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

joseph_li

Brandenburg Concertos 1–6, BWV 1046–51
EuroArts Invitation DVD 2050316. Freiburg Bar. O, Von der Gölz

The beautifully handwritten score for Bach’s Brandenburg Concertos was presented to Christian Ludwig, Margrave of Brandenburg, in 1721, to whom they were dedicated in French. We are not told whether he liked them or not, but they have since become the composer’s most familiar and cherished orchestral works. Their design (with stimulating contrasts between the full ensemble and the concertino of soloists) shows strong Italian influences, notably that of Vivaldi, and their performance requires considerable virtuosity, notable from the pair of horns in No. 1, the solo trumpet in No. 2, the obbligato harpsichord in No. 5 and the violas and cellos in No. 6.

The very finest of all DVDs of these highly rewarding works is by the Freiburg Baroque Orchestra directed by Gottfried von der Gölz. Visually entrancing, it is appropriately photographed against the magnificently restored Spiegelsaal of the Castle Cöthen, which has an ideally spacious acoustic. The performance itself, on period instruments, is freshly spontaneous in the most appealing way and the imaginative video direction often takes us among the players to create the complete illusion of being present. Tempi are ideally chosen and the performance has great finesse and easy virtuosity. The recording is in the demonstration bracket.

1721年，巴赫的勃兰登堡协奏曲手写精美的乐谱被赠予勃兰登堡侯爵克里斯蒂安·路德维希，并以法语献给他。我们不得而知侯爵是否喜欢这些作品，但自此之后，它们便成为作曲家最为人熟知和珍视的管弦乐作品。作品的设计（全套合奏和独奏协奏曲之间形成鲜明对比）展现出浓厚的意大利风格，尤其是维瓦尔第的影响。演奏这些作品需要相当的技巧，尤其需要注意的是第一首中的圆号双簧管、第二首中的小号独奏、第五首中的羽管键琴助奏以及第六首中的中提琴和大提琴。

这些备受好评的作品中最精美的DVD是由戈特弗里德·冯·德·戈尔茨指挥的弗莱堡巴洛克管弦乐团制作的。这部作品在视觉上令人着迷，其背景是科滕城堡（Castle Cöthen）修复精美的镜厅（Spiegelsaal），其音响效果空旷开阔，堪称理想之选。演奏本身以古乐器演奏，以最引人入胜的方式展现出新鲜自然的韵味，而富有想象力的视频导演则常常带领我们置身于演奏者之中，营造出身临其境的错觉。节奏的选择堪称完美，演奏技巧娴熟，技艺精湛。录音已收录于演示版中。
（源于Google翻译）

DVD：
https://115cdn.com/s/swws6ey3hq9?password=3377&#
Bach J.S. - Brandenburg Concertos - Freiburger Barockorchester, Gottfried von der Gölz [EuroArts DVD9]

CD：
https://115cdn.com/s/swws6ra3hq9?password=3377&#
Bach J.S. - Brandenburg Concertos - Freiburger Barockorchester, Gottfried von der Gölz [EuroArts]

joseph_li

Orchestral Suites Nos. 1–4, BWV 1066/9 (with alternativements dances)
Harmonia Mundi HMC 90 2113/14. Freiburg Bar. O, Gottfried von der Goltz

As we have discovered in their outstanding DVD of the Brandenburgs, the Freiburg Baroque Orchestra are unsurpassed in this repertoire, their performances consistently stimulating and splendidly recorded. But they also include the alternativements dances in all four suites, which gives them a competitive edge over all other versions. This is a key recording, although the sound is a little dry.

正如我们在他们出色的勃兰登堡组曲DVD中发现的那样，弗莱堡巴洛克管弦乐团在这一曲目中无与伦比，他们的演奏始终令人振奋，录音也十分出色。此外，他们还在所有四部组曲中都加入了替代舞曲，这让他们比其他所有版本都更具竞争力。尽管声音略显干涩，但这张碟仍是一张关键的录音。

Clavier Concertos 1–7, BWV 1052–8; (i) Double Clavier Concertos 1–3, BWV 1060–62; (i ii) Triple Clavier Concertos 1–2, BWV 1063–4; (iii) Triple Concerto for Flute, Violin & Harpsichord, BWV 1044. Italian Concerto in F, BWV 971
Decca 478 2363 (4). András Schiff (piano), with (i) Peter Serkin (piano); (ii) Canino (piano); (iii) Nicolet (flute), Shiokawa (violin), CO of Europe or Camerata Bern

As is instanced by the performance of the Italian Concerto, splendidly articulated and alive, and by his other Bach solo records, Schiff’s control of colour and articulation never seeks to present merely a harpsichord imitation, and in the concertos his shaping of Bach’s lovely slow movements brings finely sustained lines and a subtle variety of touch. In the composite concertos, joined by Bruno Canino, Aurèle Nicolet and Yuuko Shiokawa – equally fine artists – he and they are just as satisfying. He directs both the Chamber Orchestra of Europe (in the solo concertos) and the Camerata Bern from the keyboard and chooses spirited, uncontroversial tempi for Allegros, at the same time providing decoration that always adds to the joy and sparkle of the music-making. This makes a clear first choice for those who, like us, enjoy Bach on the piano, and the composite concertos are particularly successful, notably BWV 1044.

席夫演奏的意大利协奏曲精彩绝伦、充满活力，他的其他巴赫独奏专辑也同样如此。他对色彩和表达的掌控并非仅仅局限于羽管键琴的模仿，在协奏曲中，他对巴赫优美慢乐章的演绎带来了细腻的持续线条和微妙的触感变化。在与布鲁诺·卡尼诺、奥雷勒·尼科莱特和盐川优子等同样优秀的艺术家合作的复合协奏曲中，他和他们同样令人欣喜。他指挥欧洲室内乐团（在独奏协奏曲中）和伯尔尼室内乐团，并用键盘演奏，为快板选择了充满活力、不带争议的节奏，同时又添加了装饰，为音乐创作增添了乐趣和光彩。对于像我们一样欣赏巴赫钢琴演奏的人来说，这无疑是首选，而他的复合协奏曲尤其成功，尤其是BWV 1044。
（源于Google翻译）

https://115cdn.com/s/swws6a83hq9?password=3377&#
Bach J.S. - Complete Keyboard Concertos - Andras Schiff [DECCA]等2个文件(夹)

joseph_li

(Unaccompanied) Cello Suites 1–6, BWV 1007–12
EMI DVD DVA 5 99159-9 (2). Rostropovich

Whether on DVD (filmed against the comparatively severe backcloth of the Basilique Sainte-Madeleine, Vézelay, in France) or on the companion CD version, both of which are included here, Rostropovich’s performances are masterly and all-involving, drawing distinctions between each work in his spoken introductions, although one can choose to hear the music without the commentaries. Unsurpassed and unsurpassable. There is also a CD-only set, offered less expensively on EMI 5 18158-2, which is just as welcome.

无论是DVD（以法国韦兹莱圣玛德莲教堂相对严肃的背景为背景拍摄）还是CD版本（均包含在内），罗斯特罗波维奇的演奏都堪称大师级，引人入胜，他的朗诵引言清晰地展现了每部作品之间的区别，当然，你也可以选择不听解说。无与伦比，无可比拟。此外，还有一套价格更低的纯CD套装，售价EMI 5 18158-2，同样受欢迎。

Unaccompanied Violin Sonatas 1–3, BWV 1001, 1003 & 1005; Violin Partitas 1–3, BWV 1002, 1004 & 1006
Hyp. CDA 67691/2. Alina Ibragimova

The young Russian virtuoso Alina Ibragimova has been making waves for some time, but in these accounts of the Bach solo sonatas and partitas her mastery is very striking indeed. Hers are traditional readings and they pay no homage to the authentic-instrument lobby. She brings a refined, quiet sensitivity to the slow sarabandes of the First and Second Partitas as well as to the slow openings of the three Sonatas, and finds great spirit and incisiveness in the more vigorous movements. There is elegance and character in every single piece. We have a special affection for Grumiaux (Philips 438 736-2) and Milstein (DG 457 702-2) in these works, but this modern version from Hyperion is outstanding in every way.

年轻的俄罗斯演奏家阿丽娜·伊布拉吉莫娃（Alina Ibragimova）声名鹊起已久，但在这些巴赫独奏奏鸣曲和帕蒂塔的演绎中，她的精湛技艺确实令人叹为观止。她的演绎风格传统，丝毫没有向原汁原味的乐器演奏致敬。她为第一和第二帕蒂塔的慢萨拉班德舞曲以及三首奏鸣曲的慢节奏开头注入了精致而宁静的敏感，并在更具活力的乐章中展现出强大的精神和敏锐的洞察力。每一部作品都充满优雅和个性。我们对这些作品中的格鲁米欧（Philips 438 736-2）和米尔斯坦（DG 457 702-2）情有独钟，但Hyperion的这套现代版本在各个方面都堪称杰出。
（源于Google翻译）

DVD：
https://115cdn.com/s/swws6pf3hq9?password=3377&#
Bach J.S. - Cello Suites - Mstislav Rostropovich [2 DVD9]

CD & SACD：
https://115cdn.com/s/swws6t73hq9?password=3377&#
Bach, J.S. - Complete Sonatas and Partitas for Solo Violin - Arthur Grumiaux [DECCA]等4个文件(夹)
DECCA 格鲁米欧这张碟是我自抓，WAV格式。

joseph_li

Goldberg Variations, BWV 988
Sony 696998924322. Perahia (piano)

We are agreed that Murray Perahia’s set of the Goldberg Variations is uniquely revealing, essentially thoughtful and intimate, often introvert, and with his involvement and dedication present in every bar. The piano recording, too, is wonderfully natural. An obvious first choice. Even so, Rosalyn Tureck’s VAI account is very special indeed, with insights all its own. For I.M. it is enormously compelling and would be a desert island choice (VAI VAIA 1029); but Perahia’s account is hardly less inspired.

我们一致认为，穆雷·佩拉希亚（Murray Perahia）演奏的《哥德堡变奏曲》具有独特的启发性，本质上是深思熟虑且亲密的，常常内省，每一小节都倾注了他的投入与专注。钢琴录音效果也极其自然，无疑是首选。尽管如此，罗莎琳·图雷克（Rosalyn Tureck）在VAI厂牌的录音版本（编号VAIA 1029）同样非凡，拥有独到的洞见。对I.M.而言，这一版极具感染力，堪称荒岛唱片之选；但佩拉希亚的演绎同样充满灵感，毫不逊色。

15 2-Part Inventions, BWV 772–86; 15 3-Part Inventions (Sinfonias), BWV 787–801; 6 Little Preludes, BWV 933–8; 6 Little Preludes, BWV 939–43 & 999; 6 Little Preludes from the Clavierbüchlein for Wilhelm Friedemann Bach, BWV 924–31; 3 Fughettas, BWV 952, 953 & 961; Prelude and Fugue, BWV 895; Preludes and Fughettas, B WV 899, 900, & 902a; French Suite 6, BWV 817; Partita 2, BWV 826
Dynamic CDS 629/1-2 (2). Andrea Bacchetti (piano)

Bach’s Klaviermusic (including the 2-Part Inventions and the rather more complex 3-Part Sinfonias) was mainly written in Köthen from 1717 to 1723 for Bach’s eldest son, Wilhelm Friedmann, and the Sixth French Suite and Second Partita also seem to come from the end of this period. So for Andrea Bacchetti to include them in his survey seems very appropriate, and they are wholly welcome musically. The monothematic Inventions are simply structured and usually brief, but their very simplicity adds to their immediacy of appeal, with changes of style from dance to fugue, from expressive writing to canon. Bacchetti, who has already given us a first-rate DVD of the Goldberg Variations (Arthaus 101447), plays them with spontaneous freshness and plenty of expressive life, and these two discs make very appealing listening. The Inventions are also available, admirably played on the harpsichord, by Masaaki Suzuki (BIS CD 1009), but he does not include the other items, and in any case this simple music makes its mark more readily on the piano.

巴赫的键盘音乐（包括《二部创意曲》和结构更复杂的《三部交响曲》）主要创作于1717至1723年的克滕时期，是为长子威廉·弗里德曼所作，《第六法国组曲》与《第二帕蒂塔》同样诞生于这一时期尾声。因此安德烈亚·巴切蒂将这批作品纳入研究范畴显得恰如其分，从音乐性而言更是锦上添花。  

这些单主题的创意曲结构简洁且篇幅精炼，但正是这种纯粹性强化了其直击心灵的感染力——风格在舞曲与赋格、抒情段落与卡农之间自如流转。曾以出色演绎《哥德堡变奏曲》（Arthaus 101447 DVD）赢得赞誉的巴切蒂，此番以充满即兴活力的触键与丰沛的情感生命力诠释这些作品，两张唱片令人耳目一新。虽然铃木雅明（BIS CD 1009）的羽管键琴版创意曲同样精彩，但未收录其他曲目，况且这类简约的音乐在钢琴上往往能更直接地传递神韵。  
（源于DeepSeek翻译）

Dynamic这张没找到，这个厂牌比较多见出版帕格尼尼和D. 斯卡拉蒂的作品。






https://115cdn.com/s/swws60a3hq9?password=3377&#
Bach J.S. - Goldberg Variations, BWV 988 - Rosalyn Tureck [VAI]等3个文件(夹)
图雷克这张是我自抓，WAV格式。

xunianfeng

joseph_li 发表于 2025-5-31 13:47
Goldberg Variations, BWV 988
Sony 696998924322. Perahia (piano)

通过网盘分享的文件：Bach -  Two-Part Inventions & Sinfonias and Other Keyboard Works
链接: https://***.com/s/1fbhB6rLEBeKdx024UwgxuA?pwd=wdt6 提取码: wdt6
--来自百度网盘超级会员v7的分享

dxs390413

xunianfeng 发表于 2025-6-1 09:13
通过网盘分享的文件：Bach -  Two-Part Inventions & Sinfonias and Other Keyboard Works
链接: https: ...

热心爱乐坛友，赞！
感谢分享！

huajun

感谢分享！

joseph_li

xunianfeng 发表于 2025-6-1 09:13
通过网盘分享的文件：Bach -  Two-Part Inventions & Sinfonias and Other Keyboard Works
链接: https: ...

老兄超级给力，感谢，

joseph_li

Partitas 1–6, BWV 825–30
Sony BMG 88697443612 (1, 5 & 6); 88697226952 (2, 3 & 4). Perahia (piano)

Bach’s six Partitas appeared one at a time at approximately yearly intervals between 1725 and 1730. He obviously valued them highly for they were the first works he published at his own expense. With the character of French dance movements underlying the writing, they show true mastery of the style français and are as diverting to listen to as they are demanding to play. Murray Peahia is again in his element here. Bach keyboard playing does not come any finer than this. A set of true distinction, most truthfully recorded.

巴赫的六部帕蒂塔在1725年至1730年间大约每年出版一部，每次出版一部。他显然非常重视这些作品，因为它们是他自费出版的第一批作品。这些作品以法国舞蹈动作为基调，展现了他对法式风格的真正掌握，聆听起来引人入胜，演奏起来也同样费力。穆雷·佩希亚在此再次展现了他的高超技艺。巴赫的键盘演奏堪称巅峰之作。这套作品真正杰出，记录得最为真实。、
（源于Google翻译）

https://115cdn.com/s/swwsb6p3hq9?password=3377&#
Bach J.S. - Partitas 1–6, BWV 825–30 - Murray Perahia [Sony]
Perahia是企鹅的宠儿，三四星带花入选得也很多。

dftn888

非常感谢楼主及补缺的各位大佬们，

joseph_li

Allabreve in D, BWV 589; Aria in F, BWV 587; Canzona in D min., BWV 588; Canonic Variations on ‘Vom Himmel hoch’, BWV 769; Chorale Partitas, BWV 766-8, 7; Clavier-Übung (Prelude & Fugue in E flat, BWV 552/1–2 & Chorale settings, BWV 669–89; 4 Duets, BWV 802–5); Concertos for organ solo, BWV 592; (after Vivaldi), BWV 593, 594 & 596; (after Ernst, Prince of Sachen-Weimar), BWV 592. Fantasia, BWV 562; BWV 563 (con imitazione); BWV 570; BWV 572; Fantasia and Fugue, BWV 537 & BWV 542; Fugue on a theme by Giovanni Legrenzi, BWV 574; Fugues, BWV 575, 577–8; Fugue on a theme of Corelli, BWV 579; Orgelbüchlein: Chorales BWV 599–644; Kirnberger Chorales, BWV 691–713 & Chorale settings, BWV 714–41 & BWV 753; 764, BWV AnH. ll/55 & without BWV number. 18 Leipzig Chorales, BWV 651–68; 6 Schübler Chorales, BWV 645–50; 18 Chorales of diverse kinds, BWV 659–67; Passacaglia & Fugue in C minor, BWV 582; Pastorale, BWV 590; Pedal-Exercitium, BWV 598; Preludes, BWV 568; 569 (con organo pleno); Preludes & Fugues, BWV 531–46; 543; 551; 535a; Toccatas and Fugues (Dorian), BWV 538; 540; in D min., BWV 565; BWV 566; Toccata, Adagio & Fugue, BWV 564; Trio Sonatas 1–6 BWV 525–30; Trios, BWV 583 & BWV 586
DG 477 8628 (14). Simon Preston (various organs)

Simon Preston’s survey was recorded digitally over more than a decade, from 1987 onwards, beginning with the solo Concertos. The performances which set the standard for the whole series are first class in every way and the recording of the various organs (from Lübeck Cathedral, Tonbridge School, Kent, St Peter’s Waltrop, Saint John’s, Smith Square, Klosterkirke, Sora, Trinity College, Cambridge, Nidaros Domkirke, Trondheim, among others) is admirably clear, yet with an attractive ambient resonance. Preston revels in the extrovert brilliance of the early Weimar Preludes and Fugues (and indeed also the flamboyant Toccatas) with their virtuoso use of pedals; but he also relishes the more tightly structured works, which he plays with genuine panache. Another highlight of the series is the (1993) set of Trio Sonatas on the first disc, recorded on the Klais organ at St Katharina, Blankenburg (near Bonn). Some of the repertoire has been recorded on separate discs, including a few works omitted here, such as the 8 Little Preludes and Fugues which are wrongly attributed to Bach. But apart from these few omissions the whole set now reappears in a DG bargain box, with the various genres sensibly grouped together. The performances are consistently alive and distinguished and the choice of organs ear-tinglingly perceptive. The reissued box includes a new analysis of the music by Dorotheas Schröder.

西蒙·普雷斯顿（Simon Preston）的巴赫管风琴作品全集以数字录音形式历时十余年完成（自1987年起），从《协奏曲》独奏作品开始录制。这一系列中树立标杆的演奏在各方面均属一流，对不同管风琴（吕贝克大教堂、汤布里奇学校、瓦尔特罗普圣彼得教堂、伦敦史密斯广场圣约翰教堂、索拉修道院教堂、剑桥三一学院、特隆赫姆尼达洛斯主教座堂等）的录音既清晰透彻，又保留了迷人的空间残响。普雷斯顿以张扬的激情演绎了魏玛时期充满炫技色彩的《前奏曲与赋格》（尤其是华丽的《托卡塔》），淋漓尽致地展现了踏板技巧；同时，他对结构严谨的作品同样倾注热忱，演奏时带着真正的潇洒气度。该系列的另一个亮点是1993年录制于波恩附近布兰肯堡圣凯瑟琳教堂克莱斯管风琴的《三重奏鸣曲》（首张碟片）。部分曲目曾以单碟形式发行，包括此处未收录的伪作《八首小前奏曲与赋格》。除这些零星遗漏外，DG的平价套装现已完整再版，并按作品类型合理归类。演奏始终充满生命力且卓尔不群，管风琴的选择更展现出令人耳尖发颤的鉴赏力。再版套装附有多萝西娅·施罗德（Dorotheas Schröder）新撰写的乐曲解析。

A generous and well chosen 146-minute collection of major Bach organ works taken from Peter Hurford’s alternative cornerstone Decca survey on 17 discs (444 410-2) makes a recommendable alternative choice. This selection, devised for the general collector, brings two separate recitals, each framed by major concert pieces, with beautifully played chorales used in between the large-scale works to add contrast. The analogue recordings are splendidly remastered.

彼得·赫福德（Peter Hurford）在Decca录制的17碟全集（编号444 410-2）是另一里程碑式版本，而从中精选出的146分钟巴赫管风琴重要作品合集（为普通乐迷编排）提供了绝佳替代选择。这套选辑包含两场独立演奏会，每场均以大型音乐会曲目为框架，其间穿插优美演奏的众赞歌作为对比。模拟录音经出色重制后音效极佳。
（源于DeepSeek翻译）

https://115cdn.com/s/swwsbw43hq9?password=3377&#
Bach, J.S. - Complete Organ Works - Peter Hurford [DECCA]等2个文件(夹)
四星带花推荐的是Peter Hurford版，三星带花是Marie-claire Alain版，不知道多少人听完了，

joseph_li

Complete Cantatas:
Ongoing BIS Masaaki Suzuki Series with Japan Bach Collegium (also Concerto Palatino), Masaaki Suzuki; Volumes 1 47 (Soloists include: Kurisu, Tachikawa, Kantano, Kooy, M. Suzuki, Yanagisawa, Mera, Türk, Sakurada, Schmithüsen, Frimmer, Blaze, Urano, Persson, Wessel, Nonoshita, Sollek-Avella, Kupfer, MacLeod, Hatano, Gilchrist, Kobow, Hida, Taylor, Kenworthy-Brown, Rydén, Bertin, Mields, Sampson, Weller, Kobow, Wörner, Blažíková, Nicholls).

Vol. 1: Cantatas BWV 4; 150; 196 (BIS CD 751); Vol. 2: BWV 71; 106; 131 (BIS CD 781); Vol. 3: BWV 12; 54; 162; 182 (BIS CD 791); Vol. 4: BWV 163; 165; 185; 199 (BIS CD 801); Vol. 5: BWV 18; 143; 152; 155; 161 (BIS CD 841); Vol. 6: BWV 21 (with alternative movements); 31 (BIS CD 851); Vol. 7: BWV 61; 63; 132; 172 (BIS CD 881); Vol. 8: BWV 22; 23; 75 (BIS CD 901); Vol. 9: BWV 24; 76; 167 (BIS CD 931); Vol. 10: BWV 105; 179; 186 (BIS CD 951); Vol. 11: BWV 46; 95; 136; 138 (BIS CD 991); Vol. 12: BWV 21; 147 (BIS CD 1031); Vol. 13: BWV 25; 50; 64; 69a; 77 (BIS CD 1041); Vol. 14: BWV 48; 89; 109; 148 (BIS CD 1081); Vol. 15: BWV 40; 60; 70; 90 (BIS CD 1111); Vol. 16: BWV 119; 194 (BIS CD 1131); Vol. 17: BWV 73; 144; 153; 154; 181 (BIS CD 1221); Vol. 18: BWV 66; 67; 134 (BIS CD 1251); Vol. 19: BWV 37; 86; 104; 166 (BIS CD 1261); Vol. 20: BWV 44; 59; 173; 184 (BIS CD 1271); Vol. 21: BWV 65; 81; 83; 190 (BIS CD 1311); Vol. 22: BWV 7; 20; 94 (BIS CD 1321); Vol. 23: BWV 10; 93; 107; 178 (BIS CD 1331); Vol. 24: BWV 8; 33; 113 (BIS CD 1351); Vol. 25: BWV 78; 99; 114 (BIS CD 1361); Vol. 26: BWV 96; 122; 180 (BIS CD 1401); Vol. 27: BWV 5; 80; 115 (BIS CD 1421); Vol. 28: BWV 26; 62; 116; 139 (BIS SACD 1451); Vol. 29: BWV 2; 3; 38; 135 (BIS SACD 1461); Vol. 30: BWV 51; 1127 (BIS SACD 1471); Vol. 31: Cantatas BWV 91; 101; 121; 133 (BIS SACD 1481); Vol. 32: BWV 111; 123; 124; 125 (BIS SACD 1501); Vol. 33: BWV 41; 92; 130 (BIS SACD 1541); Vol. 34: BWV 1; 126; 127 (BIS SACD 1551); Vol. 35: BWV 74; 87; 128; 176 (BIS SACD 1571); Vol. 36: BWV 6; 42; 103; 108 (BIS SACD 1611); Vol. 37: BWV 35; 169; 170; 200 (BIS SACD 1621); Vol. 38: BWV 52; 55; 58; 82 (BIS SACD 1631); Vol. 39: BWV 28; 68; 85; 175; 183 (BIS SACD 1641); Vol. 40: BWV 79; 137; 164; 168 (BIS SACD 1671); Vol. 41: BWV 56; 82; 84; 158 (BIS SACD 1691); Vol. 42: BWV 13; 16; 32; 72 (BIS SACD 1711); Vol. 43: BWV 57; 110; 151 (BIS SACD 1761); Vol. 44: BWV 43; 88; 146 (BIS SACD 1791); Vol. 45: BWV 39; 129; 187; Sinfonia in D, BWV 1045 (BIS SACD 1801); Vol. 46 BWV 17; 19; 45; 102 (BIS SACD 1851); Vol. 47: BWV 27 (with appendix); 36; 47 (BIS SACD 1861); Vol. 48:***** BWV 34; 98; 117; 120 (BIS SACD 1881); Vol. 49: BWV 156; 159; 171; 188 (BIS SACD 1891); Vol. 50: BWV 49; 145; 149; 174 (BIS SACD 1941); Secular Cantatas, BWV 210 (Wedding); 211 (Coffee) (BIS CD 1411); Christmas Oratorio, BWV 248 (BIS 941/2)
BIS CD 9030/32 Volumes 21 30 (Limited Edition)

Bach’s more than two hundred cantatas were among his most amazing achievements, especially when one remembers that he actually composed about 300 in all, and the remainder are lost. Although some of Bach’s earliest cantatas date from before he became court organist at Weimar in 1708, most of the surviving cantatas were composed during two inspired periods, between 1713 and 1716 in Weimar (where he was expected to provide a new work every month), and between 1723 and 1729 in Leipzig. At Cöthen, between 1717 23, cantatas were not required but, once established at Leipzig, he wrote five annual cycles (for use during all the Sundays and Festivals of the liturgical year) at the almost incredible rate of one a week. The first two Jahrgang (volumes) of 1724 and 1725 have come down to us nearly complete, but many works from the remaining three are, alas, no longer preserved.

All these cantatas are of the highest musical quality and many show Bach at his most inspired. Their formal design is simple, usually framed by two choruses, with solo movements at the centre plus a central chorale. The Weimar cantatas are more adventurous in style, often including recitative and arias, with a da capo return to the opening section. The imaginative reader might picture his many sons gathered round the composer during the week, helping to copy out the solo vocal, choral, instrumental and continuo parts ready for the forthcoming weekend’s rehearsal and performance.

There are about five recorded surveys of this richly rewarding repertoire, three of them still in progress; but, to our minds, Suzuki’s BIS series with the Japan Collegium stands as a clear first choice and one of the gramophone’s greatest achievements, offering performances of total conviction and consummate artistry. They are certainly among the finest ever, radiating freshness, and their vitality is matched by a wonderfully rich and present recording, which in the later volumes, with the addition of the surround sound of SACD, is very realistic indeed; one has the feeling of sitting in the auditorium where the performances are taking place. Played back through ordinary CD equipment, the effect is hardly less impressive. With Carolyn Sampson, Robin Blaze and Yukari Nonoshita, among others, joining the soloists once the series got well under way, the quality of the solo singing, and indeed of the instrumental obbligati, seems unsurpassable.

Suzuki is proceeding chronologically, using a higher pitch (A = 465), with its concomitant brighter sound, which is especially effective against the warmly expansive background acoustic. The strings are clean yet have bloom, and the sense of inhibition – of excessive awareness of the constraints of period performance – is refreshingly absent here. The set which comes, CD by CD, with texts and translations included, is fully documented, and the BIS recordings are altogether exemplary. The CDs, all available separately, are in the premium price range. It will probably be two more years before the set is complete, so we suggest collectors interested in collecting this wonderful music should simply explore the individual issues, any one of which is worthy for inclusion in our 1,000 finest recordings. The celebrated Christmas Oratorio (also available separately) is in essence a special collection of six linked cantatas, in which Bach drew on earlier music. It was written for Christmas in Leipzig in 1734 5, performed over six feast days from Christmas Day to Epiphany (6th January). Suzuki’s performance is a joyfully alive reading, with good soloists and a first-class choral contribution.

巴赫的两百多部康塔塔是他最令人惊叹的成就之一，尤其是当我们记得他实际上一共创作了大约 300 部，其余的都已丢失的时候。虽然巴赫的一些最早的康塔塔可以追溯到他 1708 年成为魏玛的宫廷管风琴师之前，但大多数幸存的康塔塔是在两个充满灵感的时期创作的，即 1713 年至 1716 年在魏玛（在那里他被要求每月提供一部新作品），以及 1723 年至 1729 年在莱比锡。1717 年至 1729 年在科滕，康塔塔并不是必需的，但是一旦在莱比锡建立，他就会以每周一部的速度创作五套年度循环（供礼仪年的所有星期日和节日使用），几乎令人难以置信。 1724年和1725年的前两卷《年轮》（Jahrgang）几乎完整地流传至今，但其余三卷的许多作品却已失传。

所有这些康塔塔都拥有极高的音乐品质，其中许多展现了巴赫最激动人心的创作状态。它们的形式简洁，通常由两个合唱部分构成，以独唱乐章为中心，外加一个中央合唱部分。魏玛康塔塔的风格更具冒险精神，通常包含宣叙调和咏叹调，并以“返始”的方式回到开头部分。富有想象力的读者可能会想象，他的众多儿子们在一周内聚集在作曲家身边，帮忙抄写独唱、合唱、器乐和通奏低音部分，为即将到来的周末排练和演出做好准备。

这套内容丰富的曲目大约有五份录音，其中三份仍在进行中；但在我们看来，铃木与日本Collegium合作的BIS系列无疑是首选，也是留声机最伟大的成就之一，其演奏令人信服，艺术造诣精湛。这些作品无疑是迄今为止最优秀的作品之一，散发着清新的气息，其活力与极其丰富和逼真的录音相得益彰。在后期发行的版本中，加上SACD环绕声，其效果非常逼真；观众仿佛置身于演出现场的礼堂之中。即使通过普通的CD设备播放，效果也同样令人印象深刻。随着卡罗琳·桑普森、罗宾·布雷兹和野之下由加里等人的加入，系列演出顺利进行后，独唱的质量，以及乐器伴奏的质量，似乎无与伦比。

铃木按时间顺序演奏，采用更高的音高（A = 465），并伴有更明亮的音色，与温暖广阔的背景音色形成鲜明对比。弦乐干净利落却又充满活力，令人耳目一新的是，那种对时代演奏局限的过度关注所带来的压抑感在这里消失了。这套CD包含歌词和译文，内容详实，BIS的录音堪称典范。所有CD均可单独购买，价格也相当高昂。这套CD可能还需要两年时间才能完成，因此我们建议有意收藏这套精彩音乐的收藏家直接浏览单行本，其中任何一本都值得收录到我们“千佳唱片”的榜单中。著名的《圣诞清唱剧》（也可单独购买）本质上是一部包含六部相互关联的康塔塔的特别合集，巴赫在其中借鉴了早期音乐。这首乐曲创作于1734年，为莱比锡的圣诞节而作，从圣诞节到主显节（1月6日），共演出了六天。铃木的演奏充满欢快活力，独唱家技艺精湛，合唱团的贡献也堪称一流。
（源于Google翻译，有些生硬。无奈字数太多，转DeepSeek太麻烦，将就一下吧）

可以看出这份推荐清单是多年前的事了，全集也早已录制结束，还录制了巴赫其它不少作品。收集这个系列的SACD和高码是众乐友的乐趣之一。

https://115cdn.com/s/swwsbbt3hq9?password=3377&#
Bach J.S. - Complete Cantatas - Masaaki Suzuki [BIS 55CD]

joseph_li

Cantatas (i) 82; (i–iii) 159; (ii) 170
Decca Australian Eloquence (ADD) 476 2684. ASMF, Marriner, with (i) Shirley-Quirk; (ii) Baker; (iii) Tear

Classic accounts of three cantatas, including Sehet, wir gehn hinauf gen Jerusalem (BWV 159) – one of Bach’s most inspired works. Particularly glorious is the meditation, Es ist vollbracht (‘It is finished’), with its poignant oboe obbligato (played by Roger Lord). Both Dame Janet Baker and John Shirley-Quirk are in marvellous voice, as they are in Nos. 82 and 170 – hardly less inspired works and performances. Indeed, this group of cantatas ought to be in every collection, and the recordings (mid-1960s) are of Decca’s best vintage quality.

三部康塔塔的经典演绎，包括《Sehet, wir gehn hinauf gen Jerusalem》（BWV 159）——巴赫最具灵感的作品之一。尤其精彩的是冥想曲《Es ist vollbracht》（“一切都结束了”），其凄美的双簧管伴奏（由罗杰·洛德演奏）令人叹为观止。珍妮特·贝克女爵士和约翰·雪莉-奎克的歌声都令人叹为观止，就像他们在第82号和第170号作品中的表现一样——这些作品和表演同样充满灵感。事实上，这组康塔塔应该出现在每一张唱片中，而这些录音（20世纪60年代中期）更是迪卡唱片公司最优质的复古录音。

Mass in B min., BWV 232 (DVD version)
Virgin DVD 0094637063699. Ziesak, DiDonato, Taylor, Agnew, Henschel, Maîtrise Notre-Dame de Paris, O Ens. de Paris, Nelson
Mass in B min., BWV 232 (CD version)
DG 415 514-2 (2). Argenta, Dawson, Fairfield, Knibbs, Kwella, Hall, Nichols, Chance, Collin, Stafford, Evans, Milner, Murgatroyd, Lloyd Morgan, Varcoe, Monteverdi Ch., E. Bar. Sol., Gardiner

John Nelson gives Bach’s great Mass a highly distinguished DVD début, with a deeply expressive performance, full of life. His soloists, including Daniel Taylor and Joyce DiDonato, are all first rate. Ruth Ziesak sings radiantly and her duet with DiDonato in the Kyrie is an early highlight. The choral group is dominated by the female voices, but the singing in the Gloria, Sanctus, and notably the Osanna is thrilling. Nelson’s tempi cannot be faulted, and the performance moves forward spontaneously to its richly satisfying closing Dona nobis pacem. The authentic-sized orchestra achieves a compromise, playing modern French instruments, and Olivier Simonnet’s video coverage is fully worthy of the performance.

约翰·尼尔森为巴赫的伟大弥撒贡献了首张DVD，其演奏深刻而富有表现力，充满活力。他的独奏家，包括丹尼尔·泰勒和乔伊斯·迪多纳托，都是一流的。露丝·齐萨克的歌声明亮动听，她与迪多纳托合唱的《Kyrie》成为开场亮点。合唱团以女声为主，但《Gloria》、《Sanctus》以及《Osanna》的演唱令人震撼。尼尔森的节奏无可挑剔，演奏自然流畅，最终以令人心满意足的结尾曲《Dona nobis pacem》结束。规模适中的管弦乐队在演奏现代法国乐器方面取得了妥协，而奥利维尔·西蒙内的视频录制也完全配得上这场演出。

On CD, John Eliot Gardiner gives a magnificent account of the B minor Mass, one which attempts to keep within an authentic scale, but which also triumphantly encompasses the work’s grandeur. Gardiner masterfully conveys the majesty (with bells and censer-swinging evoked) simultaneously with a crisply resilient rhythmic pulse. The choral tone is luminous and powerfully projected. The regular solo numbers are taken by choir members, making a cohesive whole. The recording is warmly atmospheric, but not cloudy.

这张CD中，约翰·艾略特·加德纳对B小调弥撒曲进行了精彩的演绎，力求保持作品的原汁原味，同时又完美地展现了作品的宏伟气势。加德纳巧妙地将作品的庄严气势（钟声和香炉摇曳的旋律）与清脆而富有弹性的节奏脉动完美地融合在一起。合唱团的音色明亮而有力。常规的独唱部分由合唱团成员演唱，构成了一个紧密的整体。这张唱片氛围温暖，却不显得浑浊。
（源于Google翻译，始终感觉差点意思）


DVD:
https://115cdn.com/s/swwsby53hq9?password=3377&#
Bach J.S. - Mass Mass in B min., BWV 232 - John Nelson, Ensemble Orchestral de Paris [Virgin DVD9]

CD：
https://115cdn.com/s/swwsbde3hq9?password=3377&#
Bach, J.S. - Cantatas 170, 82 & 159 - Neville Marriner, ASMF, Baker, Shirley-Quirk, Tear [DECCA]等2个文件(夹)

joseph_li

Motets: Singet dem Herrn ein neues Lied, BWV 225; Der Geist hilft unser Schwachheit auf, BWV 226; Jesu, meine Freude, BWV 227; Fürchte dich nicht, ich bin bei dir, BWV 228; Komm, Jesu, Komm!, BWV 229; Lobet den Herrn, alle Heiden, BWV 230; O Jesu Christ, mein Lebens Licht, BWV 118; Ich lasse dich nicht, du segnest mich den, BWV Anh. 159
BIS SACD 1841. Nonoshita, Matsui, Guillon, Mizukoshi, Bach Col. Japan, Masaaki Suzuki

Bach’s Motets, which include some of the greatest music he ever wrote for chorus, have previously been recommended by us in a fine performance by the Stockholm Bach Choir under Harnoncourt. This is one of his best CDs and, beautifully recorded, it is still worth exploring at mid-price (Teldec 0630 17430-2). But the newest collection from Japan is finer still, and it includes also Ich lasse dich nicht, du segnest mich den, BWV Anh. 159 (which was only partly written by Bach, but includes richly complex polyphony which is most appealing) and the sonorous O Jesu Christ, mein Lebens Licht, lavishly scored, alternatively for strings and brass, so making a resonantly sonorous close to the collection. The familiar motets are memorable too, the opening Singet dem Herrn particularly fresh, and Jesu, meine Freude strikingly beautiful. So is the recording, particularly fine using surround sound in the Kobe Shoin Women’s University Chapel in Japan.

巴赫的经文歌，收录了他为合唱创作的一些最伟大的作品，此前我们曾推荐过，由哈农库特指挥的斯德哥尔摩巴赫合唱团演奏。这是他最好的CD之一，录音精美，仍然值得以中等价位欣赏（Teldec 0630 17430-2）。但日本最新推出的合辑更加精彩，其中还收录了《我若不听，你便会唱出我的心声》（BWV Anh. 159）（这首曲子只有部分由巴赫创作，但其丰富的复音非常引人入胜），以及铿锵有力的《哦，耶稣基督，我的生命之光》，这首乐曲的谱曲华丽，弦乐和铜管乐交替演奏，为这张合辑画上了铿锵有力的句号。那些耳熟能详的经文歌也令人难忘，开场的《男人之歌》尤其清新自然，而《耶稣，我的欢乐》则优美动听。录音效果也很好，尤其是在日本神户松阴女子大学礼拜堂使用环绕声录制，效果特别好。

https://115cdn.com/s/swwsbrg3hq9?password=3377&#
Bach, J.S. - Motets - Masaaki Suzuki, Bach Collegium Japan [ BIS 2009 SACD]等2个文件(夹)

joseph_li

卡住两个审核了，

dxs390413

楼主若完成这个贴子，那可是乐友的巨大成就了！
没空间了，眼馋中...
待完成结贴时，买块硬盘支持下

joseph_li

St John Passion, BWV 245
TDK DVD DV-BAJPN. Türk, Midori Suzuki, Blaze, Urano, MacLeod, Bach Col. Japan, Masaaki Suzuki

Recorded in Suntory Hall, Tokyo, on 28 July 2000 – the day marking the 250th anniversary of Bach’s death – this is an outstanding version on DVD of the St John Passion, another tribute to the work of Masaaki Suzuki in Japan. In a brief interview which comes as a supplement, he comments on the intensive training in period performance he undertook in Holland, and this performance consistently demonstrates the vigour and sensitivity of his approach to Bach. The interpretation remains very similar to Suzuki’s earlier CD account on BIS, with fresh, light textures and generally brisk speeds, which yet allow for depth of feeling; and the sense of occasion is irresistible. Only Gerd Türk as the Evangelist is presented as a soloist in front of the choir, giving an achingly beautiful performance, with his profound involvement all the more evident when seen as well as heard. Türk also sings the tenor roles, and the other soloists, all first rate, also have double roles, singing in the sixteen-strong choir (4-4-4-4) before stepping forward when needed as soloists, Stephen MacLeod singing Christus as well as the bass arias, Chiyuki Urano singing Pilate and other incidental solos, Robin Blaze a superb soloist, and the ravishing Midori Suzuki in the two soprano arias.

这张DVD于2000年7月28日（巴赫逝世250周年纪念日）在东京三得利音乐厅录制，是《约翰受难曲》的杰出DVD版本，也是对铃木雅明在日本作品的又一次致敬。在作为补充的简短采访中，他谈到了自己在荷兰接受的时代剧演奏的强化训练，而这次演出始终展现了他演奏巴赫作品的活力和敏锐度。这张CD的诠释与铃木雅明早期在BIS唱片公司发行的CD非常相似，质地清新轻盈，速度通常轻快，却又不失深度，其盛况令人难以抗拒。只有福音传教士格尔德·图尔克在合唱团面前担任独唱，奉献了一场令人心碎的优美演出，他深刻的投入在视觉和听觉上都更加明显。 Türk 还演唱男高音角色，其他独唱演员也都是一流的，他们也扮演双重角色，先在 16 人的合唱团 (4-4-4-4) 中演唱，然后在需要时担任独唱，Stephen MacLeod 演唱 Christus 以及男低音咏叹调，Chiyuki Urano 演唱 Pilate 和其他偶然的独唱，Robin Blaze 是一位出色的独唱演员，而令人着迷的 Midori Suzuki 则演唱两首女高音咏叹调。


St Matthew Passion, BWV 244 (CD version)
image Decca 478 2194 (2). Johannes Chum, Hanno Müller-Brachmann, Christina Landshamer, Marie-Claude Chappuis, Maximilian Schmitt, Thomas Quasthof, Klaus Häger, Leipzig Thomanerchor, Tölz Boys’ Ch., Leipzig GO, Chailly

Riccardo Chailly’s glorious new live account of the St Matthew Passion, recorded in the ideal acoustic of the Leipzig Gewandhaus in 2009, is very recommendable indeed. The balance is excellent, as is immediately shown in the opening double chorus, which has striking but not exaggerated antiphonal separation, and there is an ideally wide range of dynamic between soloists and chorus, so the effect is very real, with a fine bloom on the solo voices. Indeed the soloists sing very beautifully, with Johannes Chum’s dedicated Evangelist standing out. The two great arias in Part II, Marie-Claude Chappuis’s Erbarme dich and Christina Landshamer’s Aus Liebe will mein Heiland sterben (with its delicately played obbligato acompaniment for flute and two oboes da caccia) are movingly beautiful, as indeed are the chorales. Chailly’s pacing is freshly resilient and the refined orchestral playing often has the lightest touch.

里卡多·夏伊（Riccardo Chailly）于2009年在莱比锡布商大厦（Leipzig Gewandhaus）理想的音响效果下录制的《马太受难曲》全新现场版本，非常值得推荐。开场的双合唱部分就体现了极佳的平衡性，其对位分离度惊人却又不夸张。独唱和合唱之间的动态范围非常宽广，效果非常真实，独唱部分也绽放出完美的光彩。独唱部分的歌声确实优美动听，其中约翰内斯·丘姆（Johannes Chum）饰演的《福音传道者》（Evangelist）尤为突出。第二部分中的两首伟大的咏叹调，玛丽-克劳德·查普伊斯（Marie-Claude Chappuis）的《我的爱》（Erbarme dich）和克里斯蒂娜·兰德沙默尔（Christina Landshamer）的《我的爱将属于我的天堂》（Aus Liebe will mein Heiland sterben）（其伴奏由长笛和两支卡恰双簧管伴奏，演奏精妙），以及众赞歌，都美得动人。夏伊的节奏充满新鲜弹性，精致的管弦乐演奏往往带有最轻柔的触感。

DVD：
https://115cdn.com/s/swwsbav3hq9?password=3377&#
Bach J.S. - St.John Passion - Masaaki Suzuki, Bach Collegium Japan [DVD9]

CD：
https://115cdn.com/s/swwsbgx3hq9?password=3377&#
Bach, J.S. - St. John Passion, BWV 245 - Masaaki Suzuki, Bach Collegium Japan [BIS 2020 24-96]等4个文件(夹)
铃木的《约翰受难曲》都推荐了，《马太受难曲》岂可错过？

joseph_li

Chorale Preludes: Ein’ feste Burg ist unser Gott; Komm, süsser Tod; Mein Jesu, was vor Seelenweh. Christmas Oratorio: Sinfonia. English Suite 2 in A min., BWV 807: Bourrée. Fugue in G min., BWV 578 (Little Fugue); Orchestral Suite 3 in D, BWV 1068: Air on the G String. Passacaglia and Fugue in C min., BWV 582; Toccata and Fugue in D min., BWV 565; Violin Partitas: 1 in B min., BWV 1002: Sarabande; 3 in E, BWV 1006: Preludio (with Bonus DVD: DEBUSSY: Prélude à l’après-midi d’un faune)
EMI Legend (ADD) 557758. Symphony O, Stokowski

Stokowski was a conducting phenomenon. Perhaps his very showmanship has in the past overshadowed his reputation as a ‘great’ conductor, but great he certainly was. He moulded his orchestras into the sound he wanted and created great warmth and tension in the strings. The results were often electrifying. In these times, when so-called ‘authenticity’ is paramount, his arrangements of Bach are the antithesis of modern orchestral practice but, taken on their own terms, they remain just as valid and enjoyable as ever, with one marvelling anew at the sheer richness of sound Stokowski created. The American (Capitol) late-1950s recordings of Bach arrangements have tended to be overshadowed by his later, more flamboyant, Decca Phase Four recordings (now, alas, deleted). The earliest versions here were made in 1957, and if the sound, understandably, displays a degree of thinness, it is still remarkably warm and well balanced, and certainly impressive for its time. Stokowski’s brand of lyricism is apparent throughout, with the conductor clearly wallowing in the sheer richness of sound he creates in the quiet numbers (which predominate). They may be inauthentic but are often very moving. The Chorale Preludes are played with great intensity, while in the obvious show-pieces, such as the D minor Toccata and Fugue and the Passacaglia, with their splashes of romantic colour, plenty of electricity is generated. As a DVD bonus we are offered the 1972 film of Debussy’s Prélude à l’après-midi d’un faune, recorded at the Royal Festival Hall, in which Stokowski is a joy to watch – marvellously intense and magical.

斯托科夫斯基是一位杰出的指挥家。或许他过去过于张扬的表演风格掩盖了他“伟大”指挥家的名声，但他的确是一位伟大的指挥家。他将管弦乐队塑造成他想要的音色，并在弦乐中营造出温暖而富有张力的氛围。其效果往往令人振奋。在当今这个所谓的“真实性”至上的时代，他对巴赫作品的改编与现代管弦乐的实践截然相反，但就其本身而言，它们依然一如既往地具有感染力和令人愉悦的魅力，让人再次惊叹于斯托科夫斯基所创造的纯粹而丰富的音色。美国（国会唱片公司）在20世纪50年代末录制的巴赫改编作品，往往被他后期更为华丽的迪卡Phase Four唱片（可惜现已删除）所掩盖。此处最早的版本录制于1957年，如果说声音略显单薄（这是可以理解的），但它仍然非常温暖，平衡性也很好，在当时无疑令人印象深刻。斯托科夫斯基的抒情风格贯穿始终，指挥家显然沉浸在他为那些（占主导地位的）静谧乐段所创造的纯粹丰富的音色之中。这些乐段或许略显生涩，却往往动人心弦。《众赞歌前奏曲》的演奏力度十足，而那些显而易见的代表作，例如D小调托卡塔与赋格以及帕萨卡利亚舞曲，则凭借其浪漫主义色彩的点缀，迸发出澎湃的活力。DVD附赠了1972年德彪西《牧神午后前奏曲》的电影版，该片在皇家节日音乐厅录制，斯托科夫斯基在其中的表演令人赏心悦目——精彩绝伦，充满魔力。

‘Johann, I’m only Dancing’: Brandenburg Concerto 3, BWV 1048; Harpsichord Concerto in F min., BWV 1056: Arioso. Double Violin Concerto in D min., BWV 1043: Largo. (Orchestral) Suite 2 in B min., BWV 1067: Minuet & Badinerie. Cello Suite 6, BWV 1012: Prelude in D. English Suite 3 in A min., BWV 807: Bourrée. Sarabande. Flute Sonatas: in A, BWV 1032: Largo e Dolce; in C, BWV 1033: Allegro; in E min., BWV 1034: Andante. Harpsichord Prelude in G min., BWV 885. Oboe Sonata in G min. BWV 1020; Prelude & Fugue in C min., BWV 847. Toccata in D, BWV 1012. Toccata and Fugue in D min., BWV 565; Violin Partita in E, BWV 1006: Prelude
Red Priest Recordings RP 007. Red Priest (Piers Adams (recorders); Julia Bishop (violin); Angela East (cello); Howard Beach (harpsichord))

A brilliantly and affectingly different collection of transcriptions of favourite Bach movements, at times uniquely exhilarating, at others showing Bach at his most expressively touching, as in the lovely Arioso from BWV 1056, the slow movement of the transcribed Double Violin Concerto and Howard Beach’s delicate solo harpsichord contributions. Piers Adams’s recorder playing is musically dazzling (the Badinerie from the Second Orchestral Suite is uniquely virtuosic) but the other players complete an ensemble which is delightfully fresh and alive, and most effectively balanced. The sleeve-picture might suggest that the group are jazzing up Bach, but they certainly don’t do that; instead they make his music come to life and communicate with wonderful freshness. The recording is admirably vivid and present.

这张唱片汇集了巴赫最受欢迎的乐章，精彩绝伦，令人动容，风格迥异，有时令人振奋，有时则展现了巴赫最动人心弦的表达，例如BWV 1056中优美的咏叹调、改编的双小提琴协奏曲的慢乐章，以及霍华德·比奇精妙的羽管键琴独奏。皮尔斯·亚当斯的竖笛演奏令人目眩神迷（第二管弦乐组曲中的“戏谑”更是技艺精湛），其他演奏家则组成了一支充满活力、令人愉悦的合奏，并且达到了最佳的平衡。唱片封套上的图片或许暗示着乐队正在为巴赫的音乐增添爵士乐的色彩，但他们绝非如此；相反，他们赋予了巴赫音乐生命力，并以绝妙的新鲜感传达着信息。这张唱片生动逼真，令人钦佩。

两张碟都欠奉。
第一张碟手上有一张CALA 的 版本（如下分享），但感觉与描述不一。

第一张封面：



第二张封面：







https://115cdn.com/s/swwsb1w3hq9?password=3377#
Cala - Stokowski - Bach Transcriptions

joseph_li

dxs390413 发表于 2025-6-1 16:44
楼主若完成这个贴子，那可是乐友的巨大成就了！
没空间了，眼馋中...
待完成结贴时，买块硬盘支持下{:4_9 ...

犹豫再三才开这个帖，若无特殊原因，会努力更完，争取半年内，最长一年。

joseph_li

BAKER, Janet (mezzo)
‘The Beloved Mezzo’: BRAHMS: Alto Rhapsody (with John Alldis Choir). WAGNER: Wesendonck-Lieder. R. STRAUSS: Liebeshymnus; Das Rosenband; Ruhe, meine Seele; Muttertändelei (with LPO, Boult). ELGAR: Sea Pictures (with LSO). Dream of Gerontius: Angel’s Farewell (with Choirs, Hallé O). BERLIOZ: Nuits d’été. RAVEL: Shéhérazade (with New Philh. O; all cond. Barbirolli). CHAUSSON: Poème de l’amour et de la mer (with LSO, Previn). MAHLER: Kindertotenlieder; 5 Rückert-Lieder; Lieder eines fahrenden Gesellen (with Hallé O or New Philh. O, Barbirolli); Symphony 2: Urlicht (with CBSO, Rattle). HANDEL: Messiah: He was despised (with ECO, Mackerras). Ah! Crudel nel pianto mio, HWV 478; Armida abbandonata, HWV 105 (with ECO, Leppard). BACH: Cantata 82, Ich habe genug: Schlummert ein (with Bath Festival O, Y. Menuhin); Christmas Oratorio: Bereite dich, Zion. St John Passion: Es ist vollbracht. Bist du bei mir (with ASMF, Marriner). Early English Songs: DOWLAND: Come again, sweet love. CAMPION: Never love again unless you can; Oft have I sighed; If thou longst so much to learn; Fain would I wed (with Robert Spencer, lute). PURCELL: Sleep, Adam, sleep; Lord what is man. BOYCE: Tell me, lovely shepherd. MONRO: My lovely Celia. ARNE: Where the bee sucks (with Martin Isepp (harpsichord), Ambrose Gauntlett (viola da gamba)). Lieder: SCHUBERT: Gretchen am Spinnrade (with Gerald Moore (piano)); Heidenröslein; An die Musik; Die Forelle; Auf dem Wasser zu singen; Du bist die Ruh; Nacht und Träume; An Sylvia. MENDELSSOHN: Neue Liebe; Auf Flügeln des Gesanges; Nachtlied. LISZT: Lorelei; Über allen Gipfeln ist Ruh (with Geoffrey Parsons (piano)). SCHUMANN: Frauenliebe und -Leben, Op. 42 (with Daniel Barenboim (piano))
image EMI (ADD) 2 08087-2 (5)

Indeed Janet Baker was one of the most loved English singers of our time and this admirable anthology covers her key recordings between 1965 and 1980, with the voice staying ever fresh. She had a remarkable communicative ability. As John Steane comments in the booklet which accompanies this set: ‘For those who heard her “in the flesh” the voice commanded immediate attention. If you happened to be looking down at your programme, with the first sung notes you looked up. She had a way of so directing the voice that everybody felt she was singing for them. And she was lucky in being one of those whose recordings preserve a true reflection.’

Whether in English, French or German song, she felt the idiom naturally but there was also a special feeling for Mahler, encouraged by her association with Barbirolli. But others formed serendipitous musical partnerships with her, not least Sir Adrian Boult, whose account of Brahms’s Alto Rhapsody opens this programme arrestingly. She closes with Lieder, the intimacy of which found a special place in her heart, especially when singing with her favourite accompanist, Geoffrey Parsons. Indeed this is a treasurable set, and one can only feel a little disappointed by EMI’s decision not to include translations.

珍妮特·贝克确实是我们这个时代最受喜爱的英国歌手之一，这本令人钦佩的选集涵盖了她1965年至1980年间的重要录音，她的歌声始终保持着鲜活的活力。她拥有非凡的沟通能力。正如约翰·斯蒂恩在随附的小册子中所评论的那样：“对于那些‘亲耳’聆听过她演唱的人来说，她的声音立刻吸引了人们的注意力。如果你正低头看着节目单，当第一个音符响起时，你就会抬起头来。她巧妙地引导着自己的声音，让每个人都感觉她是在为他们演唱。她很幸运，因为她的录音保留了真实的表达。”

无论是英语、法语还是德语歌曲，她都能自然地感受到这些语言的魅力。此外，由于与巴比罗利的合作，她对马勒也怀有特殊的感情。但也有一些人与她结成了偶然的音乐伙伴，其中最著名的是阿德里安·博尔特爵士，他演绎的勃拉姆斯《女高音狂想曲》为这套节目单的开场曲扣人心弦。她以一首抒情艺术歌曲收尾，这首歌的亲切感在她心中占据着特殊的位置，尤其是在与她最喜欢的伴奏者杰弗里·帕森斯一起演唱时。这的确是一套弥足珍贵的曲目，EMI 不收录译作的决定多少让人有些遗憾。（源于Google翻译）

https://115cdn.com/s/swwsotr3hq9?password=3377&#
Baker, Janet - Philips & Decca recordings 1961-1979 (5CD)等3个文件(夹)
推荐的是EMI ICON系列之一，大部分乐友应该都有。另外再分享两个合集。三四星带花她的入选量很多，英国人的原因？