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

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HARTY, Hamilton (1879–1941)
A Comedy Overture; (i) Piano Concerto; (ii) Violin Concerto; (iii) In Ireland ( Fantasy). An Irish Symphony; (ii) Variations on a Dublin Air. With the Wild Geese. (iv) The Children of Lir; Ode to a Nightingale. Arrangement: Londonderry Air
Chan. 10194 X (3). (i) Binns; (ii) Holmes; (iii) Fleming, Kelly; (iv) Harper; Ulster O, Thomson

Like Parry and Stanford, Hamilton Harty’s music is essential listening for anyone interested in British orchestral writing in general. For many years, his excellent arrangements of the Handel Water/Fireworks music were the norm and on which many people (of a certain age!) grew up. His own music essentially (though not always) veers to the lighter side of the repertoire and is imbued with much melodic appeal and colourful orchestrations.

Bryden Thomson’s box gathers together Harty’s major orchestral and concertante works with great success. The Piano Concerto, written in 1922, has strong Rachmaninovian influences, but the melodic freshness remains individual in this highly sympathetic performance. The Violin Concerto has no strongly individual idiom; the invention is fresh and is often touched with genuine poetry. The finale is an unmitigated joy: a gorgeous lilting tune, utterly memorable and totally captivating in its unforced, folksy charm. Ralph Holmes gives a thoroughly committed account of the solo part and is well supported by an augmented Ulster Orchestra under Bryden Thomson.

The Irish Symphony has won great acclaim for its excellent scoring and good craftsmanship. Its four movements are titled On the Shores of Lough Neagh, The Fair Day, In the Antrim Hills and The Twelfth of July, and the music is very evocative. The Scherzo is particularly engaging, though the finale too has a deliciously piquant folk melody that sticks in the mind. It is extremely well played here and the work is unfailingly enjoyable. The Comedy Overture makes for a bright and varied fifteen minutes’ listening, with engaging themes and orchestration. The In Ireland Fantasy is full of delightful, Irish melodic whimsy with a wonderfully atmospheric beginning. Colourful melodrama enters the scene in the symphonic poem, With the Wild Geese, but its Irishry asserts itself immediately in the opening theme.

Harty’s setting of Keats’s Ode to a Nightingale is richly convincing, a piece written for his future wife, the soprano, Agnes Nicholls. The other work, The Children of Lir, is directly Irish in inspiration, evocative in an almost Sibelian way; it uses the soprano in wordless melisma, here beautifully sung by Heather Harper. Both works are imaginatively and vividly orchestrated. The performances are excellent, and the very appealing Variations on a Dublin Air and Harty’s arrangement of the haunting Londonderry Air have been added as a most enjoyable bonus on this CD.

与帕里（Parry）和斯坦福（Stanford）一样，汉密尔顿·哈蒂（Hamilton Harty）的音乐是了解英国管弦乐创作的重要入口。多年来，他改编的亨德尔《水上音乐》/《皇家烟火音乐》堪称典范，成为一代人（特定年龄群体！）的成长记忆。其原创作品虽非全然如此，但总体偏向轻盈风格，充满旋律魅力与绚烂配器。

布莱登·汤姆森（Bryden Thomson）这套合辑成功汇集了哈蒂主要的管弦乐与协奏作品。1922年创作的《钢琴协奏曲》明显受拉赫玛尼诺夫影响，但在这场极具共鸣的演绎中仍保持着独特的旋律新鲜感。《小提琴协奏曲》虽无强烈个人印记，其创意清新且常透出真挚诗意。终乐章堪称纯粹欢愉：摇曳生姿的优美旋律带着浑然天成的民间魅力，令人过耳难忘。拉尔夫·霍姆斯（Ralph Holmes）以全情投入的独奏演绎，在汤姆森指挥的扩充版北爱尔兰管弦乐团协奏下相得益彰。

《爱尔兰交响曲》因精湛配器与扎实技艺广受赞誉。四个乐章标题分别为《尼奥湖岸》《集市日》《安特里姆山丘》与《七月十二日》，音乐极具画面感。谐谑曲尤为迷人，终乐章那辛辣鲜活的民间旋律同样萦绕心间。此版演奏极其出色，全程赏心悦目。《喜剧序曲》十五分钟的聆听体验明亮多变，主题与配器皆引人入胜。《爱尔兰幻想曲》充满俏皮的爱尔兰旋律奇想，开场氛围营造绝妙。交响诗《与野雁同行》虽带有斑斓的戏剧性，但开篇主题瞬间昭示其爱尔兰血统。

哈蒂为济慈《夜莺颂》谱写的声乐作品极具说服力，这部为未婚妻——女高音艾格尼丝·尼科尔斯（Agnes Nicholls）创作的作品配器想象力丰沛。另一部《李尔的孩子》灵感直接源自爱尔兰传说，其意境营造近乎西贝柳斯风格，女高音以无词吟唱贯穿，希瑟·哈珀（Heather Harper）的演唱美不胜收。唱片还附赠极具吸引力的《都柏林民歌变奏曲》及哈蒂改编的萦绕心头的《伦敦德里小调》，为聆听体验增添愉悦。


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Harty, Hamilton - Complete Orchestral Works - Bryden Thomson, Ulster Orchestra [Chandos]

joseph_li

HAYDN, Joseph (1732–1809)
Complete Concertos: (i) for Cello 1–3; (ii) for Horn in D; (iii) for Keyboard (Organ 1–3); (iv) for Piano 1–4; (v) for Harpsichord 1–2. Double Concertos for 2 lire organizzate 1–5: (vi) for 2 Recorders 1–2; (vii) for Flute & Oboe 1–2; (viii) for 2 Flutes. (ix) Trumpet Concerto in E flat; (x) Double Concerto for Violin & Fortepiano; (xi) 3 Violin Concertos
Naxos 8.506019 (6). (i) Maria Kliegel; (ii) Dmitri Babanov; (iii; x) Harald Hoeren; (iv) Sebastian Knauer; (v) Ketil Haugsand; (vi) Daniel Rothert, Philipp Spätling; (vii–viii) Benoît Fromnger; (vii) Christian Hommel; (viii) Ingo Nelken; (ix) Jürgen Schuster; (x) Ariadne Daskalakis; (xi) Augustin Hadelich; Cologne CO, Helmut Müller-Brühl

This Naxos box, containing just Haydn’s authenticated concertos, stands alone. All are new recordings, underpinned by warmly stylish accompaniments by the excellent Cologne Chamber Orchestra, spiritedly and sensitively directed by Helmut Müller-Brühl. If the Trumpet Concerto (still the finest ever written for this instrument, and splendidly played here) stands out, the fine D major Cello Concerto, Hob XVIIb/2, is also admirably presented by Naxos’s star cellist, Maria Kliegel, who then goes on to give a ravishing account of the Adagio of the early C major Concerto (only discovered in 1961).

Of the Piano Concertos the justly popular D major, with its catchy opening theme, could readily be placed alongside those of Mozart, especially in this sensitive performance by Sebastian Knauer. But listen to his engaging fluency in the F major, and the stylishness of his account of the following Largo cantabile, which is then matched by the memorable Adagios of both the G major and D major works. Lovely playing indeed.

The organ ( with no pedals required) and harpsichord concertos are virtually interchangeable, the baroque scoring brightened by horns or trumpets, framing simple, expressive slow movements. The Horn Concerto receives easy virtuosity, especially in the slow movement, which soars up demandingly high.

The three Violin Concertos are perhaps not top quality Haydn, although Augustin Hadelich plays them spontaneously and with much finesse, and he phrases the Adagio of the C major most pleasingly, so that this work stands out among its companions. The little Double Concerto for Violin and Harpsichord is also most winning. The dialogue between the two instruments is most engaging, especially in the slow movement.

Finally, and also unexpectedly, the transcribed works for a pair of lire organizzate are most sprightly and pleasing. They were commissioned by the King of Naples to be played in duet with his teacher on a curious hybrid combination of hurdy-gurdy and organ. It is obsolete now, but Haydn arranged alternative transcriptions for varying woodwind instruments in pairs which are most effective, and the music is by no means trivial. Altogether this is a most rewarding compilation, with performances and recording of the highest quality and, with a handsome accompanying booklet, the set is offered in a most presentable box. An inexpensive feast.

这套拿索斯（Naxos）合辑堪称独树一帜，仅收录海顿真迹协奏曲。所有录音均为全新制作，科隆室内乐团在赫尔穆特·穆勒-布鲁尔（Helmut Müller-Brühl）灵动细腻的指挥下，奉献温暖而优雅的协奏。若说《降E大调小号协奏曲》（至今仍是该乐器领域巅峰之作，此处演绎亦极出色）最为夺目，那么拿索斯当家大提琴家玛丽亚·克利格尔（Maria Kliegel）对《D大调大提琴协奏曲》（Hob XVIIb/2）的精彩诠释同样令人赞叹——她随后在早期《C大调协奏曲》（1961年才被发现）柔板乐章中更展露令人心醉的琴艺。

钢琴协奏曲中，广受欢迎的《D大调协奏曲》以其抓耳的开篇主题，在塞巴斯蒂安·克瑙尔（Sebastian Knauer）细腻演绎下足可与莫扎特比肩。但请细品他在《F大调协奏曲》中行云流水的演奏，以及随后《如歌广板》的优雅诠释——这般气质同样延续至《G大调》与《D大调》令人难忘的柔板乐章中，实为精妙绝伦的演绎。

管风琴（无需踏板）与羽管键琴协奏曲几乎可互换演奏，巴洛克式配器中圆号与小号的点缀，为质朴而深情的慢板乐章增添亮色。《圆号协奏曲》展现出举重若轻的技巧，尤其在音域要求极高的慢乐章中更显功力。

三首《小提琴协奏曲》或许并非海顿最上乘之作，但奥古斯丁·哈德利希（Augustin Hadelich）以自然流畅且精妙的演绎，将《C大调协奏曲》柔板乐句处理得尤为动人，令该作在同类中脱颖而出。为小提琴与羽管键琴而作的《二重协奏曲》同样极具魅力，两件乐器间的对话妙趣横生，慢乐章中尤甚。

压轴之作意外地令人惊喜——为双架轮擦提琴（lira organizzata）改编的曲目充满活泼韵致。这些作品受那不勒斯国王委托创作，需由其与老师用这种结合手摇风琴与管风琴的奇异混合乐器二重奏。虽该乐器已湮没于历史，但海顿为不同木管乐器组合改编的版本效果绝佳，音乐本身更绝非平庸之作。

整套合辑堪称听觉盛宴：顶级演绎与录音品质相得益彰，精美手册与雅致包装更添收藏价值，而亲民价格使其成为无可挑剔的超值之选。


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Haydn, Joseph - Concertos - Cologne CO, Helmut Muller-Bruhl [Naxos]
找到的不是大包子，而是分别找到以后组合起来的。

joseph_li

Cello Concertos 1–2; Violin Concertos: in G, Hob VIIa, 4; in C, Hob VII, 1: Adagio (transcribed for cello) (DVD version)
DG DVD 073 4351. Maisky, VSO – SCHUMANN: Cello Concerto

What a joy, as Maisky’s performance of Haydn’s C major Cello Concerto opens in the beautiful concert room of the Schloss Hetzendorf in Vienna, to hear the rich-timbred soloist and the lovely sounds of the Vienna strings playing on modern instruments, which Maisky himself directs with a combination of bow and body movements. These are simply glorious performances, beautifully photographed, and if Maisky sounds a little indulgent in the Adagio he has transcribed from the C major Violin Concerto, this and the complete G major work add to the pleasure of this superb DVD, one of the finest in the catalogue.

多么令人愉悦！当麦斯基（Maisky）在维也纳海岑多夫宫（Schloss Hetzendorf）华美的音乐厅奏响海顿《C大调大提琴协奏曲》时，那丰润醇厚的独奏音色与维也纳弦乐手们现代乐器流淌的动人旋律浑然一体——麦斯基本人以琴弓与肢体语言同步指挥，堪称辉煌绝伦的演绎。这些演奏被精美地摄制，纵使他在改编自《C大调小提琴协奏曲》的柔板乐章中略显恣意，连同完整的《G大调协奏曲》一道，为这张堪称目录中最杰出的DVD再添华彩。


(i) Piano Concertos: in G, Hob XVIII/4; in F, Hob XVIII/7; in D, Hob XVIII/11. Piano Sonatas 33, Hob XVI/20; 60, Hob XVI/50; 62, Hob XVI/52; Andante & Variations in F min., Hob XVII/6
Virgin 2×1 5 61881-2 (2). Pletnev, (i) with Deutsche Kammerphilharmonie

Pletnev’s reading of the Sonatas is full of personality and character. The C major is given with great elegance and wit, and the great E flat Sonata is magisterial. This playing has a masterly authority, and Pletnev is very well recorded. Now coupled with his equally memorable accounts of Haydn’s three finest piano concertos, this reissue is a splendid bargain and one not to be missed.

普列特涅夫（Pletnev）演绎的奏鸣曲充满个性魅力。《C大调奏鸣曲》呈现优雅机趣，《降E大调奏鸣曲》则尽显磅礴气度。其演奏透着大师级的权威感，录音效果亦极为出色。此次再版更收录他同样令人难忘的海顿三大钢琴协奏曲演绎，实属不容错过的超值珍品。


DVD：
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Haydn & Schumann - Cello Concerto etc. - Mischa Maisky, VPO [DG DVD9]

CD：
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Haydn, Joseph & Mozart - Piano Concertos & Sonatas - Mikhail Pletnev, Deutsche Kammerphilharmonie [Virgin]等3个文件(夹)

joseph_li

Complete Symphonies 1–104; Symphonies A; B. Alternative versions: Symphony 22 (Philosopher), 2nd version. Symphony 63 (La Roxelane), 1st version. Symphony 53 (L’Impériale), 3 alternative finales: (a) A (Capriccio); (b) C (Paris version, attrib. Haydn); (c) D: Overture in D (Milanese version); Symphony 103: Finale (alternative ending); (i) Sinfonia Concertante in B flat for Oboe, Bassoon, Violin & Cello
Decca (ADD) 448 531-2 (33). Philharmonia Hungarica, Dorati, (i) with Engl, Baranyai, Ozin, Rácz

Haydn’s Symphonies (along with the great symphonies of Mozart) represent a high water-mark of this form in the classical era. There is not a dull work among them: they are full of melody, forged through classical elegance combined with symphonic drama – but often it is his bubbling wit which is so engaging. His music is imbued with a genuine warmth and often a touching poignancy, especially in some of the slow movements, which contain music of surprising depth. Dorati was ahead of his time as a Haydn interpreter when, in the early 1970s, he made this pioneering integral recording of the symphonies. Superbly transferred to CD in full, bright, immediate sound, the performances are a consistent delight, with brisk allegros and fast-flowing andantes, textures remarkably clean. The slow, rustic-sounding accounts of the Minuets are more controversial, but the rhythmic bounce makes them attractive too. The set not only includes the Symphonies A and B (Hoboken Nos. 106 and 108) but also the Sinfonia Concertante in B flat, a splendidly imaginative piece with wonderful unexpected touches. Dorati’s account – not surprisingly – presents the work as a symphony with unexpected scoring, rather than as a concerto. H. C. Robbins Landon tells us in the accompanying notes that the Symphonies A and B were omitted from the list of 104 symphonies in error as the first was considered to be a quartet ( wind parts discovered later) and the second a divertimento. Dorati also includes as an appendix completely different versions of Symphony 22 (Philosopher), in which Haydn altered the orchestration (a pair of flutes substituted for the cor anglais), entirely removed the first movement and introduced a new Andante graziso; plus an earlier version of No. 63, to some extent conjectural in its orchestration, for the original score is lost. Of the three alternative finales for L’Impériale (No. 53), the first (A) contains a melody which, Robbins Landon suggests: ‘Sounds extraordinarily like Schubert’; the second (C) seems unlikely to be authentic; but the third (D) uses an overture which was first published in Vienna. ‘In some respects’, Robbins Landon suggests, ‘this is the most successful of the three concluding movements.’ He feels the same about the extended finale of the Drum Roll Symphony, which originally included ‘a modulation to C flat, preceded by two whole bars of rests’. But Haydn thought that made the movement too long and crossed out the whole section. Robbins Landon continues: ‘Perhaps Haydn was for once in his life too ruthless here.’

海顿交响曲（与莫扎特的伟大交响曲一道）标志着古典时期这一音乐形式的巅峰。其作品无一沉闷乏味：旋律丰盈，将古典优雅与交响戏剧性熔于一炉，而尤为迷人的是他那汩汩涌动的诙谐气质。这些音乐浸透着真挚温情，往往透出动人心弦的哀愁——某些慢乐章中更蕴含着惊人的深邃。多拉蒂（Dorati）作为海顿诠释的先驱，早在1970年代初便完成这套具有开创性的交响曲全集录音。CD转制效果极佳，音质饱满明亮且临场感十足，演奏始终令人愉悦：快板乐章生机勃勃，行板如溪流奔涌，声部纹理异常清晰。颇具争议的是那些刻意放缓、带有乡野气息的小步舞曲演绎，但跃动的节奏仍赋予其独特魅力。

这套合辑不仅收录《A大调》《B大调交响曲》（霍博肯编号106与108），更包含《降B大调交响协奏曲》——这部想象力丰沛的杰作充满令人惊喜的笔触。不出所料，多拉蒂将其处理成一部配器奇特的交响曲而非传统协奏曲。H.C.罗宾斯·兰登（H.C. Robbins Landon）在解说册中指出：《A大调》《B大调》被排除在104首交响曲目录之外实属谬误，前者曾被误认为四重奏（管乐声部后来才被发现），后者则被当作嬉游曲。

作为附录，多拉蒂还收录了《第22交响曲"哲学家"》的两个迥异版本：海顿不仅更改配器（以双长笛替代英国管），更完全删除首乐章并新增优雅行板；《第63交响曲》的早期版本因原谱遗失，其配器一定程度上属于推测复原。对于《第53交响曲"帝国"》的三版可选终曲：首版（A）包含罗宾斯·兰登所称"神似舒伯特"的旋律；第二版（C）真实性存疑；第三版（D）则采用了维也纳首演的序曲。"从某些方面看，"罗宾斯·兰登认为，"这才是三版终曲中最成功的。"他对《"鼓声"交响曲》被删节的原始终曲同样惋惜——原稿包含"转降C大调前两小节全体休止"的段落，但海顿认为这使得乐章过于冗长而整段删去。罗宾斯·兰登感叹："或许这是海顿一生中罕见的过度严苛之举。"


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Haydn, Joseph - Complete Symphonies - Antal Dorati, Hungarica PO [DECCA]

海顿是交响曲之父，又是弦乐四重奏奠基人，作品量还超级大，交响乐、弦乐四重奏、钢琴奏鸣曲、钢琴三重奏都是如此。

joseph_li

Piano Trios 1–46, Hob XV:1–41; Hob XIV:C1 in C; Hob XV:C1 in C; Hob XIV6/XVI6 in G; Hob XV:fl in F min.; Hob deest in D (complete)
Decca 454 098-2 (9). Beaux Arts Trio

Piano Trios: in F, Hob XV:2; in G, Hob XV:5; in F, Hob XV:6; in G, Hob XV:7; in B flat, Hob XV:8; in A, Hob XV9; in E flat, Hob XV:10; in E flat, Hob XV:11; in E min., Hob XV.12
Pentatone SACD Surround Sound PTC 5186 179 (2). Beaux Arts Trio

It is not often possible to hail one set of records as a ‘classic’ in quite the way that Schnabel’s Beethoven sonatas can be so described. Yet this (Decca, originally Philips) set can be described in those terms, for the playing of the Beaux Arts Trio is of the very highest musical distinction. The contribution of the pianist, Menahem Pressler, is inspired, and the recorded sound on CD is astonishingly lifelike. The CD transfer has enhanced detail without losing the warmth of ambience or sense of intimacy. Offered in a bargain box of nine CDs, this is a set no Haydn lover should miss: it is desert island music.

However, those wanting a shorter selection could be well satisfied with the nine works on the Pentatone two-disc set in surround sound, which has marginally greater presence and warmth.

能像施纳贝尔（Schnabel）贝多芬奏鸣曲全集那样被誉为"经典"的录音实属罕见。然而这套（原飞利浦现属DECCA的）录音完全配得上如此盛誉——美艺三重奏的演奏展现出极高的音乐造诣。钢琴家梅纳海姆·普莱斯勒（Menahem Pressler）的演绎充满灵性，CD录音效果逼真得惊人。数字转制在提升细节的同时，完整保留了原录音的温暖氛围与亲密感。这套九碟装超值合辑堪称海顿乐迷的必藏之作，堪称荒岛唱片的不二之选。
若需精简版本，Pentatone公司这套双碟环绕声精选集（含九部作品）亦能令人满意，其临场感与温暖度甚至略胜一筹。


Piano Trios, Hob XV:24; 25 (Gypsy); 26; 27; 28; 29; 30; 31 ( Jacob’s Dream)
Hyp. CDA 67719 (24–27); CDA 67757 (28–31). Florestan Trio (available separately)

With Susan Tomes in the lead, these latest Florestan performances are also wonderfully fresh and appealing, alive, full of subtle detail and indeed joy in the music. They are vividly yet truthfully recorded. The first disc includes the Trio with the famous Gypsy Rondo; the second offers a two-movement work in which the second, a jaunty Allegro in E flat, pictures ‘Jacob’s Dream’ from the Book of Genesis, in which Jacob dreams of a ladder that reaches from earth to heaven, with angels ascending and descending on it. But here the highlight is the opening E major work, No. 29, one of Haydn’s most captivating, with its opening Allegro introducing a memorable main theme almost with the flavour of a folksong. Haydn’s invention is remarkably unpredictable in the central Allegretto with its continuous ‘walking’ bass line.

在苏珊·托梅（Susan Tomes）领衔下，弗洛雷斯坦三重奏的最新演绎同样充满令人耳目一新的魅力：生机盎然，细节精妙，洋溢着对音乐的赤诚欢欣。录音效果既鲜活又真实。首张唱片包含著名的《吉普赛回旋曲》三重奏；第二张则收录一部双乐章作品——其中第二乐章是描绘《创世纪》中"雅各之梦"的降E大调快板：雅各梦见一架连接天地的梯子，天使在其上往返。但最耀眼的当属开篇的《第29号E大调三重奏》，这是海顿最迷人的作品之一：快板乐章以近乎民谣风格的难忘主题开篇；而中段小快板中，伴随着持续"行走"的低音线条，海顿的乐思展现出惊人的不可预测性。

SACD没找到





https://115cdn.com/s/sww4mit3hq9?password=3377&#
Haydn, Joseph - Complete Piano Trios - Beaux Arts Trio [Philips]等3个文件(夹)

joseph_li

String Quartets 1–83 (including Op. 2/1–6: Cassations, Op. 3/1–6, attrib. Hoffstetter); The Seven Last Words of Jesus Christ, Op. 51
Naxos 8.502400 (25). Kodály Qt

Haydn virtually invented the string quartet, and his 83 works in this form are among his greatest achievements, not least because every one is so enjoyable in showing the elegance, wit and friendliness of his invention. The complete survey by the Kodály Quartet was one of the recordings which first drew our attention to the Naxos label in its earliest days, and it remains one of the jewels in the Naxos crown. The playing has both warmth and refinement of detail and the readings are full of character. They never leave the impression that they are too studied or lacking in spontaneity; indeed, one often has the feeling in these studio recordings that one is listening to live music-making. The performances are flattered by the natural ambience of the Budapest Unitarian Church, which suits the players’ mellow, civilized approach, although occasionally the Naxos engineers slightly miscalculated in the microphone balance and captured a little too much resonance, bringing a degree of tonal inflation. But the sound is always natural, the performances do not miss Haydn’s subtleties or his jokes, and the group always communicates readily. The reissued set is absolutely complete, including the early Cassations, the engaging works by Hoffstetter, for long wrongly attributed to Haydn, and the Seven Last Words in its string quartet transcription. The set comes in a handsome box with a first-class booklet of documentation covering most of the composer’s major works. It is undoubtedly a splendid bargain.

海顿堪称弦乐四重奏形式的开创者，其83部此类作品不仅展现了他最伟大的艺术成就，更以其优雅、诙谐与亲切的特质令每一部作品都充满聆听乐趣。科达伊四重奏（Kodály Quartet）的这套全集录音，早在拿索斯（Naxos）品牌创立初期便为其赢得声誉，至今仍是该厂牌皇冠上的明珠。演奏既充满温暖的感染力又不失细节的精致处理，诠释个性鲜明，毫无刻意雕琢或缺乏 spontaneity 的痕迹——这些录音室作品甚至常给人以现场演奏的鲜活感。布达佩斯一位论派教堂的自然声学环境与演奏者们醇厚典雅的风格相得益彰，尽管拿索斯工程师偶尔在话筒平衡上略有失算，使得某些段落残响稍显过量，导致音色略显膨胀。但整体音质始终自然流畅，演绎精准捕捉了海顿的精妙笔触与幽默元素，乐团的表现力始终直抵人心。

此再版合辑堪称完璧：既包含早期的遣兴曲（Cassations），也收录了长期被误归为海顿所作的霍夫施泰特（Hoffstetter）那些迷人作品，更将《基督临终七言》的弦乐四重奏改编版尽数囊括。整套唱片采用精美盒装，附赠内容详实的一流解说册，涵盖作曲家绝大多数重要作品。这无疑是极具价值的超值之选。


The Seven Last Words of Christ (String Quartet Version) 《基督十架七言》
MDG SACD Surround Sound 9071550-6. Leipzig String Qt

Haydn composed his Passion music in 1776 for a priest in Cádiz. Originally written for orchestra, it was to become very successful, and the string quartet version soon followed. Haydn himself saw the difficulty of writing a series of movements in slow tempo and at the same time ensuring that the music reflected the sense of the priest’s words. But in the event he created musical variety in a way that reflected the meaning of the text. The themes of the seven sonatas are introduced in each case by the first violin, and Haydn himself arranged to have Christ’s words printed below the opening bars of the first violin part. Each sonata conveys in solemn music of the highest quality the emotional feeling expressed in the following text, with the last sonata given a special character by having the strings muted. The closing dramatic Il terremoto, marked Presto e con tutta la forza, represents the earthquake that occurred at the moment of Christ’s death. The performance by the Leipzig Quartet is outstanding in every way, catching the changes of character and mood in each section with much feeling, and the recording in surround sound is very real and present.

海顿于1776年为加低斯一位神父创作这部受难曲。原为管弦乐版本大获成功后，很快又改编为弦乐四重奏。海顿深知以慢板连续创作多个乐章并准确传达神父经文内涵的难度，但他最终通过音乐变化完美呼应了文本深意。七首奏鸣曲的主题均由第一小提琴引入，海顿特意将基督语录印在第一小提琴谱表的起始小节下方。每首奏鸣曲都以至高庄严的乐音传递经文情感，末乐章更以弱音器营造独特氛围。终曲《地震》（标记为"极快板且全力演奏"）戏剧性地再现基督离世时的地动山摇。莱比锡四重奏团的演绎无懈可击，深刻捕捉每段情绪转变，环绕声录音极具临场真实感。

https://115cdn.com/s/sww4myj3hq9?password=3377&#
Haydn, Joseph - String Quartets - Kodaly Quartet [Naxos]等2个文件(夹)
访问码：3377
《基督十架七言》SACD没找到，CD版为第一张

joseph_li

Piano Sonatas 1–62 (complete); Seven Last Words of our Saviour on the Cross. Miscellaneous solo works, including Fantasia in C; German Dances & Minuets; Variations
BIS CD 1731/3 (15). Ronald Brautigam (fortepiano)

Piano Sonatas 1–61; Adagios in F & G; 2 Allegrettos in G; Arietta with 12 Variations in A; Fantasia in C; Variations (Sonata un piccolo divertimento) in F min.
Naxos 8.501042 (10). Jenö Jandö (piano)

There are no autograph manuscripts of Haydn’s earliest sonatas, which were all written before 1766. The authenticity of No. 1 is certain, and many others of these early three-movement works bear the same fingerprints and a characteristic simplicity of style. But the later works have a boundless inventiveness characteristic of the composer. Ronald Brautigam’s survey has great vitality and spontaneity and he is most realistically recorded. It you want a complete set of the Haydn piano sonatas, R.L. feels this would probably be first choice, providing you take to the fortepiano rather than a modern instrument. The documentation is excellent, and the 15 discs come for the price of three.

Those preferring the piano can turn to Jenö Jandö (I.M.’s choice), who seems to be in his element throughout. His freshness of approach and stylistic confidence match Brautigam’s and the recording also is excellent. Overall this Naxos series can be recommended alongside its competitor on BIS. It comes with a comprehensive booklet detailing the Piano Sonatas, String Quartets, Concertos and Symphonies.

海顿早期奏鸣曲（均创作于1766年前）未有亲笔手稿存世。第1号奏鸣曲的真实性确凿无疑，其他早期三乐章作品亦呈现相同创作特征与质朴风格。后期作品则展现作曲家无穷的创造力。罗纳德·布朗蒂加姆（Ronald Brautigam）的演绎充满生命力与即兴感，录音极其逼真。若寻求海顿钢琴奏鸣曲全集，R.L.认为此版堪称首选（前提是接受古钢琴而非现代钢琴音色）。解说资料翔实，15张CD仅售三张价格。
偏爱现代钢琴的乐迷可选择耶诺·扬多（Jenö Jandó，I.M.推荐版），其演奏全程挥洒自如。新颖的诠释与风格把握堪比布朗蒂加姆，录音同样出色。整体而言，这套拿索斯系列与BIS厂牌的版本同样值得推荐，附赠详细手册涵盖钢琴奏鸣曲、弦乐四重奏、协奏曲及交响曲信息。


Sonatas 31 in A flat, Hob XVI/46; 39 in D, Hob XVI/24; 47 in B min., Hob XVI/32; 49 in C sharp min., Hob XVI/36
Chan. 10578. Jean-Efflam Bavouzet

Fresh from his triumphs in the Debussy cycle that he has just recorded for Chandos, Jean-Efflam Bavouzet now turns to the Haydn Sonatas, to which he brings the same mastery of style and range of keyboard colour. If the remainder of the sonatas are as good as these, it will be a set to treasure.

刚完成昌多斯（Chandos）德彪西全集录音的巴维泽，此次将同样精湛的风格掌控与音色变化带入海顿奏鸣曲。若后续录音保持此水准，必将成为珍藏级演绎。


https://115cdn.com/s/sww4m4q3hq9?password=3377&#
Haydn, Joseph - Complete Music for Solo Keyboard - Ronald Brautigam [BIS 15CD]等3个文件(夹)

joseph_li

The Creation (Die Schöpfung) 《创世记》（德语版） (in German; DVD version)
TDK DVD DVWW-COCREA. Augér, Sima, Schreier, Berry, Herrmann, Arnold Schoenberg Ch., Col. Aur., Kuhn ( with documentary)

It is difficult to imagine a finer filmed and recorded account of Haydn’s Creation than this TDK version, made doubly moving by the date of the performance in March 1982, the 250th anniversary of Haydn’s birth. Moreover, the event took place in the Great Hall of the Old Vienna University where, on 27 March 1808, Haydn had attended a gala performance of his already celebrated masterpiece under the direction of Antonio Salieri. All this and more is related in a splendid documentary about the history and composition of the work. As for the performance, it is quite electrifying, but in the right way. Gustav Kuhn, with his lively temperament, conducts with an ideal combination of zest and depth of feeling. He opens with a true pianissimo and at the word ‘Light’ produces an overwhelming fortissimo. (It is recorded that at that moment at the gala performance Haydn was seen to look up at the heavens.) The soloists are unsurpassed on record. Arleen Augér (Gabriel) is at her glorious best, Peter Schreier (Uriel) sings with honeyed ardour, and Walter Berry is a powerfully resonant Rafael, with some wonderfully telling low notes. In Part Three, Gabriele Sima and Roland Hermann (looking at his partner with a benevolent twinkle) are perfectly cast as Adam and Eve. Throughout, the singing of the Arnold Schoenberg Choir is superb, the playing of the Collegium Aureum, using original instruments, gives constant aural pleasure and the work ends in a spirit of radiant joy, which is just what Haydn intented. The unfussy video direction by Franz Kabelka concentrates on the performers, so it is very like sharing the occasion with them.

难以想象还有比这部TDK版更出色的《创世纪》影像记录——1982年3月（海顿诞辰250周年）的演出现场更赋予其双重感动。这场演出特意选在维也纳旧大学礼堂，1808年3月27日，海顿曾在此亲历萨列里指挥其成名杰作的盛况。随碟附赠的精彩纪录片详述作品创作背景。古斯塔夫·库恩（Gustav Kuhn）以蓬勃激情执棒，将活力与深邃完美融合：开场弱音如絮，"光明"降临时的强奏则排山倒海（史料记载，当年演至此处的海顿曾仰首望天）。三位独唱堪称录音典范：阿琳·奥热（Arleen Augér）饰演的加百列尽显华彩，彼得·施赖尔（Peter Schreier）的乌列尔嗓音如蜜般炽热，瓦尔特·贝里（Walter Berry）演绎的拉斐尔雄浑低沉撼人心魄。第三部分中，加布里埃莱·西玛（Gabriele Sima）与罗兰德·赫尔曼（Roland Hermann，含情注视伴侣）将亚当夏娃塑造得恰到好处。阿诺德·勋伯格合唱团始终维持顶级水准，古乐团体Collegium Aureum的演奏令人耳不暇接。终章灿烂欢腾的氛围，正是海顿所求。导演弗朗茨·卡贝尔卡（Franz Kabelka）以简约镜头聚焦音乐家，令观者如临现场。


The Seasons《四季》
HM HMC 801829.30 (2). Petersen, Güra, Henschel, RIAS Chamber Ch., Freiburg Bar. O, Jacobs

It is astonishing that Haydn, at the end of his career, could write with such youthful exuberance in his culminating masterpiece, The Seasons. More than any other version, the period performance under René Jacobs brings out the joy in this piece, based on James Thomson’s poem, as he nudges the music persuasively when Haydn has fun in imitating the lowing of cattle, the cry of the quail and the chirping of the cricket. With recording of ideal clarity and immediacy, Jacobs also brings out the boldness of the writing for brass and timpani in the finales of each section, notably in the drinking chorus which rounds off Autumn. Marlis Petersen is the fresh, agile soprano, Werner Güra the light, heady tenor and Dietrich Henschel the fine baritone, singing with a lieder singer’s concern for detail. Excellent contributions too from the RIAS Chamber Choir and the splendid Freiburg Baroque Orchestra.

海顿晚年创作的这部巅峰之作竟饱含青春朝气，令人惊叹。勒内·雅各布斯（René Jacobs）的古本真演绎尤为凸显作品的欢愉本质——当音乐模仿牛哞、鹌鹑啼鸣与蟋蟀窸窣时，其处理充满说服力。录音清晰度与临场感俱佳，铜管与定音鼓在每季终曲中的 boldness（如《秋》的饮酒合唱）被精彩呈现。女高音玛丽斯·彼得森（Marlis Petersen）嗓音清亮灵巧，男高音维尔纳·居拉（Werner Güra）声线轻盈醉人，男中音迪特里希·亨舍尔（Dietrich Henschel）则以艺术歌曲般的细腻见长。RIAS室内合唱团与弗莱堡巴洛克乐团的贡献同样卓越。

DVD：
《创世记》DVD没找到。

CD：
https://115cdn.com/s/sww4my03hq9?password=3377&#
Haydn, Joseph - The Seasons - René Jacobs, Freiburg Baroque Orchestra [HM]

joseph_li

Philemon und Baucis (marionette opera, ed. Beil and Huss) 《菲勒蒙与鲍西丝》（木偶歌剧，拜尔与胡斯编订）
BIS SACD 1813. Genz, Engelhardt, Petryka, Vocalforum Graz, Haydn Sinf. Wien, Manfred Huss

Performances of marionette operas were a frequent and familiar feature at the elaborate marionette theatre at Esterháza, and it is fascinating and rewarding to have an edited example recorded on SACD. Philemon and Baucis was probably the first such opera that Haydn composed, and it was used for the inauguration of the theatre. The work was performed in honour of Empress Maria Theresia on her visit to Esterháza on 1 September 1773.

Philemon and Baucis is the only one of Haydn’s marionette operas to have survived, and it has been reconstructed and edited by Hermann Beil and the conductor, Manfred Huss, as a way of presenting Haydn’s music in a convincing manner. The opera’s libretto is based on a play by Gottlieb Konrad Pfeffel. It concerns an impoverished, elderly, virtuous couple who extend hospitality to Jupiter and Mercury when they decide to visit Earth. Two extra human characters are added, Aret and Narcissa, and the opera consists of spoken dialogue, sung arias, duets and ensembles, and as a finale the triumphal departure of Jupiter and Mercury, whose praises are sung by the four principal human characters and the chorus. It cannot be said that Haydn’s music matches Mozart’s operatic writing (Haydn acknowledged this himself ), but the work has its moments and gathers strength as it proceeds. Indeed, the closing scene is very impressive. The singing of principals and chorus is of a high standard, as is the playing of the Haydn Sinfonietta and the direction of Manfred Huss. Recommended to the curious.

艾斯特哈齐宫精致的木偶剧院常上演此类剧目，这张经编订的SACD录音堪称珍贵样本。该剧很可能是海顿首部木偶歌剧，用于剧院落成典礼，1773年9月1日为玛丽亚·特蕾莎女皇到访而演。作为海顿现存唯一木偶歌剧，赫尔曼·拜尔（Hermann Beil）与指挥曼弗雷德·胡斯（Manfred Huss）通过重建编订，使音乐得以可信呈现。剧本改编自戈特利布·康拉德·普法费尔（Gottlieb Konrad Pfeffel）的戏剧，讲述一对贫寒老夫妇款待化身为人的朱庇特与墨丘利的故事。新增角色阿雷特（Aret）与纳西莎（Narcissa），全剧融合对白、咏叹调、二重唱与合奏，终场以人类主角与合唱团赞颂神明离去的凯旋场景作结。虽不及莫扎特歌剧笔法（海顿亦自认如此），但音乐渐入佳境，终场尤为震撼。海顿小交响乐团与胡斯的指挥水准上乘，主演与合唱团表现亦佳。推荐给所有好奇的耳朵。


https://115cdn.com/s/sww4myw3hq9?password=3377&#
Haydn, Joseph - Philemon Und Baucis - Manfred Huss, Haydn, Joseph Sinfonietta Wien [BIS 24-44.1]

joseph_li

海顿已经发完，卡住了弦乐四重奏和钢奏审核。

用DeepSeek翻译，发现会把《The Creation》翻译成《创世纪》，Google出来也大多如此，其实正确的翻译应该是《创世记》，一字之差，含义相差甚远。

dsj2010

joseph_li 发表于 2025-7-5 16:22
Peer Gynt (incidental music): extended excerpts
Virgin 5 45722-2. Mattei, Tilling, Hellekant, Eller ...

老大，“卡拉扬1972年版的培尔·金特组曲”应该都是24-96的高码文件吧，可是里面的“Holberg Suite”第11首、13首却是16-44.1的文件，不知道能不能替换成高码的？这样整张专辑就完整了，谢谢。
出问题的文件名：
“11. Holberg Suite, Op.403. Gavotte (Allegretto) - Musette (poco più mosso) - Gavotte”
“13. Holberg Suite, Op.405. Rigaudon (Allegro con brio)”

joseph_li

dsj2010 发表于 2025-7-8 13:12
老大，“卡拉扬1972年版的培尔·金特组曲”应该都是24-96的高码文件吧，可是里面的“Holberg Suite”第11 ...

这个我是磁链下载的，没办法补救。刚去Qobuz找了也没有，还是听普通CD版的吧，DG画廊里有。

wpx426

joseph_li 发表于 2025-7-8 14:37
这个我是磁链下载的，没办法补救。刚去Qobuz找了也没有，还是听普通CD版的吧，DG画廊里有。

呵呵，哪有24-96的画廊版，这个才是：

通过百度网盘分享的文件：5-1 Alt：Peer Gynt Suiten No.1 & 2, ...
链接：https://***.com/s/1cr6k-kqBA2t1hZhNbCzYxw?pwd=gc75

joseph_li

HAYDN, Michael (1737–1806)
Symphonies 14, P52; 17, P44; 19, P11; 24, P15; 29, P20; 33, P24; 40, P32; 41, P33; in F, P deest; 3 Marches, P59, 62 & 64
CPO 777 137-2 (2). Deutsche Kammerakademie Neuss, Frank Beermann or Johannes Goritzki

A good sampler collection of Michael Haydn’s symphonies. There have been previous collections on Chandos, and a six-disc set by the Slovak Chamber Orchestra on CPO (999 591-2). But the present survey offers a coverage of the period extending approximately from 1760 to 1789, during which Haydn composed 41 symphonies. They have three or four movements, with orchestration varying among oboes and horns, two trumpets and timpani, and occasionally a solo flute or posthorn. They are very well played by the Deutsche Kammerakademie and make agreeable listening, but only serve to confirm that Michael’s symphonies, although pleasingly constructed, were hardly ever a match for those of Joseph.

这是一份米歇尔·海顿交响曲合集精选。此前已有Chandos发行的多个版本，以及斯洛伐克室内乐团在CPO厂牌（编号999 591-2）推出的六碟套装。但本次选择涵盖了约1760至1789年间海顿创作的41部交响曲，这些作品包含三或四个乐章，配器变化丰富——时而采用双簧管与圆号组合，时而加入两支小号和定音鼓，偶尔还会出现长笛或邮号独奏段落。德国室内学院乐团（Deutsche Kammerakademie）的演绎十分出色，聆听体验令人愉悦，但这些作品再次印证了一个事实：尽管米歇尔的作品结构精巧讨喜，但其交响曲水准几乎始终难以与其兄约瑟夫（Joseph Haydn）比肩。"


https://115cdn.com/s/sww4x4k3hq9?password=3377&#
Haydn, Michael - 8 Symphonies - Johannes Goritzki [CPO]等5个文件(夹)

joseph_li

HENZE, Hans Werner (born 1926)
(i) Barcarola; Symphonies: 7; (ii) 9; (iii) 3 Auden Songs
EMI 2-CD 2 37601-2 (2). (i) CBSO, Rattle; (ii) Berlin R. Ch., BPO, Metzmacher; (iii) Bostridge, Drake

This two-CD set is invaluable while the DG box of the first six symphonies conducted by the composer is deleted. The Seventh Symphony, written for Simon Rattle and the CBSO in 1983/4, is not only the longest Henze has written, it is also the weightiest and most traditionally symphonic, Beethoven-like, in four substantial movements. Rather belying its title, the Barcarola presents a similarly weighty and massive structure, an elegiac piece of over 20 minutes, written in memory of Paul Dessau, and inspired by the myth of the ferryman, Charon, crossing the Styx.

Henze refers to his Ninth Symphony as a summa summorum of his musical output. It is choral throughout, a setting of seven poems by Hans-Ulrich Treichel based on Anna Seghes’s The Seventh Cross, and there is no doubting the intensity and depth of feeling that lie behind the symphony. The recording derives from the première at the Philharmonie in 1997, and the singing of the Berlin Radio Choir is superb in every way. Powerful and impressive.

When Henze heard Ian Bostridge singing his Three Auden Songs he was so impressed that he wrote further settings for him. Listening to these compelling performances one can understand why the composer was attracted to Bostridge’s unique vocal qualities and timbre. The one serious drawback to this reissue is that its presentation is remiss in omitting the texts.

这套双CD专辑极具珍藏价值，尤其当DG唱片公司发行的作曲家亲自指挥前六部交响曲套装已绝版之时。创作于1983/84年、为西蒙·拉特尔与伯明翰市立交响乐团所作的《第七交响曲》，不仅是亨策笔下篇幅最宏大的交响乐，更以四个结构严密的乐章呈现出最富传统交响性特质的厚重感，颇具贝多芬风范。看似名不副实的《威尼斯船歌》实则构建了同等恢弘的音响建筑——这首超过20分钟的挽歌为纪念保罗·德绍而作，灵感源自冥河渡神卡戎的神话传说。

亨策将其《第九交响曲》视为毕生音乐创作的"终极巅峰"。全篇贯穿合唱声部，以汉斯-乌尔里希·特赖歇尔根据安娜·西格斯《第七个十字架》改编的七首诗为文本，作品中喷薄而出的情感烈度与思想深度毋庸置疑。录音源自1997年柏林爱乐大厅的世界首演，柏林广播合唱团的演唱堪称完美无瑕，震撼人心。  

当亨策听闻伊恩·博斯特里奇演唱其《三首奥登歌曲》时，当即被其非凡歌喉折服并为之量身创作新曲。聆听这些极具说服力的演绎时，作曲家为何会沉醉于博斯特里奇独特的音色质感便不言自明。此再版专辑唯一的重大缺憾是文本册遗漏了歌词译文。  


https://115cdn.com/s/sww4x4t3hq9?password=3377&#
Henze, Hans Werner - Symphonies No.7, 9 & Three Auden songs - Simon Rattle & Ingo Metzmacher [Warner]等2个文件(夹)
访问码：3377

joseph_li

Ondine 《昂丁》(ballet: complete, DVD version)
Opus Arte OA 1030. Yoshida, Watson, Rosato, Cervera, Artists of Royal Ballet, ROHCG O, Wordsworth
Ondine (complete, CD version)
DG 478 3631 (2). L. Sinf., Knussen

Henze’s Ondine was commissioned by Sir Frederick Ashton for Margot Fonteyn and the Royal Ballet, and was first produced at Covent Garden in 1958. Ashton wanted the movement to be fluid, like the surge and swell of the sea, and he choreographed Fonteyn’s role full of aqueous imagery. She flickered and darted around the stage like a minnow, in small, swift toe-steps and with rippling arm movements, as though shaking drops of water from her fingers. Henze’s luminous score, with its original and resourceful writing for harp, also conjures up water. Certainly the sense of the sea is marvellously conveyed in Act II, where Ondine and Palemon embark on board a ship. The movements of the dancers emulate the rocking of the ship, and the backdrops of the sets are painted on gauzes so that the harbour dissolves, to be replaced by a seascape, behind painted waves that go up and down. In the theatre itself it even induces some queasiness! In the finale Palemon and Ondine celebrate their wedding with a typical divertissement, before the latter’s kiss seals his fate. Masterly dancing and a totally atmospheric account of a score that is haunting. The performances were recorded in June 2009 and if you were there ( we were, on both the evenings listed here), the camerawork is completely unobtrusive and faithful.

The DG version of the score is given with sensitivity and authority by Oliver Knussen, one of Henze’s most eloquent interpreters. Recorded in 1996, it is the product of Knussen’s enthusiasm for the music, and this shows throughout. It is superbly realized by these fine musicians, and the excellent DG team serve them well with sound of great clarity and presence.

亨策的《昂丁》由弗雷德里克·阿什顿爵士为玛戈·芳婷与英国皇家芭蕾舞团委约创作，1958年于科文特花园剧院首演。阿什顿要求舞蹈动作如海浪般流动起伏，他为芳婷设计的角色充满水的意象——她以轻快的脚尖碎步和涟漪般的手臂动作在舞台上穿梭，宛若一尾游弋的鲦鱼，指尖似有水滴洒落。亨澈闪耀的乐谱中极具创意的竖琴写法同样唤起了水的灵韵。第二幕中昂丁与帕勒蒙登船的场景，更是将海洋的意境传达得淋漓尽致：舞者以身体模拟船身摇晃，纱幕绘制的布景让港口渐隐，取而代之的是随波浪上下浮动的海景，剧场中的观众甚至能感受到真实的眩晕感！终幕里，帕勒蒙与昂丁以典型的嬉游曲庆祝婚礼，而后者致命的一吻将命运封缄。大师级的舞姿与萦绕心间的配乐共同营造出极致氛围。2009年6月录制的演出中（我们亲历了节目单标注的两场晚宴），摄影机位毫无侵扰感，忠实地复现了现场。  

DG唱片公司版由亨策最富洞察力的诠释者之一奥利弗·克努森执棒，演绎兼具细腻与权威。这张1996年灌录的专辑凝结着克努森对音乐的热忱，这份激情贯穿始终。杰出的音乐家们实现了超绝的演奏，DG优秀的制作团队更以极具临场感的清晰音质为之加持。  


DVD：
没找到。

CD：
https://115cdn.com/s/sww4x493hq9?password=3377&#
Henze, Hans Werner - Ondine- Oliver Knussen, London Sinfonietta [DG]

joseph_li

HÉROLD, Ferdinand (1791–1833)
La Fille mal gardée 《女大不中留》(ballet: complete, DVD version; choreography: Frederick Ashton)
Warner NVC Arts DVD 0630 19395-2. Collier, Coleman, Shaw, L. Edwards, Grant, Royal Ballet, ROHCG O, Lanchbery (Design: Osbert Lancaster; V/D: John Vernon)

La Fille mal gardeé (ballet, arr. Lanchbery) (complete, CD version)
Australian Decca Eloquence 442 9048 (2). ROHCG O, Lanchbery – LECOCQ: Mam’zelle Angot

The ballet La Fille mal gardée has had a fascinatingly long and varied history, and its origins as a subject for dance pantomime go back over two centuries. The first version was created by the French choreographer, Jean Dauberval, with the familiar plot and farmyard setting, but initially with a different title; and it was taken to London in 1791. The music included popular French folk material and operatic airs of the time. But when it reached Paris in 1828, a new score was written for it by Hérold. Much of the music was his own, but he also borrowed from Rossini and later Donizetti. In 1864 yet another new score was commissioned, from Peter Ludwig Hertel, which still included a good deal of Hérold’s music.

The Royal Ballet La Fille mal gardée, with costumes and scenery by Osbert Lancaster, is a visual delight from beginning to end. Frederick Ashton’s ever-inventive choreography is both witty and charming, and Lesley Collier and Michael Coleman are a most engaging pair of lovers and they dance with nimble grace. Brian Shaw’s Widow Simone is the perfect foil, with the famous Clog Dance a captivating highlight, and Garry Grant is by no means outshone as the goofy Alain: he remains in our affections when his inept wooing comes to nought. The orchestra is again conducted by John Lanchbery, who has arranged this complex score so that it naturally follows every move of the dancers, while his constant drawing on familiar passages by Rossini adds to the listener’s pleasure. The recording too is excellent, and the slight touch of thinness on the violin timbre is not a problem when the overall sound is so rich and resonantly full.

Lanchbery himself concocted the score for this fizzingly comic and totally delightful ballet. On CD, with sound of spectacular Decca fidelity, Lanchbery conducts a highly seductive account of the complete ballet with an orchestra long familiar with playing it in the theatre. It is coupled with Gordon Jacob’s equally delicious confection, based on the music of Lecocq. Also available is a classic single CD offering an extended excerpts selection on Decca – a vintage Kingsway Hall recording. One cannot believe that it dates from 1962, for the combination of ambient bloom and the most realistic detail still places it in the demonstration bracket. The performance is also wonderfully persuasive and brilliantly played, displaying both affection and sparkle in ample quantity (430 196-2).

这部芭蕾舞剧拥有跨越两个多世纪的迷人历史，其作为哑剧舞蹈题材的起源可追溯至两百余年前。首版由法国编舞家让·多贝瓦尔创作，虽沿用熟悉的农场背景与剧情脉络，但最初命名不同，并于1791年登陆伦敦舞台，音乐融入了当时流行的法国民谣与歌剧选段。待1828年登陆巴黎时，埃罗尔德为其谱写了全新配乐——虽包含大量原创段落，亦借鉴了罗西尼及后来多尼采蒂的作品。1864年，彼得·路德维希·赫特尔再次受命创作新版乐谱，其中仍保留了大量埃罗尔德的旋律。

英国皇家芭蕾舞团演绎的《女大不中留》由奥斯伯特·兰卡斯特设计服装与布景，自始至终给人以视觉享受。弗雷德里克·阿什顿充满巧思的编舞既诙谐又迷人，莱斯利·科利尔与迈克尔·科尔曼这对恋人组合舞姿灵动优雅，极具感染力。布莱恩·肖饰演的寡妇西蒙娜堪称完美陪衬，著名的木屐舞段更是摄人心魄；加里·格兰特演绎的憨傻阿兰毫不逊色——当他笨拙的求爱以失败告终时，反而更惹人怜爱。约翰·兰奇伯里再度执棒乐团，他将复杂乐谱编排得与舞者动作浑然一体，同时频繁化用罗西尼的经典乐段，为听众增添额外愉悦。录音品质极佳，尽管小提琴音色略显单薄，但在整体饱满丰润的声场中瑕不掩瑜。  

兰奇伯里亲自为这部妙趣横生的芭蕾喜剧调配了乐谱。DECCA唱片以标志性的高保真音质呈现了这套CD，由深谙剧场演出的乐团在兰奇伯里指挥下完成全剧极具诱惑力的演绎。同辑还收录了戈登·雅各根据勒科克音乐改编的 equally delicious confection（同样精彩的改编曲）。另有DECCA经典单CD版（编号430 196-2），收录加长版精选段落——这份1962年于金斯威大厅录制的古董级录音，其空间感与细节还原度至今仍属示范级水准，演绎更是充满说服力与炫目技巧，情感丰沛且光彩四溢。


DVD：
https://115cdn.com/s/sww4xyn3hq9?password=3377&#
Herold - La Fille Mal Gardee - John Lanchbery; Collier, Coleman, Grant [DVD5]

CD：
https://115cdn.com/s/sww4xk53hq9?password=3377&#
Herold, Ferdinand - La fille mal gardée & LeCocq - Mam'zelle Angot - John Lanchbery & Richard Bonynge [DECCA 1983]等4个文件(夹)

DECCA Sound Vol.2 CD38也是1962版

joseph_li

HERRMANN, Bernard (1911–75)
(i) Marnie; Psycho; North by Northwest; The Trouble with Harry (A Portrait of ‘Hitch’); Vertigo ((ii) with: WALTON: Escape Me Never; Richard III: Prelude. LAMBERT: Anna Karenina. BAX: Oliver Twist. BENJAMIN: An Ideal Husband. VAUGHAN WILLIAMS: 49th Parallel. BLISS: Things to Come. SHOSTAKOVICH: Hamlet)
Australian Decca Eloquence (ADD) 480 3787 (2). Herrmann, with (i) LPO; (ii) Nat. PO

Bernard Herrmann regarded himself as a composer who wrote music for film, rather than as a film-music composer, and these two compilations gather together all the recordings he made of his own music for Decca in the 1960s and 1970s. He was without doubt a master of the medium, and his collaboration with Alfred Hitchock produced some of the most memorable of all film scores. Herrmann understood the medium perfectly and (before their famous falling-out) Hitchock greatly respected his opinions. When, for example, Hitchock told Herrmann that in the famous shower scene in Psycho he didn’t want any music, Herrmann insisted that he listen to what he had written for that scene. The music stayed and those shrieking violins have achieved iconic status. In fact, it is the Hitchock items which are the most enjoyable here: those arresting strings which play through the credits of Psycho give way to some wonderfully creepy and atmospheric writing when you can just sense the impending horror of the unfolding story. The bright, exhilarating music Herrmann provided for North by Northwest is brilliantly presented, while the hauntingly romantic scores for both Marnie (a hugely underrated film) and Vertigo (a masterpiece) are fully communicated. The Trouble with Harry is light, tuneful and wittily done.

The other two-CD compilation largely comprises music written for a sequence of fantasy films, and shows the composer’s considerable skill in matters of orchestration, with vivid depictions of The Giant Bee and Giant Crab from the Mysterious Island being just two quirky examples. The artificially balanced Decca Phase 4 recordings are engineered for maximum colouristic effect, with the Duel with the Skeleton (from The Seventh Voyage of Sinbad) striking with its tangible percussive effects – one of the highlights in this collection. Gulliver’s Travels features some especially delightful pastiche writing, with its ‘regal’ overture, a Haydn-esque Minuetto, but it is the Lilliputians music which is the most piquant item here. Fahrenheit 451 features some especially atmospheric writing, and the Citizen Kane excerpts (the composer’s first film score) show just how lively his musical imagination was from the beginning of his career. The Memory Waltz from The Snows of Kilimanjaro is lovely and wistful. The Hitchcock CD comes with a slightly less successful collection of British film music, and here the performances are a little earth-bound, though the Phase 4 recordings certainly make an impact. Lambert’s Anna Karenina music is both rare and colourful, and the Waltz from An Ideal Husband is charmingly elegant. The Walton items lack the adrenalin of more famous performances, as does the brilliant March from Things to Come, though the vivid Shostakovich Hamlet suite finds the conductor back on top form.

伯纳德·赫尔曼始终以"为电影创作的作曲家"自居，而非单纯的"电影配乐家"。这套双CD辑汇集了他1960-70年代为DECCA录制的全部个人作品。这位媒介大师与希区柯克的合作缔造了影史最难忘的旋律——他深谙电影音乐本质，甚至在著名决裂前，希区柯克也极度尊重其意见。例如当导演表示《惊魂记》淋浴戏无需配乐时，赫尔曼坚持让其试听自己创作的段落。最终那段尖叫的小提琴成为影史标志性声音。本辑最精彩的正是希区柯克相关作品：《惊魂记》片头凌厉的弦乐渐次化作毛骨悚然的氛围音画，精准预兆着剧情恐怖；《西北偏北》明亮激昂的旋律演绎得光彩夺目；被低估的《艳贼》与杰作《迷魂记》中萦绕心间的浪漫主题得到完整传达；《怪尸记》则轻盈诙谐，旋律俏皮。  

另一张CD主要收录奇幻电影配乐，展现作曲家卓越的管弦乐技法：《神秘岛》中"巨蜂与巨蟹"的生动描摹堪称怪趣典范。DECCA Phase 4录音技术通过人工平衡强化色彩效果——《辛巴达七航妖岛》里"骷髅之战"的打击乐质感堪称触手可及，是全集亮点之一。《格列佛游记》采用精妙的仿古笔法：既有"皇家"序曲的海顿式小步舞曲，又以小人国音乐最显辛辣。《华氏451度》营造出极致氛围，《公民凯恩》（其处女作）选段则印证了其蓬勃的创作想象力。《乞力马扎罗的雪》中"回忆圆舞曲"优美而怅惘。希区柯克CD附带的英国电影音乐合集稍显逊色，演绎略显平淡——尽管Phase 4录音仍具冲击力：兰伯特《安娜·卡列尼娜》配乐稀见而绚烂，《理想丈夫》圆舞曲优雅迷人。沃尔顿作品缺乏名版的血脉偾张，《未来事物》的辉煌进行曲亦未达巅峰，但肖斯塔科维奇《哈姆雷特》组曲的生动演绎让指挥家重拾最佳状态。  





https://115cdn.com/s/sww4xdw3hq9?password=3377&#
Herrmann, Bernard - The Film Scores on Phase 4 [DECCA]
雄辩双张碟没找到，但是所有曲目都在这个DECCA大合集里了。

joseph_li

HILDEGARD of Bingen (1098–1179)
(i) Ordo Virtutum; (ii) In Portrait (DVD version)
BBC Opus Arte DVD OA 0874 D (2). (i) Boothroyd, Hancorn, Mayfield, Chamber Op. Ch., Vox Animae, Fields, Adams, Devine (Directors: Michael Fields & Evelyn Tubb)

Confidante of popes, Hildegard was a genius in almost every field – composer, playwright, author, poet, artist, theologian, philosopher, visionary and prophet; and she taught that the world should be enjoyed by man and woman together: ‘Only thus is the earth fruitful.’ Her views were so remarkable in their time that it is a wonder they could be expressed and she survive. Because her mystic visions (in which she believed that God was communicating directly to her) were accepted by the Church as genuine, her power was remarkable and far-reaching. Moreover, she could speak plainly to those in authority above her and her criticisms would be accepted.

Her extraordinary sung and spoken mystery play, Ordo Virtutum (‘The Play of the Virtues’) celebrates her philosophy, based on the love of God and the enjoyment of life, alongside resistance to sin. Even with the music alone ( which has been imaginatively recorded by Sequentia) this is a remarkable achievement, but to see it played out in glowing colours, imaginatively performed and beautifully sung, partly outside and partly inside, in splendidly chosen natural settings, adds an extra dimension to the drama, particularly in the dramatic passages in Scenes I and IV, where the Devil enters. The music, simple but soaring monody but with sparingly used harp, recorder and percussion accompaniments, is very beautiful in itself; its flowing lines haunt the memory and it is radiantly sung, while the drama of the piece comes over splendidly.

The accompanying second DVD includes a compulsive BBC ‘Omnibus’ dramatization of Hildegard’s early life, before she set up her own order; and no better choice for the role of Hildegard could have been found than Patricia Routledge, who conveys the warmth and spiritual essence of her character. The additional items include ‘A Real Mystic’ (an interview with and lecture by Professor Matthew Fox, author of Illuminations, supplemented with an illustrative art gallery tour), while Mary Grabowsky considers Hildegard’s spiritual significance for the twenty-first century.

这位教皇的密友在几乎每个领域都堪称天才——作曲家、剧作家、作家、诗人、艺术家、神学家、哲学家、先知与预言家。她主张男女应共同享受世间美好："唯此大地方能丰饶"。其思想在当时的激进程度，竟能公之于世且免遭迫害，实属奇迹。由于教会认可她与上帝直接对话的神秘异象（她坚信这是神启），其影响力得以无远弗届。更非凡的是，她敢于直谏权贵且批评能被接纳。
她非凡的诵唱式神秘剧《美德典仪》颂扬着以上帝之爱与生命欢愉为基础、抵制罪恶的哲学。即便仅聆听音乐部分（由塞昆迪亚乐团充满想象力地录制），已是非凡成就；而目睹这部剧作在精心选取的自然场景中——部分户外、部分室内——以瑰丽色彩呈现，配合充满灵性的表演与美妙歌声，更赋予戏剧超然维度。第一幕与第四幕魔鬼登场的段落尤为震撼。音乐本身极富美感：简约却高亢的单声部旋律，配以谨慎使用的竖琴、竖笛与打击乐，流动的旋律线萦绕耳际，演唱光辉澄澈，戏剧张力喷薄而出。
附赠的第二张DVD包含BBC《万象》栏目对希尔德加德建立修道院前生涯的动人演绎。帕特里夏·劳特利奇完美诠释了这个角色，传递出圣女特有的人性温度与灵性本质。增补内容包含《真正的神秘主义者》（马修·福克斯教授的访谈与讲座，辅以艺术画廊导览），以及玛丽·格拉博夫斯基探讨希尔德加德对21世纪的精神意义。


‘A feather on the breath of God’: Hymns and sequences: Ave, generosa; Columba aspexit; O Ecclesia; O Euchari; O ignis spiritus; O Jerusalem; O presul vere civitatis; O viridissima virga
Hyp. CDA 66039. Kirkby, Gothic Voices, Muskett, White, Page

This Hyperion CD by the Gothic Voices was the disc which put Hildegard firmly on the map. It draws widely on the Abbess of Bingen’s collection of music and poetry, the Symphonia armonie celestium revelationum – ‘the symphony of the harmony of celestial revelations’. These hymns and sequences, most expertly performed and recorded, have excited much acclaim – and rightly so. A lovely CD.

这张Hyperion厂牌CD是让希尔德加德音乐重见天日的里程碑之作，精选自宾根修道院长编撰的《天国启示和谐交响》诗歌音乐集。这些赞美诗与继叙咏的演绎与录音俱臻化境，赢得广泛赞誉实至名归。堪称绝美之作。

DVD:
没找到

CD：
https://115cdn.com/s/sww4x5y3hq9?password=3377&#
Hildegard of Bingen - A Feather on the Breath of God - Emma Kirkby, Page, Gothic Voice [Hyperion]等2个文件(夹)
找到一个希尔德加德全集，有兴趣可以听听。

joseph_li

HINDEMITH, Paul (1895–1963)
(i) Horn Concerto. Concert Music for Brass and Strings, Op. 50; Nobilissima visione: Suite. Symphony in B flat for Concert Band
EMI 7 63373-2. Philh. O, composer, (i) with Brain

These performances carry the authenticity of the composer’s direction and also offer the unique playing of Dennis Brain, for whom Hindemith composed the concerto. Superb playing from the Philharmonia, then at the peak of its form, and no less superb sound, recorded in the early days of stereo, the producer being Walter Legge himself. Great music-making by any standards.

这些录音不仅承载着作曲家亲临指导的权威诠释，更铭刻了圆号大师丹尼斯·布雷恩的独奏风采——欣德米特曾为其量身创作这部协奏曲。爱乐乐团正处于巅峰状态的精湛演奏，与立体声技术初期（制作人沃尔特·里格亲自操刀）的卓越音质相得益彰，堪称任何标准下的伟大艺术呈现。  


Mathis der Maler: Symphony. Nobilissima visione: Suite. Symphonic Metamorphosis of Themes by Carl Maria von Weber
《画家马蒂斯》交响曲、《最高贵的幻象》组曲、《韦伯主题交响变奏》
EMI 555230-2. Phd. O, Sawallisch

An ideal introduction to Hindemith’s world. The Mathis Symphony, which draws on three interludes from the opera of the same name, is a wonderfully inventive and satisfying score which the Philadelphians championed in the days of Eugene Ormandy. Nobilissima visione is a ballet written for Balanchine and has highly expressive music that is moving and eloquent. The somewhat later Symphonic Metamorphosis of Themes by Carl Maria von Weber is almost his most popular score, full of humour and brimming over with imaginative detail. Wolfgang Sawallisch conducts highly persuasive performances which find the Philadelphia Orchestra at its incomparable best.

这是开启欣德米特音乐世界的理想之选。《画家马蒂斯》交响曲取材自同名歌剧的三段间奏曲，这部充满奇思妙想又令人酣畅淋漓的乐谱，曾由尤金·奥曼迪执棒时期的费城乐团鼎力推崇。为巴兰钦创作的芭蕾舞剧《最高贵的幻象》，其音乐极富表现力，既动人肺腑又意境深远。稍晚问世的《韦伯主题交响变奏》堪称他最受欢迎的作品，幽默诙谐的曲风中处处闪耀着天马行空的细节。萨瓦利什的指挥极具感染力，在此演绎中，费城管弦乐团展现出无与伦比的巅峰状态。


(i) Concert Music for Brass and Strings, Op. 50; Nobilissima visione: Suite; (ii) Symphonia serena; (i) Symphonic Metamorphosis on Themes by Carl Maria von Weber; Der Schwanendreher; Symphonie Mathis der Maler; (ii) Symphonie die Harmonie der Welt; (i) Trauermusik.
Decca 475 264-2 (3). (i) San Francisco SO; (ii) Leipzig GO, Blomstedt

Nobilissima visione, inspired by the frescoes of Giotto in Florence, ends with a noble passacaglia, and Blomstedt brings out the music’s warmth as well as its rugged power. The Symphonia serena is a brilliant and inventive score, full of humour and melody, and there is plenty of wit in the Scherzo, which paraphrases a Beethoven march from 1809. Blomstedt again responds to this work sympathetically, and his reading of the Symphonic Metamorphoses on Themes by Weber is also appropriately light in touch, while the recording is exemplary in the naturalness of its balance. He also shows a strong feeling for Mathis der Maler and presents a finely groomed and powerfully shaped performance with lucid and transparent textures.

Die Harmonie der Welt comes from five years after the Symphonia serena. Like Mathis der Maler its three movements draw on material from an opera on the life of the astronomer Johannes Kepler (1571 1630), including the historical events that helped or hindered him, and the search for the harmony that undoubtedly rules the universe. Alongside the Symphonia serena this work is among the most impressive and powerful that Hindemith has given us, and Herbert Blomstedt and the Leipzig Orchestra are eloquent advocates of these two masterpieces.

The Concert Music is characteristic of Hindemith’s early works with its chunky contrasts and emphatic rhymes set against a brief lyrical episode. Der Schwartendrecher is a concerto for Viola based on German folk themes, ending with a jolly set of variations. Trauermusik has a genuine elegiac quality and is enjoyable for its simple restrained eloquence.

受佛罗伦萨乔托壁画启发的《最高贵的幻象》，以庄严的帕萨卡利亚舞曲终章，布隆姆斯泰特既展现了音乐的雄浑力量，又挖掘出其内在温暖。《宁静交响曲》是部闪耀着幽默与旋律之光的创意之作，谐谑曲乐章巧妙化用了1809年贝多芬的进行曲。布隆姆斯泰特对此作品的处理充满共情，其《韦伯主题变奏》的演绎也保持着恰到好处的轻盈触感，录音平衡度更堪称典范。他对《画家马蒂斯》的解读同样深刻，结构精炼而富有张力，织体清晰通透。  

《世界的和谐》创作于《宁静交响曲》五年后。与《画家马蒂斯》相似，其三个乐章素材源自关于天文学家开普勒生平的歌剧，包含影响其命运的历史事件，以及对宇宙运行之道的探寻。这两部作品共同构成了欣德米特最具震撼力的交响杰作，赫伯特·布隆姆斯泰特与莱比锡乐团堪称其最雄辩的诠释者。  

《音乐会曲》体现欣德米特早期创作特征：粗粝的对比与铿锵的韵律中穿插短暂抒情段落。《旋转琴演奏者》是以德国民谣为主题的中提琴协奏曲，终章以欢快的变奏曲收尾。《哀悼音乐》具有纯粹的挽歌特质，内敛而动人的朴素表达令人回味。





https://115cdn.com/s/sww4xrw3hq9?password=3377&#
Hindemith, Paul - Horn Concerto, Nobilissima, Symphony in B flat - Dennis Brain, PO [Nobilta]等3个文件(夹)
第一张没找到EMI厂牌，Qobuz上有一个Nobilta厂牌数字版，曲目一致。

补充一个Urania重制版。

https://115cdn.com/s/sww41h23hq9?password=3377&#
Hindemith, Paul Conducts Hindemith (Remastered 2015) [Urania]