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

joseph_li

卡了5个审核

joseph_li

langong2004 发表于 2025-8-3 18:18
居然不审

要不上图试试，

Melos Ensemble Of London 这个系列的几张封面都很劲爆，这个尤其。。。

langong2004

680......Antoni Wit - Naxos (1992-2017) 82辑 24小时

1UTUeIAYogWCG154HgTd3Ew?pwd=7a3p  

joseph_li

ROUSE, Christopher (born 1949)
(i) Flute Concerto. Phaeton; Symphony 2
Telarc CD 80452. Houston SO, Eschenbach, (i) with Wincenc

The remarkable five-movement Flute Concerto, commissioned by the present soloist, followed two years after Rouse’s Trombone Concerto. The beautiful first and last movements, with their serene, soaring solo line, are connected thematically and share the Gaelic title Anhran (‘Song’). They frame two faster, much more dissonant and rhythmically unpredictable movements. The kernel of the work is the gripping central Elegia, written in response to the terrible murder of the two-year-old James Bulger by two ten-year-old schoolboys. Rouse introduces a rich, Bach-like chorale which moves with a wake-like solemnity towards a central explosion of passionate despair. Throughout, the solo writing demands great bravura and intense emotional commitment from the flautist, which is certainly forthcoming here.

The Second Symphony is a three-part structure, with the outer movements again using identical material to frame the anguished central slow movement. In the composer’s words, that forms a ‘prism’ through which the mercurial opening material is ‘refracted’ to yield the angry, tempestuous finale. The desperately grieving Adagio is another threnody for a personal friend and colleague, Stephen Albert, killed in a car accident in 1992. Phaeton is a savage, explosive early work (1986), which could hardly be more different from the tone-poem of Saint-Saëns. Helios’s sun chariot, immediately out of his son’s control, charges its way across the heavens with horns roistering, and is very quickly blown out of the sky by Zeus’s thunderbolt. Performances here are excellent, very well played and recorded, and the Flute Concerto is unforgettable.

Alas, the supreme RCA recording of Rouse’s Trombone Concerto, Gorgon and Iscariot (with the Colorado SO, Alsop, 09026 68410-2) is deleted but can probably be found on the internet. Well worth seeking out – it is an electrifying sonic experience, breathtaking in its impact and one of the great digital recordings of the last century.

这首非凡的五乐章《长笛协奏曲》由现任独奏家委约创作，问世于鲁斯《长号协奏曲》完成两年后。优美如歌的首尾乐章以盖尔语标题"Anhran"（意为"歌谣"）相互呼应，宁静悠扬的独奏线条贯穿其间。它们包裹着两个节奏诡谲、 dissonance突出的快板乐章。作品的核心是令人窒息的《挽歌》乐章——作曲家听闻两岁幼童詹姆斯·巴尔杰被两名十岁学童杀害的惨案后，以巴洛克式众赞歌的厚重笔触，裹挟着送葬行列般的肃穆推向高潮，迸发出炽烈的悲怆。全曲要求演奏家兼具精湛技巧与深刻情感投入，本辑演绎堪称完美。

《第二交响曲》采用三部分结构，首尾乐章同样以相同素材构成框架，中间是痛苦挣扎的慢板。作曲家自述这个慢板如同"棱镜"，将开头变幻莫测的主题"折射"成暴烈的终章。这段哀恸的柔板是为1992年车祸罹难的挚友斯蒂芬·阿尔伯特所作的又一首挽歌。创作于1986年的《法厄同》是部充满野性的早期作品，与圣桑同名音诗截然不同：太阳神赫利俄斯的战车甫一失控，铜管声部便喧嚣着横贯天穹，转瞬就被宙斯的雷霆击落。本辑演奏精彩绝伦，录音精良，尤其长笛协奏曲令人过耳难忘。

可惜，RCA唱片为鲁斯《长号协奏曲》、《戈耳工》与《加略人犹大》制作的绝世录音（科罗拉多交响乐团/阿尔索普指挥，编号09026 68410-2）已绝版，但或许还能在互联网寻得。这张堪称二十世纪最伟大数字录音之一的专辑，其震撼音效与艺术冲击力绝对值得乐迷追寻。


https://115cdn.com/s/swwmtiv3hq9?password=3377&#
Rouse, Christopher - Symphony No. 2, Flute Concerto & Phaethon - Christoph Eschenbach, Houston SO, Carol Wincenc [Telarc]等2个文件(夹)
访问码：3377

joseph_li

ROUSSEL, Albert (1869–1937)
Bacchus et Ariane (ballet: complete), Op. 43; Le Festin de l’araignée (The Spider’s Feast), Op. 17  《酒神巴克斯与阿里阿德涅》（芭蕾全曲），作品43；《蜘蛛的盛宴》，作品17
Chan. 9494. BBC PO, Y. P. Tortelier

The exhilarating (1931) score for Bacchus et Ariane teems with life and is full of rhythmic vitality. What a marvellously inventive and resourceful score it is! Tortelier offers the best version yet and the BBC Philharmonic play with tremendous zest. They also give a sensitive and atmospheric account of Le Festin de l’araignée. They offer us the complete banquet, not just the chosen dishes on the set menu! This magical score weaves a strong spell. Splendid recording and performances of rewarding and colourful music that deserves to be more widely heard – although it has to be said that neither of the two works here is long absent from the catalogue, and rightly so.

这部创作于1931年的《酒神巴克斯与阿里阿德涅》令人振奋，充满生命力，节奏活力四射。多么富有创造力和想象力的音乐啊！托特利埃呈现了迄今为止最佳的演绎版本，BBC爱乐乐团演奏得激情澎湃。他们对《蜘蛛的盛宴》的诠释同样细腻而富有氛围，完整呈现了这场盛宴，而非仅仅挑选几道招牌菜！这部神奇的作品编织出强烈的魔力。录音与演奏皆属上乘，这些色彩斑斓且值得聆听的音乐理应获得更广泛的关注——尽管不得不说，这两部作品从未长期缺席唱片目录，而这完全合情合理。


Le Marchand de sable qui passe (incidental music): Suite, Op. 13; Divertissement for Piano Quintet, Op. 6; Sérénade for Flute, Harp, & String Trio; Trio for Flute, Viola & Cello, Op. 40; Impromptu for Harp, Op. 21; Duo for Bassoon & Double-Bass  《沙商》（戏剧配乐）：组曲，作品13；钢琴五重奏《嬉游曲》，作品6；长笛、竖琴与弦乐三重奏《小夜曲》；长笛、中提琴与大提琴三重奏，作品40；竖琴《即兴曲》，作品21；低音管与低音提琴二重奏
Praga PRD 350018. Czech Nonet, with Englichová (harp), Wiesner (piano)

This is an enchanting disc, revealing another side to Roussel in the elegance and refinement of his writing for small instrumental groups. The incidental music for Le Marchand de sable qui passe, scored for string quintet, harp, flute, clarinet and horn, is hauntingly atmospheric, recalling Ravel’s Introduction and Allegro. Although the textures and colouring are quite individual, the ethereal melody of the Scène finale has a magic comparable with the closing scene of Ravel’s Ma Mère l’Oye. The piquant Sérénade and Flute Trio are hardly less delicate in feeling; both have subtly restless slow movments, the latter closing with whimsically capricious high spirits. The Duo for Bassoon and Double-Bass (written for Serge Koussevitzky) brings an interlude of bucolic humour, and the miniature Divertissement for piano quintet is also capriciously light-hearted and worthy of Jean Françaix, although still Rousselian. The performances have an Elysian charm and sophistication of feeling and are beautifully recorded.

这张迷人的唱片展现了鲁塞尔另一面的优雅与精致，尤其是他为小型器乐组合创作的作品。《沙商》的配乐由弦乐五重奏、竖琴、长笛、单簧管和圆号演奏，氛围萦绕不去，令人联想到拉威尔的《引子与快板》。尽管织体和色彩独具特色，但终场“场景”的空灵旋律却有着与拉威尔《鹅妈妈》终章相媲美的魔力。《小夜曲》和长笛三重奏同样细腻动人，两者均带有微妙不安的慢乐章，后者以 whimsically capricious（异想天开、变幻莫测）的欢快情绪收尾。低音管与低音提琴二重奏（为库塞维茨基而作）带来了一段田园般的幽默插曲，而钢琴五重奏《嬉游曲》虽短小却轻快诙谐，堪比让·弗朗赛的风格，却仍不失鲁塞尔本色。这些演奏兼具超凡的魅力和细腻的情感，录音亦十分精美。

https://115cdn.com/s/swwmt4c3hq9?password=3377&#
Roussel, Albert - Bacchus et Ariane, Le Festin de L’Araignee - Yan Pascal Tortelier, BBC PO [Chandos]等2个文件(夹)

joseph_li

Symphony 1 (Le Poème de la forêt); Le Marchand de sable qui passe: Incidental music; Résurrection: Symphonic Prelude
Naxos 8.570323. RSNO, Denève
Symphony 2; Pour une fête de printemps; Suite in F
Naxos 8.570529. RSNO, Denève
Symphony 3 in G min.; Bacchus et Ariane, Op. 43
Naxos 8.570245. RSNO, Denève
Symphony 4; Concert pour petit orchestre; Petite suite; Rapsodie flamande; Sinfonietta
Naxos 8.572135. RSNO, Denève

The Roussel symphonies have often maintained a somewhat tenuous hold on the catalogue, but all at once there is a wide choice available, and collectors must make up their own minds about which of the alternatives are most desirable. The most recent digital set on Naxos is, on balance, perhaps the best, and is certainly well on its way to being the most comprehensive. The First Symphony is a highly atmospheric, impressionistic piece and, although with no programme, each movement represents a season, starting with Winter. The influence of Debussy is felt, along with d’Indy as well as Franck. It is music to wallow in, and much of it is exquisitely coloured and all of it is highly atmospheric. Résurrection is the composer’s earliest work. Again, Roussel’s ability to capture a mysterious atmosphere is on full display – qualities which also make his music for the play Le Marchand de sable qui passe (‘The Sandman’) so appealing. The four movements include an atmospheric ‘Prélude’, a lovely, imaginative ‘Scène 2’, a beautifully languorous ‘Interlude et Scène 4’ and a wistful ‘Scène finale’. None of the music is particularly fast or lively, but it is never dull.

Unlike the majority of performances in this cycle, the Second Symphony is taken at quite a slow pace, but not unsympathetically slow. All the brooding colours of this densely impressionistic score are brought out, allowing the listener to wallow in much gorgeous orchestral detail. Pour une fête de printemps delightfully paints a picture of French rural life, while the composer’s vibrant Suite in F finds the composer in his best neo-baroque mode; this work is undoubtedly complex in structure, but overall it leaves an impression of exhilaration, with these three baroque dances full of incident (though memories of Paul Paray’s Mercury recording are not erased).

With the third CD, one comes to the Third Symphony and the ballet, Bacchus et Ariane – two of the most colourful and vibrant scores of the twentieth century. This is undoubtedly exciting music, and Denève catches the mood perfectly. The pounding rhythms of the opening of the Symphony No. 3 are perhaps the best captured on CD and the imposing slow movement builds up to a fine climax, and the following Vivace and Allegro con spirito have all the dash one could ask for. The same can almost be said of Bacchus et Ariane. Denève characterizes the ballet superbly and it ends in the fine blaze of colour, as it should.

The Fourth Symphony, with its mysterious opening, launches into an arresting Allegro con brio every bit as thrilling as the opening of the Third Symphony, with the Fourth again offering another powerful slow movement, followed by two lively and exhilarating fast movements, of much quirky appeal and colour. This final CD is especially valuable for including many rarities: a delightful Flemish Rhapsody with an especially imposing beginning and three three-movement works: the delightful Petite suite, with its exhilarating opening Aubade, a magically wistful Pastorale, and again a quirkily rhythmic Mascarade finale, makes for very enjoyable listening. Similarly entertaining is the Concerto pour petit orchestre in which rhythmic interest is just as entertaining as the orchestral colours themselves. The Sinfonietta lasts for just under 10 minutes, yet its three movements are perfectly crafted and are not a second too long or too short. This last CD falls a little short, for although the sound of this Naxos cycle is generally first rate, here the engineers do not always follow the main melodic lines in the Symphony’s textures.

鲁塞尔的交响曲在唱片目录中的存在向来岌岌可危，但如今突然涌现诸多选择，收藏家们需自行权衡最中意的版本。拿索斯最新数字套装总体而言或许是最佳选择，且正朝着最全面的方向迈进。《第一交响曲》是部极具氛围的印象派作品，虽无明确标题，每个乐章却以冬季为始描绘四季。德彪西的影响清晰可辨，丹第与弗兰克的痕迹亦在其间。这是令人沉醉的音乐，大多段落色彩精妙，整体氛围感极强。《复活》是作曲家最早期的创作，再次展现了鲁塞尔营造神秘氛围的非凡才能——这种特质也使其戏剧配乐《沙商》如此迷人。四个乐章包含朦胧的"前奏曲"、充满想象力的"第二场景"、慵懒迷人的"间奏曲与第四场景"以及怅惘的"终场"。虽无激烈快板，却始终引人入胜。

与整套录音中多数演绎不同，《第二交响曲》采用相当缓慢的速度，但慢得恰到好处。这部浓墨重彩的印象派作品中所有幽暗色调都被呈现，令听众得以沉浸于绚丽的管弦乐细节中。《春之祭典》生动描绘了法国田园生活，而活力四射的《F大调组曲》则展现了作曲家新巴洛克风格的巅峰。这部作品结构复杂，但整体令人振奋，三支巴洛克舞曲充满戏剧性（不过保罗·帕雷在水星唱片中的经典演绎仍难以超越）。

第三张CD收录了《第三交响曲》与芭蕾音乐《酒神巴克斯与阿里阿德涅》——这两部二十世纪最富色彩与生命力的杰作。德内夫精准捕捉了音乐的精髓：《第三交响曲》开篇的震撼节奏堪称CD录音之最，庄严的慢板乐章逐步推向高潮，随后的"活泼的快板"与"热情的快板"更是酣畅淋漓。《酒神巴克斯与阿里阿德涅》同样精彩，德内夫对芭蕾戏剧性的刻画入木三分，终章绚丽的音色爆发堪称完美。

《第四交响曲》以神秘引子开场，"辉煌的快板"如同《第三交响曲》开篇般摄人心魄。其强有力的慢板乐章后接两个灵动快板，以奇特的魅力与色彩见长。这张终曲CD尤为珍贵，收录了多部冷门佳作：开篇气势恢宏的《佛兰德斯狂想曲》，以及三部分三乐章作品——迷人的《小套曲》（包含欢快的"晨曲"、魔幻怅惘的"田园曲"与节奏诙谐的"假面舞终曲"）提供绝佳听觉享受；同样精彩的《小乐队协奏曲》中，节奏趣味与管弦色彩相得益彰；时长不足十分钟的《小交响曲》三个乐章结构精炼，多一分则冗，少一分则缺。唯一缺憾在于录音：虽拿索斯整套录音音质上乘，但本碟工程师未能始终突出交响曲织体中的主旋律线。


(i) Symphonies 3 in G min., Op. 42; 4 in A, Op. 53; (ii) Bacchus et Ariane Suite 2  (i) G小调第三交响曲，作品42；A大调第四交响曲，作品53；(ii)《酒神巴克斯与阿里阿德涅》第二组曲
RCA stereo/mono 2CD 74321 84601-2 (2). Radio France PO, Janowski; (ii) Boston SO, Munch – MESSIAEN: Turangalîla Symphony

Janowski has a natural feeling for the Roussel idiom and his performances of the symphonies are well worth having. Perhaps the Scherzo of the Third is a shade too fast, but in all other respects his readings cannot be faulted. The digital recording has plenty of presence, body and detail, and this coupling is made especially recommendable by the presence not only of Ozawa’s Turangalîla but also of the mono recording of Munch’s second suite from Roussel’s ballet. In the new transfer the sound is little short of amazing in its colour and bloom and has striking luminosity. The Boston Orchestra was still under Koussevitzky’s spell at the time and the playing is quite electrifying. This is indispensable, even if a few bars are missing – perhaps owing to the original tapes being damaged, or Munch himself having made a cut in performance.

亚诺夫斯基对鲁塞尔音乐语汇有着天然悟性，其交响曲演绎极具收藏价值。或许《第三交响曲》谐谑曲稍显急促，但整体诠释无可挑剔。数字录音层次丰富、细节饱满，更因小泽征尔《图朗加利拉》与明希单声道版《酒神》第二组曲的加持而愈显超值。经全新转录后，明希1950年指挥波士顿交响乐团的录音焕发惊人光彩，音色之丰润与透明度令人惊叹——当时乐团仍笼罩在库塞维茨基的魔力下，演奏可谓电光石火。尽管可能因原始母带受损或明希现场删节缺失数小节，这份录音仍属不可或缺的经典。


https://115cdn.com/s/swwmtk93hq9?password=3377&#
Roussel, Albert - Complete Symphonies - Royal Scottish National Orchestra, Stéphane Denève [Naxos]等2个文件(夹)

joseph_li

RÓZSA, Miklós (1907–95)
Film Scores: (i–ii) Ben Hur (extended excerpts); (iii) Julius Caesar (3 excerpts); (i; iv) Quo Vadis (extended excerpts) (i-ii)  电影配乐精选：《宾虚》（加长版选段）；(iii)《尤利乌斯·凯撒》（3段选曲）；(i; iv)《暴君焚城录》（加长版选段
Australian Decca Eloquence (ADD) 480 3790 (2). (i) composer; (ii) Nat. PO & Ch.; (iii) Nat. PO, Herrmann; (iv) RPO & Ch.

With its gaudy primary colours and red-blooded conviction, Rózsa’s score for Ben Hur is a potent mixture of orchestral spectacle and choral kitsch. There is an appealing lyrical theme for the love story, an exciting sequence for the galley slaves rowing into battle, and a stirring Parade for the famous chariot race. Towards the end, the religiosity, with its lavish spectacle of chorus and orchestra, overwhelms the listener in an ocean of sumptuous vulgarity.

Quo Vadis provides more of the same, with an exciting Chariot Chase, an exotic Assyrian Dance, stirring marches and red-blooded, epic ‘Hollywood’ choral contributions in such items as the Fertility Hymn. In The Burning of Rome, the composer pulls out all the stops with this colourful orchestral palette, and if by the end of it all one feels a little exhausted, the journey was never dull. The rather darker music for the three short items from Julius Caesar is equally effective, with Caesar’s Ghost with its eerie tremolo strings, vividly captured by Decca, especially memorable. It is all presented here with great conviction, and the Decca Phase Four techniques create maximum impact, with rich sonorities and a sparklingly brilliant upper range.

罗饶的《宾虚》配乐以浓墨重彩的基调与炽热的情感，将恢弘的管弦乐场面与浮夸的合唱糅合成极具冲击力的听觉盛宴。其中既有爱情故事的抒情主题，也有战船奴隶划桨迎战的激烈段落，而著名的战车竞赛场景更以雄壮的《游行进行曲》点燃激情。临近尾声时，宗教元素的铺陈——合唱与乐队的华丽交织——以近乎奢靡的磅礴气势席卷听众。  

《暴君焚城录》延续了相似的风格，包含激动人心的《战车追逐》、异域风情的《亚述之舞》、振奋的进行曲以及《生育颂歌》等充满好莱坞史诗气魄的合唱段落。在《罗马焚城》中，作曲家以绚烂的管弦色调极尽渲染之能事，即便听完略感疲惫，这段旅程也绝不乏味。相比之下，《尤利乌斯·凯撒》的三段短曲更显阴郁，其中《凯撒亡魂》以弦乐颤音营造的诡谲氛围尤为突出，Decca的录音精准捕捉了这种戏剧张力。这些演绎无不充满说服力，Decca的"Phase Four"技术更以丰沛的音响与璀璨的高频带来极致冲击。  


Hungarian Serenade; 3 Hungarian Sketches; Overture to a Symphony Concert; Tripartita  《匈牙利小夜曲》；《三首匈牙利素描》；《交响音乐会序曲》；《三联画》
Chan. 10488. BBC PO, Gamba

Miklós Rózsa wrote a substantial amount of orchestral music unrelated to his film scores. His style remained as telling in these orchestral scores, however, and this disc appropriately begins with his entertaining Overture to a Symphony Concert. It is an imaginative, optimistic score, with the composer’s Hungarian roots emerging in a work conceived during the hopeful days of the abortive 1956 Hungarian uprising, when the composer was living in exile. The Hungarian Serenade is a delightfully tuneful piece, piquant in its orchestral and harmonic colourings. Tripartita shows the composer experimenting with a more gritty style in 1971/2, with its finale reminiscent of Walton. Nevertheless, it is exciting and accessible music. The earlier Three Hungarian Sketches are each descriptive movements which are vibrant with local colour and melody. Rumon Gamba and the BBC Philharmonic play these scores with brilliance, and the Chandos sound is quite superlative.

米克洛什·罗饶创作了大量与电影无关的管弦乐作品，但其音乐风格在这些作品中同样鲜明。本碟以诙谐生动的《交响音乐会序曲》开场，这部写于1956年匈牙利革命（最终失败）期间的乐观之作，流露出作曲家对故土的眷恋。旋律优美的《匈牙利小夜曲》以辛辣的配器与和声色彩见长，而1971/2年创作的《三联画》则展现了罗饶更具实验性的一面——末乐章甚至令人联想到沃尔顿，但整体仍保持激昂易懂的特质。更早期的《三首匈牙利素描》则是三幅充满地方风情与旋律魅力的音画。指挥家鲁蒙·甘巴与BBC爱乐乐团以精湛技艺呈现这些作品，Chandos的录音更是臻于完美。

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Rózsa, Miklós - Orchestral Works Vol. 1 - Rumon Gamba, BBC PO [Chandos 24-96]等6个文件(夹)

joseph_li

RUBBRA, Edmund (1901–86)
Symphonies 1–8 (Hommage à Teilhard de Chardin); (i) 9 (Sinfonia Sacra). 10–11
Chan. 9944 (5). BBC Nat. O of Wales, Hickox, with (i) Dawson, D. Jones, Roberts, BBC Nat. Ch. of Wales)

The first movement of Rubbra’s First Symphony is fiercely turbulent; a French dance tune, a Perigourdine, forms the basis of the middle movement; but the pensive, inward-looking finale, which is as long as the first two movements put together, is the most powerful and haunting of the three. Richard Hickox and his fine players do make the score of the Second Symphony more lucid than Handley’s Lyrita recording from the 1970s. The performance is meticulously prepared and yet flows effortlessly, and the slow movement speaks with great eloquence.

The Third Symphony (1939) has a pastoral character and a certain Sibelian feel to it (woodwind in thirds), though Rubbra is always himself. In the final movement there is even a hint of Elgar in the fourth variation. The opening of the Fourth Symphony is of quite exceptional beauty and has a serenity and quietude that silence criticism, and there is a constant elevation of feeling and continuity of musical thought. Rubbra’s music is steeped in English polyphony and it could not come from any time other than our own.

Hickox’s reading of the Fifth Symphony is easily the finest and most penetrating; the slow movement has great depth and, thanks to a magnificent recording, a greater clarity than either of its predecessors. Tempi are unerringly judged and he brings depth and gravitas to the very opening of the work.

The heart of the Sixth Symphony is the serene Canto movement, which is not dissimilar in character to the Missa in honorem Sancti Dominici. It is arguably the finest of the cycle after No. 9, and Hickox and his fine players do it proud. The Seventh Symphony (1956) receives a performance of real power from Hickox and his Welsh orchestra. This is music that speaks of deep and serious things and its opening paragraphs are among the most inspired that Rubbra ever penned.

The Eighth Symphony is a tribute to Teilhard de Chardin, a Jesuit and palaeontologist (1881-1955), who fell out with the Church over his approach to evolution. It has something of the mystical intensity that finds its most visionary outlet in the Ninth Symphony, which is arguably Rubbra’s finest work and an unqualified masterpiece. Subtitled The Resurrection, it was inspired by a painting of Donato Bramante and has something of the character of the Passion, which the three soloists relate in moving fashion. Hickox offered a particularly imaginative account of the Eleventh Symphony, a work in one movement (1979) of which this was the début recording. Like so much of Rubbra’s music, it has an organic continuity and inner logic that are immediately striking and, in common with the Tenth Symphony (also in one movement), its textures are spare and limpid.

鲁布拉《第一交响曲》的首乐章激烈动荡，中乐章以法国佩里戈尔舞曲为基调，而沉思内省的终章（长度等同前两乐章总和）则是全曲最撼人心魄的部分。希科克斯与乐团对《第二交响曲》的演绎比汉德利1970年代的Lyrita录音更为明晰，既严谨精确又自然流畅，慢乐章的演绎尤其雄辩动人。  

1939年创作的《第三交响曲》带有田园特质与西贝柳斯式的木管三度音程，但鲁布拉的个人风格始终鲜明。终乐章第四变奏甚至透出埃尔加的神韵。《第四交响曲》开篇之美堪称绝妙，其宁静超然的境界令人屏息，音乐思维始终保持着崇高的连贯性——根植于英国复调传统的笔触，注定这是只属于我们这个时代的杰作。  

希科克斯对《第五交响曲》的诠释无疑是最深刻透彻的：得益于出色的录音，慢乐章比前两版更显层次丰富，速度把控精准无误，作品开篇即展现出沉郁的庄严感。《第六交响曲》的核心是宁静的"坎托"乐章，其气质与《圣多米尼克弥撒》异曲同工，堪称全集（除第九外）最杰出的篇章，希科克斯与乐团的演绎不负盛名。  

《第七交响曲》（1956）在希科克斯与威尔士乐团棒下迸发出真正的力量，开篇段落堪称鲁布拉最富灵感的创作之一。《第八交响曲》献给与教会因进化论观点决裂的古生物学家德日进（1881-1955），其神秘性与《第九交响曲》的宏大愿景一脉相承——后者副标题《复活》源自布拉曼特画作，三位独唱者以感人至深的方式诠释了近乎受难曲的特质，无疑是鲁布拉毫无争议的巅峰之作。  

希科克斯对单乐章《第十一交响曲》（1979，本辑为世界首录）的诠释充满想象力。与同为单乐章的《第十交响曲》相似，这部作品延续了鲁布拉音乐特有的有机连贯性与内在逻辑，织体清澈剔透，令人过耳难忘。


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Rubbra, Edmund -  Complete Symphonies - BBC National Orchestra Of Wales, Richard Hickox [Chandos]

joseph_li

RUBBRA, Edmund (1901–86)
Symphonies 1–8 (Hommage à Teilhard de Chardin); (i) 9 (Sinfonia Sacra). 10–11
Chan. 9944 (5). BBC Nat. O of Wales, Hickox, with (i) Dawson, D. Jones, Roberts, BBC Nat. Ch. of Wales)

The first movement of Rubbra’s First Symphony is fiercely turbulent; a French dance tune, a Perigourdine, forms the basis of the middle movement; but the pensive, inward-looking finale, which is as long as the first two movements put together, is the most powerful and haunting of the three. Richard Hickox and his fine players do make the score of the Second Symphony more lucid than Handley’s Lyrita recording from the 1970s. The performance is meticulously prepared and yet flows effortlessly, and the slow movement speaks with great eloquence.

The Third Symphony (1939) has a pastoral character and a certain Sibelian feel to it (woodwind in thirds), though Rubbra is always himself. In the final movement there is even a hint of Elgar in the fourth variation. The opening of the Fourth Symphony is of quite exceptional beauty and has a serenity and quietude that silence criticism, and there is a constant elevation of feeling and continuity of musical thought. Rubbra’s music is steeped in English polyphony and it could not come from any time other than our own.

Hickox’s reading of the Fifth Symphony is easily the finest and most penetrating; the slow movement has great depth and, thanks to a magnificent recording, a greater clarity than either of its predecessors. Tempi are unerringly judged and he brings depth and gravitas to the very opening of the work.

The heart of the Sixth Symphony is the serene Canto movement, which is not dissimilar in character to the Missa in honorem Sancti Dominici. It is arguably the finest of the cycle after No. 9, and Hickox and his fine players do it proud. The Seventh Symphony (1956) receives a performance of real power from Hickox and his Welsh orchestra. This is music that speaks of deep and serious things and its opening paragraphs are among the most inspired that Rubbra ever penned.

The Eighth Symphony is a tribute to Teilhard de Chardin, a Jesuit and palaeontologist (1881-1955), who fell out with the Church over his approach to evolution. It has something of the mystical intensity that finds its most visionary outlet in the Ninth Symphony, which is arguably Rubbra’s finest work and an unqualified masterpiece. Subtitled The Resurrection, it was inspired by a painting of Donato Bramante and has something of the character of the Passion, which the three soloists relate in moving fashion. Hickox offered a particularly imaginative account of the Eleventh Symphony, a work in one movement (1979) of which this was the début recording. Like so much of Rubbra’s music, it has an organic continuity and inner logic that are immediately striking and, in common with the Tenth Symphony (also in one movement), its textures are spare and limpid.

鲁布拉《第一交响曲》的首乐章激烈动荡，中乐章以法国佩里戈尔舞曲为基调，而沉思内省的终章（长度等同前两乐章总和）则是全曲最撼人心魄的部分。希科克斯与乐团对《第二交响曲》的演绎比汉德利1970年代的Lyrita录音更为明晰，既严谨精确又自然流畅，慢乐章的演绎尤其雄辩动人。  

1939年创作的《第三交响曲》带有田园特质与西贝柳斯式的木管三度音程，但鲁布拉的个人风格始终鲜明。终乐章第四变奏甚至透出埃尔加的神韵。《第四交响曲》开篇之美堪称绝妙，其宁静超然的境界令人屏息，音乐思维始终保持着崇高的连贯性——根植于英国复调传统的笔触，注定这是只属于我们这个时代的杰作。  

希科克斯对《第五交响曲》的诠释无疑是最深刻透彻的：得益于出色的录音，慢乐章比前两版更显层次丰富，速度把控精准无误，作品开篇即展现出沉郁的庄严感。《第六交响曲》的核心是宁静的"坎托"乐章，其气质与《圣多米尼克弥撒》异曲同工，堪称全集（除第九外）最杰出的篇章，希科克斯与乐团的演绎不负盛名。  

《第七交响曲》（1956）在希科克斯与威尔士乐团棒下迸发出真正的力量，开篇段落堪称鲁布拉最富灵感的创作之一。《第八交响曲》献给与教会因进化论观点决裂的古生物学家德日进（1881-1955），其神秘性与《第九交响曲》的宏大愿景一脉相承——后者副标题《复活》源自布拉曼特画作，三位独唱者以感人至深的方式诠释了近乎受难曲的特质，无疑是鲁布拉毫无争议的巅峰之作。  

希科克斯对单乐章《第十一交响曲》（1979，本辑为世界首录）的诠释充满想象力。与同为单乐章的《第十交响曲》相似，这部作品延续了鲁布拉音乐特有的有机连贯性与内在逻辑，织体清澈剔透，令人过耳难忘。


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Rubbra, Edmund -  Complete Symphonies - BBC National Orchestra Of Wales, Richard Hickox [Chandos]

joseph_li

(i) Sinfonia concertante. A Tribute; (ii) The Morning Watch; (iii) Ode to the Queen  (i)《交响协奏曲》《致敬》；(ii)《晨祷》；(iii)《女王颂》
Chan. 9966. BBC Nat. O of Wales, Hickox; with (i) Shelley; (ii) BBC Nat. Ch. of Wales; (iii) Bickley

Originally coupled to the Hickox Rubbra symphony cycle (now issued in a mid-price box, see above), these make a valuable supplement to that set. The form in which we know the Sinfonia concertante is the revision Rubbra made in the 1940s. Its beautiful opening almost anticipates the Piano Concerto in G major, but it is the searching and thoughtful finale, a prelude and fugue, composed in memory of his teacher, Gustav Holst, which makes the strongest impression. Howard Shelley is a superb advocate and it is difficult to imagine a better performance. The Morning Watch is Rubbra at his most inspired. The text comes from the seventeenth-century metaphysical poet, Henry Vaughan, and the music matches its profundity and eloquence. It was originally to have formed part of a choral fifth symphony, and it is a score of great nobility which took an amazing half-century to be recorded. A Tribute – a lovely piece – is dedicated to Vaughan Williams, and the Ode to the Queen was commissioned by the BBC to celebrate the Coronation of the present Queen and is Rubbra’s only song-cycle with full orchestra.

Admirers of this composer should also investigate a bargain Chandos release (with the Bournemouth Sinfonietta, conducted by Schönzeler) which includes his charming Improvisations on Virginal Pieces by Giles Farnaby – this pre-war work’s charms are very effectively uncovered, revealing its textures to their best and most piquant advantage (Chan. 6599). It is coupled with a decent version of the Tenth Symphony and A Tribute.

作为希科克斯版鲁布拉交响曲全集（现已发行中价套装）的重要补充，这些作品展现了作曲家不同面向的才华。现存的《交响协奏曲》是鲁布拉1940年代的修订版，其优美的开篇几乎预示了《G大调钢琴协奏曲》的雏形，但最令人难忘的当属终章——为纪念恩师霍尔斯特而作的"前奏曲与赋格"，充满哲思与深情。钢琴家霍华德·谢利堪称完美诠释者，几乎难以想象更出色的演绎。《晨祷》是鲁布拉最具灵性的创作，歌词取自17世纪玄学派诗人亨利·沃恩的诗篇，音乐与文本的深邃相得益彰。这部本应成为《第五交响曲》合唱乐章的作品，历经半个世纪才得录音，其庄严崇高令人动容。《致敬》是献给沃恩·威廉姆斯的动人小品，而《女王颂》则是BBC为现任女王加冕礼委约创作，也是鲁布拉唯一一部全乐队伴奏的声乐套曲。

鲁布拉的拥趸还应关注Chandos的平价专辑（伯恩茅斯小交响乐团/勋泽勒指挥），其中收录了他迷人的《法纳比维吉纳琴曲即兴曲》——这部战前作品以精妙织体与辛辣趣味见长（编号Chan. 6599），搭配《第十交响曲》及《致敬》的合格演绎。


Missa cantuariensis, Op. 59; Missa in honorem Sancti Dominici, Op. 66  《坎特伯雷弥撒》（作品59）；《圣多米尼克弥撒》（作品66）
Chan. 10423. St Margaret’s, Westminster, Singers, Hickox

These Masses were recorded in the presence of the composer and are given with the greatest eloquence and finesse. They were composed in 1946 and 1948 and are among the most beautiful a cappella choral works of the twentieth century. A must for all collectors of choral music, even those who do not normally respond to Rubbra.

这两部弥撒录制于作曲家亲临现场时，以无与伦比的雄辩与精妙呈现。创作于1946与1948年的它们堪称二十世纪最精美的无伴奏合唱作品，不仅是合唱音乐收藏者的必收之作，更能打动那些通常对鲁布拉无感的听众——其纯净的复调线条与灵性光辉具有超越时代的感染力。

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Rubbra, Edmund - Missa Cantuariensis; Missa In Honorem Sancti Dominici - St Margaret's Westminster Singers, Richard Hickox [Chandos]等2个文件(夹)

joseph_li

RUTTER, John (born 1945)
(i–ii) Suite antique (for flute & orchestra); (iii) 5 Childhood Lyrics (for unaccompanied choir); (ii–iii) Fancies; When Icicles Hang (for choir & orchestra)   (i-ii)《古典组曲》（长笛与乐队）；(iii)《五首童年抒情诗》（无伴奏合唱）；(ii-iii)《幻想集》《冰柱垂檐时》（合唱与乐队）
Coll. COLCD 117. (i) Dobing, Marshall; (ii) City of L. Sinfonia; (iii) Soloists, Cambridge Singers; composer

This whole collection is imbued with Rutter’s easy melodic style and the touches of offbeat rhythm which he uses to give a lift to his lively settings. The Antique Suite (for flute, harpsichord and strings) opens with a serene Prelude, but includes a typically catchy Ostinato, a gay Waltz and a chirpy closing Rondeau. Fancies has a delightful Urchins’ Dance, after the fairy style of Mendelssohn, and its Riddle Song has a most appealing lyrical melody. But the mood darkens for the closing Bellman’s Song. Among the Childhood Lyrics, the settings of Edward Lear’s Owl and the Pussy-cat and Sing a Song of Sixpence are particularly endearing. The evocative When Icicles Hang brings characteristically winning scoring for the orchestral woodwind (Rutter loves flutes) and another fine melody in Blow, Blow, Thou Winter Wind. The work ends happily in folksy style. Splendid performances throughout. The performances here are excellent and so is the recording.

这套选集淋漓尽致地展现了鲁特尔标志性的流畅旋律与巧妙节奏——那些非常规的韵律总能为活泼的编曲注入灵动气息。《古典组曲》（长笛、羽管键琴与弦乐）以宁静的"前奏曲"开场，随后是典型的洗脑式"固定低音"、欢快的"圆舞曲"与雀跃的"回旋曲"。《幻想集》中既有门德尔松式仙灵风格的《顽童之舞》，也有旋律极富感染力的《谜语歌》，但终曲《更夫之歌》陡然转入暗色调。《童年抒情诗》里对爱德华·李尔《猫头鹰与猫咪》和《六便士之歌》的谱曲尤为讨喜。意境悠远的《冰柱垂檐时》充分发挥了鲁特尔钟爱的木管配器（尤擅长笛），《狂风啊狂风》的优美旋律同样出彩，全曲终以民俗风格圆满收束。演绎与录音俱臻完美。  


Christmas carols: Angels’ Carol; Candelight Carol; Carol of the Children; Christmas Lullaby; Donkey Carol; Dormi Jesu; Jesus Child; Love Came Down at Christmas; Mary’s Lullaby; Nativity Carol; Sans Day Carol; Second Amen; Shepherd’s Pipe Carol; Star Carol; There is a Flower; The Very Best Time of Year; What Sweeter Music?; Wild Wood Carol. Arrangements: Angel Tidings; Away in a Manger; I Wonder as I Wander; Silent Night  圣诞颂歌精选集包含：《天使颂》《烛光颂》《孩童颂》《圣诞摇篮曲》《驴子颂》《睡吧耶稣》《圣婴》《爱自天降》《玛利亚摇篮曲》《圣诞颂》《圣戴颂》《第二阿们》《牧童笛颂》《星辰颂》《有一朵花》《最美时节》《何乐更甘甜》《野林颂》及改编曲《天使报佳音》《马槽歌》《我漫游奇想》《平安夜》
Hyp. CDA 67245. Polyphony, City of L. Sinfonia, Layton

John Rutter’s delightful carols will always be especially remembered and are treasured by us. ‘They were my calling cards,’ he says. ‘You have to remember that the Christmas carol is one of the very few musical forms which allows classically trained musicians to feel it’s permissible to write tunes!’ And, as is shown again and again here, Rutter never had difficulty in coming up with a memorable melodic line, whether it be the Shepherd’s Pipe Carol, with its characteristic flute writing, which opens the programme, or the deliciously perky Donkey Carol, with its catchy 5/8 syncopated rhythm, which closes it.

The 22 carols included here were composed in a steady stream over a period of three decades, with the charming Dormi Jesu dating from as recently as 1999. Rutter’s writing is notable not only for its tunefulness and winning use of choral textures, but also for his always engaging orchestrations.

约翰·鲁特尔这些迷人的圣诞颂歌注定成为永恒经典，被他笑称为"我的音乐名片"。"要明白，圣诞颂歌是少数允许古典音乐家理直气壮创作旋律的体裁！"此言在此辑中得到反复印证——无论是开篇那支长笛点睛的《牧童笛颂》，还是压轴采用5/8拍切分节奏的俏皮《驴子颂》，他总能信手拈来令人过耳不忘的旋律线。  

收录的22首颂歌横跨三十年创作历程，1999年所作的《睡吧耶稣》仍延续着清新魅力。鲁特尔的创作不仅以旋律性和精妙的合唱织体见长，其管弦乐编配同样充满巧思。剑桥合唱团的演绎兼具澄澈与温暖，作曲家亲自指挥的伦敦交响乐团伴奏更添华彩，录音则完美平衡了声部层次与节日氛围的欢腾感。


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Rutter, John - Carols - City Of London Sinfonia, Polyphony, Stephen Layton [Hyperion]等2个文件(夹)
Christmas在5盘居然成敏感词，神经质到如此，说好的文化自信呢？

joseph_li

Gloria; (i) Magnificat. Te Deum  《荣耀经》；(i)《尊主颂》与《感恩赞》
Naxos 8.572653. Choirs of St Albans Cathedral; Ensemble DeChorum, Winpenny (organ), Lucas; (i) with Elizabeth Cragg (soprano)

Framed by superb accounts of the Gloria and Te Deum, each with a magnificent brass contribution from members of the Ensemble DeChorum, and given splendidly resonant sound-quality by the ambience of the Cathedral and Abbey Church of St Albans, this is one of the most attractive Rutter collections yet. His religious choral music is the most widely performed of any contemporary English composer, not only in the United Kingdom and the Commonwealth, but in North America too. Listening to the Gloria one can understand why. With its Waltonesque opening and thrilling use of the brass, it communicates immediately, and the central Andante is touchingly elegiac, while the closing Amens are exultant. It makes you feel good.

In the Magnificat Rutter characteristically uses a recognizable four-note motif to fit the word itself, and the lovely second movement, Of a Rose, a lovely Rose, is memorable enough to be extracted for separate performance. Some might feel that for a Magnificat the setting is a little soft-centred, as both the lovely Et Misericordia and the Esurientes are gently lyrical, each featuring a diminutive solo treble, but the closing Gloria Patri et Filio is triumphant.

Rutter tells us that the Te Deum is not easy to set to music because it is not the work of a single author, but a compilation of three separate texts. Yet it has been associated with rejoicing and ceremony for centuries – indeed, Henry V, in Shakespeare’s play, orders it to be sung (in an earlier setting) to celebrate the victory at Agincourt. Rutter’s solution is to make the final section (of a piece which is only eight minutes long) hymn-like, but he then lifts the spirits with scoring for brass, timpani, percussion and organ. The performances here are quite splendid in every respect, with moving solo singing, a dedicated choral contribution, and excellent support from the Ensemble DeChorum and Tom Winpenny (organ) admirably directed by Andrew Lucas.

这张堪称迄今最具吸引力的鲁特尔专辑，以圣奥尔本斯大教堂辉煌的声学环境为基底，由Ensemble DeChorum铜管声部倾力加持的《荣耀经》与《感恩赞》构成框架。作为当代英语世界演出频率最高的宗教合唱作曲家，鲁特尔的魅力在《荣耀经》中展露无遗：沃尔顿式的开篇与铜管迸发的激情直击心灵，中段"行板"哀而不伤，终章"阿们颂"则迸发狂喜——这种情感感染力正是其作品风靡英美与英联邦国家的秘诀。  

《尊主颂》中，鲁特尔用标志性的四音动机呼应"Magnificat"歌词，而可独立成篇的《玫瑰颂》第二乐章令人过耳难忘。虽有人质疑这部圣母赞歌过于柔美（如童声独唱的《祂怜悯》与《祂使饥饿者》），但终曲《荣耀归于圣父与圣子》的凯旋气质一锤定音。谈及《感恩赞》的创作挑战时，鲁特尔坦言其文本由三种文献拼合而成，但他以铜管、定音鼓与管风琴的壮丽编曲，在短短八分钟内重现了莎士比亚笔下亨利五世用此曲庆贺阿金库尔大捷的仪式感。安德鲁·卢卡斯执棒的演绎无懈可击：独唱声部感人至深，合唱团倾情投入，Ensemble DeChorum与管风琴家汤姆·温佩尼的配合更是锦上添花。  


(i–iv) Requiem. Anthems: (i; iv) Arise, shine; (i) Come Down, O Love Divine; (i; v) Musica Dei donum; (i; iv) 2 Blessings for Choir & Organ. Organ Pieces: (iv) Toccata in 7; (iv; vi) Variations on an Easter Theme for Organ Duet  (i-iv)《安魂曲》  附加作品：(i; iv)《兴起发光》；(i)《圣爱降临》；(i; v)《音乐——神的恩赐》；(i; iv)两首《管风琴祝福曲》；(iv)七拍《托卡塔》；(iv; vi)《复活节主题管风琴二重奏变奏曲》
Naxos 8.557130. (i) Clare College, Cambridge, Ch.; (ii) L. Sinfonia; (iii) with Thomas; (iv) Rimmer (organ); (v) Jones; all cond. Brown; (vi) with Collon

John Rutter’s melodic gift, so well illustrated in his carols, is used in the simplest and most direct way to create a small-scale Requiem that is as beautiful and satisfying in its English way as the works of Fauré and Duruflé. The penultimate movement, a ripe setting of The Lord is my Shepherd with a lovely oboe obbligato, sounds almost like an anglicized Song of the Auvergne. This work was used in America at the first anniversary of 9/11, and the Clare College Choir crossed the Atlantic to perform it – a great tribute to the composer.

The newest Naxos recording of the Requiem tends to trump all previous versions, even the composer’s own very fine account. Recorded in the expansive acoustic of Douai Abbey, Berkshire, it is very beautifully sung indeed, joyful in the Sanctus and darkly dramatic in the Agnus Dei with its steady drum beat. Elin Manahan Thomas is an ideal soloist, singing the Pie Jesu with touching simplicity and rising up celestially in the Lux aeterna. Christopher Hooker’s oboe obbligato in The Lord is my Shepherd is comparably sensitive. The extra items are equally successful. The Two Blessings, with their easy melodic flow, are rather like Rutter’s carols, and the pair of thematically linked organ voluntaries, the first immediately rhythmically catchy, the duet Variations, sonorous and unpredictable, round off the programme most satisfyingly. Both are very well played indeed, and the recording is first class.

鲁特尔将圣诞颂歌中锤炼的旋律天赋，以最质朴的方式注入这部小型《安魂曲》，使其与弗雷、迪吕弗莱的杰作比肩而立。第五乐章《主是我的牧者》中双簧管助奏的民谣风旋律，宛如英伦版的《奥弗涅之歌》——这部作品曾在美国9/11周年纪念仪式上由克莱尔学院合唱团跨洋演绎，堪称对作曲家的至高致敬。  

拿索斯新版《安魂曲》甚至超越了作曲家本人的经典录音：伯克郡杜埃修道院宽广的声场中，"圣哉经"的欢欣与"羔羊经"的暗涌（伴随恒定鼓点）形成强烈戏剧张力。女高音埃琳·马纳汉·托马斯在《永光颂》中的天籁之音，与双簧管演奏家克里斯托弗·胡克在《牧者》乐章中的细腻表现相得益彰。加演作品中，两首如颂歌般流畅的《祝福曲》与管风琴作品（包括节奏明快的《托卡塔》和出人意表的《二重奏变奏曲》）同样精彩，一流演奏与录音品质令这套录音成为必藏之作。


‘A Song in Season’: Carol of the Magi; I am with you always; The King of Blis; Look to the day; Look at the world; Lord, thou hast been our refuge; Most glorious Lord of life; O Lord, thou hast searched me out; To every thing there is a season; Veni, Sancte Spiritus; Wells Jubilate; Winchester Te Deum  《时令之歌》包含：《三王颂》《我常与你们同在》《福佑之王》《展望新日》《凝视世界》《主啊，你世世代代作我们的居所》《生命之至高主》《耶和华啊，你已经鉴察我》《凡事都有定期》《圣灵降临》《韦尔斯欢呼颂》《温彻斯特感恩赞》
Coll. COLCD 135. Cambridge Singers, RPO, composer, John Birch (organ)

John Rutter’s melodic gift never deserts him, and it blossoms here as readily as ever. This very appealing programme, the most recent in the Rutter discology, is framed by a pair of resplendent celebratory commissions, the exultant Wells Jubilate and Winchester Te Deum, both written for important celebrations at their respective venues, while the anthem, Lord, thou hast been our refuge, brought another occasion of splendour at St Paul’s Cathedral. The rest of the programme is slightly (but only slightly) less spectacular and includes a characteristic Carol of the Magi with a fine cello obbligato warmly played by Tim Gill, and the endearing O Lord, thou has searched me out with a lovely cor anglas obbligato played by Leila Ward. Lord, thou hast been our refuge has an extended concertante trumpet part, brilliantly played by Brian Thomson. The performances by Rutter’s own choir are full of ardent joy and rich, flowing lyricism, and the recording is first class.

约翰·鲁特尔的旋律天赋从未减退，在此专辑中依然如往常般绚烂绽放。这套极具吸引力的曲目——鲁特尔作品目录中最新发行的录音——以两首辉煌的庆典委约作品为框架：为各自场所重要庆典创作的《韦尔斯欢呼颂》与《温彻斯特感恩赞》皆洋溢着欢庆之情，而赞美诗《主啊，你世世代代作我们的居所》则在圣保罗大教堂创造了另一辉煌时刻。其余曲目虽稍显平淡（仅略微如此），但包括具有鲁特尔特色的《三王颂》（蒂姆·吉尔以温暖演奏呈现精彩大提琴助奏）和动人的《耶和华啊，你已经鉴察我》（莱拉·沃德以优美英国管助奏演绎）。《主作居所》中延伸的小号协奏部分由布莱恩·汤普森精彩呈现。鲁特尔亲自组建的合唱团充满炽热欢欣与丰沛流动的抒情性，录音品质堪称一流。


https://115cdn.com/s/swwmtpr3hq9?password=3377&#
Rutter, John - A Song in Season - RPO etc. [Collegium]等3个文件(夹)

wpx426

joseph_li 发表于 2025-6-3 17:17
Wellington’s Victory (Battle Symphony), Op. 91
Decca (ADD) 475 8508. Cannon & musket fire directed ...

通过百度网盘分享的文件：13-2 Mozart & Beethoven - Quintets ...
链接：https://***.com/s/1hnwVhKNRCinzNBj5f0bbGQ?pwd=m4p0

joseph_li

SÆVERUD, Harald (1897–1992)
Symphony 6 (Sinfonia dolorosa), Op. 19; Galdreslåtten, Op. 20; Kjæmpevise-slåtten, Op. 22; Peer Gynt Suites 1 & 2  第六交响曲《悲痛交响曲》，作品19；《加尔德的旋律》，作品20；《反抗民谣》，作品22；《培尔·金特》组曲第一、二号
BIS CD 762. Stavanger SO, Dmitriev

The Sixth Symphony (Sinfonia dolorosa) is a short but intense piece from the war years, dedicated to a close friend who perished in the resistance, and the Kjæmpevise-slåtten (‘Ballad of Revolt’) comes from the same years. It is an inspiriting work, an outraged, combative reaction to the sight of the Nazi occupation barracks near his Bergen home. The Peer Gynt music, written for a post-war production of Ibsen’s play, could not be further removed from Grieg’s celebrated score. It is earthy and rambunctious and makes Grieg sound positively genteel. So, too, does the delightful, inventive and wholly original Galdreslåtten. Eminently satisfactory performances from the Stavanger orchestra under Alexander Dmitriev, brought vividly to life by the BIS recording team.

这部短小却激烈的《第六交响曲》创作于战争年代，题献给一位在抵抗运动中牺牲的挚友。同期的《反抗民谣》是作曲家目睹纳粹占领军驻扎在卑尔根家附近时，愤慨激昂的对抗宣言。为战后易卜生戏剧所作的《培尔·金特》音乐与格里格著名的配乐截然不同——塞韦鲁德的版本粗犷奔放，甚至让格里格的旋律显得文雅。同样充满原创性的还有精彩绝伦的《加尔德的旋律》。斯塔万格交响乐团在亚历山大·德米特里耶夫指挥下呈现令人满意的演绎，BIS录音团队更赋予其鲜活生命力。  


Symphony 7 (Salme), Op. 27; (i) Bassoon Concerto, Op. 44. Lucretia (suite), Op. 10第七交响曲《诗篇》，作品27；(i)巴松管协奏曲，作品44；《卢克雷齐娅》组曲，作品10*
BIS CD 822 (i) Rønnes; Stavanger SO, Dmitriev

The one-movement Seventh (1945) is a deeply felt work, a hymn of thanksgiving for peace. The Lucretia Suite derives from the incidental music Sæverud wrote in 1936 for André Obey’s play. Much of it is highly imaginative (the evocation of night in the fourth movement, for example), and the charming middle movement, Lucretia Sleeping. The Bassoon Concerto (1965) was revised towards the end of his long life in collaboration with Robert Rønnes, the soloist here. Absolutely first-class performances and recordings.

单乐章《第七交响曲》（1945）是献给和平的深情赞歌。《卢克雷齐娅》组曲源自1936年为安德烈·奥贝戏剧创作的配乐，其中第四乐章对夜色的描绘等段落极富想象力，中乐章《沉睡的卢克雷齐娅》尤为动人。1965年创作的《巴松管协奏曲》由本辑独奏家罗伯特·伦尼斯参与修订于作曲家晚年。演绎与录音皆属顶尖水准。  


https://115cdn.com/s/swwmu023hq9?password=3377&#
Saeverud, Harald - Bassoon Concerto, Symphony No.7 etc. - Robert Ronnes, Stavanger SO, Alexander Dmitriev [BIS]等2个文件(夹)

joseph_li

SAINT-SAËNS, Camille (1835–1921)
Cello Concerto 1 in A min.
DG (ADD) 457 761-2. Fournier, LOP, Martinon – LALO: Cello Concerto 1. BLOCH: Schelomo. BRUCH: Kol Nidrei

Fournier brings his customary nobility to this Concerto, and he is well supported by Martinon, who provides stylish accompaniments with the Lamoureux Orchestra. The Saint-Saëns Concerto is a stronger work than the Lalo on this CD and contains much that is memorable, especially so in the delicious Allegretto con moto middle movement – a piece of the utmost piquancy and deliciousness that it is almost edible! The richly lyrical finale is another highlight, but the whole work is really most enjoyable. The recording, from 1960, has never sounded better than on this new DG Originals transfer, and the collection is excellent in every way.

富尼埃以一贯的高贵气质诠释这部协奏曲，马蒂农指挥拉穆勒乐团为其提供了风格优雅的伴奏。这张CD中，圣桑的协奏曲比拉罗的作品更为出色，充满令人难忘的段落，尤其是第二乐章“稍快的小快板（Allegretto con moto）——其精巧灵动的韵味几乎令人陶醉！抒情浓郁的终章同样精彩，整部作品极具欣赏价值。1960年的录音经过DG Originals系列的全新转制后音质更胜以往，这套专辑各方面均属上乘。


Piano Concertos 1–5; Africa Fantaisie, Op. 89; Allegro appassionato; Op. 70; Rapsodie d’ Auvergne, Op. 73; Wedding Cake Caprice-valse, Op. 76《第一至五号钢琴协奏曲》；《非洲幻想曲》，作品89；《热情的快板》，作品70；《奥弗涅狂想曲》，作品73；《婚礼蛋糕随想圆舞曲》，作品76
Hyp. CDA 67331/2. Hough, CBSO, Oramo

Marvellous performances of these delightful and ever inventive works from Stephen Hough, full of joy, vigour and sparkle, with Oramo and the CBSO accompanying spiritedly and with the lightest touch. This recording is in the demonstration bracket, and this Hyperion set includes no fewer than four engaging encores. An easy first choice for this repertoire. Saint-Saëns was both a very appealing tunesmith and a natural craftsman, and it is difficult to think of a pair of CDs that are more diverting than this set.

斯蒂芬·霍夫对这些充满创意与魅力的作品进行了精彩演绎，洋溢着欢愉、活力与光彩，奥拉莫与伯明翰市立交响乐团的伴奏轻盈灵动且富有生气。这张录音堪称示范级水准，Hyperion的这套合辑还额外收录了四首迷人的加演曲目，无疑是该曲目的首选版本。圣桑既是旋律大师又是天生的巧匠，很难想象还有比这套双CD更令人愉悦的录音。


Violin Concertos 1–3
Hyp. CDA 67074. Graffin, BBC Scottish SO, Brabbins

Though Saint-Saëns’s Third Concerto is relatively well known, with its charming Andantino set between two bravura movements, and the First Concerto, in a single movement, has not been neglected either, the Second Concerto is the earliest and longest, yet arguably the most memorable – full of the youthful exuberance of a 23-year-old. The French violinist Philippe Graffin, with rich, firm tone, gives performances full of temperament, warmly supported by Martin Brabbins and the BBC Scottish Symphony Orchestra, and the recording cannot be faulted.

尽管圣桑的《第三协奏曲》因两个炫技乐章间夹着迷人的小行板而相对知名，《第一协奏曲》（单乐章）亦不乏演绎，但《第二协奏曲》作为最早且篇幅最长的作品，却可能是最令人难忘的——它满载23岁青年的蓬勃朝气。法国小提琴家菲利普·格拉芬以饱满而坚实的音色，展现出充满激情的演奏，在马丁·布拉宾斯与BBC苏格兰交响乐团的温暖烘托下，录音效果无可挑剔。


https://115cdn.com/s/swwmu2w3hq9?password=3377&#
Saint-Saens - Complete Piano Concertos - Stephen Hough, Sakari Oramo, Birmingham City Orchestra [Hyperion]等2个文件(夹)
第1张已经在第182楼发过。

joseph_li

Symphonies: in A; in F (Urbs Roma); 1–2; (i) 3 (Organ Symphony)交响曲集：A大调交响曲；F大调《罗马城》（Urbs Roma）；第1-2号交响曲；(i) 第3号《管风琴交响曲》
EMI (ADD) 6 31804-2 (2). French Nat. R. O, Martinon; (i) with Bernard Gavoty (organ)

Saint-Saëns’s A and F major Symphonies were totally unknown and unpublished until the time of their recording and have never been dignified with numbers. Yet the A major, written when the composer was only 15, is a delight and may reasonably be compared with Bizet’s youthful work in the same genre. More obviously mature, the Urbs Roma Symphony is perhaps a shade more self-conscious, and more ambitious too, showing striking imagination in such moments as the darkly vigorous Scherzo and the variations movement at the end. The first of the numbered symphonies is a well-fashioned and genial piece, again much indebted to Mendelssohn and Schumann, but with much delightfully fresh invention. The Second is full of excellent ideas.

Martinon directs splendid performances of the whole set, well prepared and lively. The account of the Third ranks with the best; freshly spontaneous in the opening movement, and with the threads knitted powerfully together at the end of the finale. Here the recording could do with rather more sumptuousness. Elsewhere the quality is bright and fresh, with no lack of body. This is an enterprising reissue and is well worth seeking out.

圣桑的A大调和F大调交响曲在录音之前完全无人知晓且未出版，因此未被编号。然而，A大调交响曲（作曲家年仅15岁时创作）堪称佳作，甚至可以与比才同类型的早期作品相媲美。而更具成熟气质的《罗马城交响曲》则稍显内敛，同时更具雄心——例如其阴郁而充满活力的谐谑曲（Scherzo）和终章的变奏乐章，均展现出惊人的想象力。第一号交响曲结构精巧、风格亲切，虽明显受门德尔松和舒曼影响，却仍充满清新创意；第二号交响曲则满载绝妙灵感。

马蒂农（Martinon）指挥的这套全集演绎出色，排练精良且生机勃勃。其中第三号交响曲的诠释堪称顶尖水准：首乐章自然流畅，终章尾声的乐思紧密交织、气势磅礴。唯一遗憾的是录音的丰沛感稍显不足，但其余部分音质明亮鲜活，层次分明。这套大胆的再版专辑值得乐迷珍藏。


Symphony 3 in C min., Op. 78
RCA (ADD) SACD 82876 61387-2. Zamkochian (organ), Boston SO, Munch – DEBUSSY: La Mer. IBERT: Escales

It is easy to see why Saint-Saëns’s so-called ‘organ’ symphony is so popular – in a great performance such as the one listed here it can be a thrilling aural experience. Munch’s Boston recording dates from 1960, yet sounds spectacular on CD. The performance is stunning, full of lyrical ardour and moving forward in a single sweep of great intensity. The couplings show Munch and his Bostonians at their peak, if not quite so outstandingly recorded. We believe that for the symphony recording the producer moved out the audience seats used in the stalls, and then had the orchestra moved forward to sit in the auditorium. The result was to use the hall’s superb acoustics to maximum effect.

圣桑这部“管风琴”交响曲的广受欢迎不难理解——例如这份推荐录音中的伟大演绎，便能带来震撼的听觉体验。明希（Munch）与波士顿交响乐团的录音虽来自1960年，但CD转制效果依然辉煌。演奏充满抒情激情，以一气呵成的强烈推进力贯穿全曲。搭配曲目虽录音稍逊，却展现了明希与乐团巅峰时期的默契。据传，录制本曲时制作人特意撤去观众席座椅，将乐团前移至音乐厅座区，从而最大化利用场地的卓越声学效果。


https://115cdn.com/s/swwmuud3hq9?password=3377&#
Saint-Saens - Five Symphonies - Jean Martinon, French National RO, Gavoty [EMI]等2个文件(夹)
第2张在第326楼已经发过

joseph_li

Danse macabre, Op. 40; (i) Havanaise; Introduction and Rondo capriccioso. La Jeunesse d’Hercule, Op. 50; Marche héroïque, Op. 34; Phaéton, Op. 39; Le Rouet d’Omphale, Op. 31骷髅之舞》Op.40；(i)《哈瓦奈斯舞曲》；《引子与回旋随想曲》；《海格力斯的青春》Op.50；《英雄进行曲》Op.34；《法厄同》Op.39；《翁法勒的纺车》Op.31
Decca (ADD) 425 021-2. (i) Kyung-Wha Chung, RPO; Philh. O; Dutoit

Beautifully played performances, recorded in the Kingsway Hall with splendid atmosphere and colour. Charles Dutoit shows himself an admirably sensitive exponent of this repertoire, revelling in the composer’s craftsmanship and revealing much delightful orchestral detail. La Jeunesse d’Hercule is the most ambitious piece, twice as long as its companions; its lyrical invention is both sensuous and elegant. The Marche héroïque is flamboyant but less memorable, and Phaéton, a favourite in the Victorian era, now sounds slightly dated. But the delightful Omphale’s Spinning Wheel and the familiar Danse macabre show the composer at his most creatively imaginative. Decca have now added Kyung-Wha Chung’s equally charismatic and individual 1977 accounts of what are perhaps the two most inspired short display-pieces for violin and orchestra in the repertoire. Altogether a splendid collection.

这张Decca唱片收录了在金斯威音乐厅录制的精彩演奏，音效层次丰富、色彩绚丽。指挥家夏尔·迪图瓦展现出对圣桑作品非凡的领悟力，既沉醉于作曲家精妙的创作技法，又细腻呈现了管弦乐的精妙细节。其中《海格力斯的青春》是篇幅最长（相当于其他曲目两倍）、最具野心的作品，其抒情段落既感性又优雅；《英雄进行曲》华丽但略显平庸；维多利亚时代的热门曲目《法厄同》如今听来稍有过时感；而迷人的《翁法勒的纺车》和耳熟能详的《骷髅之舞》则展现了圣桑最富创意的想象力。Decca特别加收了郑京和1977年录制的两首小提琴与乐队炫技小品，她的演绎充满个人魅力。整套录音堪称精品。


Samson et Dalila (complete, DVD version) 《参孙与大利拉》
Arthaus DVD 100 202. Domingo, Verrett, Wolfgang Brendel, San Francisco Op. Ch. & O, Rudel (Director: Nicolas Joel; V/D: Kirk Browning)
Samson et Dalila (complete, CD version)
EMI 5 09185-2 (2). Domingo, Meier, Fondary, Ramey, Courtis, L’Opéra-Bastille Ch. & O, Myung-Whun Chung

Recorded in 1981 at the San Francisco Opera House, this DVD of Saint-Saëns’s biblical opera offers a heavily traditional production with realistic sets and costumes like those in a Hollywood epic. Sporting a vast bouffant wig like a tea-cosy (ripe for Dalila’s shears in Act II), Plácido Domingo is in magnificent, heroic voice, with Shirley Verrett also at her peak as Dalila, at once seductive and sinister. Other principals are first rate too, and the chorus, so vital in this opera, sings with incandescent tone in a rip-roaring performance under Julius Rudel, culminating in a spectacular presentation of the fall of the Temple of Dagon. Most enjoyable.

In the EMI CD set, Domingo with Chung gives a deeper, more thoughtful performance than on DVD, broader, with greater repose and a sense of power in reserve. When the big melody appears in Dalila’s seduction aria, Mon cœur s’ouvre, Chung’s idiomatic conducting encourages a tender restraint, where others produce a full-throated roar. Meier may not have an ideally sensuous voice for the role of the heroine, with some unwanted harshness in her expressive account of Dalila’s first monologue, but her feeling for words is strong and the characterization vivid. Generally Chung’s speeds are on the fast side, yet the performance does not lack weight, with some first-rate singing in the incidental roles from Alain Fondary, Samuel Ramey and Jean-Philippe Courtis. Apart from backwardly placed choral sound, the recording is warm and well focused.

这部1981年录制于旧金山歌剧院的DVD，以好莱坞史诗级实景服装呈现传统制作风格。多明戈顶着茶壶保温套般的蓬松假发（第二幕大利拉的剪刀正等着它），以辉煌的英雄式嗓音塑造参孙，雪莉·薇瑞特巅峰期的大利拉既魅惑又阴险。其他主演同样出色，在朱利叶斯·鲁德尔指挥下，至关重要的合唱团以炽热的音色将演出推向高潮，最终达贡神庙崩塌的场面尤为壮观。观赏性极佳。

EMI这套CD中，多明戈与指挥家郑明勋的合作比DVD版更显深沉含蓄，整体节奏更为舒展，蓄势待发的力量感贯穿始终。在大利拉诱惑咏叹调《我心花怒放》的高潮段落，郑明勋以地道的法国风格克制处理，区别于常见的激情宣泄。虽然女中音 Waltraud Meier 的音质并非大利拉最理想的性感型嗓音，首段独白偶有生硬，但其强烈的语感和鲜明的人物塑造令人印象深刻。郑明勋的指挥速度偏快却不失厚重感，配角 Alain Fondary、Samuel Ramey 和 Jean-Philippe Courtis 的演唱俱属一流。除合唱声部稍显靠后外，录音温暖而层次分明。


DVD：
https://115cdn.com/s/sww53383hq9?password=3377&#
Saint-Saëns - Samson et Dalila - Julius Rudel, San Francisco Opera House; Verrett, Domingo [mkv]

CD：
https://115cdn.com/s/sww53303hq9?password=3377&#
Saint-Saens - Danse macabre - Kyung Wha Chung, Charles Dutoit, RPO & PO [DECCA]等2个文件(夹)

joseph_li

SALIERI, Antonio (1750–1825)
Overtures: Angiolina, ossia Il matrimonio per sussuro; Cublai, gran kan de’ Tartari; Falstaff, ossia Le tre burle; La locandiera. Sinfonia Il giorno onomastico; Sinfonia Veneziana; 26 Variations on ‘La folia di Spagna’序曲：《安杰莉娜》、《鞑靼大汗忽必烈》（Cublai, gran kan de’ Tartari）、《法斯塔夫》（Falstaff, ossia Le tre burle）、《女店主》（La locandiera）、《命名日》、《威尼斯风格》（Sinfonia Veneziana）、《西班牙福利亚主题26段变奏曲》
Chan. 9877. LMP, Bamert

The music here brings a profusion of ear-tickling ideas, and the secondary themes for Salieri’s concise, lively overtures are most engaging. Tuttis, with trumpets, are invariably bright and rather grand, but the lighter scoring shows a nice feeling for woodwind colour and there is much elegant phrasing for the violins. Perhaps the most striking work is the kaleidoscopic set of 26 Variations on ‘La follia’, which occupies 18 minutes, continually changing colour and mood, often dramatically, sometimes bizarrely, but usually entertainingly (although there is an element of repetition). The London Mozart Players play all this music most winningly, with vigour, polish and charm, and the Chandos recording is state of the art.

这张专辑充满了令人耳目一新的乐思。萨列里的序曲结构精炼、生机勃勃，其中副部主题尤为迷人。铜管加入的全奏段落总是辉煌而宏大，而轻盈的配器则展现出对木管音色的细腻把控，小提琴声部的优雅乐句更是比比皆是。

最引人注目的当属《西班牙福利亚主题26段变奏曲》——这部18分钟的作品犹如万花筒般变幻莫测，色彩与情绪不断更迭，时而戏剧性十足，时而古怪离奇，却始终妙趣横生（尽管存在一定的重复性）。伦敦莫扎特乐团以充沛的活力、精湛的技巧与迷人的气质完美演绎了这些作品，Chandos的录音更是顶尖水准。


https://115cdn.com/s/sww53nz3hq9?password=3377&#
Salieri, Antonio - Symphonies, Overtures & Variations - Matthias Bamert, London Mozart Players [Chandos]

joseph_li

SALLINEN, Aulis (born 1935)
(i–ii) Cello Concerto, Op. 44; (iii) Chamber Music I, Op. 38; (i; iii) Chamber Music III, Op. 58; (iii) Some Aspects of Peltoniemi Hintrik’s Funeral March; (iv) Sunrise Serenade (for 2 trumpets & chamber orchestra), Op. 63; (ii) Shadows, Op. 52; Symphonies 4, Op. 49; 5 (Washington Mosaics), Op. 57(i–ii) 《大提琴协奏曲》，作品44、(iii) 《第一号室内乐》，作品38、(i; iii) 《第三号室内乐》，作品58、(iii) 《佩尔托涅米·辛特里克的葬礼进行曲若干片段》、(iv) 《日出小夜曲》（双小号与室内乐团），作品63、(ii) 《暗影》，作品52、《第四交响曲》，作品49、《第五交响曲"华盛顿马赛克"》，作品57
Finlandia 4509 99966-2 (2). (i) Noras; (ii) Helsinki PO; (iii) Finland Sinf.; Kamu; (iv) Harjanne, Välimäki, Avanti CO, Saraste

This Finlandia Double brings an extensive survey of Sallinen’s music and provides an inexpensive entry into the composer’s world. Apart from the symphonies, the Cello Concerto of 1976 is the most commanding piece here. Sallinen’s ideas resonate in the mind. Arto Noras has its measure and plays with masterly eloquence. The performances under Okko Kamu are very impressive and the recording quite exemplary. Overall, excellent value.

这套芬兰唱片公司推出的双碟专辑全面展现了萨利宁的音乐世界，以亲民价格带领听众走进这位作曲家的创作天地。除交响曲外，1976年创作的《大提琴协奏曲》堪称本辑最具震撼力的作品——萨利宁的乐思在听者脑海中久久回荡。大提琴家阿尔托·诺拉斯（Arto Noras）以大师级的演绎完美驾驭该作，奥科·卡姆（Okko Kamu）指挥下的演奏令人印象深刻，录音效果亦堪称典范。整体而言，这套专辑具有极高的艺术价值与性价比。


https://115cdn.com/s/sww53ns3hq9?password=3377&#
Sallinen, Aulis - Cello Concerto, Symphony No.4 etc. - Okko Kamu, Helsinki PO [Finlandia]等2个文件(夹)

joseph_li

SATIE, Eric (1866–1925)
Embryons desséchés; 6 Gnossiennes; 3 Gymnopédies; Je te veux; Nocturne 4; Le Piccadilly; 4 Préludes flasques; Prélude et tapisserie; Sonatine bureaucratique; Vieux sequins et vieilles cuirasses《干枯的胚胎》《六首玄秘曲》《三首裸体歌舞》《我渴望你》《第四号夜曲》《皮卡迪利》《四首松弛的前奏曲》《前奏与挂毯》《官僚小奏鸣曲》《旧铠甲与旧金币》
Decca 475 7527. Pascal Rogé

Pascal Rogé gave Satie his compact disc début with this fine recital, which is splendidly caught by the microphones. So this is a perfect candidate for Decca’s series of Originals. Rogé has a real feeling for this repertoire and he conveys its bitter-sweet quality and its grave melancholy as well as he does its lighter qualities. He produces, as usual, consistent beauty of tone, and this is well projected by the recording.

帕斯卡尔·罗热在这张堪称完美的独奏专辑中首次为萨蒂作品录制CD，录音效果极佳，使其成为DECCA"原音重现"系列的理想选择。罗热对这套曲目有着深刻理解，既能表现作品中苦中带甜的特质与沉郁的忧伤，又能准确传递其轻盈的一面。如往常一样，他始终保持着优美的音色，而录音工程将这一特点完美呈现。


https://115cdn.com/s/sww53nk3hq9?password=3377&#
Satie, Eric - 3 Gymnopédies; 6 Gnossiennes etc. - Pascal Rogé [DECCA]等2个文件(夹)