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

joseph_li

Arpeggione Sonata, D.821 (arr. for cello) 《阿佩乔尼奏鸣曲》（大提琴改编版）
Decca (ADD) 475 8239. Rostropovich, Britten – DEBUSSY: Cello Sonata. SCHUMANN: 5 Stücke im Volkston

Though one may accuse Rostropovich of a degree of self-indulgence in his performance of the Arpeggione Sonata, we are completely won over by the artist’s warmth and obvious love for this music. There is great concentration of feeling in this performance from the word go, and the richly atmospheric Decca sound remains superb in this transfer. Indeed, the lilting way in which Britten and Rostropovich treat the rhythms is very infectious and provides both the intimacy of chamber-music playing with the sparkle of a live performance. As for this music itself, it is crammed full of Schubert’s most memorable tunes and is essential listening both for fans of this composer and of chamber music in general. Outstanding couplings too.

尽管有人或指罗斯特罗波维奇在演绎《阿佩乔尼奏鸣曲》时略显自我沉醉，但艺术家洋溢的温情与对音乐赤诚的热爱令人彻底折服。从第一个音符开始，这场演奏便凝聚着深厚的情感张力，而DECCA录音丰沛的氛围感在本次转制中仍保持绝佳品质。布里顿与罗斯特罗波维奇对节奏的弹性处理极具感染力，既保有室内乐演奏的私密性，又闪耀着现场演出的灵动火花。就作品本身而言，这部充满舒伯特最动人旋律的杰作，无论是作曲家乐迷还是室内乐爱好者都不可错过。搭配曲目同样精彩。  


Octet in F, D.803 《F大调八重奏》
Onyx ONYX 4006. Mullova, Moraguèz, Postinghel, Cokri, Chamorro, Krüger, M. Fischer-Dieskau, Stoll

The newest Onyx version of the Schubert Octet is not only the best since the celebrated 1958 Vienna Octet version on Decca, it actually surpasses it. These artists find a greater depth than their predecessors in a work that we all think we know well. There is not only grace, pathos and tenderness here, but also a thoughtful attention to details of phrasing and internal balance. Tempi are generally on the slow side, but the listener’s attention is compelled throughout. Musically a most satisfying and revealing account – and a moving one too, very well recorded indeed.

The Vienna Octet’s earlier (1958) recording on Decca of the Schubert Octet has stood the test of time. It has a magical glow, with the group at its peak under the leadership of Willi Boskovsky. The horn has a Viennese fruitiness which helps to make the performance more authentic. And these fine players never put a foot wrong throughout. The recording betrays its age only in the upper registers but is basically full and modern-sounding. The delightful and unusual Spohr coupling (see below) makes this a fine pairing (Decca 466 580-2 ). This recording is also available on a desirable Double Decca CD, with an equally classic version of the Trout Quintet (with Curzon), the Arpeggione Sonata and the Fantasy for violin and piano (452 393-2 (2)).

Onyx新版舒伯特《八重奏》不仅是继DECCA传奇的1958年维也纳八重奏版之后的最佳版本，实则更胜一筹。艺术家们在这部耳熟能详的作品中挖掘出更深的意蕴，不仅呈现优雅、哀婉与柔情，更以深思熟虑的乐句处理和声部平衡赋予新解。整体速度偏缓却始终扣人心弦，堪称兼具艺术满足感与启发性、且感人至深的演绎，录音效果亦属上乘。  

维也纳八重奏1958年在DECCA的录音版本历经时间考验。在威利·博斯科夫斯基领衔下，乐团巅峰时期的演绎散发着魔力般的光辉。圆号声部典型的维也纳式丰润音色更添地道韵味，各位演奏家全程精准无瑕。录音虽在高频区略显年代感，但整体音质饱满现代。搭配斯波尔冷门而迷人的作品（详见下文）形成绝妙组合（DECCA 466 580-2）。该录音亦收录于DECCA双CD系列，与同样经典的《鳟鱼五重奏》（柯曾参与）、阿佩乔尼奏鸣曲及《小提琴与钢琴幻想曲》共同呈现（452 393-2 (2)）。  


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Schubert & Spohr - Octet - Wiener Oktett [DECCA]等6个文件(夹)
第1张已经在第327楼发过，DECCA双张也包含了该曲目。

joseph_li

(i) Piano Quintet in A (Trout). Moments musicaux, D.780  （i）A大调钢琴五重奏《鳟鱼》；《音乐瞬间》
Decca 458 608-2. András Schiff; (i) with Hagen Qt

András Schiff and the Hagen Quartet give a delectably fresh and youthful reading of the Trout Quintet, full of the joys of spring, but one which is also remarkable for hushed concentration, as in the exceptionally dark and intense account of the opening of the first movement. The Scherzo brings a light, quick and bouncing performance, and there is extra lightness, too, in the other middle movements. This version observes the exposition repeat in the finale, and with such a joyful, brightly pointed performance one welcomes that. The Moments musicaux are also beautifully played by Schiff and very well recorded to make a considerable bonus.

席夫与哈根四重奏联袂呈现的《鳟鱼五重奏》洋溢着令人愉悦的青春气息，如春日般生机盎然。尤为难得的是，他们在首乐章开篇以异常沉郁而强烈的演绎展现出惊人的内敛张力。谐谑曲段落轻盈跃动，中间乐章更添灵动质感。此版完整保留了终曲呈示部反复段落，如此欢快明亮的演绎令人对此设计倍感欣喜。席夫独奏的《音乐瞬间》同样精妙绝伦，出色的录音品质使其成为极具分量的加分项。  


Piano Trios 1–2; Adagio in E flat (Notturno) for Piano Trio, D.897; Sonata in B flat for Piano Trio, D.28
MDG 342 1166-2 (Trio 1); 342 1167-2 (Trio 2; Notturno; Sonata). V. Piano Trio (available separately)

The performances by the Vienna Piano Trio are outstanding in every way. Their playing is wonderfully fresh and spring-like, and the contribution of the pianist, Stefan Mendl, is ear-catchingly crisp. This is true chamber-music-making by a beautifully matched team, dramatic and expressive by turns, with remarkable ongoing spontaneity, yet full of incidental subtleties. The recording is in the demonstration class, perfectly balanced. The two CDs are available separately; the first includes the alternative version of the finale, which Schubert composed first, as an appendix.

维也纳钢琴三重奏的演绎堪称全方位典范。演奏充满令人振奋的新鲜感，钢琴家斯蒂芬·门德尔的表现尤为清脆动人。这支默契组合展现了真正的室内乐精髓，戏剧性与表现力交相辉映，在持续即兴感中暗藏精妙细节。录音堪称示范级，声部平衡完美。两张CD可单独购买，首张收录了舒伯特最初创作的终曲替代版本作为附录。  


String Quintet in C, D.956
Testament mono SBT 2031. Hollywood Qt, with Kurt Reher (with SCHOENBERG: Verklaerte Nacht, with Reher and Dinkin)

The Hollywood Quartet’s 1951 version of Schubert’s magical Quintet ( with Kurt Reher as second cello) stands apart from all others. Over half a century on, its qualities of freshness and poetry, as well as an impeccably confident technical address, still impress as deeply as ever. The coupled 1950 account of Verklaerte Nacht was the first version ever to appear on record in its original sextet form, and arguably it remains unsurpassed and possibly unequalled. This almost flawless performance enjoyed the imprimatur of Schoenberg himself, who supplied the sleeve-note for it (reproduced in the excellent booklet), the only time he ever did so. The sound throughout both works is remarkably good and very musical. This disc is the product of consummate artistry and remains very special indeed.

好莱坞四重奏1951年与第二大提琴手库尔特·雷尔合作的传奇演绎至今无出其右。时隔半个多世纪，其诗意的清新气质与无可挑剔的技术掌控力依然震撼如初。搭配的1950年《升华之夜》更开创历史——这是该作原始六重奏版本的首度录音，至今仍被视作难以超越的巅峰。近乎完美的演绎曾获勋伯格亲自撰文推荐（册页中有原文复刻），这也是作曲家唯一一次为录音撰写解说。两部作品的音质出奇地饱满且富有音乐性，堪称艺术造诣的极致体现，历久弥新。  


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Schubert - Piano Quintet 'The Trout' - Andras Schiff, Hagen Quartet [DECCA]等5个文件(夹)

joseph_li

Alfred Brendel plays and introduces Schubert (on DVD): Volume 1: Piano Sonatas 14 in A min., D.784; 15 in C, D.840; Wanderer Fantasy in C min., D.760
Medici Arts DVD 2057 808
Volume 2: Piano Sonatas 16 in A min., D.845; 17 in D, D.850
Medici Arts DVD 2057 818
Volume 3: Piano Sonata 18 in G, D.894; Impromptus 1–4, D.899; 5–8, D.935
Medici Arts DVD 2057 828
Volume 4: Piano Sonata 19 in C min., D.958; Moments musicaux 1–6, D.780; 3 Klavierstück, D.946
Medici Arts DVD 2057 838
Volume 5: Piano Sonatas 20 in A, D.959; 21 in B flat, D.960
Medici Arts DVD 2057 848

Alfred Brendel has always placed Schubert at the centre of his repertoire, alongside Beethoven. He made his first Schubert LPs in the late 1950s on the Vox and Turnabout labels in the early days of stereo, and these recordings, with their fresh, natural eloquence, remain very recommendable. He recorded second (analogue) and third (digital) cycles for Philips later, and then in 1976/7 presented these late sonatas with thoughtful spoken introductions on TV, via Radio Bremen, throwing much light on their compositional substance and giving his own assessment of the music and its structure. Here they are on five DVDs. The commentary is in German but good translations are provided and in each case the performances follow, separately banded and naturally and forwardly recorded in a sightly resonant ambience.

Brendel tells us that Schubert composed without the aid of a piano keyboard – what he heard was in his imagination. Brendel divides his music into two periods, the second of which begins in 1822 with the Wanderer Fantasy, which transformed piano writing in a quite unprecedented way (notably so in the use of tremolandos, a quite new device). Its bravura demanded exceptional pianistic ability (almost certainly beyond Schubert himself ) and indeed a dynamic range that anticipated a piano of the future. Brendel goes on to stress the importance of the pedal in creating an orchestral effect, demonstrated in the unfinished C major Sonata, D.840, of 1825, the first of three sonatas written during that year.

The A minor, D.845, brings the widest range of emotion and introduces a two-part theme, in Brendel’s words contrasting ‘soloist and chorus’ (almost like a pianistic ‘concertino’ and ‘ripieno’), which he illustrates, and also includes masterly variations on a graceful theme for its slow movement. The D major, D.850, with its disarming opening brings another mellow slow movement marked simply Con moto but which is even more notable for the childlike theme of its finale, ‘a portrait of a child painted by a grown-up’, he suggests.

The G major, D.894, he reflects, demands a poet of the piano, ‘who must be able to create intimacy’. Schumann’s description of the second set of Impromptus as ‘a crypto sonata’, Brendel suggests, was miguided. They are each individually ‘a series of musical adventures’ with sound-painting and atmosphere dissolving into colour with Nos. 2 in A flat and 3 in G flat ( with its Rosamunde theme) especially poetic. He plays them with only a slight pause between them, giving a sense of their being linked.

The last three sonatas, D.958, D.959 and D.960, written in 1828, only weeks before Schubert’s death, are compared with Beethoven’s final three sonatas, and ‘reveal a greater concentration’, as if the composer was aware of the short time he had left to him. The penultimate Sonata in A, D.959, has an ‘unexpectedly bizarre’ and unpredictably rhapsodic first movement and might be compared with Beethoven’s Op. 31/1. Yet all four movements are linked by two key motifs, each a pair of adjacent notes which dominate the texture. The last and greatest sonata of all, 21 in B flat, was written only two months before Schubert’s death. He was sick with typhoid fever, and the magical theme which dominates the first movement has ‘an air of leave-taking’, while the Andante ‘is the most beautiful of all his elegies for the piano’. Brendel plays the work with serene intensity and comments that, in spite of suggestions that at his death Schubert’s imagination still had much more to offer, ‘whether he would have been able to create anything more beautiful than this B flat Sonata is open to question’.

He is photographed simply by the cameras, and the video director, Peter Hamin, plays no visual tricks, focusing either on his personal image or his hands. There are excellent additional notes in the booklet by Jeremy Siepman. Brendel’s later Schubertian style is bolder than Imogen Cooper’s (for instance), vibrant with poetic intensity yet fully concerned with the works’ intellectual depth.

阿尔弗雷德·布伦德尔始终将舒伯特与贝多芬并置于其核心曲目。早在立体声技术初兴的1950年代末，他便为Vox和Turnabout厂牌录制了首批舒伯特黑胶唱片——这些洋溢着自然诗意的录音至今仍值得推荐。此后他为飞利浦灌录了第二（模拟）与第三（数字）录音周期，并于1976/77年间通过不来梅广播电视台，以配有深度解说引言的形式呈现这些晚期奏鸣曲，深刻揭示作品内涵并阐述个人对音乐结构的理解。现以5张DVD形式发行，德语解说附优质译文，每场演奏独立分段，录音在适度混响环境中呈现自然通透的声场。

布伦德尔指出，舒伯特创作时无需钢琴辅助——所有乐思皆源于内心听觉。他将舒伯特钢琴作品划分为两个时期：以1822年《流浪者幻想曲》为第二时期起点，该作以前所未见的方式革新了钢琴语汇（尤其体现在震音这一全新技法的运用）。其炫技性要求超越时代的演奏技巧（甚至可能超出舒伯特本人能力），动态范围更预示了未来钢琴的发展。布伦德尔着重强调延音踏板在营造管弦乐效果中的作用，并以1825年未完成的《C大调奏鸣曲》D.840为例——这是作曲家该年创作的三部奏鸣曲之首。

《a小调奏鸣曲》D.845展现出最丰富的情感跨度，首创"独奏与合唱"对比的双部主题（布伦德尔喻为钢琴版的"主奏部"与"全奏部"），其慢乐章更包含对优雅主题的变奏杰作。而《D大调奏鸣曲》D.850以率真开篇，标记为"Con moto"的醇厚慢乐章尤以终曲童谣主题著称——"成人描绘的孩童肖像"，布伦德尔如是形容。

关于《G大调奏鸣曲》D.894，他认为需要"能营造私密感的钢琴诗人"来演绎。针对舒曼将第二组《即兴曲》称为"隐性奏鸣曲"的说法，布伦德尔提出异议，认为每首都应是独立的"音乐冒险之旅"——降A大调第二首与蕴含《罗莎蒙德》主题的降B大调第三首尤以音画交融的诗意见长。演奏时仅作短暂停顿，以强化作品间的内在关联。

1828年创作的最后三部奏鸣曲（D.958、959、960）被与贝多芬晚期三首奏鸣曲类比，布伦德尔认为它们"展现出更强的凝练度"，仿佛作曲家已预知生命将尽。《A大调奏鸣曲》D.959首乐章"出奇地怪诞"且充满即兴狂想，可比拟贝多芬Op.31/1，但四个乐章皆由两个主导动机贯穿——均为相邻音符构成的音型。而逝世前两月完成的巅峰之作《降B大调奏鸣曲》D.960，首乐章魔法般的主题带着"告别气息"，行板乐章则是"钢琴上最凄美的挽歌"。布伦德尔以沉静而深邃的方式演绎，并指出：尽管有人认为舒伯特逝世时仍有未尽乐思，"但能否创作出比这首降B大调更美的作品，仍是未知数"。

镜头仅以平实视角记录，导演彼得·哈敏摒弃视觉花巧，专注捕捉演奏家神情与手部细节。册页中杰里米·西普曼的补充解说极为精彩。较之伊莫金·库珀等演绎者，布伦德尔的晚期舒伯特诠释更具胆识——在诗性激荡中始终紧扣作品的智性深度。


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Schubert - Alfred Brendel plays and introduces Schubert Works [5DVD9]

5盘已经提示有违规，给个磁链：
magnet:?xt=urn:btih:A6F56D3805992E0C6A45083B387E7E3311DEC6AA

joseph_li

Imogen Cooper on CD: Volume 1: Piano Sonatas 16 in A min., D.845; 17 in D, D.850; 20 in A, D.959; 11 Ecossaises, D.781; 3 Klavierstück, D.946
Avie AV 2156 (2)
Volume 2: Piano Sonatas 18 in G, D.894; 19 in C min., D.958; 16 German Dances, D.783; 4 Impromptus, D.935; 6 Moments musicaux, D.780
Avie AV 2157 (2)

Between 1986 and 1990 Imogen Cooper made a series of outstanding recordings of the later Schubert Piano Sonatas for the Priory/Ottavo label entitled ‘The Last Six Years’. In 2009 she embarked on a new Schubert cycle published by Avie, but this time the performances are recorded live in the Queen Elizabeth Hall and in consequence they are even more spontaneous in feeling. They are also beautifully recorded; indeed the piano could not be more naturally captured, nor the feeling of live music-making conveyed to the listener. She displays a very special feeling for the composer’s lyricism, and the warm colouring and fine shading of timbre are as pleasing to the ear as the many subtle nuances of phrasing, and her bold sonority at higher dynamic levels is particularly satisfying.

On the first disc of Volume 1 the A major Sonata brings a truly Schubertian Andantino, ravishingly gentle in its cantabile variations, contrasting with the sparkling Scherzo and song-like finale. The eleven Ecossaises which follow are more robust miniatures, while most memorable among the three Klavierstück is the second, a Barcarolle in E flat, which stands out for its lyrical charm. On the second disc the A minor Sonata (the first of Schubert’s sonatas to be published) brings an enchanting set of variations (deftly contrasted here), while Imogen Cooper plays the child-like finale of the D major work, with its ‘tick-tock’ accompaniment, with captivating delicacy.

The C minor Sonata, which opens Volume 2, is cast in a key which was special to Beethoven ( who had died the year before) and its great Adagio has a grave beauty which is undoubtedly a tribute to that master. Then the finale trips along in tarantella style which recalls Beethoven’s Sonata, Op. 31/3. By contrast, the opening of the G major Sonata has a mood of calm, opening with a cantabile, questioning main theme, its mood all but echoed in the closing, light-hearted Allegretto. The German Dances are engagingly light-hearted, but the Moments musicaux and four Impromptus show Cooper at her finest and most spontaneous, especially the two pieces in A flat major presenting the composer at his most beguiling.

1986至1990年间，库珀为Priory/Ottavo厂牌录制了题为《最后六年》的舒伯特晚期钢琴奏鸣曲系列，成就斐然。2009年，她为Avie厂牌开启新舒伯特全集录音计划，此次伊丽莎白女王音乐厅的现场录制更赋予演绎以浑然天成的即兴感。录音品质极佳——钢琴音色自然逼真，现场演奏的鲜活气息跃然耳畔。她对舒伯特抒情性的独特感悟令人称绝：温暖的音色层次与细腻的明暗变化，与精妙的乐句处理相得益彰；强奏段落的大胆音响效果尤具震撼力。  

第一卷：首张CD中，《A大调奏鸣曲》的"小行板"乐章尽显舒伯特真髓，如歌变奏段柔情似水，与璀璨的谐谑曲及歌谣风终曲形成绝妙对比。随后的11首《苏格兰舞曲》是更具力量的钢琴小品，而三首《钢琴曲》中最令人难忘的，当属具有抒情魅力的降E大调第二首"船歌"。第二张CD里，《a小调奏鸣曲》（舒伯特首部出版的奏鸣曲）包含一组迷人的变奏（此处对比处理极为精妙），库珀以令人心醉的细腻触键，演绎出《D大调奏鸣曲》终曲乐章"嘀嗒"伴奏下的童真趣味。  

第二卷：以《c小调奏鸣曲》开篇——这个对刚逝世不久的贝多芬具有特殊意义的调性，其庄严的"柔板"乐章无疑是对大师的致敬。终曲采用塔兰泰拉舞曲风格，令人想起贝多芬Op.31/3奏鸣曲。相比之下，《G大调奏鸣曲》开篇以如歌的疑问式主题营造宁静氛围，这种情绪几乎延续至轻松的终曲"小快板"。《德国舞曲》洋溢着欢快情趣，而《音乐瞬间》与四首《即兴曲》则展现库珀最精湛自然的演绎，尤以两首降A大调作品最具蛊惑魅力。  


Piano Sonata 21 in B flat, D.960; Allegretto in C min., D.915; 6 Moments musicaux, D.780
EMI 5 03423-2. Kovacevich

Stephen Kovacevich made a memorable recording of the great B flat major Sonata for Hyperion which (in our 1988 edition) we called ‘one of the most eloquent accounts on record of this sublime sonata’. One could well say the same of the later (1994) EMI version, though, if anything, it explores an even deeper vein of feeling than its predecessor. Indeed, it is the most searching and penetrating account of the work to have appeared in recent years and, given the excellence and truthfulness of the recording, must carry the strongest and most enthusiastic recommendation. For this reissue EMI have added the six Moments musicaux, which he recorded six months later, also at Abbey Road, and which have comparable insights.

斯蒂芬·科瓦谢维奇为Hyperion录制的《降B大调奏鸣曲》（在我们1988年评鉴中）被誉为"这部崇高奏鸣曲最富表现力的录音之一"。其1994年EMI版本在情感挖掘上更为深邃，堪称近年最具洞察力的诠释，加上出色的录音品质，当属最值得力荐的版本。此次再版新增六个月后于艾比路录制的《六首音乐瞬间》，同样充满深刻音乐见解。  


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Schubert - Last Six Years Vol.1-6 - Imogen Cooper [Ottavo]等6个文件(夹)

joseph_li

Rosamunde Overture (Die Zauberharfe), D.644, & Incidental Music, D.797 (complete) 《罗莎蒙德》序曲（《魔竖琴》D.644）及戏剧配乐D.797（全本）
Australian Decca Eloquence (ADD) 466 677-2. Yachmi, V. State O Ch., VPO, Münchinger

Münchinger’s performance of the delightful Rosamunde music glows with an affectionate warmth and understanding which places this as one of his very best records. Sometimes with this conductor, particularly with his own Stuttgart orchestra, he could seem a little stiff and un-spontaneous. But with the VPO it was a different matter (he also, with the same orchestra, made a magnificent recording of Haydn’s Creation, also available on Decca). There is an unforced spontaneity about this performance, as well as strength here, and the 1970s recording is rich and naturally balanced. The vocal numbers are superbly done and the VPO – with its glowing strings – is at its magnificent best.

明欣格执棒维也纳爱乐演绎的《罗莎蒙德》配乐洋溢着深情暖意，堪称其录音生涯的巅峰之作。这位指挥家与亲兵斯图加特乐团合作时偶显拘谨，但与维也纳爱乐的碰撞却迸发出惊人火花（二者合作的海顿《创世纪》同样堪称DECCA经典）。1970年代的录音丰润自然，声部平衡精妙，演奏兼具即兴活力与结构张力。人声段落处理精湛，维也纳爱乐绚丽的弦乐声部更将作品推向极致境界。  


Die schöne Müllerin; Schwanengesang; Winterreise  《美丽的磨坊女》《天鹅之歌》《冬之旅》
DG (ADD) 477 7956 8 (3). Fischer-Dieskau, Moore

Dietrich Fischer-Dieskau and Gerald Moore had each recorded these three great cycles of Schubert several times already before they embarked on this set in 1971–2 as part of DG’s Schubert song series. It was no mere repeat of earlier triumphs. If anything, these performances – notably that of the darkest and greatest of the cycles, Winterreise are even more searching than before, with Moore matching the hushed concentration of the singer, who is in wonderfully fresh voice, in some of the most remarkable playing that even he has put on record.

Collectors wanting to jump in at the deep end might choose instead the 21-disc coverage in Fischer-Dieskau’s monumental survey of nearly all the Schubert Lieder suitable for the male voice. No fewer than 405 songs are included, plus the three cycles above (DG 477 5765).

在1971-72年为DG舒伯特艺术歌曲全集录音前，迪特里希·费舍尔-迪斯考与杰拉尔德·摩尔已多次灌录这三大声乐套曲。此番绝非简单重复——尤其在最深邃的《冬之旅》中，歌唱家处于嗓音黄金期，与钢琴家营造出前所未有的内省张力。摩尔以惊人的默契度配合声乐线条，其钢琴部分甚至超越自身过往录音成就。  

追求极致的收藏家可选择费舍尔-迪斯考21CD大全集（DG 477 5765），涵盖405首适合男声演绎的舒伯特艺术歌曲，外加上述三大套曲。这套纪念碑式的录音，以学术级的考据精神呈现了舒伯特歌曲艺术的完整宇宙。  


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Schubert - Karl Münchinger the Schubert Recordings [DECCA]等4个文件(夹)
第一张雄辩系列没找到，但是传奇系列内容完全一样，还多了其它作曲家的两个小作品。

joseph_li

23 Favourite Lieder, including: An die Musik; An Sylvia; Auf der Bruck; Die Forelle; Du bist die Ruh’; Erlkönig; Das Fischermädchen; Heidenröslein; Lachen und Weinen; Ständchen; Die Taubenpost; Der Wanderer  23首经典艺术歌曲精选（含《致音乐》《致西尔维娅》《在桥上》《鳟鱼》《你是安宁》《魔王》《渔家女》《野玫瑰》《笑与泪》《小夜曲》《信鸽》《流浪者》等）
DG 477 6358. Terfel, Martineau

Bryn Terfel’s disc of Schubert was one of his finest recordings to confirm his exceptional gift for projecting his magnetic personality with keen intensity in Lieder, not just in opera. Terfel emerges as a positive artist, giving strikingly individual and imaginative performances of these 23 favourite songs. As you immediately realize in three favourites, Heidenröslein, An Sylvia and Du bist die Ruh’, Terfel is daring in confronting you face to face, very much as the young Fischer-Dieskau did, using the widest range of dynamic and tone. Full, firm sound.

布莱恩·特菲尔这张舒伯特歌曲集堪称其录音生涯的巅峰之作，充分展现了这位歌唱家在艺术歌曲领域——不仅限于歌剧舞台——传递强烈艺术人格的非凡天赋。23首经典曲目在他极具个性与想象力的诠释下焕发新生：从《野玫瑰》的天真烂漫到《你是安宁》的深邃静谧，特菲尔以近乎挑衅的直面姿态（令人想起年轻时的费舍尔-迪斯考），运用极其丰富的力度与音色变化，构建出震撼的听觉体验。录音饱满坚实，具有极强的临场感。

‘A Schubert Evening’
EMI Gemini (ADD) 5 86251-2 (2). Janet Baker, with Moore or Parsons

This very generous collection combines a pair of recitals recorded by Dame Janet Baker at two different stages in her career, in 1970 and a decade later. The first collection includes a number of comparative rarities, ranging from the delectably comic Epistel to the ominous darkness of Die junge Nonne. With Gerald Moore ( who returned to the studio out of retirement especially for the occasion) still at his finest, this is a hugely satisfying collection. A very high proportion of favourite Schubert songs is included in the second, 1980 group. With a great singer treating each with loving, detailed care the result is a charmer of a recital. Dame Janet’s strongly characterized reading of Die Forelle makes it a fun song, and similarly Parsons’s naughty springing accompaniment to An Sylvia (echoed later by the singer) gives a twinkle to a song that can easily be treated too seriously. One also remembers the ravishing subito piano for the second stanza of An die Musik. There are no texts, but this remains an unmissable reissue.

这张超值合集收录了珍妮特·贝克女爵1970年与1980年两场标志性独唱会。早期录音包含《书信体咏叹》的幽默诙谐与《年轻修女》的阴郁暗涌等冷门佳作，已退休的杰拉尔德·摩尔特意重返录音棚担任钢琴伴奏，贡献了巅峰状态的演奏。1980年场次则荟萃更多经典曲目：贝克对《鳟鱼》充满戏剧张力的处理赋予其鲜活趣味，而帕森斯为《致西尔维娅》设计的灵动钢琴伴奏（与人声形成精妙呼应）则让这首常被过度严肃演绎的作品焕发俏皮光彩。尤其令人难忘的是《致音乐》第二段突然转入的弱音处理，如惊鸿一瞥。虽未附歌词本，这套再版唱片仍属必藏珍品。


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Schubert - An die Musik - Bryn Terfel [DG]等2个文件(夹)

莫听穿林打叶声

这个排行榜推荐的基本都是英国作曲家或英国演奏者或英国唱片公司的作品，但是其中也有些很好的唱片。感谢楼主分享这么大的工程

joseph_li

SCHÜTZ, Heinrich (1585–1672)
(i) Christmas Oratorio (Weihnachtshistorie); (ii) Historia der Auferstehungshistorie（i）《圣诞清唱剧》（圣诞故事）；（ii）《复活故事》
Da Capo 8.226058. (i) Adam Riis, Else Torp, Jakob Bloch Jespersen; (ii) Johan Linderoth; Ars Nova Copenhagen, Concerto Copenhagen, Sirius Viols, Paul Hillier

The splendid Ars Nova Copenhagen, directed by the sensitive Paul Hillier, provide here totally compelling recordings of Schütz’s inspired settings of the Christmas Oratorio and the History of the Resurrection. The Oratorio tells the Christmas story, beginning with Joseph and Mary’s journey to Bethlehem (to be taxed), where Mary ‘brought forth her first-born son in a manger’. The flight into Egypt follows, Herod’s slaughter of the innocents, and the family’s return from Egypt to safety in Nazareth.

Schütz sets the story with touching simplicity as an ongoing narration from the Evangelist (here the infinitely touching tenor, Adam Riis), accompanied by a simple organ continuo. One is gripped by the combination of purity and vividness of the music. The narration is regularly interrupted by eight Intermedia involving an Angel, the Host of Angels, Shepherds, Wise Men, High Priests and Herod. Each has a richly scored accompaniment appropriate to the text. The words of the Shepherds, for instance, are given a pastoral sinfonia featuring a pair of recorders; the High Priests are accompanied by four trombones, and Herod is accompanied by two high trumpets; and the solo singing is very fine, especially the radiant-voiced soprano, Else Torp.

The Resurrection Historia, by contrast, draws on very simple plainsong for its vocal style, and features ten texts continuing the Bible story after the crucifixion, with the anointing of Jesus, the earthquake, the rolling back of the stone, and Mary Magdalene’s meeting with the restored Jesus, whom she does not at first recognize. Schütz’s text tells us that the disciples, too, doubt, even after Jesus has joined them for their supper and later shown his hands and feet. Then, blessing them with the words, ‘Receive ye the Holy Spirit,’ his final command is, ‘If ye remit the sins of anyone, they are remitted, and if ye retain the sins of anyone they are retained,’ and the key Christian teaching is made clear. Schütz then ends his work with an eloquent chorus giving ample thanks to God.

由敏锐的保罗·希利亚尔执棒，卓越的哥本哈根阿森诺瓦合唱团在此呈现了两部许茨杰作的权威录音。《圣诞清唱剧》以约瑟与玛利亚前往伯利恒（为登记户籍）开篇，叙述了圣婴降生马槽、逃往埃及、希律王屠杀婴儿直至重返拿撒勒的完整故事。
许茨以极致的简朴笔法，通过福音师叙述（男高音亚当·里斯令人心碎的演绎）与管风琴通奏低音的配合，将故事娓娓道来。音乐兼具纯净质感与生动叙事性，其间穿插八段"插曲"——天使、天军、牧羊人、智者、祭司长与希律王等角色各具特色：牧羊人段落配以双竖笛营造田园意境；祭司长由四支长号烘托威严；希律王则伴随两支高音小号登场。独唱表现尤为出色，女高音艾尔丝·托普嗓音如晨星般璀璨。
《复活故事》则采用素歌风格，延续了 crucifixion（受难）后的圣经叙事：从膏抹耶稣、地震、墓石滚开，到抹大拉的玛利亚与复活基督的相遇（她最初未能认出）。许茨通过门徒们共进晚餐、查验钉痕等细节，刻画了人类从怀疑到确信的信仰历程。当耶稣宣告"你们受圣灵"并赋予赦罪权柄时，核心教义得以昭示。最终作品在感恩赞歌中升华，以雄辩的合唱将荣耀归于上帝。


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Schutz, Heinrich - Complete Narrative Works - Ars Nova Copenhagen, Paul Hillier [Dacapo]

joseph_li

SCOTT, Cyril (1879–1970)
Aubade, Op. 77; (i) Violin Concerto; (ii) Festival Overture. 3 Symphonic Dances《晨曲》Op.77；（i）小提琴协奏曲；（ii）《节日序曲》；3首交响舞曲
Chan. 10407. BBC PO, Brabbins; with (i) Charlier; (ii) Sheffield Philharmonic Ch.

These are all most persuasive performances, given Chandos’s top-quality recording which makes the Three Symphonic Dances glow with colour and all but lose their capacity to seem over-long. The Festival Overture is more of an atmospheric evocation than an occasional piece, lustrously orchestrated, with the finale suddenly reinforced by organ and chorus. The Violin Concerto is a one-movement, rhapsodical work, elusive structurally, but lyrically appealing. It has a distinctly improvisatory character, which Olivier Charlier and Brabbins catch with admirable spontaneity. But easily the best work here is the Aubade, richly sensuous in its scoring and voluptuous in its manipulation of texture. It is superbly played.

钱多斯唱片公司以顶级录音品质呈现的这组演绎极具说服力——三首《交响舞曲》在绚烂音色的烘托下，甚至消解了原本可能显冗长的结构。《节日序曲》超越应景之作的范畴，以瑰丽配器营造氛围史诗，终曲处管风琴与合唱的突然加入更添壮丽。单乐章结构的《小提琴协奏曲》虽形式自由如狂想，却充满抒情魅力，奥利维耶·夏利埃与布拉宾斯捕捉到其即兴精髓。而《晨曲》无疑是全场焦点：丰沛的感官性配器与绵密织体变化，在顶级演奏中焕发摄人光彩。


(i) Cello Concerto. Symphony 1
Chan. 10452. BBC PO, Brabbins, (i) with Watkins

This is in some ways the most revealing of the issues in Brabbins’s Cyril Scott series for Chandos, with works from opposite ends of his long career, the Symphony No. 1 of 1899 and the Cello Concerto of 1937. The Symphony is more traditional than Scott’s later symphonies, with its clean-cut thematic material. It was written when Scott had been studying in Frankfurt with other British composers of the time, including Quilter, Balfour Gardiner and Grainger. This was before Scott acquired a French flavour in his music, and the result is very attractive. The Cello Concerto, beautifully played with Paul Wakins as soloist, is in a conventional three movements, with the fast outer movements separated by a reflective Pastoral for unaccompanied cello, before the jolly, sparkling finale. A first-rate disc, very well recorded.

作为布拉宾斯斯科特系列中最具启示性的一张，此辑对比呈现作曲家漫长生涯两端之作——1899年《第一交响曲》与1937年《大提琴协奏曲》。交响曲创作于斯科特与奎尔特、鲍尔弗·加迪纳、格兰杰等英国同仁在法兰克福求学时期，主题轮廓分明，较后期交响曲更趋传统，却已显露独特吸引力。大提琴协奏曲采用标准三乐章结构，保罗·沃金斯精湛演绎的独奏大提琴《牧歌》作为沉思性中章，衔接首尾两个欢快闪亮的乐章。录音品质一流。


Piano Concertos 1 in C; 2; Early One Morning (poem for piano & orchestra)
Lyrita (ADD) SRCD 251. Ogdon, LPO, Herrmann

Cyril Scott’s lush First Piano Concerto dates from 1913 and its extravagant style belongs to the pre-war era. Those for whom Scott’s name conjures memories of a piece called Lotus Land might feel that its atmosphere is well expressed by that title. Ogdon and Herrmann make a coherent whole out of Scott’s essentially rhapsodical piece. The Second Concerto dates from Scott’s later years, and although it has undoubted atmosphere, its shifting moods and rhapsodic chromaticism may not suit all tastes. The spirit of Delius is certainly evoked in this work, and it is even more apparent in the poem, Early One Morning. For all one’s reservations, however, Scott’s music has a haunting quality that makes one want to return to it. The composer is splendidly served by his performers here, who create a feeling of spontaneity even when the music itself eddies gently with comparatively little forward movement. The recording, from the mid-1970s, is quite excellent in its CD format.

斯科特1913年创作的《第一钢琴协奏曲》以奢华风格定格战前时代风貌——若您因《莲花乡》知晓作曲家，此作同样弥漫着东方神秘气息。奥格登与赫尔曼将这部本质狂想的作品演绎得浑然一体。《第二协奏曲》属晚期创作，虽氛围独特，但其变幻心绪与半音狂想未必符合所有审美。戴留斯的幽灵在此作中若隐若现，在音诗《清晨》中更为显著。尽管存在审美保留，斯科特音乐中萦绕心头的特质总令人反复聆听。1970年代中期的录音经CD化后仍保有过人品质。


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Scott, Cyril - Cello Concerto & Symphony No.1 - Paul Watkins, Martyn Brabbins, BBC PO [Chandos 24-96]等5个文件(夹)

joseph_li

SCRIABIN, Alexander (1872–1915)
(i) Piano Concerto in F sharp min., Op. 20; (ii) Prometheus (The Poem of Fire), Op. 60; Rêverie; Symphonies Le Poème de l’extase, Op. 54; (iii) 1 in E, Op. 26. 2 in C min., Op. 29; 3 (The Divine Poem), Op. 43i）升f小调钢琴协奏曲，Op.20；（ii）《普罗米修斯》（火之诗），Op.60；《幻想曲》；交响诗《狂喜之诗》，Op.54；（iii）第一交响曲（E大调，Op.26）；第二交响曲（c小调，Op.29）；第三交响曲《神之诗》，Op.43
BIS CD 1669-70 (3). (i) Pöntinen; (ii) Derwinger; (iii) Blom, Magnusson; (ii–iii) Stockholm Philharmonic Ch.; Royal Stockholm PO, Segerstam

Segerstam is very much at home in this repertoire and he gets very good results from this fine orchestra. Both Love Derwinger in Prometheus and Pöntinen in the F sharp minor Concerto are intuitive interpreters of the art nouveau Russian master. BIS offer this as three CDs for the price of two. The recordings come from 1989–91 and enjoy the excellent acoustic of the Stockholm Konserthus.

塞格斯坦对此套曲目驾轻就熟，在他的执棒下，乐团呈现出极佳状态。洛夫·德温格（《普罗米修斯》）与潘提宁（升f小调协奏曲）这两位钢琴家对这位俄罗斯新艺术大师的作品展现出直觉式的领悟力。BIS唱片公司以"三碟价购两碟"的形式发行这套录音，1989–91年间录制于斯德哥尔摩音乐厅的卓越声学环境中。


Piano Music: Allegro appassionato & miscellaneous works; Piano Sonatas 1–10; Études; Impromptus; Mazurkas; Poèmes; Préludes; Waltzes《热情的快板》及杂集；第1–10号钢琴奏鸣曲；练习曲；即兴曲；玛祖卡；音诗；前奏曲；圆舞曲
Cap. AH 193 (8). Lettberg (plus DVD documentary)

The present set encompasses Scriabin’s complete solo piano output, recorded in collaboration with Deutschlandradio Kultur between 2004 and 2007. Maria Lettberg can withstand comparison with the most exalted company. She is completely attuned to the hyper-refined sensibility and ecstatic rapture of Scriabin’s world and, whether it be in the Chopinesque foothills of the Préludes or the mesmeric power of the late Sonatas, she characterizes this repertoire to something like perfection. In addition to the eight CDs there is a DVD entitled ‘Alexander Scriabin: Mysterium’ which includes paintings and animations by Andrea Schmidt and interviews which examine the composer’s musical beliefs and his mysticism. Strongly recommended.

本套装收录斯克里亚宾全部钢琴独奏作品，2004至2007年间与德国文化广播电台合作录制。玛丽亚·莱特伯格的演绎足以比肩任何权威版本——她完全融入了斯克里亚宾高度精微的感官世界与狂喜境界，无论是肖邦式的前奏曲小品，还是晚期奏鸣曲的催眠力量，都近乎完美地诠释了这套曲目的精髓。除8张CD外，套装还包含一张题为《亚历山大·斯克里亚宾：玄秘》的DVD，收录安德烈娅·施密特创作的绘画与动画，以及探讨作曲家音乐理念与神秘主义的访谈。强烈推荐。


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Scriabin, Alexander - Orchestral Works - Leif Segerstam, Royal Stockholm PO [BIS]等5个文件(夹)

joseph_li

SEIBER, Mátyás (1905–60)
3 Fragments from ‘A Portrait of the Artist as a Young Man’ 《青年艺术家肖像》三则片段
Australian Decca Eloquence (ADD) 480 2152. Pears, Dorian Singers, Melos Ens. – SHOSTAKOVICH: Piano Quintet. PROKOFIEV: Quintet in G min.

Seiber’s haunting work here makes its début on CD. He was particularly attracted to Joyce, and enshrined in his Chamber Cantata for speaker, singers and instrumentalists is something of the strange opposition of peace and violence that typifies A Portrait of the Artist as a Young Man. Peter Pears is perfectly cast for the speaker’s part, and the instruments and voices blend magically around his clear and deliberate declamation. There is a haunting beauty in the opening and closing Lento movements; and the dramatic writing, especially the percussion in the central Feroce, is superbly captured in this warmly vivid recording, dating from 1960, but sounding superb in this transfer. A fascinating ‘collector’s piece’ in every way.

这部萦绕心头的作品首度以CD形式面世。塞贝尔对乔伊斯的文学世界有着特殊迷恋，在这部为朗诵者、人声与室内乐团而作的《室内康塔塔》中，他精准捕捉了《青年艺术家肖像》小说里宁静与暴烈的奇异对立。彼得·皮尔斯以极具穿透力的朗诵演绎叙述者角色，器乐与人声在其清晰而克制的吟诵周围交织出魔幻音场。开篇与终章的缓板乐章弥漫着令人难忘的凄美，而戏剧性段落——尤其是"暴烈"乐章中打击乐的运用——在这版录制于1960年却仍鲜活饱满的录音中得到完美呈现。无论从何种角度考量，这都是一张值得珍藏的"典藏级"录音。


这张碟在第605楼已经发过。

joseph_li

SHEPPARD, John (c. 1515–c. 1559)
Aeterne rex altissime; Audivi vocem de coelo; Beata nobis gaudia; Dum transisset Sabbatum (1st & 2nd settings); In manus tuas (2nd & 3rd settings); Gaude, gaude, gaude Maria; Hostis Herodes impie; Impetum fecerunt unanimes; In manus tuas (3rd setting); Libera nos, salva nos (2nd setting); Sacris solemniis; Sancte Dei pretiose; Spiritus Sanctus procedens (2nd setting). Second Service: Magnificat; Nunc dimittis. Te Deum laudamus. Western Wynde Mass第一辑：《永恒至高之王》《我闻天界之声》《圣哉欢庆》《安息日既过》（第一、二版）、《我将灵魂交托》（第二、三版）、《欢欣吧，玛利亚》《希律王之敌》《众心合一》《我将灵魂交托》（第三版）、《解救我们》（第二版）、《神圣庆典》《宝贵圣徒》《圣灵降临》（第二版）；《第二礼拜：尊主颂》《西面颂》《感恩赞》；《西风弥撒》
Hyp. Dyad CDD 22022 (2). The Sixteen, Christophers

Ave maris stella; Cantate Mass. Motets: Deus tuorum militum (1st setting); Filiae Hierusalem, venite; Haec dies; In manus tuas Domine (1st setting); In pace, in idipsum; Iusti in perpetuum vivent; Jesu salvator saeculi, redemptis; Jesu salvator saeculi, verbum; Laudem dicite Deo; Libera nos, salva nos (1st setting); Paschal Kyrie; Reges Tharsis et insulae; Salvator mundi, Domine; Spiritus Sanctus procedens (1st setting); Verbum caro factum est第二辑：《海洋之星》《欢唱弥撒》；经文歌：《汝之战士之神》（第一版）、《耶路撒冷众女子》《此乃主所定之日》《我将灵魂交托》（第一版）、《安然长眠》《义人永生长存》《救世耶稣》《圣言耶稣》《赞美上主》《解救我们》（第一版）、《复活节垂怜曲》《他施诸王》《救世主》《圣灵降临》（第一版）、《道成肉身》
Hyp. Dyad CDD 22021 (2). The Sixteen, Christophers

The first collection listed (CD 22022) is especially attractive as it includes Sheppard’s Western Wynde Mass. However, this is a less elaborate setting of this famous theme than some others, notably that of John Taverner, for until the closing Agnus Dei Sheppard consistently places the melodic line on top, whereas Taverner moves the tune about within the lower parts. Nevertheless, Sheppard’s setting has an appealingly simple beauty, while the extended Te Deum laudamus is even richer in its harmonic progressions.

However, in the past we have given our Rosette to the companion set (CDD 22021), for it includes Sheppard’s glorious six-voiced Cantate Mass, much more complex than Western Wynde and, with its glowingly textured polyphony, surely among his most inspired works. The Sixteen consistently convey the rapturous beauty of Sheppard’s writing, above all in the ethereal passages in the highest register, very characteristic of him. There are not many more beautiful examples of Tudor polyphony than this.

第一辑（CD 22022）因收录谢泼德《西风弥撒》而尤为珍贵。相较于约翰·塔弗纳等作曲家对同一主题的华丽发展，谢泼德的处理更显素朴——直至《羔羊颂》终章前，旋律线条始终居于高声部，而塔弗纳则让主题在低声部游走。然谢泼德版本自有一种简约之美，篇幅宏大的《感恩赞》更以精妙的和声进行见长。

但我们历来将最高荣誉授予第二辑（CDD 22021），因其包含谢泼德壮丽的六声部《欢唱弥撒》。这部作品远比《西风弥撒》复杂，绵密交织的复调织体闪耀着灵性光芒，堪称其巅峰之作。"十六人合唱团"完美呈现了谢泼德音乐中特有的高音区空灵质感，这种令人沉醉的美感，在都铎王朝复调音乐中亦属罕有。


https://115cdn.com/s/sww59j63hq9?password=3377&#
Sheppard, John - Cantate Mass - The Sixteen, Harry Christophers [Hyperion]等2个文件(夹)

joseph_li

SHOSTAKOVICH, Dmitri (1906–75)
Testimony (film, directed by Tony Palmer)《见证》（托尼·帕尔默执导电影）
TP DVD 145. Kingsley, Shrapnel, Rigby, Shirley-Quirk, Golden Age Singers, Chilingirian Qt, Shelley, LPO, Barshai

Described by Films and Filming as ‘the best British film of the year’, Tony Palmer’s study of Shostakovich is typically revelatory. Palmer follows the line presented by the unauthorized biography, Testimony, that the composer was hostile to the Soviet regime, whatever compromises he had to make. Ben Kingsley movingly presents the composer with great sympathy, highlighting Shostakovich’s experiences in the 300-day siege of Leningrad, when human flesh was eaten so as to avoid starvation, though Shostakovich himself did not have to endure that. The snarling of Zhdanov, artistic chief, and the boasting of Stalin are equally well conveyed by John Shrapnel and Terence Rigby respectively. The musical side could hardly be finer, with Rudolf Barshai drawing dramatic playing from the LPO, backed up by the Chilingirian Quartet in the String Quartet No. 8. Six of the symphonies are quoted, notably the Leningrad Symphony with its portrayal of the Nazi invasion in the nagging ostinato of the first movement. Also very effective are the vocal contributions of John Shirley-Quirk and the Golden Age Singers in the quotations from the Symphony No. 13 with its setting of Yevtushenko. A great film, one of the finest that even Tony Palmer has made.

被《电影与拍摄》杂志誉为"年度最佳英国电影"的这部传记片，以争议性传记《见证》为蓝本，揭露作曲家对苏联政权的隐秘反抗——无论他表面作出多少妥协。本·金斯利以动人演技诠释肖斯塔科维奇在列宁格勒围城战期间的经历（虽未亲历食人惨剧，但900天围城仍是其创作底色），约翰·夏普纳饰演的日丹诺夫与特伦斯·里格比饰演的斯大林同样入木三分。音乐部分由鲁道夫·巴尔沙伊指挥伦敦爱乐呈现极致戏剧性，奇林吉里安四重奏演绎的《第八弦乐四重奏》尤为震撼。六部交响曲选段穿插其间，包括《列宁格勒交响曲》第一乐章描绘纳粹入侵的顽固低音主题。约翰·雪利-奎克与黄金时代合唱团献声的《第十三交响曲》（叶甫图申科诗作）同样摄人心魄。这部托尼·帕尔默生涯杰作，堪称音乐传记片的巅峰。


(i–ii) Alone: Suite, Op. 26; (i; iii) The Bolt: Suite, Op. 27a (1934 version); (iv) The Bolt: Suite, Op. 27a (1931 version); (v) Chamber Symphony (String Qt 4), Op. 83a; Chamber Symphony (String Quartet 8), Op. 110a; (vi) Cello Concertos 1–2; Piano Concertos: (i–ii; vii) 1 in C min. for Piano, Trumpet & Strings; (viii–ix) 2 in F, Op. 102; Violin Concertos: (x) 1 in A min., Op. 99; (xi) 2 in C sharp min., Op. 129; (i–ii) The Counterplan: Suite; (viii) Festive Overture, Op. 96; 5 Fragments, Op. 42; Funeral & Triumphal Prelude; (i; iii) The Gadfly (excerpts); (iv) The Golden Age: Suite, Op. 22a; (i–ii) The Great Citizen: Funeral March; (iv) Hamlet: Suite, Op. 32a; (i–ii) Hamlet (excerpts), Op. 116; Jazz Suites 1 & 2; (i; iii) Moscow-Cheryomushki: Suite, Op. 105; (viii) October, Op. 131; (ii; xii) Overture on Russian and Kirghiz Folk Themes, Op. 115; (i–ii) Pirogov: Scherzo & Finale. Sofia Perovskaya: Waltz; (v) Symphony for Strings, Op. 118a; Symphony for Strings & Woodwinds, Op. 73a; (i–ii) Tahiti Trot (Tea for Two); The Tale of the Silly Little Mouse (arr. Cornall), Op. 56; (xiii) The Execution of Stepan Razin; (viii; xiv) The Song of the Forests
（i–ii）《孤独》组曲Op.26；（i; iii）《螺栓》组曲Op.27a（1934版）；（iv）《螺栓》组曲Op.27a（1931版）；（v）《室内交响曲》（基于第四弦乐四重奏Op.83a）、《室内交响曲》（基于第八弦乐四重奏Op.110a）；（vi）《大提琴协奏曲1–2》；（i–ii; vii）《第一钢琴协奏曲》（为钢琴、小号与弦乐）；（viii–ix）《第二钢琴协奏曲Op.102》；（x）《第一小提琴协奏曲Op.99》；（xi）《第二小提琴协奏曲Op.129》；（i–ii）《反阴谋》组曲；（viii）《节日序曲Op.96》；《五首片段Op.42》；《葬礼与凯旋前奏曲》；（i; iii）《牛虻》选段；（iv）《黄金时代》组曲Op.22a；（i–ii）《伟大的公民：葬礼进行曲》；（iv）《哈姆雷特》组曲Op.32a；（i–ii）《哈姆雷特》选段Op.116；《爵士组曲1–2》；（i; iii）《莫斯科-切廖姆什基》组曲Op.105；（viii）《十月Op.131》；（ii; xii）《俄罗斯与吉尔吉斯民歌主题序曲Op.115》；（i–ii）《皮罗戈夫：谐谑曲与终曲》；《索菲娅·佩罗夫斯卡娅：圆舞曲》；（v）《弦乐交响曲Op.118a》；《弦乐与木管交响曲Op.73a》；（i–ii）《塔希提狐步》（《鸳鸯茶》）；（《傻小鼠的故事》Op.56，科纳尔改编）；（xiii）《斯捷潘·拉辛的死刑》；（viii; xiv）《森林之歌》
Decca 475 7431 (9). (i) Chailly; (ii) Concg. O; (iii) Phd. O; (iv) Gothenberg SO, Järvi; (v) COE, Barshai; (vi) H. Schiff, Bav. RSO, Maxim Shostakovich; (vii) Brautigam, Masseurs; (viii) RPO, Ashkenazy; (ix) Ortiz; (x) Mullova, RPO, Previn; (xi) Kremer, Boston SO, Ozawa; (xii) Haitink; (xiii) Vogel, Leipzig Ch. & RSO, Kegel; (xiv) Kotliarov, Storojev, New London Children’s Ch., Brighton Festival Ch.

This feast of Shostakovich includes Chailly’s three famous CDs of ballet and film suites and the supremely delightful Jazz Suites – some of the most appealing music Shostakovich ever wrote. All sorts of intriguing repertoire is here, and Shostakovich’s ready fund of melody and his exotic orchestral palette, spiced with touches of wit, make for a kaleidoscope of memorable vignettes. The Romance from The Gadfly is included (in its original orchestration). Hamlet (there are two versions of the music here) brings music of more pungency and dramatic power, while the composer’s instantaneous and irresistible arrangement of Youmans’s ‘Tea for Two’, the Tahiti Trot, almost upstages everything. One of the most substantial film scores, Alone, brings a wide range of picaresque and touching evocations. Other highlights include the opening number from Moscow-Cheryomushki, which has great energy and élan, and the luscious violins in the Tango from The Bolt are a joy. Chailly plays this repertoire superbly and receives magnificent orchestral playing from both the Concertgebouw and Philadelphia orchestras, with Decca sound to match.

The Cello Concertos with Heinrich Schiff are superbly recorded and the First can hold its own with the finest. The Second is a haunting piece, essentially lyrical; it is gently discursive, sadly whimsical at times, and tinged with smiling melancholy that hides deeper troubles. The (Philips) recording is enormously impressive. There’s a perfectly enjoyable account of the Piano and Trumpet Concerto from Ronald Brautigam and his excellent trumpet partner, Peter Masseurs, vividly accompanied by Chailly. The Second Piano Concerto with Cristina Ortiz is very successful: she gives a sparkling account of the jaunty first movement and brings out the fun and wit in the finale with fluent, finely pointed playing. The First Violin Concerto is disappointing, although it is all very expert; the performance is ultimately routine and wanting in atmosphere. Gidon Kremer’s DG account of the Second Violin Concerto is played with his customary aplomb, but the recording is not really in the demonstration bracket.

The Chamber Symphony is an arrangement for full strings of the Eighth Quartet and the Symphony for Strings is a similar transcription of the Tenth. These are strong performances and are excellently recorded (DG). With two substantial choral rarities – Ashkenazy’s The Song of the Forests (a freshly tuneful and enjoyable work that would have pleased the Soviet authorities) and Kegel’s dramatic (1972) recording of the red-blooded The Execution of Stepan Razin – this bargain set is well worth considering. Texts and translations included.

这套盛宴包含夏伊著名的三张芭蕾/电影组曲录音，以及妙趣横生的《爵士组曲》——肖斯塔科维奇最迷人的创作。从《牛虻》浪漫曲（原始配器版）到双版《哈姆雷特》配乐的辛辣戏剧张力，再到将尤曼斯《鸳鸯茶》改编成炫目《塔希提狐步》的急智，作曲家旋律宝库与异色配器交织成记忆碎片万花筒。《孤独》电影配乐展现流浪汉式悲欢，《莫斯科-切廖姆什基》开场曲迸发蓬勃活力，《螺栓》中的探戈小提琴声部更是醉人。夏伊指挥皇家音乐厅管弦乐团与费城管弦乐团呈现顶级演绎，DECCA录音品质相得益彰。

海因里希·席夫演奏的两部大提琴协奏曲录音堪称典范，《第一号》可媲美任何经典版本，《第二号》则弥漫着忧郁的抒情性，时而戏谑时而微笑的 melancholia（忧郁）下暗藏深渊。罗纳德·布劳提冈与彼得·马瑟斯合作的《钢琴与小号协奏曲》充满火花，克里斯蒂娜·奥尔蒂兹指下的《第二钢琴协奏曲》终章闪耀着俏皮机锋。克雷默演绎的《第二小提琴协奏曲》虽保持一贯水准，但DG录音未能尽显作品层次。

两首基于弦乐四重奏改编的《室内交响曲》（第八、十号）由DG录制，演绎强劲有力。合唱冷门佳作——阿什肯纳齐指挥的《森林之歌》（旋律清新讨喜，深得苏联当局欢心）与凯格尔1972年血气方刚的《斯捷潘·拉辛的死刑》——更使这套超值合集值得珍藏。附歌词译文。

DVD：
https://115cdn.com/s/sww59jf3hq9?password=3377&#
Shostakovich - Testimony - Story Of Shostakovich (Full Film) - Tony Palmer Films.mp4

CD：
https://115cdn.com/s/sww5x6z3hq9?password=3377&#
Shostakovich - Violin Concerto  No.2 & Schumann - Violin Concerto - Gidon Kremer, Seiji Ozawa, Boston SO [DG]等4个文件(夹)

joseph_li

Ballet Suites 1–5; Festive Overture, Op. 96; Katerina Ismailova: Suite芭蕾组曲1-5；《节日序曲》Op.96；《卡捷琳娜·伊兹迈洛娃》组曲
Chan. 7000/2 (2). RSNO, Järvi

This highly entertaining set generally represents Shostakovich in light-hearted, often ironic mood, throwing out bonnes-bouches like fireworks and with a sparkling vividness of orchestral colour. The Ballet Suites were the composer’s way of satirically but anonymously re-using material from earlier works which lay unperformed for political reasons. There are plenty of good tunes. The Fifth Suite draws entirely on music from a 1931 ballet, The Bolt. This is the most extended of the five Suites, offering nearly half an hour of music, full of wry, quirky ideas, typical of the young Shostakovich. The Suite from Katerina Ismailova (‘Lady Macbeth of Mtsensk’) consists of entr’actes which effectively act as emotional links between the scenes, and the writing is both illuminating and characterful. Järvi is entirely at home in all this music and clearly relishes its dry humour. The playing is equally perceptive and full of flair. The recording is spectacular and resonantly wide-ranging in the Chandos manner.

这套充满娱乐性的录音展现了肖斯塔科维奇轻松幽默、常带讽刺的一面，管弦乐色彩如烟花般绚烂夺目。五部芭蕾组曲是作曲家对早年因政治原因遭禁演作品的巧妙"匿名"再利用，旋律丰富迷人。其中《第五组曲》完全取材自1931年芭蕾舞剧《螺栓》，近半小时的音乐充满年轻肖斯塔科维奇标志性的古怪创意。《卡捷琳娜·伊兹迈洛娃》（即《姆钦斯克县的麦克白夫人》）组曲通过幕间曲串联戏剧情感，笔法既深刻又个性鲜明。雅尔维对这套作品驾轻就熟，精准捕捉其中干涩的幽默感，乐团演绎同样充满灵性与洞见。CHANDOS招牌式的录音效果层次分明，动态惊人。


(i) Piano Concertos 1–2; The Unforgettable Year 1919: The Assault on Beautiful Gorky. (ii) The Gadfly: Suite: Barrel Organ Waltz; Romance. (iii) Jazz Suites 1; 2; Waltz 2. Tahiti Trot (Tea for Two)（i）《第一、二钢琴协奏曲》；《难忘的1919年：突袭美丽的高尔基》；（ii）《牛虻》组曲：《手摇风琴圆舞曲》《浪漫曲》；（iii）《爵士组曲1-2》；《第二圆舞曲》；《塔希提狐步》（《鸳鸯茶》）
CfP 382234-2. (i) Alexeev, ECO, Maksymiuk; (ii) ASMF, Marriner; (iii) Phd. O, Jansons

Alexeev recorded the Shostakovich Piano Concertos in the early 1980s and they have become classics of the early digital era. The digital recording is in every way excellent and scores over most of its competitors in clarity and presence. Artistically, Alexeev has more personality than his rivals, and he has the advantage of sensitive and idiomatic support from the ECO and Maksymiuk. Alexeev does not always observe the composer’s dynamic indications, but in nearly every other respect comes closest to both the spirit and letter of the scores (there are two small departures from the score in No. 1, but they are really too trivial to mention). No. 1 is very lively and characterful and No. 2 is the best we have had since Bernstein’s pioneering record. The one-movement concerto from a film score called The Unforgettable Year 1919 is a sort of Soviet Warsaw Concerto, and it is hard not to be swept up by its heart-on-sleeve emotions, and it is very enjoyable. For this reissue, EMI have added Jansons’s sumptuously recorded Jazz Suites and two excerpts from The Gadfly – both works showing the composer at his most irresistibly tuneful.

阿列克谢耶夫1980年代初录制的肖斯塔科维奇钢琴协奏曲已成为早期数字录音时代的经典。其技术优势体现在无与伦比的清晰度与临场感，艺术表现上更以鲜明的个性诠释力压群雄——在马克西缪克指挥英国室内乐团地道的协奏下，他几乎完全忠于乐谱精神（仅《第一协奏曲》有两处微小偏离）。《第一号》演绎鲜活生动，《第二号》则是自伯恩斯坦开创性录音以来的最佳版本。电影配乐《难忘的1919年》中的单乐章协奏曲堪称"苏联版《华沙协奏曲》"，其直抒胸臆的情感极具感染力。EMI此次再版特别增补了扬颂斯指挥的《爵士组曲》与《牛虻》选段，尽显作曲家令人无法抗拒的旋律天赋。


https://115cdn.com/s/sww59jx3hq9?password=3377&#
Shostakovich - Ballet Suites No.1-5 - Neeme Järvi, Royal Scottish National Orchestra [Chandos]等2个文件(夹)

joseph_li

Violin Concerto 2, Op. 129
BBC Legends BBCL 4267. David Oistrakh, LSO, Ormandy (with TCHAIKOVSKY: Violin Concerto; BLISS: Fanfare; LPO, Maxim Shostakovich)

The Second Concerto was written for Oistrakh’s sixtieth birthday but Shostakovich got the wrong date and produced it a year earlier. (He composed another new work for the following year’s sixtieth, the Violin Sonata.) This 1967 Festival Hall performance under Eugene Ormandy was its première in the West, and its freshness and urgency tell. Oistrakh’s playing is thrilling both in this and the Tchaikovsky, recorded in 1972 with the LPO. Well-detailed and vivid sound.

这部为奥伊斯特拉赫60岁生日创作的协奏曲（因记错日期提前一年完成，次年又补写了《小提琴奏鸣曲》）在1967年由奥曼迪指挥、奥伊斯特拉赫主奏的伦敦节日音乐厅演出中完成西方首演。录音捕捉了作品的新鲜感与紧迫性，奥伊斯特拉赫的演奏极具震撼力，1972年与伦敦爱乐合作的柴可夫斯基协奏曲同样精彩。录音细节丰富，音效生动。


Symphonies 1–12; (i) 13; (ii) 14; 15; (iii) Violin Concerto 2, Op. 129; (iv) The Execution of Stepan Razin, Op. 119; The Sun Shines on our Motherland, Op. 90
Melodiya MELCD 10 01065 (11). Moscow PO, Kondrashin; with (i) Eisen, RSFSR Ac. Ch.; (ii) Tselovalnik, Nestorenko; (iii) D. Oistrakh; (iv) Gromadsky

Our last encounter with Kondrashin’s cycle was on 12 boxed LPs, and it remains mandatory listening. The Fourth, its première recording, has wonderful intensity, as indeed does the Eighth, though we prefer Mravinsky’s 1960 broadcast on BBC Legends. (The first movement of the Sixth still strikes us as a bit fast.) But on balance this all has the ring of authenticity that one expects from a conductor who was so closely associated with the composer and who gave the premières of Symphonies 4 and 13.

康德拉辛的肖斯塔科维奇交响曲全集（最初以12盒LP发行）至今仍是权威演绎。其中《第四交响曲》（世界首录）和《第八交响曲》的演绎充满张力（尽管我们更推崇穆拉文斯基1960年BBC传奇录音版），而《第六交响曲》首乐章的速度稍显仓促。整体而言，这套录音具有无可争议的真实性——毕竟康德拉辛是作曲家密友，并首演了《第四》和《第十三》交响曲。


Symphony 1 in F min. (complete, plus rehearsal)
Medici Arts DVD 2072158. Schleswig-Holstein Music Fesival O, Bernstein

As Bernstein says before he begins the rehearsal which goes with this performance, Shostakovich’s First Symphony is a quirky, unpredictable piece which pokes fun at authority with an ‘Up yours’ attitude, yet which begins to falter as its young composer finds himself being taken over by the expressive power of the music he is writing. So this is no ordinary rehearsal. The orchestral players learn much more than they expected about what the composer is trying to convey, and so do we. The performance of the symphony itself has extraordinary power, a palette of colour and revelation of detail far beyond what we hear during an ordinary account. It is also thrilling, marvellously played and very vividly recorded. Bernstein has such a friendly spirit of communication as he unlocks the music’s main secrets that, by watching and listening to this DVD, it is possible to get inside this very remarkable and original work that was its composer’s symphonic début.

正如伯恩斯坦在排练开场时所言，这部作品以古怪、不可预测的笔触嘲弄权威，带着一种“去你的”态度，但随着年轻作曲家逐渐被音乐的表现力吞噬，戏谑开始动摇。这场排练绝非寻常：乐手们（和观众）得以深入理解作曲家的意图。正式演出展现出惊人的力量、丰富的色彩和细节，远超普通版本。伯恩斯坦以亲和力十足的解说揭开音乐的核心奥秘，通过这张DVD，听众能深入这部非凡的“交响处女作”的肌理。


DVD：
https://115cdn.com/s/sww590e3hq9?password=3377&#
Shostakovich - Symphony No.1 - Bernstein, Schleswig-Holstein Music Festival Orchestra [DVD9]
5盘已经报违规，磁链：
magnet:?xt=urn:btih:081405C57ECF643DD388C0BEAA9B7DC613401AA7

CD：
https://115cdn.com/s/sww59043hq9?password=3377&#
Shostakovich - Symphonies etc. - Kirill Kondrashin, Moscow PO [Melodiya]等2个文件(夹)

joseph_li

Symphony 5 in D min., Op. 47
BBC (ADD) BBCL 4169-2. LSO, Stokowski (with VAUGHAN WILLIAMS: Symphony 8)

Stokowski made the first and greatest mono recording of the Shostakovich Fifth on 78s, unforgettable for its intensity of vision, especially in the slow movement. But the present version, recorded live in the Royal Albert Hall in the 1964 Prom season, is its more recent match. It vividly demonstrates that, even in his eighties, Stokowski was unsurpassed in this great work, his own favourite among the series. The biting tensions of the opening are masterfully concentrated with the pure, sinuous lines of the second subject in a performance of exceptional dedication and refinement, with each movement bringing fresh revelations, and the slow movement unforgettable in its lyrical passion. Excellent stereo sound, remarkably vivid for a radio broadcast of the period. The Vaughan Williams coupling is hardly less revelatory.

斯托科夫斯基在78转唱片时代留下的单声道录音（尤其是慢乐章的深刻诠释）至今无出其右，而1964年BBC逍遥音乐节上的这场皇家阿尔伯特音乐厅现场版则堪称其立体声时代的巅峰对应。即便年逾八旬，他对此曲的掌控力仍无人能及——开篇的锐利张力与第二主题的纯净线条形成极致对比，每个乐章都充满新意，慢乐章的抒情激情令人过耳难忘。录音虽是电台广播，立体声效果却出奇鲜活。搭配的沃恩·威廉斯作品同样具有启示性。


Symphony 7 in C (Leningrad), Op. 60
MDG Surround Sound SACD 937 1203-6. Bonn Beethoven O, Kofman

This superbly realistic and spectacular new recording from the unlikely source of the Bonn Beethoven Orchestra rather sweeps the board. Roman Kofman has the full measure of this remarkable work. He builds the famous first-movement ostinato with unremitting concentration into an overwhelming climax, and his reading creates a satisfying combination of passion and irony in the work as a whole, with raptly beautiful playing and great intensity from the strings in the Adagio, and jubilant triumph at the work’s close. The recording is very much in the demonstration class, whether using two speakers or four.

波恩贝多芬乐团（出人意料地）交出了一张横扫榜单的超现实演绎。指挥罗曼·科夫曼完全驾驭了这部巨作：以滴水不漏的张力构建第一乐章著名的"入侵"固定音型，直至排山倒海的高潮；整体演绎完美平衡激情与反讽——弦乐在柔板中的投入令人屏息，终曲的胜利狂欢更震撼人心。录音堪称试机级水准，无论立体声或四声道系统都能尽显其威。


Symphony 8 in C min., Op. 65
BBC (ADD) BBCL 4002-2. Leningrad PO, Mravinsky (with MOZART: Symphony 33 in B flat, K.319)

Mravinsky’s BBC recording comes from the Festival Hall concert given during the Leningrad orchestra’s tour in 1960 at which Shostakovich himself was present. The CD transfer reproduces the occasion with great realism and a wide dynamic range. This reading has tremendous intensity and authenticity of feeling. It comes with a bonus – the first half of the concert, which was given over to an elegant performance of Mozart’s Symphony 33. Even among modern recordings this more than holds its own and the sound is very good indeed. Mandatory listening.

穆拉文斯基1960年率列宁格勒爱乐巡演时的BBC录音（肖斯塔科维奇亲临现场），CD转制以宽广动态还原了历史时刻。演绎充满灼人的强度与本真性，附赠音乐会前半场莫扎特《第33交响曲》的优雅演绎。即便与现代录音相比，此版仍稳居至尊地位，音质出彩，属必听经典。


https://115cdn.com/s/sww590x3hq9?password=3377&#
Shostakovich - Complete Symphonies - Roman Kofman, Beethoven Orchester Bonn [MDG 11 SACD]等5个文件(夹)

joseph_li

Symphony 10 in E min., Op. 93
DG 477 5909. BPO, Karajan

Already in his 1967 recording Karajan had shown that he had the measure of this symphony: this newer version is, if anything, even finer. In the first movement he distils an atmosphere as concentrated as before, bleak and unremitting, while in the Allegro the Berlin Philharmonic leave no doubts as to their peerless virtuosity. Everything is marvellously shaped and proportioned, and the early (1981) digital sound is made firmer by this ‘original-image’-bit reprocessing.

卡拉扬在1967年录音中已展现对此作的深刻理解，而这一新版（1981年录制）更臻完美。首乐章凝聚着荒芜而严酷的张力，柏林爱乐在快板乐章中展现出无与伦比的技巧。整体结构精妙平衡，经"原始比特"技术重制后，早期数字录音的质感更为坚实。


24 Preludes and Fugues, Op. 87
Medici Arts DVD 3085248. Tatiana Nikolayeva

During the Bach bicentenary year in 1950, Shostakovich heard the Forty-Eight played by the young Tatiana Nikolayeva with such admiration that he composed his own Preludes and Fugues for her. Some forty years on, she recorded them in Scotland for BBC Television, and her mastery still shines through. Authoritative performances, well recorded and with discreet, intelligent camerawork, this is a set to cherish. There is a short but admirable feature by the artist, setting out the circumstances of their composition.

1950年巴赫诞辰200周年之际，肖斯塔科维奇被青年钢琴家塔蒂亚娜·尼古拉耶娃演奏的《平均律》震撼，遂为她创作了这套作品。四十年后，尼古拉耶娃在苏格兰为BBC电视台录制的版本仍彰显大师风范——权威演绎配以含蓄而睿智的镜头语言，堪称珍宝。附艺术家亲述创作背景的珍贵短片。


Piano Quintet. Op. 57
Australian Decca Eloquence (ADD) 480 2152. Melos Ens. – PROKOFIEV: Quintet. SEIBER: Portrait of the Artist as a Young Man

Shostakovich’s Piano Quintet, written in 1940, is one of his most deeply moving works. It includes two intensely serious movements, a slow opening prelude and fugue and a slow Intermezzo, alternating with characteristically offbeat movements – a rumbustious Scherzo and a wayward finale. This performance, dating from 1964, may not be the most profound the work has received, but it is very well played and recorded, and is coupled to two other works of great interest.

这部1940年创作的杰作包含两个深邃乐章（庄重的"前奏曲与赋格"开篇与沉郁的"间奏曲"），与典型肖氏风格的谐谑曲（粗犷奔放）和自由不羁的终章交替呈现。1964年这版演绎虽非最深刻，但演奏与录音俱佳，另搭配两部精彩作品更显超值。


DVD：
https://115cdn.com/s/sww5xnj3hq9?password=3377&#
Shostakovich - Preludes and Fugues, Op.87, Book I - Tatiana Nikolayeva.mp4等2个文件

CD：
https://115cdn.com/s/sww5xnr3hq9?password=3377&#
Shostakovich - 24 Preludes and Fugues for Piano - Tatiana Nikolayeva  [Hyperion]等3个文件(夹)
第3张在第698楼已经发过。

joseph_li

SIBELIUS, Jean (1865–1957)
Belshazzar’s Feast, Op. 51: Suite. Canzonetta, Op. 62a; Kuolema: Scene with Cranes; Valse triste, Op. 44/1–2. Night Ride and Sunrise, Op. 55; Pan and Echo, Op. 53a; 2 Pieces, Op. 45; Valse romantique, Op. 62b《伯沙撒王的盛宴》组曲 Op.51；《小坎佐纳》Op.62a；《死神》之《鹤的场景》；《悲伤圆舞曲》Op.44/1–2；《夜骑与日出》Op.55；《潘与回声》Op.53a；两首小品 Op.45；《浪漫圆舞曲》Op.62b
Naxos 8.570763. New Zealand SO, Inkinen

Sibelius’s output is much larger than one may think from the (understandable) repetition of his most famous works. This inexpensive CD shows just how marvellous his lesser-known music is. This is the Finnish conductor Pietari Inkinen’s second Sibelius anthology with the excellent New Zealand orchestra and, for the most part, he again stays off the beaten path. The Canzonetta and Valse romantique are little more than salon pieces, but his delicacy of feeling gives them status. Pan and Echo and the engaging Suite from Belshazzar’s Feast are more substantial and, like the masterly Night Ride and Sunrise, are played with splendid idiomatic feeling. Once again the favourite Valse triste, in its charm, shows just why it is a favourite. First-class recording completes the listener’s pleasure in an anthology that is worth every penny of its modest cost.

西贝柳斯的作品数量远超其经典曲目的重复上演频率。这张平价CD展现了其冷门杰作的魅力。芬兰指挥家皮塔里·因基宁与优秀的新西兰乐团合作的第二张西贝柳斯选集，大多避开了常规曲目。《小坎佐纳》与《浪漫圆舞曲》虽属沙龙小品，却因细腻演绎而焕发光彩；《潘与回声》和《伯沙撒王的盛宴》组曲更具分量，与杰作《夜骑与日出》一样充满地道北欧风情。经典的《悲伤圆舞曲》再次证明其经久不衰的魔力。一流录音为这张超值选集锦上添花。


(i) Belshazzar’s Feast (complete score), Op. 51. The Countess’s Portrait (Grefvinnans konterfej); (ii) Jedermann (Everyman) (incidental music), Op. 83（i）《伯沙撒王的盛宴》全本配乐 Op.51；《伯爵夫人的肖像》；（ii）《凡人》戏剧配乐 Op.83
BIS CD 735. (i) Paasikivi; (ii) Lehto, Tiilikainen, Pietiläinen, Lahti Chamber Ch.; Lahti SO, Vänskä

The incidental music to Hugo von Hofmannsthal’s morality play, Everyman, is fragmentary, wisps of sound; all of it is atmospheric and the best of it (the Largo section from track 12 onwards) finds Sibelius at his most inspired. The complete score for Hjalmar Procopé’s Belshazzar’s Feast brings us some seven minutes of extra music. The scoring is different from and less effective than the concert suite. Grefvinnans konterfej (The Countess’s Portrait) is a short, wistful piece for strings which comes from 1906. Dedicated, sensitive performances from the Lahti Symphony Orchestra, and excellent recording. An indispensable disc for all Sibelians.

为霍夫曼斯塔尔道德剧《凡人》创作的配乐如缥缈音丝，最精华段落（第12轨起的广板）尽显西贝柳斯的灵感巅峰。《伯沙撒王的盛宴》全本比音乐会组曲多出7分钟音乐，但配器效果稍逊。1906年创作的弦乐小品《伯爵夫人的肖像》忧郁而短小精悍。拉赫蒂交响乐团的演绎兼具奉献精神与敏感度，录音出色。西贝柳斯乐迷必备。


Violin Concerto in D min., Op. 47
Sony SMK 89748. Cho-Liang Lin, Philh. O, Salonen – NIELSEN: Violin Concerto

Cho-Liang Lin’s playing is distinguished not only by flawless intonation and an apparently effortless virtuosity but also by great artistry. He produces a glorious sonority at the opening, and the slow movement has tenderness, warmth and yet restraint, with not a hint of over-heated emotions. Lin encompasses the extrovert brilliance of the finale and the bravura of the cadenza with real mastery. The Philharmonia Orchestra rises to the occasion under Esa-Pekka Salonen and the recording is first class.

林昭亮不仅以精准音准和举重若轻的技巧见长，更展现出非凡的艺术性。开篇音色辉煌，慢乐章温情而克制，毫无滥情之嫌。终曲的炫技华彩与豪迈气质被他完美驾驭。萨洛宁指挥下的爱乐乐团表现上乘，录音属顶级水准。


https://115cdn.com/s/swwv3sg3hq9?password=3377&#
Sibelius - Jedermann, Belshazzar's Feast, Countess's Portrait - Lahti SO, Osmo Vänskä [BIS]等2个文件(夹)
第3张在第656楼已经发过

joseph_li

The Bard, Op. 64; En Saga, Op. 9; The Oceanides, Op. 73; Pohjola’s Daughter, Op. 49; Tapiola, Op. 112《诗人》（作品64）；《传奇》（作品9）；《海洋女神》（作品73）；《波赫约拉的女儿》（作品49）；《塔皮奥拉》（作品112）
BIS CD 1283. Lahti SO, Vänskä

RCA’s set of the Sibelius tone-poems with Sir Colin Davis and the LSO are in a special class, as indeed is Karajan’s magisterial and definitive Tapiola on DG; but, as with so many records by the major companies, one can never be sure if they are in currency and, if they are, how long they will survive in the catalogue. BIS never delete anything and Osmo Vänskä and the Lahti orchestra are authoritative interpreters who convey the atmosphere and mystery of these extraordinary scores. They are magnificently recorded too and, though Vänskä exaggerates pianissimo markings, they are a sound recommendation.

RCA发行的西贝柳斯交响诗全集由科林·戴维斯爵士指挥伦敦交响乐团演绎，堪称独树一帜；DG唱片中卡拉扬权威而典范的《塔皮奥拉》同样如此。但与大厂牌诸多录音一样，乐迷永远无法确定这些唱片是否仍在流通，即便在售也不知能留存目录多久。BIS唱片从不下架作品，而奥斯莫·万斯卡与拉蒂交响乐团作为权威诠释者，完美传递了这些非凡乐谱的意境与神秘感。其录音效果亦属顶级——尽管万斯卡对弱音标记的处理略显夸张，这套录音仍值得强力推荐。


Symphonies 1 in E min., Op. 39; 2 in D, Op. 43; 5 in E flat, Op. 82; 7 in C, Op. 105 (DVD version)
Unitel Classica DVD 702208 (2). VPO, Bernstein (DVD Director: Humphrey Burton)

These are among the very finest DVD recordings Leonard Bernstein made in America and Europe to climax his career. They date from 1988 (Nos. 2 and 5), 1990 (No. 7) and 1991 (No. 1, with which he identifies completely). This is the most passionately intense performance of all, quite unsurpassed in every respect. It opens with the most haunting clarinet solo, beautifully played, which Bernstein then follows by building to an overwhelming climax. The timpani in echoing the main theme dominates the first movement’s Allegro energico. The Andante is utterly Sibelian in colour and feeling, and the climax of the great lyrical tune of the finale is unforgettable.

Bernstein’s comment that ‘There’s more to a Sibelius symphony than just nationalism, the special fascination of this music comes from the suspense in its construction’, is borne out fully in his account of the Second Symphony, which with its richly scored opening and intensely felt and flexible Tempo andante, ma rubato then races through the Scherzo and builds to the increasingly magnificent climaxes of the finale. When that great climbing tune first appears, Bernstein’s facial expression bursts into unrestrained joy, as if he’s saying, ‘This is what we have been waiting for.’ And the tension is maintained in the interludes which move the music along between the increasingly powerful appearances of the main theme. The coda is overwhelming. Incidentally, Sibelius once criticized young contemporary composers for not using the bass of the orchestra adequately. Here he underpins everything on a richly resonant bass, whether on strings, brass (and especially the tuba) or even the timpani.

这些是伦纳德·伯恩斯坦职业生涯巅峰时期在欧美录制的顶级DVD作品，包括1988年（第二、第五）、1990年（第七）和1991年（第一交响曲，他对此作倾注了全部认同）的演出。其中《第一交响曲》的演绎充满澎湃激情，堪称无与伦比：开场单簧管独奏如泣如诉，伯恩斯坦随后构筑出震撼高潮。定音鼓对主旋律的呼应贯穿第一乐章"有力的快板"；行板乐章完美呈现西贝柳斯式的音色与情感；终乐章宏伟抒情旋律的爆发令人永难忘怀。

伯恩斯坦曾评论："西贝柳斯交响曲超越民族主义，其魅力在于结构中的悬疑感"，这一理念在《第二交响曲》演绎中充分体现：从织体丰厚的开端到自由速度处理的深情行板，再到谐谑曲的疾驰，最终导向终乐章层层递进的壮丽高潮。当那段攀升的主题首次浮现时，指挥家脸上迸发出毫不掩饰的狂喜，仿佛在宣告"这正是我们期待的瞬间"。穿插段落始终保持着推进张力，主旋律每次再现都更具威力，尾声更是排山倒海。值得一提的是，西贝柳斯曾批评年轻作曲家未能善用低音声部——此处无论是弦乐、铜管（特别是大号）还是定音鼓，所有声响都构筑在浑厚的低音根基之上。


Symphonies 1–7; Finlandia, Op. 26; Karelia Suite, Op. 11; Kuolema: Valse triste, Op. 44/1; Legend: The Swan of Tuonela, Op. 22/2; Rakastava, Op. 14; Tapiola, Op. 112《交响曲1-7》；《芬兰颂》（作品26）；《卡累利亚组曲》（作品11）；《库奥莱马：悲伤圆舞曲》（作品44/1）；《传奇：图翁涅拉的天鹅》（作品22/2）；《恋歌》（作品14）；《塔皮奥拉》（作品112）
Exton OVCL-00279 (Symphonies 1 & 3; Rakastava); OVCL 00292 (Symphony 2; Swan of Tuonela; Tapiola); OVCL 00282 (Symphonies 4 & 5; Finlandia); OVCL 00293 (Symphonies 6 & 7; Karelia Suite; Valse triste); discs available separately. Royal Stockholm PO, Ashkenazy

Hitherto we have recommended Sir Colin Davis’s splendid RCA seven-disc bargain box with the LSO for a complete coverage of the symphonies plus key orchestral works, and this remains very compelling. The excellence of the LSO playing is matched by consistently fine RCA recording (82876 55706-2). But now, for those willing to pay rather more for four full-priced CDs, there is an even more recommendable coverage, with the additional advantage that all four discs are available separately. These performances come from a cycle Vladimir Ashkenazy gave in Stockholm in 2006–7, and very impressive they are. Ashkenazy has a pretty unerring feeling for the inner pulse of Sibelius. The opulence of the First and Second Symphonies is caught superbly; by comparison, the tonal palette of the Third is lithe and muscular and powerful in its movement towards classicism. The Fourth, too, is an intense and powerful reading which casts a remarkable spell. The desolate closing paragraphs of the finale, with the repeated oboe phrase ( which Sibelius once told his son-in-law, the conductor Jüssi Jalas, represented Peter’s thrice denial of Christ), are portrayed with real eloquence. The Fifth has a sense of mystery and the majestic breadth required, and he handles the transition into the Scherzo section of the first movement with impressive control. The Sixth and Seventh are hardly less masterly. Rakastava occupies a very special place in all Sibelius for its purity and sense of innocence, and Ashkenazy plays it with great feeling and restraint. For many collectors the extremely vivid and natural sound of this Stockholm recording will be a decisive factor: it has great presence and realism. But Ashkenazy and his orchestra penetrate the spirit of all these wonderful scores.

我们曾推荐科林·戴维斯爵士与LSO在RCA的七碟超值套装（82876 55706-2），其交响曲全集与核心管弦乐演绎依然极具竞争力，LSO的演奏与RCA优质录音相得益彰。但如今，对于愿意为四张正价CD买单的乐迷，出现了更值得推荐的选择——这套由弗拉基米尔·阿什肯纳齐2006-07年斯德哥尔摩演出季录制的全集不仅可分拆购买，整体表现更令人惊叹。阿什肯纳齐对西贝柳斯音乐内在律动的把握近乎完美：《第一》《第二交响曲》的华丽音色被极致呈现；相比之下，《第三交响曲》的音色处理精瘦有力，展现出向古典主义推进的强大动能；《第四交响曲》的演绎则充满张力，末乐章尾声处双簧管反复乐句（西贝柳斯曾告知女婿尤西·亚拉斯指挥，这象征彼得三次否认基督）的荒凉意境被表现得极具说服力。《第五交响曲》兼具神秘感与恢弘气度，首乐章向谐谑曲过渡的处理展现出惊人控制力。《第六》《第七交响曲》同样堪称大师手笔。《恋歌》以其纯净天真在西贝柳斯作品中独树一帜，阿什肯纳齐的演绎充满克制而深邃的情感。对许多收藏者而言，斯德哥尔摩录音极其生动自然的音效将是决定性因素——它具有极强的临场感与真实度。阿什肯纳齐与乐团真正触及了所有这些伟大作品的灵魂。


DVD：
https://115cdn.com/s/swwv3ql3hq9?password=3377&#
Sibelius - Symphonie No.1, 2, 5, 7 - Bernstein, VPO [DVD9]
磁链：magnet:?xt=urn:btih:06C8B44E55649FEE570423DD93BBD5A90CE03AE1

CD：
https://115cdn.com/s/swwv3l33hq9?password=3377&#
Sibelius - Finlandia, Valse Triste. Tapiola. The Swan Of Tuonela - Karajan, BPO [DG SACD]等6个文件(夹)
第1张原文碟号有误。Exton厂牌交响曲全集没找到。
卡拉扬60年代的交响诗组曲三四星带花。

joseph_li

Symphonies 1 in E min., Op. 39; 4 in A min., Op. 63
LSO Live SACD LSO0601. LSO, C. Davis

Colin Davis’s accounts of the First and Fourth Symphonies come from 2006 and 2008 and were recorded at the Barbican Centre. Sir Colin has always been a particularly thoughtful interpreter of the Fourth and we recall hearing him conducting it with great natural authority when he was with the BBC Scottish Orchestra in the 1960s. His reading has deepened over the years and is much broader in tempo and more profound in feeling. The Fourth was always one of the triumphs of his Boston survey on Philips. Along with the 1937 Beecham and the 1954 Karajan/Philharmonia set on Columbia, which earned the composer’s imprimatur, it was one of the most inward and searching readings he had then committed to disc. The present reading runs to a little under 40 minutes and has an even greater sense of breadth than his 1994 account on RCA. Sir Colin allows himself more space, but there is even more imaginative and poetic depth. He takes us completely inside this world; we become enveloped by it and feel we inhabit it. The First Symphony, too, has all the ardour and excitement of his earlier recordings. In short, Sibelius conducting of real stature, to which the LSO respond wholeheartedly.

科林·戴维斯爵士对第一、第四交响曲的诠释分别录制于2006年和2008年的巴比肯艺术中心。这位指挥家对《第四交响曲》的解读始终充满哲思——我们仍记得1960年代他指挥BBC苏格兰交响乐团时展现出的浑然天成的权威感。经年沉淀后，其演绎速度更为舒缓，情感层次愈发深邃。这部作品曾是其飞利浦唱片波士顿系列的高光时刻，与比彻姆1937年版、卡拉扬1954年哥伦比亚唱片版（获作曲家首肯）并列成为唱片史上最富内省精神的演绎之一。本版时长近40分钟，比其1994年RCA录音更显恢弘气度。戴维斯赋予乐曲更从容的呼吸空间，同时注入更丰富的诗意想象，令人完全沉浸于西贝柳斯的音画世界。《第一交响曲》同样延续了他早期录音中的炽热激情。简言之，这是与LSO完美配合的标杆级西贝柳斯诠释。


Symphony 2 in D, Op. 43
Naxos mono 8.111290. Boston SO, Koussevitzky ( with GRIEG: The Last Spring) – PROKOFIEV: Peter and the Wolf

Taped during his last recording sessions in November 1950, Koussevitzky’s performance of Sibelius’s Symphony No. 2 is given with an electricity that transcends studio conditions, yet has great colour and emotional intensity. As a bonne bouche there is a rapt and expressive account of Grieg’s The Last Spring, notable for the warmth and intensity of the Boston strings. No wonder one critic spoke of them as one of the glories of Western civlization!

库塞维茨基1950年11月最后录音期留下的这部《第二交响曲》，其迸发的生命力超越了录音室局限，兼具绚烂色彩与情感张力。作为加演曲目的格里格《最后的春天》同样令人沉醉，波士顿交响乐团弦乐声部的温暖浓情堪称西方文明瑰宝——乐评人此誉诚不我欺。


Symphonies (i) 2 in D, Op. 43; (ii) 5 in E flat, Op. 82
Testament SBT 1418. (i) RPO; (ii) Hallé O; Barbirolli

Two of the finest Sibelius performances that Sir John ever recorded. The inspired Second with the RPO on top form, produced by the legendary Charles Gerhardt, comes from 1962 and was recorded in the admirable acoustics of Walthamstow Town Hall. This was previously issued for Reader’s Digest and was subsequently released on RCA. The Fifth, on the other hand, is not the commercial recording he made for EMI but a Prom recorded in the Royal Albert Hall in August 1968.

巴比罗利爵士唱片遗产中最杰出的西贝柳斯演绎。1962年与RPO合作的《第二交响曲》由传奇制作人查尔斯·格哈德操刀，在沃尔瑟姆斯托市政厅卓越声学环境中录制，最初为《读者文摘》发行后由RCA再版。而1968年8月皇家阿尔伯特音乐厅逍遥音乐节现场版的《第五交响曲》，则比其EMI商业录音更具生命力。


https://115cdn.com/s/swwv3403hq9?password=3377&#
Sibelius Symphonies & orchestral works - John Barbirolli, Halle Orchestra [EMI]等8个文件(夹)
第2张在第696楼发过。第三张没找到。