952年《特里斯坦与伊索尔德》堪称巅峰之作。富特文格勒的概念从开场前奏曲开始就显得开阔，但戏剧的力度和色彩也同样生动地传达出来，与弗拉格斯塔德描绘的伊索尔德的高贵气质相得益彰。伊索尔德歌声中饱满的掌控力和她始终独特的音色，使这场演出独具魅力，引人入胜。苏特豪斯的水平不如英雄男高音，但他避免了丑陋和紧张。在其他作品中，唯一令人瞩目的表演来自年轻的菲舍尔-迪斯考饰演的库尔文纳尔，虽然选角并非理想，但想象力十足。一个令人喜爱的奇特之处在于——在弗拉格斯塔德的坚持下——爱情二重唱开头的高音C由伊丽莎白·施瓦茨科普夫演唱。国王大道音乐厅的录音平衡得令人钦佩，捕捉到了爱乐乐团巅峰时期的美妙。它是富特文格勒最精美的纪念作品之一，其恢弘的凝聚力和强烈的感染力至今仍未被后来的版本所超越。

由乔恩·托兰斯基作曲并朗诵的《怀念富特文格勒》：曾与威廉·富特文格勒合作过的音乐家以及其他见过他的人，回忆起他如何以及为何对他们和观众产生了一种磁力和催眠般的影响，这些回忆在排练和演出时的录音中得到了充分的体现。我们最喜欢的故事来自柏林爱乐乐团的定音鼓演奏家。他告诉我们，在排练时，他经常在自己没有参与演奏的乐段跟着乐谱演奏。有一次，乐团在另一位指挥的指挥下排练，演奏得还不错，但没有什么特别之处。突然，声音变了，瞬间焕发出一种额外的光芒。他从乐谱上抬起头，看到富特文格勒正从门口走进来，整个乐团都看到了他。

总而言之，这套唱片是必买之物，而且记录详尽。
（源于Google翻译）


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Furtwangler, Wilhelm - Great EMI Recordings [21CD]
富老的东西收了不少，但是录音效果真不太稳定，需要试听，平时听得不算多。

Wilhelm Furtwangler - Complete Recordings on DG and Decca 34CD等3个文件
链接: https://***.com/s/10FpwZGCtHfUhpczzqNQbWQ?pwd=3377
来几个富老的大包子

joseph_li

GARDNER, John (born 1917)
(i) Piano Concerto 1, Op. 34. Overture: Midsummer Ale, Op. 73; Symphony 1, Op. 2
Naxos 8.570406. RSNO, Lloyd-Jones; (i) with Donohoe

This coupling of two of John Gardner’s major works, plus a sparkling comedy overture, could not be more welcome, brilliantly played and recorded. Here is one of the most unjustly neglected composers of his generation. Born in 1917, he has always been astonishingly prolific, maybe one reason for his neglect when there is so much to choose from. At the last count in 2004 Gardner had clocked up no fewer than 249 opuses, most of them on commission, yet there have been disgracefully few recordings of his music. The Symphony No. 1, the most extended of the works on the new disc, is in four movements, spanning over 40 minutes. Though it was written in 1947, it was not performed until 1951, one of the pieces that Sir John Barbirolli introduced at the Cheltenham Festival. The idiom is more abrasive than in Gardner’s later works, with a grinding slow introduction leading to an Allegro with echoes of Walton in its jazzy syncopations, though with sharper harmonies. As always in Gardner’s music the orchestration is brilliantly clear, and after an interlude of stillness the work ends with a ripe and optimistic D major chord.

The Piano Concerto No. 1 of 1957 offers a contrasted idiom in its percussive echoes of the Bartók Piano Concertos, suiting Peter Donohoe’s strong style admirably in another performance brilliantly backed by David Lloyd-Jones and the Royal Scottish National Orchestra. The clangorous opening movement leads to a still, slow movement with more echoes of Bartók but also of John Ireland. The disc is dazzlingly rounded off with a rumbustious comedy overture, Midsummer Ale, written for the orchestra of Morley College, of which Gardner was music director. By rights this disc will bring renewed attention to the music of a most attractive composer.

这张专辑融合了约翰·加德纳的两部主要作品，外加一首闪闪发光的喜剧序曲，演奏和录制都非常出色，大受欢迎。他是他那一代最被忽视的作曲家之一。他出生于 1917 年，一直作品众多，这也许是他在有那么多作品可供选择的情况下却被忽视的原因之一。根据 2004 年的最新统计，加德纳已创作了不少于 249 部作品，其中大部分是受人委托创作的，但他的音乐作品的录音却少得可怜。新唱片中篇幅最长的作品是第一交响曲，分为四个乐章，时长超过 40 分钟。虽然它写于 1947 年，但直到 1951 年才演出，是约翰·巴比罗利爵士在切尔滕纳姆音乐节上介绍的作品之一。与加德纳后期作品相比，这部作品的风格更为粗犷，一段缓慢刺耳的引子引向快板，其爵士风格的切分音中带有沃尔顿的回响，但和声更为锐利。一如加德纳音乐的一贯风格，这部作品的配器清晰明亮，在一段静谧的间奏之后，作品以成熟乐观的D大调和弦收尾。

1957年的第一钢琴协奏曲以其对巴托克钢琴协奏曲的冲击力回响，呈现出一种对比鲜明的风格，与彼得·多诺霍强劲的风格完美契合，在另一场由大卫·劳埃德-琼斯和苏格兰皇家国家管弦乐团的精彩演绎下，这首作品也堪称完美。铿锵有力的开场乐章引向平静舒缓的乐章，其中更多地体现了巴托克以及约翰·爱尔兰的风格。这张唱片以一首喧闹的喜剧序曲《仲夏麦芽酒》完美收官，这首序曲是为莫利学院管弦乐团创作的，加德纳当时担任该乐团的音乐总监。这张唱片无疑将重新引起人们对这位极具魅力的作曲家的音乐的关注。
（源于Google翻译）


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Gardner, John - Piano Concerto No.1, Symphony No.1 etc. - David Lloyd-Jones, Peter Donoho [Naxos 24-44.1]

joseph_li

GAY, John (1685–1732)
The Beggar’s Opera (arr. Pepusch and Austin)
CfP 575 9722 (2). Morison, Cameron, Sinclair, Wallace, Brannigan, Pro Arte Ch. & O, Sargent–GERMAN: Tom Jones

The Beggar’s Opera was the eighteenth-century equivalent of the modern American musical. It was first produced in 1728 and caused a sensation, burlesquing the sort of operas – stylized Italian opera favoured by Handel – the audiences were used to. This performance under Sargent is in every way first class, and the soloists could hardly be bettered, with Elsie Morison as Polly, John Cameron as MacHeath and Owen Brannigan a splendid Peachum. The linking dialogue is spoken by actors to make the result more effective, with every word crystal clear. The chorus is no less effective and the 1955 recording has a most appealing atmosphere. It was one of EMI’s first stereo successes and the chorus ‘Let us take the road’ (during which the singers recede into the distance) was understandably included on their stereo demonstration disc. It is now coupled with a delightful selection from Edward German’s Tom Jones, which is hardly less vivid. Recordings of Britten’s version of this score have been made, most recently by Chandos which is recommendable. His version is also available on a Decca DVD (074 3329) with a superbly vivid and memorable cast, recorded in 1963. Bonynge’s souped-up version with a star cast, including Joan Sutherland and Angela Lansbury, is available on Australian Decca Eloquence, but this EMI is undoubtedly closest to the spirit of the work.

《乞丐歌剧》堪称十八世纪现代美国音乐剧的典范。它于1728年首演，引起轰动，其戏仿的正是观众习以为常的歌剧——亨德尔偏爱的风格化意大利歌剧。萨金特的这部作品在各方面都堪称一流，独唱演员也无可挑剔，埃尔西·莫里森饰演波莉，约翰·卡梅隆饰演麦克希思，欧文·布兰尼根饰演皮彻姆，精彩绝伦。为了使效果更佳，演员们的对话由演员朗诵，每个字都清晰透彻。合唱部分也同样精彩，1955年的录音营造出极具感染力的氛围。这是EMI唱片公司首批立体声唱片中的成功之作，合唱部分“让我们上路吧”（歌声渐行渐远）自然而然地被收录在他们的立体声示范碟中。如今，这张唱片与爱德华·赫尔曼的歌剧《汤姆·琼斯》中一段优美的选段完美融合，其生动程度丝毫不逊色。布里顿版本的乐谱已录制，最新由Chandos发行，值得推荐。他的版本也发行于迪卡（Decca）的DVD（074 3329），该版本录制于1963年，演员阵容极其生动，令人难忘。波宁格（Bonynge）的升级版由琼·萨瑟兰（Joan Sutherland）和安吉拉·兰斯伯里（Angela Lansbury）等明星阵容主演，已在澳大利亚迪卡唱片公司（Decca Eloquence）发行，但毫无疑问，这张EMI版本最接近作品的精髓。
（源于Google翻译）


https://115cdn.com/s/swwi9433hq9?password=3377&#
Britten, Benjamin - The Beggar's Opera - Richard Hetherington [Chandos]等3个文件(夹)
萨金特的华纳版没找到，不过BEULAH版曲目是一致的。

joseph_li

GERMAN, Edward (1862–1936)
Tom Jones (operetta: highlights)
CfP 575 9722 (2). Harvey, Minty, Glover, Riley, Nigel Brooks Ch. & O, Gilbert Vinter–GAY: The Beggar’s Opera

Listening to this sparkling selection, one’s first impression is how like Sullivan is the basic idiom. The opening chorus might have come straight out of Patience, and there are many ensembles and solos that have a distinct reminder of one or other of the Savoy Operas, The librettist here even uses one of Gilbert’s rhythms, ‘Festina lente’, as part of a song-title. But there is also music that could have only come from German’s own pen, the really charming Here’s a paradox for lovers and of course the delicate Dream o’day and the famous Waltz Song. They are all extremely well sung here by a solo group who, like the conductor, Gilbert Vinter, convey real enthusiasm for this tuneful score. The 1966 recording is excellent and has transferred vividly to CD. Splendidly coupled, this inexpensive set is not to be missed.

聆听这首精彩的选段，第一印象是其基本风格与沙利文的风格多么相似。开场合唱仿佛直接出自《忍耐》（Patience），许多合唱和独唱部分都清晰地让人联想到萨沃伊歌剧。剧本作者甚至将吉尔伯特的节奏之一“Festina lente”（缓慢的节日）用作歌名的一部分。此外，还有一些音乐似乎也出自德国作曲家之手，例如魅力十足的《恋人悖论》（Here's a paradox for lovers），当然还有细腻精致的《梦想一天》（Dream o'day）和著名的《圆舞曲》（Waltz Song）。这些歌曲都由一支独唱乐队倾情演绎，他们与指挥家吉尔伯特·温特一样，对这首优美的乐曲倾注了真挚的热情。1966年的录音非常出色，并已清晰地转制成CD。这套价格实惠的套装搭配得当，不容错过。
（源于Google翻译）

这个曲目与上面的在同一套碟上。找到的唯一一张图片都不太清晰。

joseph_li

卡了John Gardner (born 1917)审核

joseph_li

GERSHWIN, George (1898–1937)
(i) An American in Paris; (ii) Piano Concerto in F; (iii) Rhapsody in Blue
Sony (ADD) 82876 78768-2. (i) NYPO, Bernstein; (ii) Previn, O, Kostelanetz; (iii) Bernstein (piano) with Columbia SO

An American in Paris; Rhapsody in Blue
DG DVD 073 4513. NYPO, Bernstein (with IVES: The Unanswered Question; Symphony 2: Bav. RSO)

Bernstein’s outstanding 1960 CD coupling of An American in Paris and Rhapsody in Blue has stood the test of time. Bernstein’s approach in the Rhapsody, which he directs from the keyboard, is exceptionally flexible but completely spontaneous. It is a masterly account in every way, quixotic in mood, rhythmically subtle and creating a great surge of human warmth at the entry of the big central tune. The performance of An American in Paris is vividly characterized, brash and episodic, an unashamed American view, with the great blues tune marvellously phrased as only an American orchestra can do it. Both recordings still sound very good indeed. For this reissue Previn’s account of the Concerto in F (made at the same time) with Kostelanetz, not surprisingly, has more pizzazz and is more telling stylistically than his later, HMV version with the LSO. Kostelanetz and his orchestra play a major part in the interpretation, especially in the brilliant finale. Once again the remastered sound is remarkably vivid. Altogether these classic versions remain unsurpassed.

Those wanting a DVD will find that again there is an authentically spontaneous command of idiom here; Bernstein is both a superb soloist and conductor in the Rhapsody and the New Yorkers respond in a proprietorial way. They also play with great concentration in The Unanswered Question. It is good also to see the Bavarian orchestra in the Ives Symphony, which they play to the manner born. The Gershwin was recorded at the Royal Albert Hall in 1976 and the Ives in 1987.

伯恩斯坦1960年录制的《一个美国人在巴黎》与《蓝色狂想曲》唱片堪称传世经典，经受了时间的考验。他亲自执棒并担任钢琴独奏的《蓝色狂想曲》诠释极具弹性又浑然天成，无论从哪个角度看都堪称大师手笔——情绪变幻莫测，节奏处理精妙，当中央主题旋律喷薄而出时更迸发出感人至深的人性暖流。而《一个美国人在巴黎》的演绎则充满鲜明的美式特质，张扬洒脱如蒙太奇般展开，尤其那段布鲁斯旋律的演绎，唯有美国乐团方能呈现如此地道的律动。这两份录音的音质至今仍保持出色水准。

本次再版额外收录的普列文《F大调钢琴协奏曲》（与科斯特拉涅茨同期录制）相较其后期与伦敦交响乐团的HMV版本，在风格表现上更为惊艳夺目。科斯特拉涅茨与其乐团的贡献功不可没，终乐章尤其绚丽夺目。经重新灌录的音效依旧鲜活逼人。总体而言，这些经典版本至今仍未被超越。

偏爱影音版本的乐迷会发现，伯恩斯坦在DVD中再次展现了浑然天成的艺术掌控力——他既是《蓝色狂想曲》中出类拔萃的钢琴独奏家，又是才华横溢的指挥家，纽约爱乐亦以主人翁姿态倾情呼应。他们在《未作回答的问题》中的演绎同样凝聚着高度专注力。而巴伐利亚广播交响乐团演绎艾夫斯《第二交响曲》时，更展现出与生俱来的契合度。格什温作品录制于1976年皇家阿尔伯特音乐厅，艾夫斯作品则收录于1987年音乐会实况。
（源于DeepSeek翻译）


DVD：
https://115cdn.com/s/sww4nop3hq9?password=3377&#
Gershwin, George - An American in Paris; Rhapsody in Blue & Ives - Symphony No.2 ec. - Bernstein, NYPO [DG DVD9]

CD：
https://115cdn.com/s/sww4nom3hq9?password=3377&#
Gershwin, George - Rhapsody in Blue, An American in Paris & Grofé - Grand Canyon Suites - Bernstein NYPO [Sony 24-96]等4个文件(夹)
三四星带花，一版再版。

joseph_li

GESUALDO, Carlo de Venosa (c. 1561–1613)
Carlo Gesualdo was a great deal more than a musician/composer of distinction. He was also the powerful Prince of Venosa, and because of his rank he was not brought to book for the bloody double murder of his beautiful wife, Maria d’Avalos, and her lover, caught in flagrante delicto in his marriage bed. He was a writer of passionately expressive secular music, but he also wrote intensely felt and equally unpredictable liturgical settings for the church.

卡洛·杰苏阿尔多绝非仅是一位杰出的音乐家/作曲家。作为权势显赫的维诺萨亲王，他曾在婚床上将美丽的妻子玛丽亚·达瓦洛斯及其情人捉奸在床并残忍杀害，却因贵族身份而逃脱法律制裁。他既能谱写炽热奔放的世俗音乐，亦为教会创作情感浓烈且充满不可预知性的神圣乐章。  

Leçons de ténèbres; Responsories for Maundy Thursday
Signum SIGCD 048. King’s Singers

Gesualdo’s responsories for Maundy Thursday of 1611, with their surprising chromatic dissonances, are among the most remarkable and original of all Ténèbre settings. Immediately In Monte Oliveti opens, the King’s Singers demonstrate a very flexible approach to tempo and dynamic that is to characterize the whole performance. The impeccable intonation and tonal matching also give a special richness to the chordal writing and its moments of dissonance. The performance closes simply with the chant, Christus factus est, and this is treated as a brief recessional. In short this is a superbly sung performance, expressively poignant, but dramatic too, which brings a new dimension to this remarkable music, and the recording is outstanding.

杰苏阿尔多1611年为圣周四创作的应答圣歌以其惊人的半音不协和音响，成为所有《黑暗日课》音乐中最非凡、最具独创性的作品之一。当《在橄榄山上》的歌声响起时，"国王歌手合唱团"便展现出对速度与力度的极致把控，这一特质贯穿全曲。精准的音准与和谐的声部融合，为和弦进行及不协和段落赋予了独特的丰润质感。演出以简朴的《基督受难颂》圣咏作结，仿若一段短暂的退场仪式。简言之，这是一场精湛绝伦的演绎——既饱含锥心刺骨的情感张力，又充满戏剧性表现力，为这部非凡之作赋予了新的维度，录音效果亦堪称卓越。  


Madrigals, Book 1 (1594)
Naxos 570548. Delitiæ Musicæ, Marco Longhini

It is against the background of the high point of his extraordinary life that Gesualdo wrote his madrigals. Obviously the 1590s were an extremely creative period for him, and these five-part madrigal settings clearly reflected the emotional turmoil of his own life. Their remarkable unpredictability of feeling, with pain, passion and joy side by side, was exhibited by their chromatic intensity and the spread of dissonances, the desperation in love of many of their texts, requited and unrequited.

The very first two madrigals in Book 1 are paired: Baci soavi e cari … Quanto ha di dolce amore (‘Sweet and tender kisses … There is sweet love enough’) brings a sophisticated mirror of erotic love-making with its sighs and physical responses with the very last word of part two, morir!, being a euphemism for orgasm. But others among these settings are of the joys of coupling, and the meaning of Mentre madonna il lasso fianco posa is even plainer: ‘While my lady rested her weary limbs after erring happily and willingly’. The music itself is often serene or touchingly melancholy (Tirsi morir volea), although some settings move joyously and quickly. There is great variety here and the performances by this fine Italian vocal ensemble are rich in timbre and colour and beautifully blended and ever flexible in tempo. The clear recording in a warm acoustic is admirable and there are excellent notes and full text and translations.

杰苏阿尔多的牧歌诞生于他跌宕人生的巅峰时期。1590年代无疑是他创造力勃发的阶段，这些五声部牧歌作品鲜明折射出他内心的情感风暴。半音化的浓烈笔触与不协和音的蔓延，将文本中爱欲的绝望（无论得到回应与否）转化为情感的惊人突变——痛苦、激情与欢愉并置共存，令人难以预料。  

《第一册牧歌集》开篇两首便形成镜像：《甜蜜温柔的吻……爱之甘醇》以精巧的和声摹拟云雨之欢，第二段末尾的"死亡！"（morir!）实为高潮的隐喻；而《当夫人憩息疲惫身躯》的标题更直白："当我的夫人在欢愉放纵后歇息倦体"。音乐本身时而静谧如《提尔西求死》，时而哀婉动人，亦有明快跃动之作。意大利人声组合的演绎音色丰润、层次瑰丽，速度处理灵活自如。温暖的录音环境令细节纤毫毕现，随附的详尽解说与双语歌词更添学术价值。  
（源于DeepSeek翻译）


https://115cdn.com/s/sww4no13hq9?password=3377&#
Gesualdo, Carlo - Madrigals Book1-6 - Delitiae Musicae, Marco Longhini [Naxos] 等2个文件(夹)

joseph_li

GIBBONS, Orlando (1583–1625)
Consorts for Viols: Fantasies a 3, 1–4; Fantasies a 6: 1–6; In Nomines 1–2; Keyboard Pieces arr. for Viols; Vocal Works arr. for Viols
Avie AV 0032. Phantasm

The Fantasies for viol consort by Orlando Gibbons are among the most sublime works in the string repertory, leading on to the Fantasias of Purcell, even breathing the same air as the Beethoven late Quartets. Happily the group Phantasm is at once authoritative and beautifully matched. The complexities of the Fantasies in six parts, presented here as a cohesive group, are astonishing, both in rhythm and in counterpoint, and the two six-part In Nomines, more austere, have a similar intensity. Phantasm supplement the music written specifically for viols with transcriptions of keyboard and vocal works. The sound is admirably balanced and this is a highly satisfying collection.

奥兰多·吉本斯为维奥尔琴合奏创作的《幻想曲》堪称弦乐文献中最超凡脱俗的作品之一——它们既是珀塞尔《幻想曲》的先声，更与贝多芬晚期弦乐四重奏共享着同样的精神呼吸。值得庆幸的是，"幻象合奏团"的演绎既具权威性，又拥有无懈可击的默契。此处以完整组曲呈现的六声部《幻想曲》，其节奏与对位的复杂程度令人惊叹；而两部结构更为凝练的六声部《以主之名》同样具有摄人心魄的强度。乐团还特别改编了吉本斯的键盘与声乐作品，进一步扩充了维奥尔琴曲目库。录音层次精妙平衡，这套专辑堪称至臻享受。


Anthems and Verse Anthems
Gaudeamus CDGAU 123. King’s College Ch., London Early Music Group, Ledger; Butt

This valuable anthology was the first serious survey of Gibbons’s music to appear on CD. It contains many of his greatest pieces. Not only are the performances touched with distinction, the recording too is in the highest flight and the analogue sound has been transferred to CD with complete naturalness. Strongly recommended.

本专辑作为首张系统梳理吉本斯音乐的CD文献，收录了作曲家多部巅峰之作。演绎不仅充满非凡才情，录音更臻至境——模拟音源以浑然天成的状态转化为数字载体。强烈推荐。  
（源于DeepSeek翻译）


https://115cdn.com/s/sww4no23hq9?password=3377&#
Gibbons, Orlando - Consorts for Viols - Phantasm [Linn]等2个文件(夹)

joseph_li

GIBSON, Alexander (conductor), with the Royal Scottish National Orchestra
‘British Tone Poems’: SMYTH: The Wreckers: Overture. GERMAN: Welsh Rhapsody. HARTY: With the Wild Geese. MacCUNN: Land of the Mountain and the Flood
CfP (ADD) 3 52405-2

Recorded in the Usher Hall in Edinburgh in April 1968, and almost never out of the catalogue since, this enterprising collection of British tone-poems remains one of Sir Alexander Gibson’s finest records. Dame Ethel Smyth’s opera, The Wreckers, was first performed in England in 1909. The story concerns the wrecking of ships by false signal-lights on the Cornish coast. Its overture is a strong, meaty piece which shows the calibre of this remarkable woman’s personality – the first emancipated English feminist. While the material itself is not especially memorable, it is put together most compellingly and orchestrated with real flair.

With the Wild Geese was written a year later for the Cardiff Festival. It is another melodramatic piece, this time about soldiers fighting on the French side in the Battle of Fontenoy. The ingredients – a jolly Irish theme and a call to arms among them – are effectively deployed and though the music does not reveal a strong individuality in Harty as a composer, it is carried along by a romantic sweep which is well exploited here.

Edward German’s Welsh Rhapsody was also written for the Cardiff Festival (in 1904) and makes a colourful and exciting finale for this well-chosen programme. German is content not to interfere with the traditional melodies he uses, relying on his orchestral skills to retain the listener’s interest, in which he is very successful. The closing pages, based on ‘Men of Harlech’, are prepared in a Tchaikovskian manner to build to a rousing conclusion.

But undoubtedly Hamish MacCunn’s descriptive Scottish overture The Land of Mountain and Flood, is the highlight of the disc. It is well crafted, has a really memorable tune and is attractively atmospheric. Gibson’s performances are outstanding throughout in their combination of warmth, colour and atmosphere, and the recording still sounds very well indeed.

1968年4月录于爱丁堡亚瑟厅的这套英国音诗选集，自问世以来几乎从未绝版，始终是亚历山大·吉布森爵士最杰出的录音遗产之一。埃塞尔·史密斯女爵的歌剧《沉船者》1909年首演于英国，剧情围绕康沃尔海岸用假信号诱使船只失事的黑暗历史展开。其序曲气势雄浑、肌理饱满，充分展现了这位英国首位女性主义作曲家的非凡人格——尽管主题旋律不算特别令人难忘，但结构极具张力，配器更显天才手笔。  

《与野雁同行》是次年为加的夫音乐节创作的又一戏剧性音诗，描绘法国方丹诺战役中的爱尔兰士兵。欢快的爱尔兰主题与战斗号角交织，虽未凸显作曲家哈蒂的强烈个人风格，但浪漫主义的磅礴气势被吉布森演绎得淋漓尽致。  

爱德华·杰曼1904年同样为加的夫音乐节所作的《威尔士狂想曲》，为这套精选曲目画上绚丽终章。作曲家巧妙保留传统旋律本真，仅凭管弦技法就牢牢抓住听众耳朵——尾声以柴可夫斯基式的宏大手法发展《哈勒克勇士》主题，将情绪推向振奋高潮。  

但毫无疑问，哈米什·麦肯描绘苏格兰风光的序曲《山洪之地》才是本碟瑰宝。精妙的构思、难忘的旋律与迷人的氛围相得益彰。吉布森的指挥始终保持着温度、色彩与意境的完美平衡，录音效果至今仍属上乘。  
（源于DeepSeek翻译）


https://115cdn.com/s/sww4n7w3hq9?password=3377&#
Gibson, Alexander - Music of the Four Countries [Warner]

joseph_li

GINASTERA, Alberto (1916–83)
Glosses sobre temes de Pau Casals (2 versions): (i) for String Quintet & String Orchestra, Op. 46; for Orchestra, Op. 48. (ii) Variaciones concertantes for Chamber Orchestra, Op. 23
Naxos 8.572249. (i) LSO; (ii) Israel CO; Gisèle Ben-Dor

Naxos have already issued four collections of music by the rewarding Argentinian composer, Alberto Ginastera – the complete Ballets (8.557582), the Piano and Organ music (8.557911/12), the music for Cello and Piano (8.570569) and the complete String Quartets (8.570780). But if you want to explore the full range of the composer’s melodic invention and vivid orchestral palette, you could hardly better this superbly played and recorded coupling of the Glosses sobre temes de Pau Casals in two different versions, and the almost kaleidoscopic Variaciones concentantes.

The Glosses on Themes of Pablo Casals (dedicated to the famous cellist, a great personal friend of the composer) began life as a work conceived for string quintet and string orchestra, celebrating the centenary of Casals’s birth. The string quintet is placed separately from the main string group and acts rather like a concertino in a concerto grosso. The work is in five colourfully diverse movements, its Introducció drawing on a melancholy, folk-like theme, making an allusion to a Caribbean legend which alternates with a frenzied buzzing, very like a galaxy of insects. The following Romaç is an idyllic evocation recalling ‘Three verses of love’ composed by Casals in 1958 for his wife. Sardanes, which comes next, is a distanced hectic suggestion of the vibrant national dance of Catalonia, normally executed in a circle. The magical fourth movement, Cant, is nocturnal and Casals’s familiar folk-song setting, ‘The Song of the Birds’, is heard as a gentle cello solo against a background of simulated birdsong. The aptly named finale, Conclusió delirant, is appropriately wild and frenzied.

Ginastera tells us that while composing Glosses for strings he felt the need to expand the scoring for full orchestra and, while the string version is by no means eclipsed, the generous expansion of the orchestration adds much to the music, for the instrumental additions were significant, including two flutes and piccolo, three each of oboes and clarinets and bassoons, three trumpets and trombones, four horns (the brass sonorities particularly telling), tuba, harp, piano, celesta and a full range of percussion.

The Variaciones concertantes for chamber orchestra includes double woodwind and horns, trumpet, trombone, timpani, harp and strings. The work is in twelve sections, with the theme introduced beguilingly on cello and harp. A string interlude acts as a bridge to the variations which follow, each variation in turn dominated by a solo instrument: flute, clarinet, viola, oboe and bassoon in canon, a rhythmic variation for trumpet and trombone, a moto perpetuo for violin, a lovely pastoral variation for horn. A further interlude for wind leads to a reprise of the main theme on a solo double bass and the spectacular finale, based on a virtuosic jousting dance, the Malambo, closes the work on full orchestra. These variations are as colourful and diverting as one could wish, and the solo playing from members of the Israel Chamber Orchestra is very winning indeed. First rate recording too.

拿索斯唱片已经发行了阿根廷作曲家阿尔贝托·吉纳斯特拉的四套作品集——包括完整的芭蕾舞曲（8.557582）、钢琴与管风琴音乐（8.557911/12）、大提琴与钢琴音乐（8.570569）以及完整的弦乐四重奏（8.570780）。但如果你想全面探索这位作曲家的旋律创造力和生动的管弦乐色彩，很难找到比这张唱片更好的选择——它收录了两个不同版本的《卡萨尔斯主题装饰曲》和如万花筒般的《音乐会变奏曲》，演奏和录音都极为出色。

《卡萨尔斯主题装饰曲》（题献给这位著名大提琴家，他是作曲家的挚友）最初是为弦乐五重奏和弦乐团创作的作品，以庆祝卡萨尔斯诞辰一百周年。弦乐五重奏与主弦乐群分开，类似于大协奏曲中的小协奏组。这部作品包含五个色彩丰富的乐章：引子采用忧郁的民歌风格主题，暗指一个加勒比传说，并与狂乱的嗡嗡声交替出现，宛如一群昆虫；随后的浪漫曲是一首田园诗般的乐章，让人想起卡萨尔斯1958年为妻子创作的《三首爱情诗》；接下来的萨达纳舞曲是对加泰罗尼亚民族舞蹈的狂热暗示，这种舞蹈通常以圆圈形式表演；神奇的第四乐章《夜曲》中，卡萨尔斯熟悉的民歌《鸟之歌》作为大提琴独奏轻柔地出现，背景是模拟的鸟鸣；恰如其名的终曲《狂想结论》则充满野性和狂热。

吉纳斯特拉告诉我们，在为弦乐创作《装饰曲》时，他感到有必要将其扩展为完整的管弦乐版本。虽然弦乐版本毫不逊色，但配器的丰富扩充为音乐增添了许多色彩——增加的乐器包括两支长笛和短笛、双簧管、单簧管和巴松管各三支、三支小号和长号、四支圆号（铜管的音效尤为突出）、大号、竖琴、钢琴、钢片琴以及全套打击乐器。

《音乐会变奏曲》为室内乐团而作，包括双木管、圆号、小号、长号、定音鼓、竖琴和弦乐。作品分为十二个段落，主题由大提琴和竖琴迷人地引入。一段弦乐间奏作为桥梁连接随后的变奏，每个变奏由一件独奏乐器主导：长笛、单簧管、中提琴、双簧管和巴松管（以卡农形式）、小号和长号的节奏变奏、小提琴的永恒律动、圆号优美的田园变奏。另一段木管间奏引出低音提琴独奏再现主题，最后以全体乐团演奏的炫技舞蹈马兰波作为终曲，将作品推向高潮。这些变奏色彩斑斓、引人入胜，以色列室内乐团成员的独奏表现尤为出色。录音效果同样一流。
（源于DeepSeek翻译）


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Ginastera, Alberto -  Cello and Piano Music - Mark Kosower [Naxos]等6个文件(夹)