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

wpx426

joseph_li 发表于 2025-7-27 21:29
ORMANDY, Eugene, with Philadelphia Orchestra
HOLST: The Planets (suite) (with Mendelssohn Club of P ...

Holst The Planets: https://www.youtube.com/watch?v=YtphY-4xjQw

huzuoan

wpx426 发表于 2025-7-26 13:22

估计楼主把这个DVD资源给遗漏掉了！没看到分享，也没看到说有还是没有！

joseph_li

PENDERECKI, Kzysztof (born 1933)
(i) Anaklasis; (ii–iii) Capriccio for Violin & Orchestra; (iii-iv) Cello Concerto; (iii) De natura sonoris I & II; The Dream of Jacob; Emanationen for 2 String Orchestras; Fonogrammi; (iii; v) Partita for Harpsichord & Orchestra; (iii) Threnody for the Victims of Hiroshima; (i) Symphony; (iii-vi) Canticum canticorum Salomonis  （i）《折射》； （ii-iii）《小提琴与乐队随想曲》； （iii-iv）《大提琴协奏曲》； （iii）《声音的本质》第一号与第二号； 《雅各布的梦》； 《双弦乐队辐射》； 《音素》； （iii; v）《羽管键琴与乐队帕蒂塔》； （iii）《广岛受难者挽歌》； （i）《交响曲》； （iii-vi）《所罗门雅歌》
EMI Gemini (ADD) 3 81508-2 (2). (i) LSO; (ii) Wilkomirska; (iii) Polish Nat. RSO; (iv) Palm; (v) Blumenthal; (vi) Kraków Philh. Ch.; all cond. composer

For those who admire such athematic music this inexpensive anthology, in authoritative performances under the composer’s own direction, makes a splendid introduction to Penderecki’s music. Anaklasis is an inventive piece for strings and percussion, and De natura sonoris is also brilliant in its use of contrasts. Wilkomirska proves a superb soloist in the Capriccio and so does Palm in the Cello Concerto. The beautiful and touching Threnody for 52 Strings is the composer’s best-known piece, and it is here given a magnificent performance. The Dream of Jacob of 1974 is as inventive as the rest, but sparer. Penderecki’s music relies for its appeal on the resourceful use of sonorities and his sound-world is undoubtedly imaginative, albeit limited. The choral work is a setting of a text from the Song of Solomon for large orchestra and sixteen solo voices. But the Symphony is the most ambitious work here. It was commissioned by a British engineering firm and first performed in Canterbury Cathedral. That setting influences the range of sumptuous orchestral colours devised by the composer, though you could argue that this work is a series of brilliant orchestral effects rather than a symphonic argument. However, with such a committed performance it is certainly memorable. The 1970s recordings are excellent and this EMI Gemini is an undoubted bargain.

对于那些欣赏这类非主题性音乐的听众而言，这张由作曲家亲自指挥、演绎权威且价格低廉的选集堪称绝佳的彭德雷茨基入门指南。《折射》是一部为弦乐与打击乐创作的创新之作，《声音的本质》同样以鲜明的对比运用而精彩。维尔科米尔斯卡在《随想曲》中展现出卓越的独奏水准，帕姆在《大提琴协奏曲》中的表现亦堪称完美。作曲家最著名的作品——为52件弦乐器而作的感人至深的《广岛受难者挽歌》，在此获得了震撼人心的演绎。1974年创作的《雅各布的梦》与其他作品一样充满创意，但更为简练。彭德雷茨基的音乐魅力源于对音响效果的巧妙运用，其声景世界虽显局限，却无疑充满想象力。合唱作品是为大型乐队与十六位独唱人声所写的《所罗门雅歌》选段。但本辑中最宏大的作品当属《交响曲》。这部受英国工程公司委托创作的作品首演于坎特伯雷大教堂，其建筑环境深刻影响了作曲家对丰富管弦乐色彩的构思，尽管有人可能认为这部作品更像一系列华丽的管弦乐效果而非交响性论述。然而在如此倾注的演绎下，它绝对令人难忘。1970年代的录音效果出色，这张EMI双子星系列无疑是超值之选。


Symphony 7 (Seven Gates of Jerusalem) 《第七交响曲（耶路撒冷七门）》
Naxos 8.557766. Pasichniyk, Mikolaj, Marciniec, Tesarowicz, Carmei, Warsaw Nat. Ch. & PO, Wit

Only after the first performance of this magnificent work, designed to celebrate the third millennium of the city of Jerusalem, did Penderecki decide to include it among his symphonies. It is a massive cantata in seven movements, setting Psalms in Hebrew, with Penderecki handling colossal forces with thrilling mastery. He was right to underline the symphonic element in this way, as the sequence of movements brings together the choral and symphonic elements in his work very effectively. The figure ‘7’ is used obsessively, not least in seven-note themes.

The very opening is shattering in its impact, setting Psalm 48, while the longest of the seven movements is the fifth, Lauda Zion, setting Psalm 147, a Scherzo introduced by timpani and percussion. With striking and immediately attractive themes it brings a colossal climax as powerful as anything Penderecki has written. At its peak it is interrupted by the sixth movement, setting a declamation of words from the Book of Ezekiel, representing the word of God, reinforced by a distinctive bass trumpet solo. The seventh movement then rounds the work off with a triumphant setting of Psalm 48. Performances under Antoni Wit are superb, strong and intense, with an excellent chorus and team of soloists.

直到这部为庆祝耶路撒冷建城三千年创作的宏伟作品首演后，彭德雷茨基才决定将其纳入自己的交响曲序列。这部大型康塔塔包含七个乐章，以希伯来语演唱《诗篇》，作曲家以令人战栗的掌控力调度着庞大规模的演出阵容。他通过这种方式强调交响属性是恰当的——乐章的连贯编排将合唱与交响元素完美融合。数字"7"被反复运用，尤其体现在七音符主题中。

开篇《诗篇48》的演绎具有粉碎性的冲击力，七个乐章中最长的第五乐章《赞美锡安》以定音鼓与打击乐引入谐谑曲段，取材自《诗篇147》。鲜明而直击人心的主题推动着如彭德雷茨基笔下任何作品般强大的高潮。在巅峰处，第六乐章以《以西结书》宣叙词打断，代表上帝之言，并由独特的低音小号独奏强化。终章则以《诗篇48》的凯旋式演绎圆满收束。安托尼·维特指挥下的演出精彩绝伦，合唱团与独唱家阵容表现出的力量与激情令人叹服。

https://115cdn.com/s/swwd5sa3hq9?password=3377&#
Penderecki, Krzysztof - Collection - Antoni Wit [Naxos]等2个文件(夹)
Naxos出版了不少Antoni Wit 指挥的 Krzysztof Penderecki 作品，收集到20辑，不知道还有多少没收集到。

joseph_li

PERGOLESI, Giovanni Battista (1710–36)
‘Pergolesi Year’ Bicentenary Collection (as below; complete)
DG 477 8464 (3). Swiss Radio/ TV Ch., O Mozart, Abbado
(i) Salve Regina in C min.; (ii) Stabat Mater; (iii) Violin Concerto in B flat
DG 477 8077. (i) Kleiter; (ii) Harnisch, Mingardo; (iii) Carmignola; O Mozart, Abbado
(i–ii) Missa S. Emido; (i) La conversione e morte di San Guglielmo duca d’Aquitania: E dove che le luci … Manca la guida al piè; (iii) Laudate pueri Dominum; (ii) Salve Regina in F min.
DG 477 8463. (i) Cangemi; (ii) Mingardo; (iii) Harnisch, Romano; Swiss Radio/ TV Ch., O Mozart, Abbado
(i) Chi non ode e chi non vede; (ii–iii) Confitebor tibi, Domine; (i) Dixit Dominus; (ii) Salve Regina in A min. （i）《充耳不闻者与视而不见者》；（ii-iii）《主，我向您忏悔》；（i）《主如是说》；（ii）《A小调圣母经》
DG 477 8465. (i) Harnisch; (ii) Kleiter; (iii) Bove; Swiss Radio/ TV Ch., O Mozart, Abbado

For his ‘Pergolesi Year’ sequence with a superb team of soloists, the Swiss Radio Chorus and the splendid Bologna Orchestra Mozart, Abbado has chosen the richest of Pergolesi’s sacred works to make one realize that the composer wrote some of the greatest music of its kind in the early eighteenth century. The first CD centres on the famous Stabat Mater, and Abbado’s account (his second recording) with splendid soloists (the fresh-voiced Rachel Harnisch and Sara Mingardo with her dark, sonorous timbre) brings great intensity and ardour to this piece, and he secures alive playing with something of a period-instrument character from the modern-instrument orchestra this without diminishing religious sentiment. As a bonus he offers Pergolesi’s only Violin Concerto (in B flat), an engaging work, splendidly played by Giuliano Carmignola.

The second collection opens with the most ambitious work included in the series, the Missa S. Emidio, for soloists, two five-part choirs and two orchestras, in which Pergolesi sets only the Kyrie eleison and Gloria, yet which offers 30 minutes of superbly varied music in 12 memorable sections, alternating expressive antiphonal passages, rich solos and imitative writing, with beautiful solos from Veronica Cangemi and Sara Mingardo with her remarkably resonant lower register. Mingardo follows up with the Salve Regina in F minor, a performance of deep feeling. The recitative and aria, Manca la guida, is an early work, taken from a religious opera describing the spiritual battle between Good and Evil, which Cangemi sings with an equally expressive response, and the collection ends with the spectacular Laudate pueri Dominum with its resounding trumpets and horns and the bright-voiced soprano line alternating with the almost Handelian chorus and the work ending with a lively fugato to match the opening.

One of the highlights of the third collection is Harnisch’s account of the aria of unrequited love, Chi non ode e chi non vede, with its changing tempi and expressive anguish (‘Merciless Cupid you should either ease my distress or soften her severity’), while Julia Kleiter and Rosa Bove are hardly less memorable in the rare setting of Psalm 110, Confitebor tibi Domine, with its arresting choral opening, while the chorus is even more eloquent in the closing Gloria Patri and Sicut erat. Kleiter returns for the A minor Salve Regina, and the spectacular Dixit Dominus makes a splendid finale. This was written for two choruses of similar size and two orchestras, one of strings alone, the second with two each of oboes, flutes, horns and trumpets added. With Rachel Harnisch returning as celestial soloist, the result has great variety and power. These three CDs come either separately or in a boxed set and are very recommendable indeed.

在"佩尔戈莱西纪念年"系列中，阿巴多携卓越的独唱家团队、瑞士广播合唱团与辉煌的博洛尼亚莫扎特管弦乐团，精选了这位作曲家最丰沛的宗教作品，令人意识到这位作曲家在十八世纪早期便创作了同类题材中最伟大的音乐。首张CD以著名的《圣母悼歌》为核心，阿巴多（第二次录制该作）与两位杰出独唱家合作——嗓音清亮的蕾切尔·哈尼施与音色醇厚的萨拉·明加尔多——为作品注入了强烈的张力与炽热情感。他指挥现代乐器乐团呈现出近乎古乐器的鲜活质感，却未减损宗教情感的表达。作为加演，朱利亚诺·卡米诺拉精彩演绎了佩尔戈莱西唯一的小提琴协奏曲（降B大调），这部迷人作品堪称锦上添花。  

第二辑以本系列中最宏大的《圣埃米迪奥弥撒》开篇，该作为独唱家、双五声部合唱团及双管弦乐团而作。佩尔戈莱西仅谱写了《垂怜经》与《荣耀颂》，却在十二个令人难忘的段落中呈现了半小时极富变化的音乐：抒情的应答圣歌、丰沛的独唱段落与模仿式复调交织，维罗妮卡·坎杰米与低音区异常浑厚的明加尔多贡献了美妙的独唱。明加尔多随后演绎的《F小调圣母经》充满深邃情感。宣叙调与咏叹调《迷失的向导》选自宗教歌剧《善与恶的灵性之战》，坎杰米以同等表现力诠释。辑末的《孩童赞主曲》以辉煌的小号与圆号、明亮的女高音线条与近乎亨德尔风格的合唱交替呈现，终曲的活泼赋格与开篇遥相呼应。  

第三辑亮点当属哈尼施演绎的求而不得之爱咏叹调《充耳不闻者与视而不见者》，变幻的速度与痛苦的呐喊（"无情的丘比特，你该减轻我的痛苦或软化她的冷酷"）令人动容。茱莉亚·克莱特与罗莎·博韦在罕见作品《诗篇110》中的表现同样难忘——震撼的合唱开篇，至《荣耀归于圣父》与《永世如是》处更显雄辩。克莱特还献唱了《A小调圣母经》，而壮丽的《主如是说》作为终曲，为双合唱团与双管弦乐团（一组纯弦乐，另一组加入双簧管、长笛、圆号与小号各两支）而作。哈尼施以天籁般的独唱回归，最终呈现出层次丰富而力量磅礴的演绎。这三张CD可单独购买亦有限量盒装版，实属必藏之作。  


Stabat Mater (DVD version) 《圣母悼歌》
EMI DVD 5 99404 9. Frittoli, Antonacci, Filharmonica della Scala, Muti (DVD Producer: Carlo Assalini)
Stabat Mater (CD version)
Naïve OP 30441. Bertagnolli, Mingardo, Concerto Italiano, Alessandrini

Muti’s dedicated performance has two first-class soloists in Barbara Frittoli and Anna Caterina Antonacci, who make a fine team, both in their expressive vocal interchanges and in matching their vibratos. Muti’s tempi are spacious, and the use of modern instruments and the resonant acoustic ensure a warm and beautiful sound from the comparatively modest-sized orchestral group, while the soloists are clearly focused and well balanced in relation to the overall visual imagery. This moving performance is greatly enhanced by the backcloth of the beautiful cupola frescoes of Gaudenzio Ferrari on which the camera frequently dwells with poignant effect to illustrate the Crucifixion and the poignant image of Mary standing at the foot of the Cross. Subtitles are available if required, and there is also an option to follow the score, with the visual images forming a shadowy backcloth. Bonuses include a long and intellectual exposition of the historical development of Italian music by Muti, and a whimsical commentary, ‘Pergolesi and his Double’, confirming that a great deal of the music attributed to Pergolesi was written by others hoping to take advantage of his reputation. But the Stabat Mater is authentic and is splendidly performed here.

Both the soprano, Gemma Bertagnolli, and the contralto, Sara Mingardo (with her remarkably resonant lower register), have extraordinarily colourful voices, which blend beautifully at the work’s sustained opening, but which only display their full richness in their solos, notably Cujus animam gementem and Fac, ut portem Christi mortem. This is a totally Italianate performance of both high drama and moving pathos. The closing Quando corpus morietur, in which both singers join in sustained legato, is very moving indeed, followed by a passionately final affirmation of faith. Alessandrini’s instrumental support could not be more telling, and the recording is made in an ideal acoustic.

穆蒂的虔诚演绎拥有芭芭拉·弗丽托莉与安娜·卡特琳娜·安东纳契两位一流独唱家，她们在情感充沛的声部对话与颤音控制上配合绝佳。穆蒂采用从容的速度，现代乐器与共鸣声场为规模适中的乐团营造出温暖美声，独唱者在整体视觉意象中定位清晰、平衡得当。演出中频繁聚焦高登齐奥·费拉里的穹顶壁画——描绘 crucifixion 与圣母伫立十字架下的凄楚形象，极大增强了感染力。可选字幕与乐谱同步功能，影像始终作为朦胧背景呈现。花絮包括穆蒂关于意大利音乐发展的长篇学术讲解，以及诙谐的《佩尔戈莱西与其替身》专题，证实大量归名作品实为他人冒名之作。但本版《圣母悼歌》确系真迹，且演绎非凡。  

女高音杰玛·贝尔塔尼奥利与女低音明加尔多（以非凡的胸腔共鸣著称）的嗓音色彩异常丰富，在悠长的开篇完美融合，更在《悲叹的灵魂》与《愿承基督之死》等独唱段落中尽显华彩。这是兼具戏剧张力与感人悲怆的纯正意大利式演绎。终章《当肉体消亡时》中两位歌者以绵长的连音交织，继以信仰的激情宣告，令人潸然。亚历山德里尼的器乐伴奏精妙绝伦，录音声场堪称理想。


https://115cdn.com/s/swwd5l73hq9?password=3377&#
Pergolesi, Giovanni Battista & A. Scarlatti - Stabat Mater - Rinaldo Allessandrini, Concerto Italiano [Naive]等5个文件(夹)
第一套三张单独发行的碟和合集内容一样，可以二选一保存。第二套前几天在Rinaldo Allessandrini & Concerto Italiano大包里已经发过，此处是重复发。

joseph_li

PEROTINUS, Magister (c. 1160–1225)
Organa: Alleluya, Nativitas; Sederunt principes 奥尔加农：《诞辰哈利路亚》《王公就座》
Lyrichord (ADD) LEMS 8002. Oberlin, Bressler, Perry, Barab (with LEONIN: Organa)

Perotinus extended the simple polyphony of Leonin from two to three and four parts, and the ear is very aware of the intervals which characterize the organum: unison, octave, fourths and fifths. The music is more florid, freer than the coupled works, written several decades before. The performances here are totally compelling and the recording excellent.

佩罗坦将莱奥南的简单复音从二声部扩展至三、四声部，听觉上能清晰捕捉到奥尔加农特有的音程特征：同度、八度、四度与五度。相较于数十年前创作的对位作品，这里的音乐更为华丽自由。本版演绎极具说服力，录音亦属上乘。  


https://115cdn.com/s/swwd5qh3hq9?password=3377&#
Perotinus, Magister & Leonin - Notre Dame Organa de Santa Maria  - Russell Oberlin, Bressler, Perry [Lyrichord]

joseph_li

PIATIGORSKY, Gregor (cello)
CHOPIN: Sonata in G min., Op. 65 (with Rudolf Firkušný (piano)). MENDELSSOHN: Sonata 2 in D, Op. 58; STRAUSS: Sonata in F, Op. 6 (both with Leonard Pennario (piano))
Testament SBT 1419

Gregor Piatigorsky was a legendary cellist whose artistry and virtuosity (in that order) were inspiring. In the 1930s he was slightly overshadowed by Casals, and in the post-war years he had Fournier, Tortelier and Rostropovich clamouring for attention. The three performances on this Testament release are masterly in every way: elevated in feeling and effortless in their virtuosity. The Chopin with Rudolf Firkušný, recorded in the mid-1960s by RCA, is arguably the finest recorded account (challenged only by the 1980 Rostropovich–Argerich, currently withdrawn), while the Mendelssohn and Strauss with Pennario are hardly less commanding.

格里高利·皮亚蒂戈尔斯基是一位传奇大提琴家，其艺术境界与演奏技艺（按此先后顺序）总能令人振奋。上世纪三十年代，他的光芒曾略被卡萨尔斯所掩；战后岁月里，他又需与富尼埃、托特里耶及罗斯特罗波维奇等名家争夺乐坛瞩目。这张Testament唱片收录的三部演绎堪称全方位大师级呈现：情感深邃崇高，技巧举重若轻。其中与鲁道夫·菲尔库什尼合作的肖邦奏鸣曲（RCA于1960年代中期录制）堪称该曲目最伟大的录音版本（唯有1980年罗斯特罗波维奇与阿格里奇版可与之比肩，然该版本现已绝版）；而与佩纳里奥联袂的门德尔松、理查·施特劳斯奏鸣曲亦具同等慑人魅力。  


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Chopin - Cello Sonata & Polonaise etc. -  Martha Argerich, Mstislav Rostropovich [DG]等5个文件(夹)
这张碟 langong2004 兄在第623楼已经发过，此处补充一些Piatigorsky资源，以及Rostropovich 的DG小包（此推荐清单没有Rostropovich的词条）。

joseph_li

PIERNÉ, Gabriel (1863–1937)
(i) Andante; Berceuse; Canzonetta; Chamber Sonata; La Danseuse espagnole; Fantaisie impromptu; Violin Sonata; (ii) Giration (ballet); Sérénade; Pastorale variée; (ii–iii) Nuit divine; (ii) Pastorale for Wind Quintet; Pièce for Oboe & Piano; Piano Quintet; Préludio e fughetta; Solo de concert （i）《行板》《摇篮曲》《小坎佐纳》《室内奏鸣曲》《西班牙舞者》《即兴幻想曲》《小提琴奏鸣曲》；（ii）芭蕾组曲《回旋》《小夜曲》《变奏牧歌》；（ii–iii）《神圣之夜》；（ii）《木管五重奏牧歌》《双簧管与钢琴小品》《钢琴五重奏》《前奏与赋格》《音乐会独奏曲》
Timpani 2C 1110 (2). (i) Koch, Ivaldi; (ii) Instrumental Soloists of Luxembourg PO, Ivaldi; (iii) with Rémy Franck (narrator)

Those readers remembering the 78-r.p.m. era may recall Gabriel Pierné’s once famous novelty, the Parade of the Little Lead Soldiers. He made his initial reputation with orchestral morceaux of this kind. With the arrival of the Violin Sonata at the turn of the century he began to write music of more depth. It is a work of feeling, the lyrical inspiration of the first movement is appealing, and the dreamy, folksy Andante tranquillo is hardly less endearing. Influences of Pierné’s mentor, César Franck, are plain. But the work is impressive on its own terms, especially when played with such warmth and conviction as it is by Philippe Koch and Christian Ivaldi, and vividly recorded. The Piano Quintet of 1916/17 is also strongly influenced by the comparable Franck work. The performers play throughout with great conviction. However, with the wind music on the second disc, the ear is endlessly diverted. The pieces for plangent oboe, or bubbling bassoon (with piano) are delightful, as is the Pastorale variée for wind septet (including trumpet), while the Giration ballet (of 1933) is whimsically inventive and engagingly scored. These works are all played with pleasing elegance and are beautifully recorded. At times one is reminded of the music of Françaix. However, the last, rather sentimental, item on the disc, Nuit divine, includes the recitation of a poem by d’Albert Samain for which no translation is provided! Otherwise presentation and documentation are impeccable.

还记得78转黑胶时代的乐迷，或许对加布里埃尔·皮埃内那首曾风靡一时的《小铅兵进行曲》记忆犹新。这位作曲家最初正是凭借此类管弦乐小品崭露头角。随着世纪之交《小提琴奏鸣曲》的问世，他开始创作更具深度的作品。这部情感丰沛之作中，首乐章抒情旋律的灵感极具感染力，而梦幻般带着民间风味的宁静行板同样动人。其师塞萨尔·弗兰克的影响显而易见，但作品本身仍卓尔不群——尤其当菲利普·科赫与克里斯蒂安·伊瓦尔迪以如此饱满的热情演绎时，配合生动的录音效果更显震撼。1916/17年创作的《钢琴五重奏》同样深受弗兰克同名作品影响，演奏者们自始至终保持着强烈的艺术信念。

转至第二张唱片，木管作品带来无穷听觉趣味：如泣如诉的双簧管小品、欢快雀跃的巴松管与钢琴二重奏皆令人愉悦，而加入小号的木管七重奏《变奏牧歌》同样精彩。1933年创作的芭蕾音乐《回旋》以奇思妙想的配器令人耳目一新。这些作品均以赏心悦耳的优雅方式呈现，录音效果精美绝伦，某些段落甚至令人联想到普朗克的音乐风格。唯唱片末尾略带感伤的《神圣之夜》为阿尔伯特·萨曼的诗作配乐朗诵（未附译文），稍显遗憾。除此之外，整套专辑的呈现与文献考据皆堪称典范。

https://115cdn.com/s/swwd5b83hq9?password=3377&#
Pierne, Gabriel - Chamber Music Vol.1 - Instrumental Soloists of Luxembourg PO, Christian Ivaldi [Timpani]等2个文件(夹)

joseph_li

PIZZETTI, Ildebrando (1880–1968)
Clitennestra: Preludio. Concerto dell’estate; 3 Symphonic Preludes (from ‘L’Edipo Re’). La Festa delle Panatenee: 3 Pezzi per orchestra  克吕泰涅斯特拉：前奏曲·夏日协奏曲；《俄狄浦斯王》三首交响前奏曲；雅典娜节庆：三首管弦乐小品
Naxos 8.572013. Thessaloniki State SO, Myron Michailidis

The Concerto dell’estate has not been recorded since the days of LP, when it was very successfully recorded by Lamberto Gardelli for Decca. It is a work of inventive skill and resource, and has no lack of charm, as have its companions on this disc. The performances from Thessalonika under Myron Michailidis are good without being top-drawer.

自黑胶时代兰贝托·加德利为Decca成功录制后，《夏日协奏曲》便再未有过新录音。这部作品展现了巧妙的创作技艺与丰富的配器手法，与同专辑其他作品一样充满魅力。塞萨洛尼基管弦乐团在米隆·米哈利迪斯指挥下的演绎虽属上乘，却未达顶尖水准。


3 Symphonic Preludes from ‘L’Edipo Re’ di Sofocle; La Pisanella; Preludio a un altro giorno; Rondò Veneziano  《索福克勒斯〈俄狄浦斯王〉三首交响前奏曲》；《皮萨内拉》；《另一天的前奏》；《威尼斯回旋曲》
Hyp. CDH 55329. BBC Scottish SO, Vänskä

After a long period of neglect, Pizzetti’s music is making something of a cautious comeback. This well-filled programme makes an excellent introduction to Pizzetti. It is natural that he should be overshadowed by his contemporary, Respighi, who has so rich and colourful a palette. La Pisanella is a delight and was one of his few works to make it into the 78-r.p.m. catalogue. But Pizzetti is also a master of the orchestra and richly inventive. Osmo Vänskä conducts with authority and flair, and obviously believes in these all too rarely performed scores. The Rondò veneziano of 1929 was first performed by Toscanini; the three Preludes from the opera L’Edipo Re di Sofocle are full of interest, and La pisanella is a sunny and glorious work. Osmo Vänskä plays all these pieces with appropriate feeling, but the string sound lacks real body and richness, particularly at the bass end of the spectrum.

经历长期沉寂后，皮泽蒂的音乐正迎来谨慎的复兴。这套曲目丰富的专辑堪称绝佳的入门指南。这位作曲家难免被同时代色彩绚丽的雷斯庇基所掩盖——但《皮萨内拉》的明媚辉煌使其成为少数入选78转唱片目录的佳作，足见其管弦乐造诣与创作才华。奥斯莫·万斯卡以权威而灵动的指挥风格，为这些罕得上演的乐谱注入生命力。1929年由托斯卡尼尼首演的《威尼斯回旋曲》、歌剧《俄狄浦斯王》中意趣盎然的三首前奏曲，无不彰显皮泽蒂的艺术价值。尽管万斯卡的诠释情感充沛，但弦乐声部（尤其是低音区）的质感与厚度仍有欠缺。


https://115cdn.com/s/swwd5oa3hq9?password=3377&#
Pizzetti, Ildebrando - Rondo Veneziano, La Pisanella, Tre Preludii Sinfonici etc - BBC Scottish SO, Osmo Vänskä [Hyperion]等2个文件(夹)

joseph_li

Messa di requiem; De profundis 《安魂弥撒》《深渊呼求》
Hyp. CDA 67017. Westminster Cathedral Ch., O’Donnell – MARTIN: Mass for Double Choir, etc.

Pizzetti’s ‘serene and lyrical Requiem’ (as his biographer, Guido Gatti, puts it) is a work of surpassing beauty which will be a revelation to those who have not encountered it before, particularly in this fervent and inspired performance. It comes with the De profundis he composed in 1937 to mark the healing of his breach with Malipiero. This Westminster Cathedral version is simply sublime and a must for anyone who loves or cares about choral music.

皮泽蒂这部"宁静而抒情的安魂曲"（如其传记作者圭多·加蒂所言）堪称超凡绝美之作，尤其在此版充满灵感的炽热演绎下，必将为初聆者开启震撼体验。搭配1937年创作的《深渊呼求》——标志着与马利皮耶罗和解的作品——更显珍贵。威斯敏斯特大教堂合唱团的演绎已达至境，合唱音乐爱好者绝不可错过。


Assassinio nella cattedrale (Murder in the Cathedral) (complete, DVD version)  《大教堂凶杀案》
Decca DVD 0743253. Raimondi, Cordella, Valleggi, Antonio de Gobbi, Elia Fabbian, Marrocu, Zaramella, Soloists & Ch. of Conservatorio Piccinni di Bari, Bari Province SO, Piergiorgio Morandi

Assassinio nella cattedrale is the only Pizzetti opera ever to have been professionally staged in England. It is based on Alberto Castelli’s translation of T. S. Eliot’s play, which Pizzetti shortened and adapted: he omits the knights’ justification of the murder of the archbishop in Eliot’s epilogue. The Sadler’s Wells production in 1962 was not well received: Pizzetti’s restraint and nobility were ill attuned to the psyche of that much-overrated decade. A 1960 mono set with Karajan and the Vienna Opera with no less a Becket than Hans Hotter was issued on two DG CDs but quickly disappeared.

This performance, recorded in the Basilica di San Nicola in Bari, should do much to put this wonderful score back on the map. Raimondi has tremendous presence as the Archbishop and is in magnificent voice (he must now be approaching 70) and acts majestically. The remainder of the cast is hardly less inspired, and the production is visually sumptuous. The opera is short: its First Act is just over 40 minutes long while the Intermezzo (Becket’s Christmas morning sermon in 1190) and the Second Act together run to under 50. But it is totally compelling, musically and dramatically. The musical flow is dignified and stately, as befits the subject-matter, and the orchestral palette is subtle in its colouring. There are moments when its melodic lines suggest that the lessons of Mussorgsky and Pelléas have been observed, as has late Verdi, and the choral writing has an almost symphonic sweep. Assassinio nella cattedrale has been absurdly neglected on the stage (as indeed has Pizzetti generally) but this superbly paced and intensely felt reading brings home the beauty and nobility of this score. Recommended with enthusiasm.

作为皮泽蒂唯一登陆英国专业舞台的歌剧，该作基于阿尔贝托·卡斯特利翻译的T.S.艾略特剧本改编。作曲家删减了原著中骑士为谋杀大主教辩护的尾声段落。1962年萨德勒威尔斯剧院的制作反响平平——皮泽蒂的克制与崇高气质，与那个被高估年代的集体心理格格不入。1960年卡拉扬与维也纳歌剧院合作的单声道录音（由汉斯·霍特饰演贝克特）曾以两张DG唱片发行，却迅速绝版。  

此番在巴里圣尼古拉大教堂录制的演出，必将重振这部杰作的声名。雷蒙迪以近古稀之年诠释大主教，声若洪钟又威仪万千，其余演员同样灵感迸发，舞台呈现极尽华美。全剧结构紧凑：第一幕仅40余分钟，间奏曲（1190年贝克特圣诞晨祷）与第二幕合计不足50分钟，却在音乐与戏剧张力上摄人心魄。庄重肃穆的旋律流动契合主题，管弦乐配器色彩精妙，某些段落可见穆索尔斯基《鲍里斯》与德彪西《佩利亚斯》的影响，亦有晚期威尔第的神韵，合唱写作更展现出交响般的恢弘气度。《大教堂凶杀案》长期遭受荒谬的舞台冷遇（皮泽蒂整体创作亦如是），但这版节奏精准、情感丰沛的演绎，终让乐谱中蕴藏的美与崇高重见天日。热忱推荐。

DVD：
https://115cdn.com/s/swwd5ou3hq9?password=3377&#
Pizzetti, Ildebrando - Assassinio nella cattedrale - Piergiorgio Morandi, Bari Province SO; Raimondi, Cordella, Valleggi [AVI]

CD：
https://115cdn.com/s/swwd5op3hq9?password=3377&#
Pizzetti, Ildebrando - Requiem & Martin - Mass for Double Choir etc. - Westminster Cathedral Choir, James O'Donnell [Hyperion]等2个文件(夹)

joseph_li

PONCHIELLI, Amilcare (1834–86)
La Gioconda (complete, CD version) 《歌女乔康达》
EMI (ADD) 5 56291-2 (3). Callas, Cossotto, Ferraro, Vinco, Cappuccilli, Companeez, La Scala, Milan, Ch. & O, Votto

Maria Callas gave one of her most vibrant, most compelling, most totally inspired performances on record in the title-role of La Gioconda, with flaws very much subdued. The challenge she presented to those around her is reflected in the soloists – Cossotto and Cappuccilli both at the beginning of distinguished careers – as well as the distinctive tenor Ferraro and the conductor Votto, who has never done anything finer on record. The recording still sounds well, though it dates from 1959. This is a mid-priced set with a synopsis.

玛丽亚·卡拉斯以史上最具生命力、最摄人心魄的演绎之一，塑造了留声机时代最富灵性的乔康达形象，其嗓音瑕疵在此版中几乎消弭无形。她带来的艺术挑战深刻影响了合作者们——初露锋芒的科索托与卡普契利、独具特色的男高音费拉罗，以及缔造个人录音巅峰的指挥沃托。尽管录制于1959年，音效至今仍具感染力。这套中价版专辑附剧情概要，堪称超值之选。  


https://115cdn.com/s/swwdrfa3hq9?password=3377&#


Ponchielli, Amilcare - La Gioconda - Antonino Votto,  Teatro Alla Scala; Callas, Cossotto, Ferraro [EMI]等2个文件(夹)

joseph_li

huzuoan 发表于 2025-7-28 10:06
估计楼主把这个DVD资源给遗漏掉了！没看到分享，也没看到说有还是没有！

哈哈，我当时看到了wpx426 兄的回复，确实没太在意，《Idomeneo》DVD是没找到。因为找资源、整理和分享是分开的，有点拼眼力和注意力，有时候遗漏或出现错缪实在难以避免，感谢两位的提醒和指正。

wpx426

joseph_li 发表于 2025-7-28 23:34
哈哈，我当时看到了wpx426 兄的回复，确实没太在意，《Idomeneo》DVD是没找到。因为找资源、 ...

没事，Ormandy的DVD我看到你说没找到所以贴了个油管链接供望梅止渴。

这里有他的另一个DVD可体验一下书中所说的效果：

通过百度网盘分享的文件：Alt：Rachmaninov Symphony 2, Stravin...
链接：https://***.com/s/1PHv3gcIPiO8U7TmiKZawKA?pwd=yg32

joseph_li

POULENC, Francis (1899–1963)
‘Francis Poulenc and Friends’: (i) Double Piano Concerto in D min.; (ii) Concerto in G min. for Organ, Timpani & Strings; (iii) Dialogues des Carmélites; La voix humaine; Les Mamelles de Tirésias; La Courte Paille; (iv) Flute Sonata; (v) Pastourelle; Toccata; (vi) 3 Mouvements perpétuels; (vii) Banalités; Chansons villageoises; Chansons gaillardes; (viii) Sarabande
EMI DVD DVB 3102019. Composer, with (i) Février, O Nat. de l’ORTF, Prêtre; (ii) Grunewald, Philh. O de l’ORTF, Prêtre; (iii) Duval; (iv) Rampal, Veyron-Lacroix; (v) Tacchino; (vi) Février; (vii) Bacquier, Février; (viii) Gendron, Ivadli

An indispensable item for admirers of this inspiriting and life-loving composer. Much of this DVD derives from a concert in the Salle Gaveau to mark Poulenc’s sixtieth birthday, where he is seen in conversation with Bernard Gavoty. (He is as entertaining a speaker as he is witty a composer.) The two Concertos come from 1962 and 1968 respectively, the former at about the time when these artists recorded it commercially. Poulenc’s score is both witty and at times profound, though he is by no means as elegant or polished at the keyboard as, say, Britten or for that matter his partner here, Jacques Février. It is good to see and hear the delightful Denise Duval, who sings with great artistry; small wonder that Poulenc adored her so much. The picture quality is variable but acceptable and, though the camerawork in the first movement of the D minor Concerto is a bit fussy, it is otherwise exemplary both in the other movements and elsewhere in this compilation.

这张DVD是这位鼓舞人心、热爱生活的作曲家爱好者们的必备藏品。其内容主要源自普朗克六十岁生日时在加沃音乐厅举行的音乐会，其中收录了他与伯纳德·加沃蒂的对话（这位作曲家谈吐风趣，与其音乐创作一样妙趣横生）。两部协奏曲分别录制于1962年和1968年，前者与艺术家们商业录音的时期相近。普朗克的乐谱既诙谐又时而深邃，尽管他的钢琴演奏远不如布里顿或他的搭档雅克·费弗里埃那般优雅纯熟。能欣赏到迷人的丹妮丝·杜瓦尔精湛的演唱实属幸事，难怪普朗克如此钟爱她。画质虽参差不齐但尚可接受，尽管D小调协奏曲第一乐章镜头调度稍显繁琐，但其他乐章及合辑其余部分的呈现均堪称典范。


(i) Les Animaux modèles; (ii–iii) Les Biches (ballet: complete); (ii) Bucolique; (i; iv) Concert champêtre (for harpsichord & orchestra); (i; v) Double Piano Concerto in D min.; (vi) 2 Marches et un intermède (for chamber orchestra); Les Mariés de la Tour Eiffel (La Baigneuse de Trouville; Discours du général); (ii) Matelote provençale; Pastourelle; (vi) Sinfonietta; Suite française  (i)《动物模型组曲》；(ii–iii)《母鹿》（芭蕾全剧）；(ii)《田园曲》；(i;iv)《田园协奏曲》（为大键琴与乐队）；(i;v)《D小调双钢琴协奏曲》；(vi)《两首进行曲与间奏曲》（室内乐团）；《埃菲尔铁塔新婚夫妇》（《特鲁维尔浴女》《将军演说》）；(ii)《普罗旺斯鱼汤》《牧羊女之歌》；(vi)《小交响曲》《法兰西组曲》
EMI (ADD/DDD) 5 69446-2 (2). Prêtre, with (i) Paris Conservatoire O; (ii) Philh. O; (iii) Amb. S.; (iv) Van der Wiele; (v) composer, Février; (vi) O de Paris

Les Biches comes here in its complete form, with the choral additions that Poulenc made optional when he came to rework the score. The music is a delight, and so too is the group of captivating short pieces, digitally recorded at the same time (1980): Bucolique, Pastourelle and Matelote provençale. High-spirited, fresh, elegant playing and sumptuous recorded sound enhance the claim of all this music. The Suite française is another highlight. It is well played and recorded in a pleasing, open acoustic. Poulenc himself was a pianist of limited accomplishment, but his interpretation with Jacques Février of his own skittish Double Concerto is infectiously jolly. In the imitation pastoral concerto for harpsichord Aimée van der Wiele is a nimble soloist, but here Prêtre’s inflexibility as a conductor comes out the more, even though the finale has plenty of high spirits. The Sinfonietta, too, could have a lighter touch. Les Animaux modèles is based on the fables of La Fontaine, with a prelude and postlude, but here the recording is rather lacking in bloom, and the Deux marches are also a trifle over-bright. Still, these are all relatively minor quibbles and the two-CD set is tempting for the complete Les Biches alone. With nearly 156 minutes’ playing time, this pair of CDs is well worth exploring.

此处收录的《母鹿》是完整版本，包含普朗克修订乐谱时设为可选的人声段落。这部作品充满欢愉，同期（1980年）数字录音的迷人小品组合同样精彩：《田园曲》《牧羊女之歌》与《普罗旺斯鱼汤》。活泼清新、优雅的演奏与奢华的录音效果强化了这些音乐的吸引力。《法兰西组曲》是另一亮点，其演奏与录音在通透的声场中相得益彰。普朗克本人钢琴造诣有限，但他与雅克·费弗里埃合作的《双钢琴协奏曲》诠释却洋溢着令人沉醉的欢快。在大键琴仿 pastoral协奏曲中，独奏家艾梅·范德维尔指法灵巧，但普雷特指挥的僵化在此更为明显，尽管末乐章仍充满高昂情绪。《小交响曲》的触键亦可更轻盈些。《动物模型组曲》基于拉封丹寓言，配有前奏与后奏，但此处录音略显沉闷，《两首进行曲》也稍显锐利。不过这些均属微瑕，双CD套装仅凭完整版《母鹿》已极具诱惑。总计近156分钟的时长，这套唱片值得细细品味。

DVD：
没找到

CD：
没找到，找到别的相近CD，但曲目不全。

https://115cdn.com/s/swwdrlw3hq9?password=3377&#
Poulenc, Francis -  Concerto for 2 Pianos, Concert champêtre for Harpsichord - Poulenc, Février, Wiele, Paris Conservatoire Orchestra, Georges Prêtre [Firebird]等3个文件(夹)

joseph_li

Les Biches (ballet: suite) 《母鹿》（芭蕾组曲）
Chan. 9023. Ulster O, Y. P. Tortelier MILHAUD; Le Bœuf; La Création) – IBERT: Divertissement

Yan Pascal Tortelier and the Ulster Orchestra give an entirely winning account of Poulenc’s ballet suite. Here the opening has delightfully keen rhythmic wit, and the playing is equally polished and crisply articulated in the gay Rag-Mazurka and infectious finale. The lovely Adagietto is introduced with tender delicacy, yet reaches a suitably plangent climax. Top-drawer Chandos sound and splendid couplings ensure the overall success of this admirable compilation.

扬·帕斯卡尔·托特利耶与北爱尔兰交响乐团对普朗克芭蕾组曲的演绎堪称完美。开篇段落以敏锐的节奏感展现迷人机智，欢快的《拉格-玛祖卡》与令人沉醉的终章同样以精炼利落的演奏呈现。柔板乐章以细腻柔情引入，继而推向恰到好处的悲怆高潮。顶尖的Chandos录音品质与精彩的搭配曲目，共同成就了这张出色合辑的成功。


(i–ii) Clarinet Sonata; (i; iii) Elégie for Horn & Piano; (i; iv) Flute Sonata; (i; v) Oboe Sonata; (i–vi) Sextet for Piano, Flute, Oboe, Clarinet, Bassoon & Horn; (i; v–vi) Trio for Piano, Oboe & Bassoon; (i; vii) Violin Sonata; (i; viii) Piano Duet: Le Bal masqué: Capriccio for 2 Pianos. Elégie; L’Embarquement pour Cythère; Sonata for Piano, 4 Hands: Sonata for 2 Pianos (i) Solo Piano Music: À l’exposition. Bourrée, au Pavilon d’Auvergne. Badinage; Eventail de Jeanne: Pastourelle. Feuillets d’album; Français d’après Claude Gervaise (16ème siècle); Homage à J. S. Bach: Valse-improvisation sur le nom de Bach. Hommage à Albert Roussel: Pièce brève sur le nom d’Albert Roussel. Humoresque; 5 Impromptus (revised, 1939 edition); 15 Improvisations; 2 Intermezzi; Mélancolie; 3 Mouvements perpétuels; Napoli; 8 Nocturnes; 3 Novelettes; 3 Pastorales; Petites pièces enfantines: 6 Villageoises. 3 Pièces; Presto in B flat; 3 Promenades; Les Soirées de Nazelles; Suite française d’après Claude Gervaise (16ème siècle). Suite pour piano; Thème varié; Valse
(i–ii) 单簧管奏鸣曲；(i; iii) 圆号与钢琴《挽歌》； (i; iv) 长笛奏鸣曲；(i; v) 双簧管奏鸣曲；(i–vi) 钢琴、长笛、双簧管、单簧管、巴松与圆号《六重奏》； (i; v–vi) 钢琴、双簧管与巴松《三重奏》； (i; vii) 小提琴奏鸣曲；(i; viii) 钢琴二重奏：《假面舞会：双钢琴随想曲》《挽歌》《启航去西苔岛》《四手联弹奏鸣曲》《双钢琴奏鸣曲》  (i) 钢琴独奏作品：《展览会偶得》《奥弗涅舞曲》《戏谑曲》；《让娜的扇子：牧羊女之歌》《纪念册页》；《仿克劳德·热尔韦（16世纪）》《致敬J.S.巴赫：巴赫之名即兴圆舞曲》《致敬阿尔伯特·鲁塞尔：鲁塞尔之名小品》《幽默曲》；5首即兴曲（1939年修订版）；15首即兴曲；2首间奏曲；《忧郁》；3首永恒运动曲；《那不勒斯》；8首夜曲；3首新事曲；3首田园曲；《儿童小曲：6首乡村曲》《3首小品》；降B大调急板；3首漫步曲；《纳泽尔之夜》；《仿克劳德·热尔韦法兰西组曲（16世纪）》《钢琴组曲》；《主题变奏曲》；《圆舞曲》
Decca 475 7097 (5). (i) Pascal Rogé (piano), with (ii) Michel Portal (clarinet); (iii) André Cazalet (horn); (iv) Patrick Gallois (flute); (v) Maurice Bourgue (oboe); (vi) Amaury Wallez (bassoon); (vii) Chantal Juillet (violin); (viii) Jean-Philippe Collard piano)

Poulenc has the capacity to charm and enchant and, at the same time, speak to the listener. His lightness of touch and elegance often mask a vein of deeper feeling, into which he can briefly move to striking and original effect. No one is more closely attuned to Poulenc’s world than Pascal Rogé, and his presence ensures the authenticity of feeling which runs through all these performances: his playing is both imaginative and inspiriting. The first disc to be issued in 1988 won the Gramophone’s Instrumental Award. Rogé is a far more persuasive exponent of this repertoire than any previous pianist on record, although his masterly companion, Jean-Philippe Collard, is no less superb in the music for piano duet, and the Decca recording serves them very well indeed. The music has many unexpected touches and is teeming with character. Who but Poulenc would have written a frivolous Valse-improvisation to celebrate the name of B-A-C-H, and he is equally felicitous in the delicious Third Impromptu or the gentle melancholy of the Badinage. The Mouvements perpétuels are among the composer’s most seductive piano miniatures and the Napoli Suite also has much charm. But he is perhaps at his most touching in his suite of pieces paying a tribute to Claude Gervaise, which is thoroughly imbued with personal nostalgia.

The chamber music is hardly less appealing. The playing of Maurice Bourgue in the Oboe Sonata is both masterly and touching, and all these artists are on top form. The performances have a wonderful freshness and convey a real sense of delight. The Sextet has an irresistible charm and, whether in the melting lyrical episode in the first movement or the sparkling articulation of the finale, these artists have an unfailing elegance. The reverberance of the Salle Pleyel is a slight drawback, but the internal balance both of the players and of the recording engineers is excellent, and altogether this is an enchanting set.

普朗克拥有令人沉醉的魔力，同时能与听众深度对话。他轻盈的触键与优雅风格下，往往暗涌着深邃情感，偶尔惊鸿一瞥便产生震撼而独特的效果。帕斯卡尔·罗热比任何钢琴家都更贴近普朗克的艺术世界，他的演绎确保了这些演奏中贯穿始终的情感真实性：既充满想象力又振奋人心。1988年发行的首张专辑曾获《留声机》器乐大奖。罗热对此曲目的诠释比以往任何录音钢琴家都更具说服力，而其搭档让-菲利普·科拉尔在钢琴二重奏作品中的表现同样卓越，Decca的录音更是锦上添花。这些音乐充满出人意料的笔触与鲜明个性——除了普朗克，谁会为巴赫之名谱写轻佻的《即兴圆舞曲》？《第三即兴曲》的甜美与《戏谑曲》的温柔忧郁同样精妙。《永恒运动曲》是作曲家最具诱惑力的钢琴小品，《那不勒斯组曲》亦魅力非凡。而最动人的或许是致敬克劳德·热尔韦的组曲，其中浸透着他私人的怀旧情愫。

室内乐作品同样引人入胜。莫里斯·布尔格在双簧管奏鸣曲中的演奏既精湛又感人，所有艺术家皆处于巅峰状态。演绎洋溢着鲜活气息，传递出真实的愉悦感。《六重奏》拥有不可抗拒的魅力，无论是第一乐章融化的抒情段落还是终章闪耀的清晰 articulation，艺术家们始终保持着无懈可击的优雅。普莱耶音乐厅的混响稍显不足，但演奏者与录音师对声部平衡的处理极为出色，整套录音堪称迷人珍品。


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Poulenc, Francis - Les Biches & Ibert - Divertissement & Milhaud - Le Bœuf sur le Toit etc. - Yan Pascal Tortelier, Ulster Orchestra [Chandos]等2个文件(夹)

joseph_li

Complete Mélodies  《艺术歌曲全集》
Decca 475 9085 (4). Lott, Dubosc, Kryger, Le Roux, Cachemaille, Rogé

At mid-price, this collection repackages Decca’s four CDs of Poulenc songs accompanied by the ever-sensitive Pascal Rogé. For those who prefer fine modern recording, this provides consistently refined and idiomatic performances, making it an ideal alternative to the EMI collection of vintage recordings originally issued to celebrate the Poulenc Centenary. Felicity Lott is a stylist par excellence and her sympathy for and affinity with the songs of Poulenc is long-standing. Her recordings with Pascal Rogé, whose understanding of this repertoire is sans pareil, centre on the theme of childhood, and range from La courte paille – written for Denise Duval, Poulenc’s favourite soprano, to sing for her young son – to the Cinq poèmes de Max Jacob which evoke the childhood memories of Brittany. Dame Felicity is in excellent form throughout and brings the right blend of feeling and style to everything here. Hier, the third of the Trois poèmes de Louise Lalanne, is marvellously characterized and quite haunting. Catherine Dubosc was a memorable Blanche in the Dialogues des Carmélites and she is thoroughly at home in the Poulenc idiom. She is perhaps less successful in varying her character in each song (her approach to very different moods tends to be a little uniform). Like her fellow artist, the baritone Gilles Cachemaille, she is rather forwardly balanced. François le Roux, a high baritone who can cope with the demanding tessitura of the songs written for the composer’s friend, Pierre Bernac, takes on the major share of his disc, notably the fine cycle, Tel jour, telle nuit. He also sings superbly the three extra songs for Le bestiaire, only recently published. On the fourth CD, Gilles Cachemaille, a warmer but less versatile baritone, and Urszula Kryger provide contrast in an equally varied selection. Throughout this series Pascal Rogé is the intensely poetic accompanist.

这套中价版合辑重新收录了DECCA四张普朗克艺术歌曲唱片，始终由极富感知力的帕斯卡尔·罗热担任钢琴伴奏。对于偏好现代录音的听众而言，这套演绎始终保持着精妙纯正的风格，是EMI为纪念普朗克百年诞辰发行的历史录音合辑的理想替代品。费莉西蒂·洛特堪称风格大师，她对普朗克歌曲的共鸣与默契由来已久。她与深谙此道的罗热合作录制的核心主题是童年——从为普朗克最钟爱的女高音丹妮丝·杜瓦尔幼子所作的《短麦秆》，到唤起布列塔尼童年回忆的《马克斯·雅各布五首诗》。洛特女爵全程状态绝佳，为每首作品注入恰到好处的感情与风格。《路易丝·拉拉纳三首诗》之三《昨日》被赋予惊人的戏剧性，令人过耳难忘。凯瑟琳·迪博斯克在《加尔默罗会修女对话录》中塑造过令人难忘的布兰奇角色，她对普朗克语汇的掌控游刃有余，不过在诠释不同歌曲性格时稍显单一（面对迥异情绪时处理方式趋于雷同）。与男中音吉尔·卡什马亚一样，她的声部平衡略偏靠前。高男中音弗朗索瓦·勒鲁——能驾驭作曲家为挚友皮埃尔·贝尔纳创作的高难度声区——承担了其唱片的主要篇幅，尤以精美声乐套曲《昼与夜》为甚，他还精彩演绎了新近出版的《动物诗集》三首增补歌曲。第四张唱片中，音色更温暖但可塑性稍逊的卡什马亚与乌尔苏拉·克里格在选曲上形成鲜明对比。整套录音中，罗热始终是位极具诗意的钢琴搭档。


Songs: ‘C’; Le Carafon; Chanson d’Orkenise; Fêtes galantes; Les gars qui vont à la fête; Hôtel; Le Reine de Cœur  《C》《小水瓶》《奥克尼兹之歌》《风流庆典》《赶赴宴会的少年》《旅馆》《红心皇后》
Decca 475 7712. Crespin, Wustman (with recital of French song) – RAVEL: Shéhérazade. BERLIOZ: Les Nuits d’été. DEBUSSY: Songs

Crespin sparkles in this repertoire and these readings are exceptionally vivid. There is bravura in the quirkily amusing Le Carafon (‘The little water jug’) and Fêtes galantes and Les gars qui vont à la fête are similarly exhilarating. Indeed, Crespin fully understands the distinctive humour of these songs as well as the whimsy in such numbers as Hôtel – not to forget the gorgeous vein of melancholy which runs through ‘C’. All of it is utterly French in style and spirit, and Crespin understands the style completely. A superb bonus, beautifully recorded (in 1967), for her legendary Berlioz and Ravel recordings.

克雷斯萍在这套曲目中光彩夺目，演绎异常鲜活。《小水瓶》古怪滑稽的炫技，《风流庆典》与《赶赴宴会的少年》同样令人振奋。她深刻理解这些歌曲独特的幽默感，以及《旅馆》等作品的奇思妙想，更不用说贯穿《C》的绝美忧郁气质。这一切从形式到精神都彻头彻尾属于法兰西，而克雷斯萍完全掌握了其精髓。作为她传奇柏辽兹与拉威尔录音的绝佳补充（1967年精美录制），这套录音堪称珍宝。


Dialogues des Carmélites (complete, DVD version) 《加尔默罗会修女对话录》
Arthaus DVD 100 004. Schmidt, Fassbender, Petibon, Henry, Dale, Chœurs de l’Opéra du Rhin, Strasbourg PO, Latham-Koenig

Poulenc set great store by this opera and this DVD is a remarkably gripping and wholly convincing production which may well serve to persuade those who have not seen the light about this piece. In Anne-Sophie Schmidt it has a Blanche who looks as good as she sounds, and a cast which has no weak member. The production conveys the period to striking effect and the claustrophobic atmosphere of the nunnery. The camerawork is imaginative without ever being intrusive and the production is so well managed that the longueurs which normally afflict the closing scene in the opera house pass unnoticed. Of the other roles Hedwig Fassbender (Mère Marie de l’Incarnation), Patricia Petibon (Sœur Constance), Didier Henry (Le Marquis de la Force) and Laurence Dale (as the Chevalier de la Force) are exemplary both as singers and as interpreters. This production is excellent dramatically – and looks good. The stage director is Marthe Keller, who was the eponymous heroine of Honegger’s Jeanne d’Arc au bûcher on DG. The Strasbourg orchestra play well for Jan Latham-Koenig and, even disregarding its compelling visual presence, it has the strongest musical claims as well. Subtitles are in English, German and Flemish.

普朗克极为重视这部歌剧，此版DVD制作扣人心弦且极具说服力，足以扭转对该作持观望态度者的看法。安妮-索菲·施密特饰演的布兰奇形神兼备，全体演员无短板。制作精妙呈现了时代特征与修道院的压抑氛围，镜头调度富有想象力且绝不喧宾夺主，终场在剧院常有的冗长感在此消弭无踪。其他角色中，海德薇·法斯宾德（玛丽·德兰修女）、帕特里夏·佩蒂邦（康斯坦斯修女）、迪迪埃·亨利（拉福斯侯爵）与劳伦斯·戴尔（拉福斯骑士）的演唱与演绎皆堪称典范。这版制作戏剧张力出色且视觉精美，由DG出品奥涅格《火刑台上的贞德》女主角玛尔特·凯勒执导。斯特拉斯堡管弦乐团在扬·拉瑟姆-柯尼希指挥下表现上乘，即便抛开强烈的视觉冲击，其音乐性同样无可挑剔。字幕含英语、德语与弗拉芒语。

DVD：
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CD：
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Poulenc, Francis - Mélodies - Lott, Dubosc, Cachemaille, Le Roux, Pascal Rogé [Decca]等2个文件(夹)

joseph_li

PRAETORIUS, Michael (1571–1621)
Dances from Terpsichore 《泰尔普西科瑞舞曲集》
Hyp. CDA 67240. Parley of Instruments, Renaissance Violin Band, Holman

Terpsichore is a huge collection of some 300 dance tunes used by the French court dance-bands of Henri IV. They were enthusiastically assembled by the German composer, Michael Praetorius, who also harmonized them and arranged them in four to six parts; however, any selection is conjectural in the matter of orchestration. This 70-minute collection from Peter Holman and his various instrumental groups must be regarded as the most authentic and comprehensive now available. Praetorius makes it clear in the preface to Terpsichore that he regards these as French dances, and Holman convincingly suggests that they were intended primarily for performance on a French-style violin band, or a lute combination (a group of four lutes play together here), and that is the instrumentation that he very refreshingly offers.

这部宏篇巨制收录了约300首亨利四世时期法国宫廷舞乐队使用的舞曲旋律，由德国作曲家米夏埃尔·普雷托里乌斯热情编纂。他不仅为这些曲调配和声并将其改编为四至六声部，但任何选段的配器方案都属推测性质。彼得·霍尔曼与多个器乐组合演绎的这版70分钟选集，堪称目前最具学术真实性与完整度的诠释。普雷托里乌斯在《泰尔普西科瑞》序言中明确将这些作品视为法国舞曲，霍尔曼则有力论证了这些曲目最初应为法式小提琴乐队或琉特琴组合（此处采用四把琉特琴合奏）而作，并创新性地还原了这种配器形式。弦乐与木管乐器的音色对比令人耳目一新，通奏低音组的运用既克制又精妙。霍尔曼对舞曲节奏的处理极具说服力，既保持优雅又充满活力，尤其是《沃尔塔舞曲》中令人振奋的切分节奏。录音平衡极佳，细节清晰可辨又浑然一体。这套演绎不仅为学者提供珍贵参考，更让普通听众领略到文艺复兴晚期舞曲的盎然生机。


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Praetorius, Michael - Dances from Terpsichore - The Parley Of Instruments, Peter Holman [Hyperion]

joseph_li

PROKOFIEV, Serge (1891–1953)
Cinderella (ballet: complete) 《灰姑娘》
Decca  455349-7 (2). Cleveland O, Ashkenazy (with Glazunor: The Seasons)

Cinderella, along with Romeo and Juliet, is one of Prokofiev’s finest scores and one of the great ballets of the twentieth century. Ashkenazy gets excellent results from the Cleveland Orchestra. There are many imaginative touches in this score – as appealing, indeed, as the story itself – and the level of invention is astonishingly high. When it was transferred to CD, this recording’s fine definition was enhanced and the coupled account of Glazunor’s Seasons is equally successful, with superb playing by the RPO.

《灰姑娘》与《罗密欧与朱丽叶》同属普罗科菲耶夫最杰出的芭蕾音乐，亦是二十世纪芭蕾巨作之一。阿什肯纳齐指挥克利夫兰乐团呈现卓越演绎。这部总谱充满无数引人入胜的巧妙笔触——其魅力不亚于故事本身——创作想象力令人叹服。转制为CD后，录音的精细度更显提升，搭配的格拉祖诺夫《四季》同样精彩，皇家爱乐乐团演奏堪称典范。


Piano Concertos 1–5
Double Decca (ADD) 452 588-2 (2). Ashkenazy, LSO, Previn

Ashkenazy is a commanding soloist in both the First and Second Concertos, and his virtuosity in the First is quite dazzling. If he is curiously wayward in the opening of the Second, there is no question that this too is a masterly performance. The Third Concerto is keen-edged and crisply articulated, and the only reservation here concerns the slow movement, which at times is uncharacteristically mannered. Ashkenazy is authoritative in No. 4 and gives an admirable account of No. 5: every detail of phrasing and articulation is very well thought out, and yet there is no want of spontaneity or any hint of calculation. Throughout, Previn and the LSO accompany sympathetically and the remastered recordings make the most of the vintage, mid-1970s, Kingsway Hall sound. Although there may be even finer recordings of individual concertos, as a complete, consistent set this remains unbeatable.

阿什肯纳齐在第一、第二协奏曲中展现出权威独奏家风范，其第一协奏曲的炫技演奏尤为耀眼。虽在第二协奏曲开篇处理稍显乖张，但整体仍属大师级演绎。第三协奏曲锋芒毕露、触键凌厉，唯慢乐章偶有非典型矫饰痕迹。第四协奏曲诠释极具说服力，第五协奏曲更显精湛：每个乐句与触键细节皆经深思熟虑，却不失即兴火花与自然流露。普列文与伦敦交响乐团的协奏始终默契，经重新灌录的1970年代中期金斯威音乐厅录音效果更臻完美。单部协奏曲或有个别更优版本，但作为一套完整且水准统一的合集，本辑仍无出其右。


Piano Concerto 3 in C, Op. 26
DG 447 438-2. Argerich, BPO, Abbado – RAVEL: Piano Concerto in G, etc.

Martha Argerich made her outstanding recording of the Prokofiev Third Concerto in 1967, while still in her twenties. There is nothing ladylike about the playing, but it displays countless indications of sensuous, feminine perception and subtlety, and Abbado’s direction underlines that from the very first, with a warmly romantic account of the ethereal opening phrase on the high violins. This is a much more individual performance than almost any other available and it brings its own special insights. The recording, always excellent, sounds even more present in its current transfer.

玛尔塔·阿格里奇1967年录制此版普罗科菲耶夫第三协奏曲时未满三十。其演奏毫无闺秀气质，却处处彰显感性细腻的女性洞察力。阿巴多从首小节便以高音小提琴飘渺乐句的浪漫化处理强化这一特质。此版演绎之独特性远超多数现存录音，赋予作品特殊解读。原已出色的录音经转制后临场感更为鲜明。


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Prokofiev - Cinderella & Glazunov - The Seasons - Vladimir Ashkenazy, Cleveland Orchestra [DECCA]等4个文件(夹)

joseph_li

Violin Concerto 1 in D, Op. 19
Pentatone Surround Sound SACD PTC 5186 059. Fischer, Russian Nat. O, Kreizberg – GLAZUNOV; KHACHATURIAN: Violin Concertos

On Pentatone, the unique triptych of three warmly compelling concertos from this brilliant young German virtuoso, Julia Fischer, superbly recorded in full, bright, clear sound, could hardly be bettered. Central to her choice is her love of the Khachaturian, but her approach to the Prokofiev is just as warm. With fine shading, she takes a thoughtful, meditative view of the yearning melodies, the element in the work that, as she says, most attracts her, but her bravura playing is just as impressive.

Pentatone唱片公司为德国杰出青年演奏家朱莉娅·费舍尔录制的这套协奏曲三部曲堪称绝佳，饱满明亮的录音效果将三部充满感染力的作品完美呈现。虽然她选择的核心曲目是出于对哈恰图良作品的热爱，但其对普罗科菲耶夫协奏曲的诠释同样充满温情。通过细腻的音色层次，她以沉思冥想的方式处理那些渴望般的旋律——正如她所言，这正是最吸引她的特质，而她华丽的炫技演奏同样令人叹服。


Violin Concertos 1–2
Decca (ADD) 425 003-2. Chung, LSO, Previn – STRAVINSKY: Violin Concerto

Kyung-Wha Chung’s performances emphasize the lyrical quality of these concertos with playing that is both warm and strong, tender and full of fantasy. Previn’s accompaniments are deeply understanding, while the Decca sound has lost only a little of its fullness in the digital remastering. The Stravinsky coupling is equally stimulating.

郑京和的演绎着重突出了这两部协奏曲的抒情特质，演奏既温暖又充满力量，柔情中蕴含着丰富想象力。普列文的伴奏深具理解力，而经数码重制后的Decca录音仅略微损失了些许饱满度。搭配的斯特拉文斯基作品同样精彩。


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Prokofiev - Violin Concertos No.1&2 & Stravinsky - Violin Concerto - Kyung Wha Chung, André Previn, LSO [DECCA]
第一张已经在第422楼发过

joseph_li

Peter and the Wolf 《彼得与狼》
Naxos mono 8.111290. Eleanor Roosevelt, Boston SO, Koussevitzky – SIBELIUS: Symphony 2

This disc offers Koussevitzky’s second recording of Peter and the Wolf, with a former First Lady, Eleanor Roosevelt, as narrator. This account of Peter (whether you take to the narration or not) is supremely natural and should provide a model for young conductors. It comes with a powerful Sibelius Second Symphony.

本唱片收录了库塞维茨基第二次录制的《彼得与狼》，特邀美国前第一夫人埃莉诺·罗斯福担任旁白。这个版本（无论您是否欣赏旁白风格）展现出极致自然的演绎，堪称青年指挥家的范本。搭配曲目为气势恢宏的西贝柳斯《第二交响曲》。


Romeo and Juliet (complete ballet), Op. 64 《罗密欧与朱丽叶》
EMI (ADD) 9 67701-2 (2). LSO, Previn

There are many who would claim Romeo and Juliet as Prokofiev’s greatest score, alongside War and Peace. Its boisterously violent depiction of the feud between the Montagues and the Capulets is movingly set against the delicate portrayal of Juliet herself and the poignant, bittersweet lyricism of her love for Romeo, while the work’s final climax is powerfully conceived. Previn and the LSO made their recording in conjunction with live performances at the Royal Festival Hall in 1973 when their partnership was at its zenith, and the result reflects the humour and warmth which went with these live occasions. Previn’s pointing of rhythm is consciously seductive, whether in the fast, jaunty numbers, or in the soaring lyricism of the love music. The Kingsway Hall recording quality is full and immediate, yet atmospheric too, and the remastering highly successful.

许多人将《罗密欧与朱丽叶》与《战争与和平》并列为普罗科菲耶夫最伟大的作品。蒙太古与凯普莱特两大家族激烈争斗的狂暴描绘，与朱丽特形象的细腻刻画及其对罗密欧凄美动人的爱情抒情形成动人对比，而作品最终高潮的构思极具震撼力。普列文与伦敦交响乐团1973年在皇家节日音乐厅现场演出期间完成了本录音，正值双方合作的巅峰时期，演绎中洋溢着现场演出特有的幽默感与温暖情怀。无论是轻快活泼的段落还是爱情主题的澎湃抒情，普列文对节奏的处理都充满刻意为之的诱惑力。金斯威音乐厅的录音效果既饱满直接又富有氛围感，经重制后效果尤为出色。


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Prokofiev - Peter And Wolf & Sibelius - Symphony No. 2 - Eleanor Roosevelt, Boston SO, Koussevitzky [Naxos]等2个文件(夹)

joseph_li

Symphonies 1 (Classical) in D, Op. 25; 2 in D min., Op. 40; 3 in C min., Op. 44; 4 in C, Op. 47 (original, 1930 version); 4 in C, Op. 112 (revised, 1947 version); 5 in B flat, Op. 100; 6 in E flat min., Op. 111; 7 in C sharp min., Op. 131
Ph. 475 7655 (4). LSO, Gergiev

After the symphonies of Sibelius, Shostakovich and Carl Nielsen, the seven of Prokofiev are the greatest of the twentieth century. They are heard at their finest in these performances, recorded at London’s Barbican Centre in May 2008. The refinement and delight of the Classical Symphony, deliberately Haydnesque in its economy and exuberant high spirits, ensures its popularity and marks its blend of pastiche and originality. After the Revolution, Prokofiev settled in the West and was swept up into the atmosphere of post-war Paris and the modernism of Stravinsky. The Second Symphony (1924) inhabits an altogether different landscape and its first movement exhibits both a high decibel level and a degree of dissonance. It bears a passing if remote resemblance to Beethoven’s C minor Sonata, Op. 111, namely a sonata-form first movement followed by a theme and set of variations. Its provenance suggests a kinship to the Honegger of Pacific 231 and Rugby. I [R.L. writing] first heard the piece in Charles Bruck’s mono recording and was bowled over by its dynamism, ferocity and the lyricism and inventiveness of the variations. But no recording we know matches the commitment and eloquence of this newcomer.

During his Paris days Prokofiev wrestled with an opera based on Valery Bryusov’s The Fiery Angel but he realized that its chances of production were negligible. And so he drew on it extensively for his next symphony, perhaps the darkest and most atmospheric of all his works. Koussevitzky, who commissioned and premièred it and the next two symphonies, hailed it as ‘the best symphony since Tchaikovsky’s Sixth’! The Fourth also has stage connections – with the ballet, The Prodigal Son, a twenty-minute score, well held together and full of characteristic and fetching melodic invention. (The Scherzo is taken over from the ballet unaltered and also served as a piano piece.) The work languished in neglect after the Boston performances (1930). Later, and long after his return to the Soviet Union, Prokofiev revised and extended the work without really improving it. The present set will allow you to make up your mind for yourself.

The Fifth Symphony (1944) is in many ways the most popular of the later symphonies, and Gergiev has many rivals. One indispensable set is the very first, by Koussevitzky and the Boston Symphony, which you should snap up if you can find it, and another is by Ormandy and the Philadelphia Orchestra. Not that there is anything lacking in the playing of the LSO here; the strings surpass themselves in the slow movement and the wind and brass excel throughout. The Sixth (1946) and greatest of the symphonies, finds Gergiev at his most searching. Ansermet conducted the première recording in the early days of LP (one of his best records, available on Australian Eloquence 480 0834, coupled with characterful performances of the Classical (in two versions) and Fifth Symphonies); and Mravinsky’s matchless intensity makes his an indispensable document. After the dark years of the late 1940s, the Seventh Symphony (1953) offers a brighter and more innocent world; its accessibility can easily deceive listeners into underestimating its achievement. Throughout, Gergiev and his players give their all, and readers will be held under their spell. The sound is well detailed and expertly balanced. The set firmly displaces earlier recommendations.

在继西贝柳斯、肖斯塔科维奇和卡尔·尼尔森的交响曲之后，普罗科菲耶夫的七部交响曲堪称二十世纪最伟大的交响乐作品。2008年5月伦敦巴比肯中心的这些演出录音，展现了它们最完美的面貌。

《古典交响曲》以其刻意模仿海顿的简洁与欢快精神，兼具戏仿与原创的独特魅力，成为最受欢迎的作品。革命后，普罗科菲耶夫定居西方，沉浸在战后巴黎的氛围和斯特拉文斯基的现代主义中。1924年的《第二交响曲》则呈现出截然不同的风貌，第一乐章既有高分贝的喧嚣，又有尖锐的不和谐音。它与贝多芬的《C小调奏鸣曲》（作品111）有几分遥远的相似——即奏鸣曲式的第一乐章后接主题与变奏。其风格与奥涅格的《太平洋231》和《橄榄球》有亲缘关系。笔者最初通过查尔斯·布鲁克的单声道录音听到此曲，为其动态、猛烈以及变奏中的抒情与创意所震撼。但没有任何录音能比这张新录音更富感染力与表现力。

在巴黎期间，普罗科菲耶夫曾致力于改编瓦列里·布留索夫的《火天使》为歌剧，但因上演无望而放弃。随后，他大量借鉴其素材创作了下一部交响曲——或许是他所有作品中最阴郁、最具氛围的一部。委托并首演该曲及随后两部交响曲的库塞维茨基盛赞其为“自柴可夫斯基《第六交响曲》以来最伟大的交响曲！”《第四交响曲》同样与舞台作品相关——源自芭蕾舞剧《浪子》，这部二十分钟的作品结构紧凑，充满标志性且迷人的旋律创意（谐谑曲直接取自芭蕾舞剧，也曾作为钢琴曲单独演出）。该曲在波士顿演出（1930年）后长期被忽视。后来，普罗科菲耶夫在返回苏联多年后对其进行了修订和扩展，但并未真正提升其品质。本套录音将让您自行评判。

《第五交响曲》（1944年）在许多方面是后期交响曲中最受欢迎的一部，格尔吉耶夫面临众多竞争对手。库塞维茨基与波士顿交响乐团的首录版本（若有机会务必收藏）以及奥曼迪与费城管弦乐团的版本皆不可或缺。但本录音中伦敦交响乐团的演奏毫不逊色：弦乐在慢乐章中表现尤为出色，管乐与铜管全程精彩。《第六交响曲》（1946年）作为最伟大的交响曲，展现了格尔吉耶夫最深刻的诠释。安塞美在LP早期指挥的首录（搭配《古典交响曲》两个版本及《第五交响曲》的独特演绎，澳大利亚Eloquence 480 0834）和穆拉文斯基无与伦比的强度使其成为必听文献。经历1940年代末的黑暗时期后，《第七交响曲》（1953年）呈现了一个更明亮、纯真的世界，其易懂性常让人低估其艺术成就。格尔吉耶夫与乐团倾注全力，听众必将被其魔力征服。录音细节丰富，平衡精妙。本套录音无疑超越了之前的推荐版本。  


Symphony 5, Op. 100
Orfeo mono 427041. VPO, Mitropoulos – SCHUMANN: Symphony 2
Telarc CD 80683. Cincinnati SO, Paavo Järvi

Dmitri Mitropoulos was an outstanding conductor and anything he did will be special. Prokofiev’s Fifth was recorded with the Vienna Philharmonic at the 1954 Salzburg Festival, and the sound is light years removed from Telarc’s Järvi version. Moreover, the ORF (Austrian Radio) balance is not ideal either. However, there is only one word for the performance – electrifying. Readers should try to hear this powerful reading.

However, Karajan, whose Berlin Philharmonic account also remains in a class of its own and is coupled with the Rite of Spring (DG 463 613-2), obviously takes precedence for this work.

迪米特里·米特罗普洛斯是一位杰出的指挥家，他的任何演绎都独具魅力。普罗科菲耶夫的《第五交响曲》是1954年萨尔茨堡音乐节上与维也纳爱乐乐团合作的录音，其音质与泰拉克的雅尔维版本相去甚远，且奥地利广播公司的平衡处理也不尽理想。然而，这场演出的唯一评价只能是——震撼人心。乐迷务必聆听这一充满力量的诠释。  

不过，卡拉扬与柏林爱乐乐团的版本（DG 463 613-2，搭配《春之祭》）仍是该作品的巅峰之作，显然应优先选择。


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Prokofiev - Symphony No.5 - Philadelphia Orchestra, Eugene Ormandy [Sony]等7个文件(夹)