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

joseph_li

Piano Concerto 20 in D min., K.466; (i) Piano Concerto for 3 Pianos in F, K.242; (ii) Rondo in C, K.373; Adagio in E, K.261. Symphony 32 in G, K.318
Opus Arte DVD OA 1004D. Martha Argerich, New Japan PO, Christian Arming; with (i) Paul & Rico Gulda; (ii) Renaud Capuçon

Martha Argerich and her musical companions radiate a delight in music-making that makes this concert, recorded in Tokyo, a highly enjoyable and satisfying musical experience. The camerawork is devoid of gimmickry and places the listener to good advantage throughout. What a fine and expressive player Renaud Capuçon is! In the D minor Concerto Argerich is magisterial.

玛尔塔·阿格里奇与音乐伙伴们洋溢的演奏热忱，使得这场东京现场录音成为极具感染力的艺术盛宴。镜头语言摒弃花巧技法，始终为听众提供最佳观赏视角。雷诺·卡普松的演绎何其精湛而富有表现力！在D小调协奏曲中，阿格里奇展现出大师级的掌控力。


Piano Concertos 20 in D min., K.466; 21 in C, K.467; 23 in A, K.488; 27 in B flat, K.595; Rondo for Piano & Orchestra in D, K.382
EMI (ADD) 6 31796-2 (2). Barenboim, ECO

Barenboim recorded the complete Mozart concertos twice, first with the ECO for EMI and later for Warner Classics with the Berlin Philharmonic, in each case directing the orchestra from the keyboard. Both have their considerable merits, but the sense of spontaneity in the EMI recordings brings the message that this is music hot off the inspiration line and is hard to resist, even though it occasionally leads to over-exuberance and idiosyncrasies. These are as nearly live performances as one could hope for on record, and the playing of the English Chamber Orchestra is splendidly geared to the approach of an artist with whom the players have worked so regularly.

The coupling of Nos. 20 and the beautiful 23 in A major was the first of the series to be recorded, and Barenboim’s playing has all the sparkle and sensitivity one could ask for. The orchestral accompaniment is admirably alive, and one’s only reservation concerns the somewhat fast tempi he adopts for finales. There need be no reservations about his account of K.467, which is accomplished in every way, but K.595 is rather more controversial. He indulges in great refinement of touch and his reading of the slow movement is overtly romantic. Even so, this inexpensive double gives much pleasure, for the recording is spacious and truthful.

巴伦博伊姆曾两度录制莫扎特钢琴协奏曲全集，先与英国室内乐团为EMI录音，后为华纳古典携手柏林爱乐，两次均以钢琴家兼指挥身份执棒。两者各具非凡价值，但EMI录音中迸发的即兴火花令人感受到灵感最本真的涌动，这种难以抗拒的魅力偶现过度激昂与个性诠释亦无妨。这些录音堪称最接近现场演出的唱片典范，英国室内乐团的演奏与这位长期合作的艺术家完美契合。

作为系列首录，第二十与优美的A大调第二十三协奏曲联袂呈现，巴伦博伊姆的演奏闪耀着所有期待中的灵动与细腻。乐队协奏充满生命力，唯终乐章速度稍快或存争议。其K.467诠释则无懈可击，而K.595的处理更具话题性——他极致雕琢触键技法，慢乐章演绎明显浪漫化。尽管如此，这张平价双唱片仍带来丰富愉悦，开阔真实的录音效果尤值称道。


(i) Piano Concerto 27 in B flat, K.595; Rondo in A min., K.511; (ii) Double Concerto in E flat, K.365
Naxos 8.111294. Schnabel, (i) LSO, Barbirolli; (ii) Karl-Ulrich Schnabel, LSO, Boult

Schnabel’s account of the B flat Concerto with Barbirolli conducting the LSO was one of the mainstays of the pre-war HMV catalogue, and it is good to hear its virtues so vividly restored. Good, too, to have the 1936 version of the Double Concerto with Schnabel’s son, Karl-Ulrich, and Boult. The A minor Rondo was a post-war recording, marvellously played, and one of the products of his 1946 visit to London. Mandatory listening.

施纳贝尔与巴比罗利指挥伦敦交响乐团合作的降B大调协奏曲，是战前HMV唱片目录的支柱之作，此次生动还原的经典版本令人欣喜。1936年与儿子卡尔-乌尔里希·施纳贝尔及博尔特合作的双钢琴协奏曲同样珍贵。A小调回旋曲作为其1946年伦敦之行的战后录音，演奏精妙绝伦，实属必听典范。

DVD:
没找到

CD：
https://115cdn.com/s/swwd6093hq9?password=3377&#
Mozart - Piano Concerto No. 27, Concerto for 2 Pianos in E-Flat Major - Artur Schnabel [Naxos]等3个文件(夹)

joseph_li

Symphony in F, K.19a; Symphonies 1 in E flat, K.16; 4 in D, K.19; 5 in B flat, K.22; 6 in F, K.43; 7 in D, K.45; 7a in G (Alte Lambacher), K.45a; in B flat, K.45b; 8 in D, K.48; 9 in C, K.73; 10 in G, K.74; in F, K.75; in F, K.76; in D, K.81; 11 in D, K.84; in D, K.95; in C, K.96; in D, K.97; in C, K.102; 12 in G, K.110; 13 in F, K.112; 14 in A, K.114; in D, K.120 & 121; 15 in G, K.124; 16 in C, K.128; 17 in G, K.129; 18 in F, K.130; 19 in E flat, K.132; 20 in D, K.133; 21 in A, K.134; in D, K.161; 22 in C, K.162; 23 in D, K.181; 24 in B flat, K.182; 25 in G min., K.183; 26 in E flat, K.184; 27 in G, K.199; 28 in C, K.200; 29 in A, K.201; 30 in D, K.202; 31 in D (Paris), K.297; 32 in G, K.318; 33 in B flat, K.319; 34 in C, K.338; 35 in D (Haffner), K.385; 36 in C (Linz), K.425; 38 in D (Prague), K.504; 39 in E flat, K.543; 40 in G min., K.550; 41 in C ( Jupiter), K.551
EMI 585589-2 (12). ECO, Tate

Jeffrey Tate’s Mozart Symphonies survey is one of the finest things he has done for the gramophone. Recorded over a long period, from 1984 to 2003, his inspiration remained constant. Tate entered at the deep end by taking on Nos. 40 and 41 first, and they remain impressive accounts. In the Jupiter, the apt scale of the ECO allows the grandeur of the work to come out fully: on the one hand, it has the clarity of a chamber orchestral performance, but on the other, with trumpets and drums, its weight of expression never underplays the scale of the argument, which originally prompted the unauthorized nickname. In both symphonies, exposition repeats are observed in outer movements, particularly important in the Jupiter finale, which with its miraculous fugal writing bears even greater argumentative weight than the first movement, a point firmly established by Tate. Those who like a very plain approach may find his elegant pointing in the slow movements excessive, but Tate’s keen imagination on detail, as well as over a broad span, consistently conveys the electricity of a live performance. The recording is well detailed, yet has pleasant reverberation. Both the Linz and the Prague receive strong but elegant performances, bringing out the operatic overtones in the latter, not just in the Don Giovanni-like progressions in the slow introductions, but also in the power of the development section and in the wonder of the chromatic progressions in the slow movement, as well as the often surprising mixture of timbres. In the Linz, Tate is attractively individual, putting rather more emphasis on elegance and finding tenderness in the slow movement, taken like the Adagio of the Prague at a very measured speed.

Moving backwards to the earlier symphonies, from No. 25 onwards (itself very well done), Tate’s detailed articulation and fine detail are always telling. In all these works, he provides a winning combination of affectionate manners, freshness and elegance. (Readers should note: the alternative movements, originally included in this middle batch of symphonies, have been excised on this bargain-box release.) The three-disc set which comprises 16 early symphonies, from Nos. 13 to 24, written before his first out-and-out masterpiece among the symphonies (No. 25) include some of the rarer, early, unnumbered works, usually adaptations of early opera overtures, and all of them colourful pieces. The first three CDs in the box set are new recordings (2003) and concentrate on his earliest symphonies, and again include many of the unnumbered symphonies (here given supplementary numbers, from 42 to 52); these early works are full of vitality (even if with a couple of them their authenticity is doubtful). Tate finds a fresh exhilaration in these scores where the young Mozart was finding his feet, exploring possibilities all the time. There is a surprising amount of variety in these very early works, often pointing to his future brilliance in the opera house. The recordings are fresh and warm throughout this set, which is strongly recommended, especially at super-bargain price.

杰弗里·泰特执棒灌录的莫扎特交响曲全集堪称其唱片生涯最杰出的成就。这套跨越1984至2003年的录音始终保持着恒久的艺术生命力。泰特以第四十、四十一号交响曲作为开端，其诠释至今仍令人叹服。在《朱庇特》中，英国室内乐团恰如其分的编制规模让作品的宏伟性得以充分展现：既有室内乐般的清澈质感，又通过铜管与定音鼓的配置确保了表达力度的厚重，完全呼应了这部作品引发"朱庇特"别称的磅礴乐思。两首交响曲的外乐章均遵循呈示部反复标记，这对《朱庇特》终乐章尤为重要——其神奇的赋格写作所承载的思辨重量甚至超越首乐章，泰特对此作出了有力论证。偏好朴素风格的听众或觉其慢乐章优雅雕琢过度，但泰特对细节与整体结构的敏锐想象，始终传递着现场演奏般的电流感。录音细节丰富且混响怡人。《林茨》与《布拉格》交响曲的演绎兼具力量与优雅，后者尤其凸显歌剧特质：不仅慢板引子中《唐璜》式的行进令人称道，展开部的戏剧张力、慢乐章半音阶进行的奇绝效果，以及出人意表的音色组合都得到完美呈现。泰特对《林茨》的处理独具魅力，更强调优雅气质，并将慢乐章处理得柔情似水——其徐缓速度与《布拉格》的柔板如出一辙。

回溯至早期交响曲（从演绎出色的第二十五号开始），泰特对乐句细节的精妙处理始终具有说服力。这些作品中，他成功融合了亲切感、清新气质与优雅风范。（注：此廉价套装删去了原版中编号中间段交响曲的替代乐章。）收录第十三至二十四号早期交响曲的三碟套装，包含莫扎特首部成熟交响杰作（第二十五号）之前的作品，其中不乏改编自早期歌剧序曲的稀有未编号作品，皆色彩斑斓。套装内前三张CD为2003年新录音，聚焦最早期交响曲（含补充编号42至52的未编号作品），这些充满活力的习作虽偶有真伪争议，却展现了少年莫扎特探索各种可能性的创作轨迹。泰特在这些稚嫩乐谱中发掘出惊人的多样性，往往已预示其未来歌剧创作的辉煌。整套录音鲜活温暖，强烈推荐，尤其以超值价格面世更显难得。


Symphonies 40; 41 (Jupiter)
DG 478 3621. VPO, Bernstein

Bernstein’s electrifying account of No. 40 is keenly dramatic, individual and stylish, with the finale delightfully airy and fresh. If anything, the Jupiter is even finer: it is both exhilarating in its tensions and it observes the repeats in both halves of the finale, making it almost as long as the massive first movement. Bernstein’s electricity sustains its length, and one welcomes it for establishing the supreme power of the argument, the true crown of Mozart’s symphonic output. Pacing cannot be faulted in any of the four movements and, considering the problems inherent in making live recordings, the 1984 sound is first rate, lacking only the last degree of transparency in tuttis. This mid-price reissue takes its place again at the top of the list of recommendations for this coupling.

伯恩斯坦对第四十号的诠释充满戏剧张力，个性鲜明且风格卓然，终乐章尤为轻灵清新。《朱庇特》的演绎更胜一筹：既在张力中迸发激情，又严格遵循终乐章双呈示部反复标记，使其长度几乎比肩宏大的首乐章。伯恩斯坦的演绎能量足以支撑如此篇幅，令人叹服地确立了这部莫扎特交响巅峰之作的思辨力量。四个乐章的节奏把控无懈可击，考虑到现场录音的固有难题，1984年的音质已属一流，仅全奏时透明度稍欠。此次中价再版使这套录音再度位列该曲目推荐榜首。


https://115cdn.com/s/swwd62x3hq9?password=3377&#
Mozart - Symphonies - Jeffrey Tate, ECO [Warner]等3个文件(夹)
伯恩斯坦指挥的第40、41交响曲 WAV格式为自抓。

joseph_li

Violin Concertos 1–5; (i) Sinfonia concertante for Violin and Viola, K.364
DG 477 7371. Giuliano Carmignola, O Mozart, Claudio Abbado; (i) with Danusha Waskiewicz

The Italian virtuoso, Giuliano Carmignola, was a semi-finalist at the 1974 International Tchaikovsky Competition; members of the Orchestra della Scala who were present alerted Abbado to his talent. They played the Mozart concertos together with the period-instrument Orchestra Mozart and established a close rapport. Carmignola’s partner in the Sinfonia concertante, Danusha Waskiewicz, is hardly less accomplished. These recordings were made at Bologna in 2007 and must be ranked among the finest in this repertoire, whether on period or modern instruments. Impeccable recording.

意大利名家朱利亚诺·卡米诺拉作为1974年柴可夫斯基国际大赛半决赛选手，其才华被当时在场的斯卡拉乐团成员推荐给阿巴多。他们与古乐版莫扎特管弦乐团合作演绎这套协奏曲时建立了深厚默契。交响协奏曲中与卡米诺拉搭档的中提琴家达努莎·瓦斯基维奇同样技艺超群。这套2007年博洛尼亚录音堪称该曲目最杰出演绎之一，无论以古乐器或现代乐器标准衡量皆然。录音品质无懈可击。


(i) Clarinet Trio in E flat (Kegelstatt), K.498; (ii) Piano Trios 2 in G, K. 496; 3 in B flat, K. 502; 4 in E, K. 542; 5 in C, K.548; 6 in G, K. 564
EMI 3 44643-2(2). Barenboim, (i) Matthias Glander, Felix Schwartz; (ii) Nikolaj Znaider, Kyril Zlotnikov

Mozart composed piano trios as early as his set of six (K.10–15), but it is the present works, covering a period of two years when Mozart was also occupied with Figaro and Don Giovanni, that are representative of his mastery. Barenboim’s partners, the Danish violinist Nikolaj Znaider and Belarusian cellist Kyril Zlotnikov, are a natural and most musical team and their playing radiates an infectious pleasure in music-making. The recordings are well balanced and have excellent clarity.

莫扎特早在六首早期三重奏（K.10-15）时期即开始创作钢琴三重奏，但本辑收录的两年间作品（创作时正值《费加罗婚礼》与《唐璜》问世期）方显其大师风范。巴伦博伊姆与丹麦小提琴家尼古拉·齐奈德、白俄罗斯大提琴家基里尔·兹洛特尼科夫组成浑然天成的三重奏，其演奏洋溢着极具感染力的音乐愉悦感。录音平衡绝佳，声部清晰度尤为出色。


Piano Quartets 1 in G min., K. 478; 2 in E flat, K. 493
Decca Eloquence (ADD) 480 3521. Lamar Crowson with the Pro Arte Qt

Mozart’s piano quartets are among the finest of all his chamber works. These beautifully intimate recordings, perfectly balanced, were recorded in 1965 but have been splendidly remastered and sound wonderfully natural. Lamar Crowson plays with great sensitivity and constantly delights the ear, particularly in the slow movement and finale of K.478. This disc has many competitors but none are finer, and this reissue is most competitively priced.

莫扎特的钢琴四重奏堪称其室内乐创作巅峰。这套1965年录制的精品虽年代久远，经出色重制后焕发自然光彩，完美呈现亲密无间的室内乐对话。钢琴家拉马尔·克劳森以细腻触键持续带来听觉享受，尤以K.478慢乐章与终乐章为甚。该曲目虽竞争者众多，此版仍属翘楚，再版价格更具竞争力。


https://115cdn.com/s/swwdzhc3hq9?password=3377&#
Mozart - Piano Quartets No.1 & 2 - Pro Arte Piano Quartet [DECCA]等3个文件(夹)

joseph_li

String Quartets 1–23; Divertimenti, K.136–8
DG 477 8680 (6). Amadeus Qt

The Amadeus Quartet accommodate the 23 String Quartets plus the 3 Divertimenti, K.136–8, comfortably on six discs. They were recorded between 1963 and 1977, and the new transfers are of good quality. It goes without saying that there are good things among them. They play with great polish and fluency and there are many who have remained loyal to them over the years. But there is a blandness which at times pervades the music-making (as in K.387) and a number of interpretative points to question, in K.421 and K.465 for instance, while the curioumannerism of sometimes swelling out on individual notes is noticeable from time to time. There are, of course, also some fine performances, the Hunt Quartet, K.458, for instance and all three Prussian Quartets. There appears to be no alternative complete box, but plenty of smaller collections to choose from.

阿玛迪斯四重奏团将全部23首弦乐四重奏外加3首嬉游曲（K.136-138）妥帖收录于六张唱片。这些1963至1977年间的录音经全新转制后音质上乘，其中不乏精彩演绎。他们的演奏兼具精妙打磨与流畅性，数十年来拥趸甚众。但某些处理存在争议——如K.421与K.465中时而显现的诠释偏差，以及个别音符刻意突强的奇特风格（在K.387等作品中尤为明显）。当然也不乏出色演释，如《狩猎》四重奏K.458与全部三首《普鲁士四重奏》。目前虽无其他完整套装可选，但市面上不乏优质选集。


String Quartets: 14 in G (Spring), K.387; 15 in D min., K.421; 16 in E flat, K.428; 17 in B flat, K.458 (Hunt); 18 in A, K. 464; 19 in C (Dissonance), K.465
EuroArt Unitel DVD 2072328 (2). Hagen Qt

These are beautifully alive and sensitively phrased performances that give much pleasure. They were recorded in 1998 in the elegant environment (and excellent acoustic) of the Grosser Saal of the Salzburg Mozarteum and they are impeccably presented visually. A most satisfying issue, which can be recommended with enthusiasm.

这套1998年录制于萨尔茨堡莫扎特音乐学院大厅（卓越声学环境）的演绎充满灵动气息与细腻分句，视觉呈现亦尽善尽美。令人沉醉的杰出录音，值得倾情推荐。


String Quartets 20 (Hoffmeister); 21–23 (Prussian Quartets 1–3)
CRD (ADD) CRD 3427/8. Chilingirian Qt

The Chilingirian Quartet give very natural, unforced, well-played and sweet-toned accounts of the last four Quartets. They are very well recorded too, with cleanly focused lines and a warm, pleasing ambience; indeed, in this respect these two discs are second to none.

奇林吉里安四重奏团对这最后四部四重奏的诠释自然流畅、技巧纯熟且音色甜美。录音效果同样出众——声部线条清晰分明，氛围温暖怡人，在这方面堪称无出其右。


String Quintets: 1 in B flat, K.174; 2 in C min., K.406; 3 in C, K.515; 4 in G min., K.516; 5 in D, K.593; 6 in E flat, K.614. Divertimento for String Trio in E flat, K.563弦乐五重奏：第1号降B大调K.174；第2号C小调K.406；第3号C大调K.515；第4号G小调K.516；第5号D大调K.593；第6号降E大调K.614。降E大调弦乐三重奏嬉游曲K.563
Decca (ADD) 470 950-2 (3). Grumiaux Trio, with Gérecz, Lesueur

Grumiaux’s distinguished set of the String Quintets is coupled with his unsurpassed (1967) version of the rather less well-known but equally inspired Divertimento for String Trio – an ideal linking. Beautifully played, the remastering of these fine analogue recordings is outstandingly natural – a tribute to the Philips engineers, even though this reissue is now assigned to Decca.

格鲁米欧经典的弦乐五重奏全集，搭配其1967年录制的弦乐三重奏嬉游曲（虽知名度较低却同样充满灵感）堪称珠联璧合。这些模拟录音经重制后展现出惊人的自然度——即便如今归入DECCA再版，仍是对飞利浦工程师们的崇高礼赞。


DVD：
没找到，可以听听CD，不过应该不是同一版本。

https://115cdn.com/s/swwdzwi3hq9?password=3377&#
Mozart - Complete String Quartets - Amadeus Quartet [DG]等4个文件(夹)

joseph_li

Così fan tutte (complete, DVD version) 《女人皆如此》或《女人心》
Medici Arts DVD 207 2368 (2). Frittoli, Kirchschlager, Skovhus, Schade, Corbelli, Bacelli, V. State Op. Ch. & O, Muti (Director: Roberto de Simone; V/D: Brian Large)
Così fan tutte (CD version)
EMI (ADD) 5 67382-2 (3). Schwarzkopf, Ludwig, Steffek, Kraus, Taddei, Barry, Philh. Ch. & O, Boehm

It is a pleasure to welcome the Medici Arts 1996 Così from the Vienna State Opera. Roberto de Simone is one of those rare stage directors who do not seek to impose their own personality over that of the composer. This is a most stylish production, with attractive costumes and sets that are a viewing pleasure, especially the sea vista at Naples. When Guglielmo and Ferrando leave, they do so on a convincing backstage boat simulation, while the famous Trio which follows reveals Mozart’s exquisite part-writing clearly, instead of smoothing it into vocal homogeneity. Throughout, the singing (and acting) cast is in every way excellent, with Barbara Frittoli as convincing a Fiordiligi as Angelika Kirchschlager is an engaging Dorabella, and both feistily resist the temptation to stray, until their attempting seducers spectacularly feign arsenic poisoning. Monica Bacelli is a knowingly vivacious and ever-resourceful Despina (especially when disguised as the doctor) and she sings both her arias with real charm. Alessandro Corbelli, too, is a conniving Don Alfonso, yet not overplaying his role. Muti’s conducting is splendidly alive and fresh. What more could you want?

Boehm’s classic set has been splendidly remastered as one of EMI’s ‘Great Recordings of the Century’ and remains a clear first choice among CD versions. Its glorious solo singing is headed by the incomparable Fiordiligi of Schwarzkopf and the Dorabella of Christa Ludwig; it remains a superb memento of Walter Legge’s recording genius and remains unsurpassed by other recordings made before or since. The documentation is generous and includes a full libretto and sessions photographs.

欣见Medici Arts发行的1996年维也纳国家歌剧院版《女人皆如此》。导演罗伯托·德·西蒙尼属于罕见的不以个人风格凌驾作曲家本意的舞台创作者。这版制作极具格调，赏心悦目的服装与布景（尤其是那不勒斯海景的视觉效果）令人沉醉。古列尔莫与费兰多离场时，逼真的后台船只模拟效果堪称妙笔，而随后著名的三重唱清晰呈现了莫扎特精妙的声部写作，而非简单追求声音同质化。全剧演员的演唱与表演皆臻完美——芭芭拉·弗丽托莉塑造的费奥迪莉姬与安吉莉卡·基尔施拉格饰演的朵拉贝拉同样令人信服，两位姐妹在"投毒"闹剧前始终倔强抵抗诱惑。莫妮卡·巴切利将机敏活泼的黛斯皮娜演绎得活色生香（尤其扮作医生时），两首咏叹调演唱魅力十足。亚历山德罗·科贝利的唐·阿方索也拿捏得恰到好处。穆蒂的指挥充满鲜活生命力，夫复何求？

伯姆经典录音作为EMI"世纪伟大录音"系列经精湛重制，仍是该剧CD版本的首选。无与伦比的演唱阵容由施瓦茨科普芙的费奥迪莉姬与克里斯塔·路德维希的朵拉贝拉领衔，既是沃尔特·里格录音艺术的丰碑，也始终未被后世版本超越。随附资料丰富，含完整台本及录音现场照片。


Don Giovanni (CD version) 《唐·璜》
Decca (ADD) 478 1389 (3). Della Casa, Danco, Siepi, Corena, Dermota, V. State Op. Ch., VPO, Krips

Krips’s version was recorded in 1955 for the Mozart Bicentenary and has been one of the top recommendations of this work ever since. Freshly remastered, it sounds better than ever; few, if any, allowances have to be made for the date of the stereo recording. Its intense, dramatic account of the Don’s disappearance into hell has rarely been equalled and never surpassed on CD. And there are many equally memorable sequences: the finale to Act I is electrifying. As a bass Don, Siepi (a wonderful, truly great singer) is marvellously convincing, but there is hardly a weak link in the rest of the cast. The early stereo recording is pretty age-defying, full and warm, with a lovely Viennese glow which is preferable to many modern recordings. However, special mention should also be made of Giulini’s classic EMI set with Schwarzkopf, Sutherland and Cappuccilli – all singing on top form, supremely conducted and recorded, and another indispensable recording (EMI 5 67869-2 (3)).

克里普斯为纪念莫扎特诞辰二百周年于1955年录制的版本，自此始终位列该剧首选推荐。经全新重制后音效更胜往昔，几乎无需为早期立体声录音作任何妥协。唐·璜坠入地狱的戏剧性场景之激烈程度，CD版本中罕有匹敌者。第一幕终场的演绎同样震撼人心。饰演低音版唐·璜的塞佩（这位伟大歌唱家）令人叫绝，其他演员亦无短板。早期立体声录音奇迹般地饱满温暖，散发着令人沉醉的维也纳光泽，甚至优于许多现代录音。此外，朱里尼指挥、施瓦茨科普芙/萨瑟兰/卡普奇利主演的EMI经典版本（EMI 5 67869-2 (3)）同样不可或缺——顶级演唱搭配超凡指挥与录音，构成另一必藏经典。


DVD:
https://115cdn.com/s/swwdzfu3hq9?password=3377&#
Mozart - Così fan tutte - Riccardo Muti, VPO; Frittoli, Kirchschlager, Skovhus [DVD9]

CD:
https://115cdn.com/s/swwdzll3hq9?password=3377&#
Mozart - Così fan tutte - Böhm, PO;  Schwarzkopf, Ludwig, Taddei [EMI]等5个文件(夹)

joseph_li

Die Entführung aus dem Serail (DVD version) 《后宫诱逃》
DG DVD 073 4075. Gruberová, Grist, Araiza, Orth, Talvela, Holtzmann, Bav. State Op. Ch. & O, Boehm (Director: August Everding)

Karl Boehm conducted his beautifully paced account of Entführung at the Bavarian State Opera in April 1980, just over a year before he died. It was always a favourite opera with him. And the performance has a winning glow, with an excellent cast of soloists. Edita Gruberová as Konstanze is at her freshest: clear and agile, tender in Traurigkeit, brilliant in Marten aller Arten. Though Reri Grist as Blonde has an edge on the voice, hers is a charming and characterful assumption, most of all when confronting the powerful Osmin of Martti Talvela, a giant of a figure with a voice to match. Francisco Araiza too is at his peak, with Norbert Orth exceptionally strong as Pedrillo. August Everding’s stylized production, with smoothly sliding scenery by Max Bignens, sets each scene deftly and atmospherically in the Pasha’s palace. The 1980 sound is exceptionally bright and clear for its age.

卡尔·伯姆于1980年4月——逝世前一年余——在巴伐利亚国家歌剧院执棒这版节奏精妙的《后宫诱逃》，这部歌剧始终是他的心爱之作。演出洋溢着动人的光彩，演员阵容堪称顶级：埃迪塔·格鲁贝洛娃饰演的康斯坦兹正值嗓音巅峰期，清亮灵动的音色在《悲伤》中尽显柔情，在《一切恐惧已成过往》里又迸发炫技华彩。虽然蕾莉·格里斯特扮演的布隆德音色略显尖锐，但其演绎充满魅力与个性，尤其与马蒂·塔尔维拉塑造的庞然大物般的奥斯明（其雄浑嗓音与体型相得益彰）对峙时更显精彩。弗朗西斯科·阿莱扎同样处于黄金时期，诺伯特·奥尔特演绎的佩德里洛也异常出色。奥古斯特·埃弗丁风格化的舞台制作配合马克斯·比格宁斯流畅推移的布景，将帕夏宫殿的每幕场景都营造得精巧而富有氛围。1980年的录音就其年代而言异常明亮清晰。


Die Entführung aus dem Serail (CD version) 《后宫诱逃》
DG (ADD) 429 868-2 (2). Augér, Grist, Schreier, Neukirch, Moll, Mellies, Leipzig R. Ch., Dresden State O, Boehm

Boehm’s is a delightful account, superbly cast and warmly recorded. Arleen Augér proves the most accomplished singer on record in the role of Konstanze, girlish and fresh, yet rich, tender and dramatic by turns, with brilliant, almost flawless coloratura. The others are also outstandingly good, notably Kurt Moll, whose powerful, finely focused bass makes him a superb Osmin, one who relishes the comedy too. The warm recording is beautifully transferred, to make this easily the most sympathetic version of the opera on CD, with the added attraction of being at mid-price. Admirers of opera sung in English should also investigate Menuhin’s sparkling performance on Chandos, with an outstanding cast (Dobbs, Eddy, Gedda, Fryatt, Mangin, Kelsey), full and vividly recorded in 1967 and an absolute joy from beginning to end (Chan. 3081 (2)).

伯姆这版演绎令人愉悦，演员阵容强大且录音温暖。阿琳·奥热作为唱片史上最出色的康斯坦兹扮演者，既展现少女般的清新，又交替呈现丰润、柔情与戏剧性，华彩段落更是璀璨无瑕。其他演员同样出类拔萃，尤其是库特·莫尔——其强劲而精准的低音使他成为最杰出的奥斯明之一，且深谙喜剧表现力。温暖的录音经精良转制，使这版成为CD时代最动人的诠释，中价发行更添吸引力。偏好英语歌剧的乐迷还可关注梅纽因在Chandos的璀璨演绎（编号Chan. 3081 (2)），由多布斯、埃迪、盖达、弗莱亚特、曼金、凯尔西等杰出歌唱家组成的阵容，1967年录制的声音饱满鲜活，自始至终令人沉醉。


DVD：
https://115cdn.com/s/swwdzla3hq9?password=3377&#
Mozart - Die Entfuhrung aus dem Serail - Bohm, Bayerischen Staatsoper; Gruberová, Grist, Araiza [DG DVD5]

CD：
https://115cdn.com/s/swwdzl93hq9?password=3377&#
Mozart - Abduction from the Seraglio - Yehudi Menuhin; Bath Festival Orchestra; Gedda, Dobbs [Chandos]等2个文件(夹)

joseph_li

Idomeneo (complete, DVD version) 《伊多梅纽斯》
Arthaus DVD 101 079. Lewis, R. Davies, Goeke, Betley, Barstow, Oliver, Fryatt, Wicks, Glyndebourne Ch., LPO, Pritchard (Director: John Cox; V/D: Dave Heather)
Idomeneo (CD version)
DG 431 6742 (3). Rolfe Johnson, Von Otter, McNair, Martinpelto, Robson, Hauptmann, Monteverdi Ch., E. Bar. Sol., Gardiner

It was at Glyndebourne that this opera seria was first heard in Britain, and over the years John Pritchard made a speciality of conducting the piece, always a vigorous and dramatic interpreter of what misguidedly used to be regarded as undramatic. Like Pritchard as conductor, Richard Lewis in the title-role was a veteran still in superb voice. John Cox’s production of 1974 is brilliantly devised to bring out the limited dimensions of the stage in the old Glyndebourne opera house, with concentric circles framing the whole stage, giving a long perspective to highly atmospheric scenes at the end of the tunnel. It works beautifully, not least when the sea monster appears at the end of Act II. The snag with this version for some will be the elderly edition Pritchard uses, with the role of Idamante taken by a tenor rather than a mezzo, thus upsetting the balance of the great quartet in Act III. Nevertheless, it is included in this book as it is a beautifully crafted reading, with Leo Goeke’s tenor as Idamante well contrasted with the fine Idomeneo of Ryland Davies. Josephine Barstow at her peak is a formidable Elettra and Bozena Betley a sweet Ilia. The incidental roles are very well taken by vintage Glyndebourne performers, Alexander Oliver, John Fryatt and Dennis Wicks.

With its exhilarating vigour and fine singing, Gardiner’s aim has been to include all the material Mozart wrote for the original (1781) production, and he recommends the use of the CD programming device for listeners to select the version they prefer. Gardiner’s Mozartian style is well sprung and subtly moulded rather than severe. The principals sing beautifully, notably Anne Sofie von Otter as Idamante and Sylvia McNair as Ilia, while Anthony Rolfe Johnson as Idomeneo is well suited here, with words finely projected. The electrifying singing of the Monteverdi Choir adds to the dramatic bite. There is also an excellent version of this opera sung in English on the Chandos label, with a fine cast and superbly conducted by David Parry (CHAN 3103 (2)).

这部正歌剧在英国的首演正是在格林德伯恩歌剧院，多年来约翰·普里查德爵士始终以充满活力与戏剧性的诠释，颠覆了人们对此剧"缺乏戏剧性"的误解。正如指挥家普里查德，饰演主角的理查德·刘易斯虽已届高龄仍保持绝佳嗓音状态。1974年约翰·考克斯的舞台设计巧妙利用了老歌剧院有限的舞台空间，同心圆结构的布景在隧道尽头营造出极具氛围的纵深感，第二幕结尾海怪现身的场景尤为震撼。此版采用的古老版本将伊达曼特改为男高音而非女中音，影响了第三幕伟大四重唱的声部平衡，但瑕不掩瑜——里兰德·戴维斯塑造的伊多梅纽斯与利奥·戈克饰演的伊达曼特形成精妙对比，约瑟芬·巴斯特巅峰时期的厄勒克特拉令人敬畏，博泽娜·贝特利则演绎出甜美的伊利亚形象，亚历山大·奥利弗等格林德伯恩老牌演员的配角表现同样精彩。

加迪纳版以激昂的活力还原了莫扎特1781年首演时的全部素材，并建议听众通过CD编程功能选择偏好版本。其莫扎特风格灵动而精妙，安妮-索菲·冯·奥特饰演的伊达曼特与西尔维娅·麦克奈尔演绎的伊利亚堪称绝配，安东尼·罗尔夫·约翰逊的伊多梅纽斯吐字如珠，蒙特威尔第合唱团更添戏剧张力。钱多斯唱片另有一版优秀的英语演唱版本（CHAN 3103 (2)），由大卫·帕里执棒。

Le nozze di Figaro (complete, DVD version) 《费加罗的婚礼》
Opus Arte DVD OA 09990. Schrott, Persson, Röschmann, Finley, Shaham, ROHCG Ch. & O, Pappano (Director: David McVicar; V/D: Ferenc van Damme)
Le nozze di Figaro (CD version)
Decca (ADD) 478 1720 (3). Gueden, Danco, Della Casa, Dickie, Poell, Corena, Siepi, V. State Op. Ch., VPO, Kleiber

An outstanding new-styled DVD Figaro from David McVicar to lead the top choices. It is set in the 1830s, which simply means that the costumes are brought forward a few decades, but are still a pleasure to look at. The Count’s palace is on a realistically impressive scale, with a huge staff, and its elegance contrasts with the scruffy room to be allotted to Figaro and Susanna after they are married, where the opera opens. Erwin Schrott is a lively, resourceful and above all very good-looking Figaro, but the delightful Susanna (Miah Persson), charmingly dressed, is his match and they both sing splendidly. So does Gerald Finley, even if he portrays a truly unattractive, permanently disgruntled, jealous Count, and one wonders what Rosina originally saw in him. But his anger gives a spice to the action, especially in Mozart’s marvellous extended finale to Act II which, with wonderful music, keeps the viewer continually wondering what is coming next. The dignified Countess (Dorothea Röschmann) sings her pair of key arias beautifully and affectingly. While she conveys her deep unhappiness at her husband’s unfaithful behaviour, she is appealingly spirited and stands her own ground, obviously enjoying Cherubino’s attempts to win her favours. Rinat Shaham is very personable, and her singing of ‘his’ two arias in that role is another of the highlights of the production. Altogether this is very recommendable indeed. The sets are appealing and the action moves forward with a swing, with the performance conducted with his usual flair by Antonio Pappano.

Erich Kleiber’s famous set was one of Decca’s Mozart Bicentenary recordings of the mid-1950s. It remains a memorably strong performance with much fine singing, and few sets have matched its constant stylishness. Hilde Gueden’s Susanna might be criticized, but her golden tones are certainly characterful and her voice blends enchantingly with Lisa Della Casa’s. Suzanne Danco and Della Casa are both at their finest. A dark-toned Figaro in Cesare Siepi – simply one of the most magnificent singers of the twentieth century – adds much contrast to the performance. While it is true that the recitatives are rather slow by modern standards, this is not inconsistent with Kleiber’s overall approach, which lets the music’s intrinsic sparkle emerge completely naturally and without any force. For those who prefer a more ‘authentic’ approach to this score, René Jacobs’s outstanding version with the Concerto Cöln on Harmonia Mundi is strongly recommended. Vividly recorded and conducted, and with a very strong cast (Gens, Ciofi, Kirchschlager, McLaughlin, Keenlyside, Regazzo), it is perhaps the most outstanding of modern versions available today (HM HMC90 1818/20).

大卫·麦克维卡执导的这版现代风格《费加罗的婚礼》DVD堪称首选。将时代背景设定在1830年代，虽仅将服装风格推移数十年却依然赏心悦目。伯爵宫殿以令人惊叹的真实比例呈现，众多仆役穿梭其间，其华美气派与歌剧开场时即将分配给新婚夫妇费加罗和苏珊娜的简陋房间形成鲜明对比。埃文·施罗特塑造的费加罗不仅活力机敏，更拥有俊朗外形，而米亚·佩尔森饰演的苏珊娜衣着俏丽与之旗鼓相当，两人的演唱俱臻化境。杰拉尔德·芬利虽将善妒的伯爵刻画得面目可憎——令人不禁疑惑罗西娜当年为何倾心——但其暴戾脾气恰恰为剧情增添张力，尤其在莫扎特精妙的第二幕终场，精彩绝伦的音乐始终牵引着观众的好奇心。多罗西娅·罗什曼演绎的伯爵夫人将两首关键咏叹调演唱得感人至深，在展现丈夫不忠带来的痛苦时，仍保持着动人的傲骨，对凯鲁比诺的殷勤显然也暗自受用。丽娜特·沙哈姆极具个人魅力的表演，将"他"的两首咏叹调演绎成为全剧另一亮点。安东尼奥·帕帕诺以一贯的才华指挥，精美布景配合行云流剧情推进，确属不可多得的推荐版本。

埃里希·克莱伯著名录音是DECCA五十年代中期为纪念莫扎特诞辰二百周年制作的系列唱片之一。这套演绎以其恒久的优雅风格独树一帜，至今仍令人难忘。希尔德·居登的苏珊娜或许存有争议，但其金色音色独具个性，与丽莎·德拉·卡萨的嗓音交融出迷人效果。苏珊娜·丹科与德拉·卡萨均处于最佳状态。切萨雷·塞皮以深沉音色演绎的费加罗——这位二十世纪最伟大的歌唱家之一——为演出增添丰富对比。宣叙调速度按现代标准确显迟缓，却与克莱伯让音乐内在光华自然流露的整体理念一脉相承。若追求更"本真"的诠释，哈农库特指挥维也纳古乐合奏团的Teldec版（4509 91184-2）堪称典范。而勒内·雅各布斯与科隆协奏团为Harmonia Mundi录制的杰出版本（HM HMC90 1818/20），凭借鲜活录音与强大阵容（热纳、乔菲、基尔施拉格、麦克劳克林、金利赛德、雷加佐），或许堪称当今最出色的现代版本。


DVD：
https://115cdn.com/s/swwdzqo3hq9?password=3377&#
Mozart - La Nozze di Figaro - Antonio Pappano, Royal Opera House; Schrott, Persson, Röschmann, Finley [DVD9]等2个文件(夹)

CD：
https://115cdn.com/s/swwdz7z3hq9?password=3377&#
Mozart - Idomeneo - David Parry, Opera North Orchestra; Ford, Montague, Gedda [Chandos]等6个文件(夹)

joseph_li

Die Zauberflöte (DVD version) 《魔笛》
TDK DVD DVWW-CLOPMF. Cotrubas, Schreier, Gruberová, Talvela, Boesch, Sieber, Hiestermann, V. State Op. Konzertvereinigung, VPO, Levine (Stage Director: Jean-Pierre Ponnelle; V/D: Brian Large)
Die Zauberflöte (CD version)
DG 477 5789 (2). Röschmann, Miklósa, Strehl, Pape, Müller-Brachmann, Kleiter, Azesberger, Zeppenfeld, Arnold Schoenberg Ch., Mahler CO, Abbado

Jean-Pierre Ponnelle’s production of Die Zauberflöte, with his own charming toytown sets and costumes, was the one revived more than any other in the history of the Salzburg Festival. From the start, with James Levine at his most brilliant and perceptive as conductor, it struck an ideal medium between the pantomime element and the weightier implications of the Masonic background to the story. With Brian Large as video director exploiting the evocative setting in the Felsenreitschule with its series of layers of cliff recesses, it makes an ideal entertainment on film in this 1982 recording, with the possible reservation that an unusually large amount of spoken dialogue is included which, with well-chosen chapter headings, can easily be reduced on DVD.

As DG’s wording on the box makes clear, this is Abbado’s very first Magic Flute on record and indeed – as they claim – it is a triumphant success. Its freshness and charm, with ravishing playing from the Mahler Chamber Orchestra, reminds us of our first encounter with the celebrated Fricsay recording (still available on DG 435 741-2 (2)). But Abbado’s cast is finer still, for here René Pape’s magnificent Sarastro dominates the opera, just as intended. He and the superb chorus bring just the right touch of gravitas, so all the pantomime fun with Papageno and Papagena is nicely balanced. Moreover, Erika Miklósa’s Queen of the Night’s second aria, Der Hölle Rache, is quite as dazzling as Rita Streich’s celebrated version, and it is slightly fuller in tone. Dorothea Röschmann and Christoph Strehl are a perfectly matched Pamina and Tamino, for both have lovely voices: Strehl is ardent and Röschmann is infinitely touching when she mistakenly thinks Tamino is lost to her for ever. The smaller parts are also without flaw. Kurt Azesberger is a splendid Monostatos, and even the speaker, George Zeppenfeld, has a honeyed tone. But most magical of all are the little vocal ensembles, wonderfully warm and refined, especially the numbers featuring the Three Ladies (Caroline Stein, Heidi Zehnder and Anne-Caroline Schlüter), who blend so delightfully but not suavely, and the Three Boys (from the Tölzer Knabenchor), who are just as memorable. Although the moments of drama are not lost, this is above all an affectionately relaxed performance, with Abbado continually revelling in the lyrical beauty of Mozart’s wonderful score. It is, of course, a live performance, so it has the extra communicative tension that brings; but the audience are (mercifully) angelically quiet, although we are aware of their presence during the fun created by the ever-reluctant Papageno. The recording is first class and, while there is a great deal of dialogue, it can be programmed out.

让-皮埃尔·蓬内利打造的这版《魔笛》以其童话镇般的布景服装，成为萨尔茨堡音乐节历史上复排次数最多的制作。从詹姆斯·莱文充满灵性的指挥棒下伊始，作品就在哑剧趣味与共济会深刻寓意间取得了精妙平衡。视频导演布莱恩·拉吉巧妙运用岩石骑术学校层叠的崖壁空间，使1982年录制的这版成为绝佳影音盛宴——尽管包含异常丰富的对白，但通过DVD章节选择功能可轻松跳过。

正如DG唱片封套所示，这是阿巴多首次灌录《魔笛》，确如其宣称的那般大获成功。马勒室内乐团令人沉醉的演奏所展现的清新魅力，令人想起初遇传奇的弗里乔伊录音（DG 435 741-2 (2)仍可购得）时的震撼。而阿巴多的阵容更胜一筹：勒内·帕佩辉煌的萨拉斯特罗如剧本所期般统领全剧，他与卓越的合唱团赋予作品恰如其分的庄严感，与帕帕基诺/帕帕盖娜的滑稽戏码相得益彰。埃丽卡·米克洛莎演绎的夜后咏叹调《地狱复仇》音色比传奇的丽塔·斯特里希版更为丰润，炫技程度却毫不逊色。多罗西娅·罗什曼与克里斯托夫·施特雷尔组成的帕米娜/塔米诺组合声线绝配——当帕米娜误以为永失所爱时，其演绎令人心碎。配角同样无懈可击：库尔特·阿泽斯伯格精彩的莫诺斯塔托斯，连旁白乔治·泽彭菲尔德都拥有蜜糖般的嗓音。但最动人的当属那些温暖精致的重唱段落，三位仙姑（卡罗琳·施泰因、海蒂·岑德与安妮-卡罗琳·施吕特）的声线交织出恰到好处的欢愉，托尔策童声合唱团的三位仙童同样令人难忘。在保留戏剧张力的同时，这版演绎整体洋溢着亲切松弛的氛围，阿巴多始终沉醉于莫扎特谱写的抒情之美。作为现场录音，其特有的交流张力尤为珍贵——观众虽在帕帕基诺制造笑料时能感知其存在，却始终（令人欣慰地）保持天使般的安静。录音品质一流，大量对白可通过编程功能跳过。


DVD：
没找到

CD：
https://115cdn.com/s/swwdz743hq9?password=3377&#
Mozart - Die Zauberflote - Cluadio Abbado, Mahler Chamber Orchestra; Röschmann, Miklósa, Strehl [DG]等2个文件(夹)

joseph_li

卡了4个莫扎特的，真是活久见。

还是没见到小奏。推荐一个常见的套装，Perlam & Barenboim DG版，再加Pires DG版的钢奏，这两套曾经陪伴我度过人生最艰难的时间。

https://115cdn.com/s/swwdzyh3hq9?password=3377&#


链接: https://***.com/s/177TyoXQqAWmWV-i2MwnioA?pwd=3377 提取码: 3377



自抓

langong2004

小奏一般触及作曲家最柔软部位 英佬不摸这些德奥的柔软部分

dxs390413

langong2004 发表于 2025-7-26 11:40
小奏一般触及作曲家最柔软部位 英佬不摸这些德奥的柔软部分

不懂，能展开说说吗？学习学习⋯

langong2004

人最柔软部分也是最坚强部分 莫写给初恋的就是一支小奏K296此后连作七首   摸不得

joseph_li

joseph_li 发表于 2025-7-25 22:56
卡了4个莫扎特的，真是活久见。

还是没见到小奏。推荐一个常见的套装，Perlam & Barenboim DG版，再加Pi ...

今天刚发现昨天打错了Itzhak Perlman的名字，原帖已经不能修改。
  Perlman是我非常喜欢的小提琴家之一，再分享他的贝多芬小协和小奏，自抓。


链接: https://***.com/s/1YoK1ZptE4ipDxG5My-qGtQ?pwd=3377 提取码: 3377

joseph_li

NIELSEN, Carl (1865–1931)
(i) Clarinet Concerto; (ii) Flute Concerto; (iii) Violin Concerto, Op. 33
Chan. 8894. (i) Thomsen; (ii) Christiansen; (iii) Sjøgren; Danish Nat. RSO, Schønwandt

Niels Thomsen’s powerfully intense account of the late Clarinet Concerto is completely gripping. Michael Schønwandt gives sensitive and imaginative support, both here and in the two companion works. Toke Lund Christiansen is hardly less successful in the Flute Concerto. Kim Sjøgren and Schønwandt give a penetrating and thoughtful account of the Violin Concerto; there is real depth here, thanks in no small measure to Schønwandt. The recording is first class.

尼尔斯·汤姆森对晚期单簧管协奏曲极具张力的演绎令人全神贯注。迈克尔·勋万特在此曲及另外两部配套作品中提供了细腻而富有想象力的协奏支持。托克·隆德·克里斯蒂安森在长笛协奏曲中的表现同样出色。金·肖尔格伦与勋万特对小提琴协奏曲的诠释深刻而富有思想性；作品的深度得以充分展现，勋万特的贡献功不可没。录音效果堪称一流。


Violin Concerto, Op. 33
Sony SMK 89748. Lin, Swedish RSO, Salonen – SIBELIUS: Violin Concerto

Cho-Liang Lin brings as much authority to Nielsen’s Violin Concerto as he does to the Sibelius, and he handles the numerous technical hurdles with breathtaking assurance. Salonen is admirably supportive and gets first-class playing from the Swedish Radio Symphony Orchestra. An admirable coupling, very well balanced and recorded.

林昭亮演绎尼尔森小提琴协奏曲时展现出的权威性，不亚于他诠释西贝柳斯时的水准。他以令人屏息的技术把握力攻克了作品中众多技巧难关。萨洛宁的协奏配合精妙，瑞典广播交响乐团的演奏亦属一流。这张搭配出色的唱片录音平衡极佳，堪称典范之作。


Symphonies 1–2; (i) 3; (ii) Aladdin (suite). Maskarade Overture
Double Decca 460 985-2 (2). San Francisco SO, Blomstedt; (i) with Kromm, McMillan; (ii) San Francisco SO Ch.
(i) Symphonies 4–6; (ii) Little Suite; (ii–iii) Hymnus amoris, Op. 12
Double Decca 460 988-2 (2) (i) San Francisco SO, Blomstedt; (ii) Danish Nat. RSO, Schirmer; (iii) with Bonney, Pedersen, Mark Ainsley, M. & B. Hansen, Danish Nat. R. Ch., Copenhagen Boys’ Ch.

These two Double Decca issues offer an admirable and inexpensive way of collecting Blomstedt’s complete cycle of Nielsen’s symphonies which is self-recommending. All six performances are among the finest available. The engaging Aladdin Suite is also winningly played, and the Overture to Nielsen’s comic opera, Maskarade, is appropriately high-spirited. Ulf Schirmer too shows a natural affinity for Nielsen. On the second issue he gives a persuasive account of Nielsen’s first published opus, the endearing Little Suite for Strings and the early cantata, Hymnus amoris, one of his warmest and most open-hearted scores. To put it briefly, this remains the best all-round modern set of the symphonies, and the bonuses add to its attractions.

这两张Decca双碟套装以超值价格收录了布隆姆施泰特指挥的尼尔森交响曲全集，堪称不二之选。六部交响曲的演绎均属现有最佳版本之列。《阿拉丁》组曲的演绎同样魅力十足，而尼尔森喜歌剧《假面舞会》序曲则洋溢着应有的欢快气息。乌尔夫·席尔默对尼尔森作品亦展现出天然的亲和力。在第二张唱片中，他对尼尔森第一部出版作品——迷人的弦乐《小夜曲》以及早期康塔塔《爱之赞歌》（作曲家最温暖率真的作品之一）的诠释极具说服力。简言之，这套录音仍是现代版尼尔森交响曲全集的最佳选择，附加曲目更添其吸引力。


https://115cdn.com/s/swwdwej3hq9?password=3377&#
Nielsen, Carl & Sibelius - Violin Concerto - Cho-Liang Lin, Esa-Pekka Salonen [CBS]等6个文件(夹)
林昭亮版小协算是名盘，报纸版WAV格式为自抓。

joseph_li

Complete Piano Music: 5 Pieces. Op. 3; Symphonic Suite, Op. 8; Humoresque-Bagatelles, Op. 11; Piano Music for Young and Old, Op. 53; Chaconne, Op. 32; Theme & Variations, Op. 40; Suite, Op. 45; 3 Piano Pieces, Op. 59
Hyp. CDA 76591/2. Martin Roscoe

Apart from Grieg, no Scandinavian composer has written for the piano with more individuality or understanding than Nielsen. Even though the early Op. 3 Pieces are Schumannesque, they speak with distinctive and touching personal accents, and all five are strong on both humour and character. Nielsen’s greatest piano music is clustered into a period of four years (1916–20), with his final thoughts in the medium, the Three Pieces, Op. 59, of 1928 being composed in the immediate wake of the Clarinet Concerto, music that already breathes the air of other planets. Apart from Leif Ove Andsnes, no pianist of international standing has championed it on record and, with the exception of John Ogdon and John McCabe, it has almost been the exclusive preserve of Nordic artists. The Suite is not only Nielsen’s greatest keyboard work but arguably the mightiest ever written in Scandinavia. Martin Roscoe is right inside this music and guides us through its marvels with great subtlety and authority. Hyperion give him vivid and natural recorded sound and there are outstanding notes by Daniel Grimley.

除格里格外，再没有哪位斯堪的纳维亚作曲家能像尼尔森这般以独特洞察力谱写钢琴音乐。尽管早期作品3号的小品带有舒曼风格，却透露出鲜明而动人的个人印记——五首作品皆兼具幽默感与性格张力。尼尔森最杰出的钢琴创作集中于1916至1920这四年间，而他最后的钢琴沉思——1928年创作的《三首小品》（作品59号）紧随《单簧管协奏曲》问世，其音乐语汇已呈现出超凡境界。除莱夫·奥韦·安兹涅斯外，尚无国际级钢琴家为这些作品留下录音；除约翰·奥格登与约翰·麦凯布外，它们几乎成为北欧艺术家的专属领域。这部《组曲》不仅是尼尔森键盘创作的巅峰，或许更是斯堪的纳维亚音乐史上最恢宏的杰作。马丁·罗斯科以精妙的掌控力与权威性，引领我们深入这部音乐的奇境。Hyperion厂牌为其提供了鲜活自然的录音效果，丹尼尔·格里姆利的解说文字亦属上乘。


Aladdin (complete incidental music), Op. 34 《阿拉丁》（全套戏剧配乐）
Chan. 9135. Ejsing, Paevatalu, Danish Nat. R. Chamber Ch. & SO, Rozhdestvensky

Until now the Aladdin music has been known only from the 20-minute, seven-movement suite, but the complete score runs to four times its length. Some numbers are choral, and there are songs and a short piece for solo flute. Thirteen of the movements are designed to accompany spoken dialogue and, although not all of it is of equal musical interest and substance, most of it is characteristically Nielsenesque, and much of it is delightful. The two soloists, Mette Ejsing and Guido Paevatalu, are very good and the Danish Radio forces respond keenly to Rozhdestvensky’s baton. This is not top-drawer Nielsen but, given such a persuasive performance and excellent recording, one is almost lulled into the belief that it is.

此前世人仅通过20分钟七乐章的组曲了解《阿拉丁》音乐，而完整配乐时长竟达四倍之多。其中包含合唱段落、歌曲及一支短笛独奏曲。十三个乐章专为配合台词朗诵而作，虽非所有段落都具有同等音乐价值，但大多延续了典型的尼尔森风格，且不乏动人篇章。独唱家梅特·艾辛与圭多·帕瓦塔卢表现优异，丹麦广播乐团在罗日杰斯特文斯基棒下反应敏锐。这虽非尼尔森最顶尖之作，但在如此说服力的演绎与出色录音加持下，几乎令人误以为如此。


Maskarade (complete) 《假面舞会》
Dacapo (ADD) SACD 6.220507/8 (2). Hansen, Plesner, Landy, Johansen, Serensen, Bastian, Brodersen, Haugland, Danish Nat. R. Ch. & SO, Frandsen

Nielsen’s second and last opera now comes realistically remastered on SACD, and must be considered a triumphant success in its new format, with the rear speakers (used discreetly) adding to the atmospheric feeling. But it still sounds admirable through a normal stereo set-up. Frandsen’s performance is distinguished by good – sometimes very good – singing and alert orchestral support. Above all, the sound is musical, the images are well located and firm, and the overall presentation is vivid. But the deleted Decca set remains first choice.

尼尔森第二部也是最后一部歌剧如今以SACD格式真实再现，其多声道混音（节制运用后方声道）强化了剧场氛围，堪称格式升级的典范——即便通过普通立体声设备播放仍效果卓越。弗兰德森版演绎的亮点在于优秀（有时堪称卓越）的演唱与机敏的乐队配合。最重要的是，声音质感富有音乐性，声像定位精准稳固，整体呈现生动鲜活。但已绝版的Decca版本仍是首选。


https://115cdn.com/s/swwdwxc3hq9?password=3377&#
Nielsen, Carl - Aladdin - Gennady Rozhdestvensky, Danish National RSO; Mette Ejsing, Guido Paevatalu [Chandos]等6个文件(夹)

joseph_li

NØRGÅRD, Per (born 1932)
Symphony 1 (Sinfonia austera); Symphony 2
Chan. 9450. Danish Nat. SO, Segerstam

Per Nørgård is the leading Danish composer of his generation. The Sinfonia austera, Nørgård’s First Symphony, comes from 1955 and has a strong atmosphere with something of Holmboe’s sense of power and forward movement, impressive and compelling. The Second (1970) is different in kind, static in feeling and hypnotic in effect. The ‘infinite series’ which shaped his Voyage into the Golden Screen dominates the whole piece. There are some striking and imaginative effects here. Very good performances too from Leif Segerstam and the Danish National Symphony Orchestra.

佩尔·尼加德是丹麦当代作曲界的领军人物。创作于1955年的《严峻交响曲》（尼加德《第一交响曲》）充满强烈的戏剧张力，兼具霍尔姆伯式的力量感与推进感，令人印象深刻且极具感染力。1970年问世的《第二交响曲》则呈现出截然不同的气质——静态的情感铺陈与催眠般的听觉效果，其整体结构深受"无限序列"技法主导（该技法曾在其代表作《金色屏幕之旅》中臻于成熟），作品中充满惊艳而富有想象力的音响效果。莱夫·塞格斯坦与丹麦国家交响乐团的演绎同样精彩出色。


Symphony 6 (At the End of the Day); Terrains vagues 《第六交响曲》（"日暮时分"）；《荒芜地带》
Chan. 9904. Danish Nat. SO, Dausgaard

Written in 1998–9 to celebrate the millennium in the Danish National Orchestra’s first concert in January 2000, Nørgård’s Sixth Symphony is a powerful and violent piece that makes no compromises. One takes it on trust even at a first hearing that, as the composer claims, it is tautly structured; from the opening onwards it demonstrates a vivid feeling for orchestral colour, presented with an energy too often missing in new music of the late twentieth century. Nørgård has said that this was to be the last of his symphonies, and the hushed close suggests something valedictory, but the vitality of invention not just in the symphony but in the substantial orchestral work with which it is coupled, written even more recently, suggested that he might change his mind, which he did with his Seventh Symphony (2006). Neither work makes for easy listening, but in this superbly engineered recording the power of the writing comes over most persuasively, demanding attention.

这部为迎接千禧年而作于1998-99年的《第六交响曲》，在2000年1月由丹麦国家交响乐团首演时便展现出毫不妥协的暴力美学。即便初听者也能感知作曲家所言非虚——其结构精严如机械装置：从开篇起便以鲜活的管弦乐色彩震撼听觉，迸发出20世纪末新音乐中罕见的能量密度。尼加德曾宣称这将是他最后一部交响曲，尾声的静谧确似告别致辞；然而无论是本曲还是与之搭配的近年力作《荒芜地带》中蓬勃的创造力，都暗示着作曲家可能改变主意——他最终确实以2007年《第七交响曲》打破了宣言。这两部作品皆非易听之作，但在本张录音工程精湛的唱片中，其强大的音乐表现力极具说服力，令人无法忽视。


https://115cdn.com/s/swwdw163hq9?password=3377&#
Norgard, Per & Ligeti - Violin Concerto, Sonata - Thomas Dausgaard, Danish National SO, Christina Åstrand [Chandos]等6个文件(夹)

joseph_li

NORRINGTON, Roger, with London Philharmonic Choir and London Philharmonic Orchestra
‘Music for the Last Night of the Proms’:
Australian Decca Eloquence 480 0476-8

It is easy to respond to the popular music of the last night of the Proms, particularly Rule Britannia and Jerusalem, heard here in Elgar’s wonderfully rich arrangement; and, on the words, ‘Bring me my arrows of desire’, the sweeping strings bring a truly gulp-inducing moment. Sarah Walker is the vibrant mezzo in Arne’s Rule Britannia, heard in Sir Malcolm Sargent’s expert arrangement. It is easy, too, to overlook the skill of Sir Henry Wood’s Fantasia on British Sea Songs, with their catchy tunes dressed in colourful orchestrations. Thomas Allen is in top voice for Stanford’s briny Songs of the Sea, with the opening Drake’s Drum making an unforgettable impression – surely one of the most telling sea-song settings in all English music. Crown Imperial comes off very well too, with one of Walton’s finest tunes as its centrepiece and truly breathtaking Waltonian brass chords in the coda. In composing the first Pomp and Circumstance March, Elgar was very proud of the ‘damned good tune’ which was to become ‘Land of hope and glory’, and rightly so. In complete contrast, Vaughan Williams’s Serenade to Music – one of the most haunting of the composer’s vocal works, has an astonishingly distinguished line-up of solo singers and brings another dimension to the programme. The (studio) sound is excellent and this surprisingly little-known CD is one of Sir Roger Norrington’s most successful recordings, resurrected on Australian Decca Eloquence.

人们很容易对BBC逍遥音乐节最后一夜的通俗曲目产生共鸣——尤其是听到埃尔加那恢宏华美的编曲版《不列颠万岁》与《耶路撒冷》时：当唱到"赐我欲望之箭"的歌词处，弦乐排山倒海的推进 truly令人屏息（此处保留原文修辞）。女中音莎拉·沃克在阿恩《不列颠万岁》中嗓音饱满激昂，该版本采用马尔科姆·萨金特爵士精湛的管弦配器。同样容易被忽视的还有亨利·伍德爵士《英国海歌幻想曲》的巧妙构思——那些朗朗上口的旋律包裹着绚丽的管弦乐外衣。托马斯·艾伦以巅峰状态演绎了斯坦福咸涩味十足的《海之歌》，开篇《德雷克的战鼓》营造出令人难忘的意境——这无疑是所有英国音乐中最具表现力的海洋歌曲之一。《皇冠加冕进行曲》同样精彩绝伦，其核心段落包含着沃尔顿最出色的旋律，尾声处铜管和弦的运用 truly具有典型的沃尔顿式震撼力。埃尔加创作第一号《威仪堂堂进行曲》时，曾为这支"该死的优美旋律"（后成为《希望与荣耀之地》）深感自豪，这完全理所应当。与之形成鲜明对比的是沃恩·威廉斯《音乐小夜曲》——这位作曲家最萦绕心头的声乐作品之一，由一组显赫的独唱家阵容演绎，为整张专辑增添了另一重维度。（录音室）音效极其出色，这张鲜为人知的唱片堪称罗杰·诺灵顿爵士最成功的录音之一，现由澳大利亚Decca Eloquence厂牌复刻发行。


这张碟没找到

joseph_li

OCKEGHEM, Johannes (c. 1410–97) 约翰内斯·奥克冈
Alma redemptoris Mater; Ave Maria; Credo ‘De village’; Fors seulement; Gaude Maria; Intemerata Dei Mater (2 versions); Masses: Au travail suis; Celeste beneficium; Cuiusvis toni; De plus en plus; Ecce ancilla Domini; Fors seulement; L’Homme armé; Mi-mi; Prolationum; Quinti toni; Sine nomine (2 settings à 3 & à 5); Requiem. Salve Regina; S’elle m’amera/Petite camusette. 《救赎之母》《圣母经》《"乡村"信经》《只为期待》《欢欣吧玛利亚》《无玷圣母》（双版本）；弥撒曲：《我正劳作》《天赐恩典》《任意调式》《愈显愈明》《看主之婢女》《只为期待》《武装的人》《第五调式》《比例弥撒》《无名弥撒》（三声部与五声部双版本）；《安魂曲》；《圣母经》《若她爱我/小卡缪塞特》
ASV Gaudeamus CD GAX 550 (5). Clerks’ Group, Wickham

This admirable bargain box collects together the survey by Edward Wickham’s Clerks’ Group of Ockeghem’s major religious works, including twelve Mass settings and the Requiem. A treasure chest. All the performances are of the highest order and have refreshing enthusiasm. The recording is fi rst class too.

这套超值的合辑收录了爱德华·威克汉姆率领教士合唱团演绎的奥克冈主要宗教作品，包含十二部弥撒曲及《安魂曲》，堪称音乐宝库。所有演绎皆保持最高水准，洋溢着令人振奋的演绎热情，录音品质同样堪称典范。


Alma redemptoris Mater; Ave Maria; Missa L’Homme armé 《救赎之母》《圣母经》《武装的人弥撒》
Naxos 8.554297. Oxford Camerata, Summerly (with JOSQUIN DESPREZ: Memor esto verbi tui)

On Naxos, the soaring opening Ave Maria, gloriously sung, immediately sets the seal on the inspirational power of Ockeghem’s music. It is followed by the plainchant, Alma redemptoris Mater and then by its polyphonic setting, simple and flowing and harmonically rich. The robust ballad, L’Homme armé (‘The armed man must be feared’) must have been hugely popular in its day since so many composers used it as a basis for a Mass. In Ockeghem’s setting the work’s dramatic and emotional peak is readily found in the extended Sanctus, resolved in the sublime melancholy of the Agnus Dei. It is sung superbly here and is marvellously paced. Josquin’s setting of sixteen verses from Psalm 119, Memor esto verbi tui, with its expressively fertile imitative devices, makes an eloquent postlude and the recording, made in the Chapel of Hertford College, Oxford, could hardly be better. It dates from February 1997, thus aptly commemorating the 500th anniversary of Ockeghem’s death.

Naxos版唱片中，辉煌演唱的《圣母经》以腾跃般的开篇，即刻彰显了奥克冈音乐的灵性力量。随后是素歌《救赎之母》及其复调配乐版本——既简洁流畅又和声丰沛。雄壮的叙事歌《武装的人》（"须畏惧持械者"）在当时必定风靡一时，众多作曲家都以其为基础创作弥撒曲。奥克冈版本中，戏剧性与情感高潮鲜明体现在扩展的《圣哉经》部分，最终在《羔羊经》崇高的忧郁中得到化解。本版演唱精湛，节奏把控绝妙。若斯坎以诗篇119篇十六节谱写的《求你记念所许之言》作为尾声，其丰富的模仿手法极具表现力。牛津大学赫特福德学院礼拜堂的录音效果无与伦比，1997年2月的录制时间恰逢奥克冈逝世五百周年纪念。


https://115cdn.com/s/swwdw1k3hq9?password=3377&#
Ockeghem, Johannes - Missa Au Travail Suis; Missa Sine Nomine - The Clerks' Group, Edward Wickham [ASV]等10个文件(夹)
The Clerks' Group & Edward Wickham组合以ASV厂牌出版了不少Ockeghem的宗教题材作品，有兴趣可以一起听听。

joseph_li

OFFENBACH, Jacques (1819–80)
(i) Cello Concerto (Concerto militaire). Les Fées du Rhin: Overture, Ballet & Grande Valse. Orphée aux enfers: Overture. Le Voyage dans la Lune: Ballet des Flocons de neige (i) 大提琴协奏曲（"军事协奏曲"）、《莱茵仙女》序曲、芭蕾与盛大圆舞曲、《地狱中的奥菲欧》序曲、《月球之旅》雪花芭蕾
DG 477 6403. Les Musiciens du Louvre, Minkowski, (i) with Pernoo

Long before he scored his big success as a composer of operettas with Orpheus in the Underworld, Offenbach was renowned as the ‘Liszt of the Cello’, an outstanding virtuoso. This 45-minute Concerto militaire is the most important of his compositions from that period, here recorded complete for the first time. After the composer’s death, the score, badly edited, had the three movements sold separately, and it has been thanks to the outstanding detective work of the editor, Jean-Christophe Keck, that the Concerto has now been fully restored. Both the first movement and the finale introduce military themes, with timpani prominent in both, and with the main theme of the finale anticipating the style of Offenbach’s operettas. That finale, 20 minutes long, offers a wide range of invention, including one funeral procession episode. The sound, recorded live in Grenoble, tends to be plummy, but there is ample detail to bring out the fine quality of the performance by both the soloist, Jérôme Pernoo, and the orchestra of period instruments under Marc Minkowski. The sparkling fill-ups add to the attractions of the disc, with the ballet from Les Fées du Rhin offering the first version of what later became the Barcarolle in the Tales of Hoffmann.

早在以《地狱中的奥菲欧》成为轻歌剧大师之前，奥芬巴赫便以"大提琴界的李斯特"闻名遐迩。这部45分钟的《军事协奏曲》是其早期最重要的创作，本专辑首次呈现完整录音。作曲家去世后，这部乐谱曾被拙劣编辑并拆分为三个乐章单独出售，多亏编辑让-克里斯托夫·凯克的卓越考据工作，协奏曲终得完整复原。首乐章与终乐章均引入军乐主题，定音鼓贯穿始终，终乐章主旋律已预示其轻歌剧风格。长达20分钟的终章展现出丰富的创意，包含葬礼进行曲段落。格勒诺布尔现场录音虽略显沉闷，但充分展现了独奏家杰罗姆·佩尔诺与马克·明科夫斯基执棒的古乐团精湛演绎。加演曲目更添光彩，《莱茵仙女》芭蕾段落首次呈现了后来成为《霍夫曼的故事》中《船歌》的原始版本。


Gaîté Parisienne 《巴黎人的欢乐》
Australian Decca Eloquence (ADD) 476 2724. ROHCG O, Solti – GOUNOD: Faust: ballet music. RESPIGHI: Rossiniana

Solti’s 1959 Gaîté Parisienne is the most brilliant committed to disc. While I.M. feels that the music-making is just that bit too hard driven, there is no doubting the sheer virtuosity of this remarkable orchestra and their bravura is infectious. Solti is far from unstylish here, but rather than allowing Offenbach’s brand of champagne to bubble up to the surface gradually, Solti tends to whack you over the head with it! Exciting music-making, never dull, and vintage Decca sound.

索尔蒂1959年录制的《巴黎人的欢乐》堪称唱片史上最辉煌的版本。虽然I.M.认为演绎稍显用力过猛，但这支杰出乐团展现的炫技魅力令人倾倒。索尔蒂的诠释绝非缺乏格调，但他选择用香槟直接浇醒听众，而非任其自然升腾气泡！激动人心的演绎绝无冷场，搭配典型的DECCA黄金之声。


Overtures: Barbe-Bleue; La Belle Hélène; La Grande Duchesse de Gérolstein; Le Mariage aux lanternes; Orfée aux enfers (with ADAM: Si j’étais Roi. BOIELDIEU: Le Calife de Bagdad; La Dame Blanche. HÉROLD: Zampa) 序曲集《蓝胡子》《美丽的海伦》《热罗尔坦公爵夫人》《灯笼婚礼》《地狱中的奥菲欧》（另含亚当《若我为王》、布瓦尔迪厄《巴格达酋长》《白衣夫人》、埃罗尔德《赞帕》）
Australian Decca Eloquence mono 476 2757. LPO, Martinon

Martinon’s LP collection of Offenbach overtures is quite the best ever committed to disc and now it has made it on to CD. Under Martinon, these overtures explode like a shaken bottle of ice-cold champagne, with the Can-can finales of Orfée and La Grande Duchesse going like the devil. While no one has captured the whirlwind Offenbach spirit as Martinon does, it is for the elegance that one especially relishes this collection, with the simple, folk-like tunes of Barbe-Bleue so beautifully phrased, and so gentle, it makes the sharply pointed strings in the lively finale even more effective. Nowhere is this rhythmic sharpness more apparent than in the deliciously crisp finale of the rare Le Mariage aux lanternes, a work of Mozartian charm. The engaging oboe tune in La Belle Hélène is beautifully phrased, and in that opera’s famous waltz you can see how Offenbach once beat Johann Strauss in a waltz-writing competition. In the rollicking good tune at 1 minute 27 seconds in La Grande Duchesse (‘I love the military’), the strings play with carefree vivacity as well as polish. Decca has handsomely coupled the Offenbach items with Martinon’s contemporary LP of once popular French overtures, with the orchestra giving of their very best. The White Lady is especially enjoyable, with a delightful bassoon passage underpinning the second subject. The early 1950s sound is vivid, but rather too bright: the original LXT LP (before it was re-cut) was undoubtedly warmer and sounded better balanced, but this transfer is well ahead in sound compared to the edgy Ace of Clubs and Eclipse LP versions, last seen around 30 years ago. This reissue needs to be snapped up before it disappears again.

马蒂农的奥芬巴赫序曲黑胶专辑历来被奉为最佳演绎，如今终以CD形式面世。在他棒下，这些序曲如冰镇香槟般喷薄而出，《地狱中的奥菲欧》与《热罗尔坦公爵夫人》的康康舞终曲如魔鬼般狂野。虽无人能及马蒂农捕捉奥芬巴赫旋风般神韵的功力，但本辑最令人回味的是那份优雅——《蓝胡子》中民歌风的质朴旋律被演绎得如此柔美，使得终章弦乐的锐利迸发更具冲击力。罕见的《灯笼婚礼》终章将节奏锐度展现得淋漓尽致，充满莫扎特式的魅力。《美丽的海伦》中迷人的双簧管旋律处理精妙，著名圆舞曲段落更印证了奥芬巴赫曾在圆舞曲创作比赛中击败小约翰·施特劳斯的轶事。当《热罗尔坦公爵夫人》进行至1分27秒那句欢快的"我热爱军队"时，弦乐既保持着无拘无束的活力又不失精致。DECCA贴心地搭配了马蒂农同期录制的法国序曲集，乐团状态极佳，《白衣夫人》中巴松管对第二主题的衬托尤为动人。1950年代初的录音鲜活但过于明亮：原始LXT黑胶（未经重制前）无疑更温暖平衡，但本次转制仍远胜三十年前Ace of Clubs和Eclipse黑胶版的尖锐音质。此再版专辑值得即刻珍藏。


https://115cdn.com/s/swwdwcy3hq9?password=3377&#
French Opera Overtures (Offenbach, Herold, Boieldieu, Adam) - Jean Martinon [DECCA]等2个文件(夹)

第二张langong2004兄已经在第439楼发过。

wpx426

joseph_li 发表于 2025-7-25 22:45
Piano Concerto 20 in D min., K.466; (i) Piano Concerto for 3 Pianos in F, K.242; (ii) Rondo in C, K. ...

没DVD，油管视频望梅止渴一下吧

通过百度网盘分享的文件：07 Piano Concerto 20, Concerto for ...
链接：https://***.com/s/1NgBcRyJDeGC5FHf1nQxXVA?pwd=0yu9