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

joseph_li

TAVENER, John (born 1944)
(i) The Protecting Veil; (ii–iii) The Last Sleep of the Virgin; (iv–v) Angels; Annunciation; The Lament of the Mother of God; (iv; vi) Hymns of Paradise; God is with us; (iii–iv; vi) Thunder entered her（i）《护佑之纱》；（ii–iii）《圣母最后安眠》；（iv–v）《天使》；《圣母领报》；《圣母哀歌》；（iv；vi）《天堂圣咏》；《神与我们同在》；（iii–iv；vi）《雷霆入她心》
EMI 2-CD 2 37691-2. (i) Isserlis, LSO, Rozhdestvensky; (ii) Chilingirian Qt; (iii) Simcock (handbells); (iv) Winchester Cathedral Ch., Hill; (v) Kingelborg; (vi) Kendall

This EMI Double joins Steven Isserlis’s outstanding account of The Protecting Veil to a choral collection. David Hill conducts the Winchester Cathedral Choir with David Dunnett at the organ, all very atmospherically recorded. Though some of the longer and more meditative pieces rather outstay their welcome, each one presents a sharply definitive vision, culminating in a magnificent Christmas proclamation, ‘God is with us.’ ‘Quiet and intensely fragile’ is Tavener’s guide to performances of the bonus item here, The Last Sleep of the Virgin.

这套EMI双碟将史蒂文·伊瑟利斯震撼演绎的《护佑之纱》与合唱作品集萃合二为一。大卫·希尔指挥温彻斯特大教堂合唱团，管风琴手大卫·邓内特倾力协作，录音氛围感极佳。尽管某些较长冥想性曲目略显冗长，但每首都呈现鲜明的艺术图景，最终以恢宏的圣诞宣言《神与我们同在》达到高潮。作为附加曲目的《圣母最后安眠》，塔文纳本人标注演出需"静谧而极致脆弱"。  


Ex Maria Virgine (A Christmas Sequence for Choir & Organ) 《童贞女玛利亚》（为合唱与管风琴而作的圣诞组曲）
Naxos 8.572168. Clare College, Cambridge, Ch., Timothy Brown; McVinnie or Jacobs (organ)

This makes an ideal CD for those collectors who are unfamiliar with Tavener’s music, for it covers the full range of his diverse choral writing, and indeed his imaginative organ effects. The title work, Ex Maria Virgine, was dedicated to Prince Charles and Camilla on their marriage. It has ten sections, displaying much choral variety, throbbing to ‘Nowell! Out of your sleep’, producing a chorale lullaby for ‘Sweet was the song’, vigorously extolling the ‘King of the Angels’ in Ave Rex Angelorum, then ‘Ding-donging merrily on high’, before gently ‘Rocking’ Mary’s babe to sleep. Unto us is born a son is both peaceful and fiercely triumphant, while Verbum caro plangently rises to a glorious close. The other motets here picture the Nativity, move radiantly through O Thou Gentle Light, closing with a portrayal of the Angels, set among delicate organ filigree. Throughout, the singing of Clare College Choir under Timothy Brown rises richly (and falls meditatively) for every occasion, and the two organists, James McVinnie and Simon Thomas Jacobs, make the very most of their many opportunities. Much of this music shows the co mposer at his most inspired, and the recording, produced by John Rutter in Norwich Cathedral, is outstandingly fine.

此专辑堪称塔文纳新听众的理想入门之选，全面展现其多元合唱创作与管风琴音效想象力。标题曲《童贞玛利亚》系为查尔斯王子与卡米拉大婚所作，十个乐章合唱变化丰富：从"醒来吧！诺埃尔"的脉动到"甜蜜之歌"的摇篮曲式众赞歌，从《天使之王颂》的激昂赞颂到"叮咚欢鸣"的钟声，终以轻柔《摇婴曲》收尾。《圣子降生》兼具宁静与凯旋，《道成肉身》哀婉攀升至辉煌终章。其他经文歌或以细腻管风琴装饰音描绘天使群像，或借《温柔之光》铺展璀璨音画。蒂莫西·布朗指挥克莱尔学院合唱团的演唱时而丰沛激昂，时而冥思低回，管风琴师詹姆斯·麦克文尼与西蒙·托马斯·雅各布斯更将乐器表现力发挥到极致。约翰·卢特在诺里奇大教堂监制的录音堪称典范。  


Requiem; Eternal Memory; Mahãshakti  《安魂曲》；《永恒记忆》；《大能女神》
EMI 50999-2 35134-2. Palmer, Knight, Thomas, Kennedy, RLPO & Ch, Petrenko

John Tavener’s second setting of the Requiem, commissioned to celebrate Liverpool as the European City of Culture in 2008, is the more moving when the composer had been told he was under sentence of death through persistent ill-health. He explains his theme, quoting the idea, ‘Our glory lies where we cease to exist,’ thinking to write about the after-life. The result is a characteristic example of Tavener’s ‘spiritual minimalism’, with evocative choruses and repeated mantras for the soprano in ostinato above the choir. Various movements echo those in the traditional Requiem, the Kyrie following the opening-movement Primordial White Light and Kali’s Dance which is the equivalent to the traditional Dies irae in its bite. The closing movement, Ananda, rounds the work off in a moving crescendo of choral sound, finally fading to nothing.

Mahãshakti is for solo violin, tam-tam and strings and is also highly evocative in its celebration of celestial feminine energy; and Eternal Memory is a deep meditation on the memory of death, including a brisk passage for solo strings. Excellent sound, though the chorus could be a little closer. Performances otherwise are first rate from soloists, chorus and orchestra under the inspired direction of Vasily Petrenko.

塔文纳第二部《安魂曲》受命为2008年利物浦"欧洲文化之都"庆典而作，当作曲家自知病重难愈时完成，更显悲怆。他援引"荣光存在于消亡之处"的理念，试图书写彼岸世界。作品延续其标志性"灵性极简主义"风格，合唱氛围深邃，女高音固定音型如诵经般盘旋于声部之上。各乐章对应传统安魂曲结构：《原始白光》与象征《震怒之日》的《迦利之舞》后，《慈悲经》接踵而至。终章《极乐》以渐强的合唱浪潮推向高潮，最终归于寂灭。  

《大能女神》为独奏小提琴、铜锣与弦乐而作，歌颂神圣女性能量的意象极为鲜明；《永恒记忆》则是关于死亡冥想的深沉之作，内含独奏弦乐的急促段落。尽管合唱声部可更靠前，但在瓦西里·佩特连科充满灵感的指挥下，独奏家、合唱团与乐团的演绎皆属一流，录音效果出色。


https://115cdn.com/s/swwvt6b3hq9?password=3377&#
Tavener, John - Requiem - Vasily Petrenko, Royal Liverpool PO; Palmer, Knight, Thomas [EMI]等3个文件(夹)

joseph_li

TAVERNER, John (c. 1495–1545)
Missa Corona spinea. Motets: Gaude plurium; In pace  《荆棘冠冕弥撒》；经文歌：《普世欢庆》；《于平安中》
Hyp. Helios CDH 55051. The Sixteen, Christophers

The Sixteen, using professional singers (and secure female trebles), are magnificent and they sing gloriously throughout. Taverner’s inspiration is consistent and his flowing melismas are radiantly realized, with fine support from the lower voices; indeed, the balance and blend are nigh on perfect. The two motets are no less beautifully sung, and the recording, made in St Jude’s Church, Hampstead, is outstanding both in clarity and in its perfectly judged ambience. A superb disc and an astonishing bargain.

由十六人合唱团（采用专业歌手与稳定的女童高音）呈现的演绎堪称辉煌，自始至终散发着璀璨光芒。塔弗纳连绵不断的旋律灵感与华丽的花唱段落得到完美展现，低声部的支撑尤为出色，声部平衡与融合近乎完美。两首经文歌的演唱同样优美绝伦。录制于伦敦汉普斯特德圣犹达教堂的录音，兼具惊人的清晰度与恰到好处的空间感。这张堪称艺术瑰宝的唱片更以超值价格面世。  


Mass: The Western Wynde; Alleluia, Veni, electa mea; O splendor gloria; Te Deum  《西风弥撒》；《哈利路亚，来吧，我的佳偶》；《荣耀光辉》；《感恩赞》
Hyp. Helios CDH 55056. The Sixteen, Christophers

Western Wynde Mass is beautifully sung and recorded by Harry Christophers’ Sixteen in what must be regarded as an ideally paced and proportioned performance. But what makes this inexpensive Helios reissue doubly attractive is the collection of other works included. O splendor gloria carries the exulted mood inherent in its title (referring to Christ and the Trinity) and the Alleluia is equally jubilant. Most remarkable and individual of all is the masterly five-part Te Deum, a profoundly poignant setting, harmonically and polyphonically, even richer than the Mass, and using those momentary shafts of dissonance that can make music of this period sound so forward-looking. The recording is superb and this CD is obviously the place to start for those wanting to explore this excellent Helios series.

哈利·克里斯托弗斯指挥的十六人合唱团将《西风弥撒》演绎得精美绝伦，其速度把控与结构比例堪称典范。但这张低价位的Helios再版唱片更因收录其他作品而倍添魅力：《荣耀光辉》完美呼应了标题中蕴含的狂喜情绪（指向基督与三位一体），《哈利路亚》同样洋溢着欢欣。其中最非凡的当属精妙的五声部《感恩赞》——在和声与复调处理上比弥撒曲更显深邃，那些瞬间闪现的不协和音程令这部文艺复兴作品竟透出前卫气质。录音效果极佳，无疑是乐迷探索Helios系列的最佳入门选择。  


https://115cdn.com/s/swwvt6k3hq9?password=3377&#
Taverner, John - Missa - The Sixteen, Harry Christophers [Hyperion]

joseph_li

TCHAIKOVSKY, Peter (1840–93)
(i) Andante cantabile; (i–ii) Violin Concerto. Symphonies: (i) 4; (iii) 5
DG DVD 073 4511. (i) NYPO; (ii) Belkin; (iii) Boston SO; Bernstein

This superb collection not only shows Bernstein at his most inspired, communicating his own great pleasure in the music, but also his ability to implant his own charismatic personality on any orchestra. Here there is virtually no difference between the electrifying results in Boston and New York. For instance, although the interpretations of the two symphonies are different, the Fourth relatively straightforward, the Fifth with Bernstein responding literally to Tchaikovky’s marking, ‘con alcuna licenza’, the rich sweep of string-tone is common to each venue, but especially so in the Boston Fifth, where the second subject of the first movement and the glorious climax of the Andante cantabile are both almost overwhelming. Each work, too, has an electrifying coda, the kind that sends the audience and orchestra home thrilled and satisfied in equal measure, feeling again what wonderful symphonies these are, even if Tchaikovsky himself had nagging doubts about the uninhibited splendour of the closing peroration of the Fifth. Koussevitzky in Boston had felt his mission with Tchaikovsky was ‘to open the gate of heaven and let the people experience ecstasy’, and Bernstein followed his mentor’s ‘theme song’.

这套杰出录音不仅展现了伯恩斯坦最富灵感的指挥艺术——传递出他对音乐本身的巨大愉悦，更印证了他将个人魅力注入任何乐团的非凡能力。波士顿与纽约两支乐团在他棒下呈现的炽烈效果几乎毫无二致：虽然两部交响曲处理迥异——《第四》相对直抒胸臆，《第五》则严格遵循柴氏"稍带自由"的标记——但弦乐声部那丰沛的洪流在两地演奏中一脉相承，尤其波士顿版《第五》第一乐章第二主题与《如歌的行板》高潮段落，其情感冲击力堪称排山倒海。每部作品尾声都令人颤栗，让听众与乐手在同等震撼与满足中离场，重新体认这些交响杰作的伟大，即便柴氏本人对《第五》终章那恣肆辉煌的宣叙调始终心存疑虑。正如库塞维茨基在波士顿践行"打开天堂之门让人体验狂喜"的艺术使命，伯恩斯坦完美继承了这位导师的精神衣钵。  


Capriccio italien, Op. 45; 1812 Overture, Op. 49; Fate, Op. 77; Festival Overture on the Danish National Anthem, Op. 15; Francesca da Rimini, Op. 32; Hamlet, Op. 67a; Manfred Symphony, Op. 58; Marche slave, Op. 31; Overture in F; Romeo and Juliet (Fantasy Overture); The Tempest, Op. 18; The Voyevoda, Op. 78  《意大利随想曲》Op.45；《1812序曲》Op.49；《命运》Op.77；《丹麦国歌节日序曲》Op.15；《里米尼的弗兰切斯卡》Op.32；《哈姆雷特》Op.67a；《曼弗雷德交响曲》Op.58；《斯拉夫进行曲》Op.31；《F大调序曲》；《罗密欧与朱丽叶幻想序曲》；《暴风雨》Op.18；《司令官》Op.78
DG Trio 477 053-2 (3). Russian Nat. O, Pletnev

Pletnev has a quite special feeling for Tchaikovsky’s music, gauging its highly charged emotional content and dramatic flair to perfection, and never losing sight of the disciplined mind which oversaw the musical design. There is no shortage of great performances of Romeo and Juliet and Francesca da Rimini, and Pletnev’s account with his Russian National Orchestra certainly ranks among them. But the special value of this set is that it offers rarities like The Voyevoda and the F major Overture in performances which are unlikely to be bettered for a very long time. When it first appeared, we placed his Manfred among the finest in the catalogue, and that judgement still holds. An essential purchase, particularly at so competitive a price.

普列特涅夫对柴氏音乐有着超常的感知力，既能精准把控其激烈的情感张力与戏剧天赋，又不失对音乐结构的理性掌控。《罗密欧与朱丽叶》与《里米尼的弗兰切斯卡》的经典演绎不胜枚举，而他指挥俄罗斯国家乐团的版本无疑位列顶尖。但本套录音的真正价值在于呈现《司令官》《F大调序曲》等冷门佳作，其完成度在未来很长时期内恐难被超越。初版时我们即将其《曼弗雷德》评为唱片史上最佳演绎之一，此评价至今依然成立。这套必藏之作以极具竞争力的价格面世，更显超值。  


Capriccio italien, Op. 45
RCA (ADD) 09026 63302-2. RCA Victor SO, Kondrashin – KABALEVSKY: The Comedians: Suite. KHACHATURIAN: Masquerade Suite. RIMSKY-KORSAKOV: Capriccio espagnol

Kondrashin’s 1958 recording of Tchaikovsky’s Capriccio italien has never been surpassed. The arresting opening still surprises by its impact, the brass fanfares – first trumpets, then horns, then full tutti – sonically riveting. The music is alive in every bar and a model of careful preparation, with the composer’s dynamic markings meticulously terraced. Kondrashin’s pacing throughout is absolutely right and the closing section is highly exhilarating. This is a stereo demonstration disc if ever there was one. And the couplings are pretty good too.

康德拉申1958年录制的《意大利随想曲》至今未被超越。震撼的开场小号号角（依次由小号、圆号及全奏呈现）仍能带来惊艳的听觉冲击。每个音符都跃动着生命力，力度变化严格遵循总谱标记，堪称精心筹备的范本。康德拉申对速度的掌控无懈可击，尾声段落令人血脉偾张。这无疑是立体声时代的试音天碟，搭配曲目亦属上乘。  


DVD：
https://115cdn.com/s/swwvt693hq9?password=3377&#
Tchaikovsky - Symphonies Nos.4&5, Violin Concerto - Bernstein, Boris Belkin, NYPO & Boston SO [DVD9]
磁链：
magnet:?xt=urn:btih:8074BA8B4C3CF20D93C82C7CD4B939B4C2438A64

CD：
https://115cdn.com/s/swwvtza3hq9?password=3377&#
Tchaikovsky - Symphonic Poems; Manfred Symphony - Mikhail Pletnev, Russian National Orchestra [DG]
《意大利随想曲》在KABALEVSKY词条已经发过。

joseph_li

(i) Piano Concertos 1 in B flat min., Op. 23; 2 in G, Op. 44 (with two additional recordings of Andante; ed. Siloti & ed. Hough); 3 in E flat, Op. 75; Concert Fantasia in G, Op. 56. (Piano solo) None but the lonely heart, Op. 6/6; Solitude, Op. 73/6  （i）《降b小调第一钢琴协奏曲》Op.23；《G大调第二钢琴协奏曲》Op.44（含西洛蒂版与霍夫版两种《行板》录音）；《降E大调第三钢琴协奏曲》Op.75；《G大调音乐会幻想曲》Op.56；钢琴独奏：《唯有孤独的心》Op.6/6；《孤独》Op.73/6
Hyp. CDA 67711/2. Hough; (i) Minnesota O, Vänskä

This set is undoubtedly a key Tchaikovsky issue, and it includes one of the finest, most imaginative accounts of the great B flat minor Concerto ever put on record. Stephen Hough is not only a commanding soloist, playing with a sensitive balance of virtuosity and lyrical warmth, but time and again both he and the Minnesota Orchestra under Osmo Vänskä bring out magical detail in Tchaikovsky’s score which reveals the work as far more than a barnstorming popular warhorse. After an arresting opening from the horns, the main theme of the Allegro con spirito is played with unexpectedly rhythmic subtlety and lift, while the delicacy of the touching string pianissimos in the ‘Romeo and Juliet’ allusion in the second subject of the first movement is matched by Hough’s searching originality in the long cadenza, which is made an integral part of the recapitulation. The Andantino semplice is exquisitely delicate and then scintillating, with delectable bravura, and the closing climax of the brilliant finale carries all before it. The piano dominates the proceedings and the only minor criticism here lies in the balance of the strings, which might have been placed more forwardly, but their playing does not lack lyrical intensity.

The performers also relish the original structure of the Concert Fantasia, opening with its colourful Russian dance and with a large-scale cadenza taking the place of the development, giving an opportunity for considerable bravura from the soloist, which Stephen Hough tackles with much élan. Tchaikovsky holds back his main lyrical theme for the second movement, Contrastes, which is played very tenderly, and then an abundance of virtuosity from all concerned returns to finish the piece off spectacularly. This work was justly popular in the composer’s lifetime. Perhaps this recording will encourage its return to the repertoire.

The Second Concerto has seldom been successful, either on record or in the concert hall. In the best-known, early, mono recording on DG, by Cherkassky, the first movement was taken at a phlegmatic four-in-a-bar tempo and the result was leaden. Vänskä does not make this mistake and presents the music with thrilling vitality and flair, with the secondary theme providing sensitive contrast. The slow movement has a truly memorable main theme, which Hough phrases beautifully, and then the scoring turns into chamber music with the piano joined by solo violin and cello.

At early performances the work was ‘edited’ by Siloti, who cut the Andante by over six minutes in all. Here we have what Tchaikovsky wrote originally: the complete movement with its variations on the main theme plays for nearly 14 minutes, and not a minute too long in such a sensitive performance. The finale, with its catchy rondo theme, then explodes into sparkling exuberance, to close the performance with rumbustious vitality.

The single-movement Third Concerto began life as a symphony but, with only the first movement completed, Tchaikovsky resourcefully then turned it into a concerto, using three themes, including a catchy toccata-like dance motif and a calmer lyrical tune, plus a long cadenza. There is plenty of bravura writing for the pianist, and the work undoubtedly has its moments when as well played as it is here; but, although undoubtedly enjoyable, it is overall less successful than the Concert Fantasia. As a bonus Stephen Hough has arranged two of Tchaikovsky’s songs, each full of characteristic Russian melancholy, to make a pair of appealing encores.

这套录音无疑是柴可夫斯基钢琴作品的重要里程碑，其中《降b小调第一协奏曲》的演绎堪称唱片史上最具想象力与艺术深度的版本之一。斯蒂芬·霍夫不仅是位掌控力惊人的独奏家——在炫技与抒情间取得精妙平衡，更与万斯卡执棒的明尼苏达乐团共同挖掘出总谱中诸多魔幻细节，彻底颠覆了这部作品仅属"炫技热门曲目"的固有认知。圆号奏出震撼开场后，"有精神的快板"主题以出人意料的节奏弹性跃动而出；第一乐章第二主题中暗藏的《罗密欧与朱丽叶》动机，其弦乐弱奏段落之精妙，与霍夫在长大华彩段中展现的探索精神交相辉映，使华彩成为再现部不可分割的组成部分。"小行板"乐章先以极致细腻触键呈现，后段则迸发出令人目眩的辉煌技巧；终曲的灿烂高潮更挟雷霆万钧之势。钢琴声部虽占据主导地位，但若弦乐组录音位置稍靠前则更佳——尽管其演奏已充满抒情张力。

艺术家们对《音乐会幻想曲》原始结构的诠释同样精彩：开篇绚丽的俄罗斯舞曲后，以大规模华彩段替代发展部的设计，为霍夫提供了展现华丽技巧的绝佳舞台。柴氏将主要抒情主题留待第二乐章《对比》才倾情呈现，此处演绎极尽温柔；终曲则回归全员炫技模式，以壮观音响收束。该作在作曲家生前颇受欢迎，或许此版录音能推动其重返常规曲目库。

《第二协奏曲》无论在唱片或音乐会中都鲜有成功演绎。DG早年单声道录音中，切尔卡斯基采用呆板的四拍子速度导致首乐章沉闷乏味。万斯卡则避免此弊病，以令人振奋的活力与才情呈现音乐，次主题更提供精妙对比。慢乐章主旋律令人过耳难忘，霍夫的句法处理优美绝伦，随后配器转为钢琴与独奏小提琴、大提琴的室内乐对话。西洛蒂在早期演出中曾将《行板》删减逾六分钟，此处则完整呈现柴氏原作——近14分钟的变奏乐章在如此敏感的演绎中毫无冗长之感。终曲以抓人的回旋主题引爆璀璨活力，以喧腾的生机完美收官。

单乐章《第三协奏曲》原为交响曲草稿，柴氏巧妙将其改编为含三个主题的协奏曲：包括托卡塔式舞曲动机、抒情旋律及长大华彩。尽管钢琴写作充满炫技段落，且在此演绎中不乏闪光时刻，但整体艺术成就仍略逊于《音乐会幻想曲》。作为加演，霍夫改编的两首柴氏歌曲满载俄式忧郁，成为动人的安可曲目。


(i) Violin Concerto in D, Op. 35; Sérénade mélancolique; Valse-Scherzo; (ii) Souvenir d’un lieu cher  （i）《D大调小提琴协奏曲》Op.35；《忧郁小夜曲》；《谐谑圆舞曲》；（ii）《回忆珍贵之地》
Pentatone SACD PTC 5186 095. Fischer; (i) Russian Nat. O, Kreizberg; (ii) Kreizberg (piano)

There are almost countless recordings of this lovely concerto and one could recommend many of them: Repin, Vengerov, Chung, Bell, Milstein and, of course, Heifetz. But we have chosen Julia Fischer as she offers the ideal coupling of the Sérénade mélancolique, Valse-Scherzo and the Souvenir d’un lieu cher, for this includes the ‘Méditation’, the composer’s first idea of a slow movement for the concerto, later replaced by the Canzonetta. It comes here with the original piano accompaniment, played by the conductor. Moreover Fischer is characterful in every phrase she plays, with sparkle and a sense of fantasy in virtuoso passages and with an inner intensity when playing the intimate lyrical sections. She is greatly helped by the conducting of Yakov Kreizberg with the Russian National Orchestra which is both taut and sympathetic, with an ideal balance for the soloist, allowing the widest range of dynamic, and the SACD sound is impressively spacious and realistic.

这部优美协奏曲的经典录音不胜枚举（列宾、文格洛夫、郑京和、贝尔、米尔斯坦及海菲兹等），但朱莉娅·费舍尔版本因其搭配曲目成为首选：除《忧郁小夜曲》《谐谑圆舞曲》外，《回忆珍贵之地》包含协奏曲初稿慢乐章"冥想曲"（后由"短歌"替代），此处采用由指挥家担任钢琴伴奏的原始编制。费舍尔的每个乐句都充满个性，炫技段落闪耀着幻想光彩，抒情段落则蕴含内敛张力。克雷兹伯格指挥俄罗斯国家乐团的协奏既严谨又默契，SACD录音更以惊人的空间感与真实度完美捕捉独奏家的动态幅度。


(i) 1812 Overture. Capriccio italien
Decca (ADD) 475 8508. (i) Bronze French cannon, bells of Laura Spelman Rockefeller Memorial Carillon, Riverside Church, New York City; Minneapolis SO, Dorati (with separate descriptive commentary by Deems Taylor) – BEETHOVEN: Wellington’s Victory

Just as in our listing of this famous Mercury record (now on Decca’s ‘Originals’) we have placed 1812 first, so in the credits the cannon and the glorious sounds of the Laura Spelman Carillon take precedence, for in the riveting climax of Tchaikovsky’s most famous work the effects completely upstage the orchestra. On this remastered CD the balance is managed spectacularly, with the ‘shots’ perfectly timed, while the Minneapolis orchestra are clearly enjoying themselves, both in 1812 and in the brilliant account of Capriccio italien. Deems Taylor provides an avuncular commentary on the technical background to the original recording.

正如我们在著名Mercury唱片（现属DECCA"原音重现"系列）的排序，本辑将《1812序曲》置于首位——炮声与劳拉·斯佩尔曼钟琴的辉煌音响在柴氏最著名作品的高潮处完全抢占了风头。此次重制的CD惊人地平衡了效果声与乐团演奏，炮击时机精准无误，明尼阿波利斯乐团在《1812》与光彩夺目的《意大利随想曲》中均展现出酣畅淋漓的演奏状态。迪姆斯·泰勒对原始录音技术背景的解说更添收藏价值。  


https://115cdn.com/s/swwvtbd3hq9?password=3377&#
Tchaikovsky & Brahms - Violin Concertos - Jascha Heifetz, Fritz Reiner, Chicago SO [RCA]等
《1812序曲》在贝多芬词条发过。

joseph_li

Hamlet (Fantasy Overture), Op. 67a; Romeo and Juliet (Fantasy Overture); The Tempest (Symphonic Fantasy) 《哈姆雷特》（幻想序曲）Op.67a；《罗密欧与朱丽叶》（幻想序曲）；《暴风雨》（交响幻想曲）
DG 477 9355. Simón Bolívar SO of Venezuela, Dudamel

The Simón Bolívar Orchestra of Venezuela is founded on the government’s decision to provide classical music at the centre of the syllabus of every school in the country. Each has its own orchestra and the very best players have a chance to compete to play with the country’s central orchestra as recorded here. Thus an almost unbelievably high standard of musical and technical excellence has been achieved, mainly through the direction of its young maestro, Gustavo Dudamel. This is their astonishing recording début, one of the finest Tchaikovsky discs in the catalogue.

Dudamel really understands the composer, and especially the structure of his works, the control of their melodic lines, their flexibility and the way each section relates to what follows. Moreover, he conducts with complete spontaneity and encourages his young players to revel in the music’s passion, which they do grippingly. Hamlet, darkly atmospheric from the very opening, is played with resonant dramatic power and feeling, superseding Stokowski’s famous Everest recording in every respect. Romeo and Juliet is treated like a symphonic poem, beginning and ending poignantly with Friar Laurence’s music and flaring into the spectacular fight sequences between the two opposing families. The introduction of the great love theme is perfectly timed, and when it reaches its climax the strings play as if their very lives depended on it. The coda creates a true sense of despair and the closing crashing chords are perfectly managed.

The performance of The Tempest, an early work (1873), hitherto underestimated and neglected, springs to life with the beautifully played opening horn theme picturing the magic island, followed by a very Russian main theme, soon expanded by the brass. But the work’s atmosphere is hauntingly captured, with Caliban and Ariel making striking appearances and the lovers’ music infinitely touching and tender. Again, the passion of the playing sweeps the music along thrillingly to make a great climax, but the piece ends gently and nostalgically (introducing the horn theme), as it began. The recording is splendidly colourful and full-blooded and this memorable triptych represents one of the finest Tchaikovsky issues for many years.

委内瑞拉西蒙·玻利瓦尔交响乐团的诞生，源于政府将古典音乐纳入全国学校核心课程的政策。每所学校都设有乐团，最杰出的乐手通过选拔进入这支国家级乐团——本录音便见证了这种培养机制创造的奇迹。在年轻指挥家古斯塔沃·杜达梅尔的带领下，他们达到了令人难以置信的艺术与技术水准，这张惊世骇俗的处女作堪称唱片史上最杰出的柴可夫斯基录音之一。

杜达梅尔深刻理解柴氏音乐结构，精准掌控旋律线条的弹性发展及各乐段的戏剧关联。他以全然自发的激情指挥，激发年轻乐手们迸发出摄人心魄的音乐能量。《哈姆雷特》从开篇就笼罩在黑暗氛围中，以震撼的戏剧张力超越斯托科夫斯基著名的Everest录音；《罗密欧与朱丽叶》被处理成交响诗，以劳伦斯神父的音乐凄美起讫，家族械斗段落则爆发出骇人威力，爱情主题的引入时机绝妙，弦乐在高潮处倾尽全力的演奏令人窒息，尾声的绝望感与终结和弦的处理堪称典范。

早期作品《暴风雨》（1873）长期被低估，在此重获新生：圆号奏出的魔岛主题美得令人心颤，随后铜管拓展的俄罗斯风格主主题，与卡利班、爱丽儿的音乐形象形成强烈对比，恋人主题更是无限柔美。演奏的激情将音乐推向壮丽高潮，最终以圆号主题的怀旧再现收束。录音色彩瑰丽饱满，这组令人难忘的三联画是近些年最杰出的柴可夫斯基唱片之一。


Manfred Symphony; The Voyevoda (symphonic poem)  《曼弗雷德交响曲》；《司令官》（交响诗）
Naxos 8.570568. RLPO, Petrenko

We first heard Tchaikovsky’s Manfred Symphony in the 1950s, conducted by Kletzki, live in Preston, Lancashire. But he offered only the first movement and the work (written in 1885, between the 4th and 5th Symphonies) has continued to remain something of a Cinderella in the concert hall. However, it has received several fine recordings, including those by Jansons, Ashkenazy and Pletnev, and even one by Toscanini, though severely truncated. Now comes a clear first choice from Vasily Petrenko and the Royal Liverpool Philharmonic which has received the finest recording of all, and which we have come increasingly to admire since it appeared in 2009. Throughout, Petrenko creates electrifying tension and achieves striking refinement of detail, while the orchestra clearly responds to his inspirational, flexibly romantic, and very Russian style.

The opening movement has great character, with the Manfred theme powerfully characterized. The first appearance of Astarte, Manfred’s beloved, brings ravishingly delicate string-playing, and the coda where the horns are instructed by Tchaikovsky to (lift up their instruments and) play pavillons en l’air is thrilling. But it is in the central movements that the performance rises to the greatest lyrical heights. The spray of the Waterfall Scherzo glitters iridescently and the lovely melting string melody representing the Alpine Fairy has never sounded more luscious. Similarly, the pastoral Andante, which can produce longueurs, flows with tenderness and warmth combined, Tchaikovsky’s melodic inspiration never flagging. The spectacular finale (with its rivetingly powerful organ entry) pictures the subterranean hall of Arimanes in the form of a globe of fire surrounded by spirits, with Nemesis and the Destinies. For the summoning of the spirit of Astarte, who announces Manfred’s coming death, Petrenko creates a moving rallentando as Manfred’s soul (in Byron’s poem) ‘hath ta’en its earthless flight; / Whither? I dread to think – but he is gone’.

The Voyevoda, written in 1891, is a much less successful work. Tchaikovsky himself destroyed the score after its first performance, but it was later reconstructed from the orchestral parts. It tells of a provincial governor who surprises his wife in flagrante delicto with her lover and instructs his servant to shoot her. In error the servant shoots his master instead, bringing a sudden end to the music. The work has characteristic moments and, though no masterpiece, when played as convincingly as it is here makes a fascinating bonus for the outstanding performance of Manfred.


我们最初在1950年代普雷斯顿音乐厅现场聆听克莱茨基指挥的《曼弗雷德交响曲》（仅演第一乐章）。这部创作于1885年（介于第四与第五交响曲之间）的作品始终是音乐会舞台的"灰姑娘"，但杨松斯、阿什肯纳齐、普列特涅夫的录音版皆属上乘，托斯卡尼尼的删节版亦在其中。2009年瓦西里·佩特连科与皇家利物浦爱乐乐团的版本如今成为首选，其录音品质无与伦比。

佩特连科全程营造出令人颤栗的张力，细节处理精妙绝伦。首乐章曼弗雷德主题气势恢宏，阿斯塔特初次现身时弦乐的细腻音色摄人心魄，终段圆号按柴氏指示"仰吹号口"的效果震撼人心。真正登峰造极的是中间乐章：瀑布谐谑曲闪烁着虹彩般的光泽，阿尔卑斯仙女的弦乐旋律从未如此丰美；田园风的"行板"在温情流动中保持旋律灵感不辍。终章描绘阿里曼涅斯的地下火球宫殿（配有惊心动魄的管风琴进入），当阿斯塔特预言曼弗雷德之死时，佩特连科处理的渐慢令人心碎——正如拜伦诗中所言"他的灵魂已踏上无尘之旅；去向何方？我不敢想——但他已逝"。

1891年创作的《司令官》艺术成就稍逊。柴氏在首演后销毁总谱，后根据分谱重建。这部讲述总督捉奸反被误杀的作品虽非杰作，但在此演绎下仍不失为《曼弗雷德》的精彩补白。


The Nutcracker (ballet: complete) 胡桃夹子》（全本芭蕾音乐）
EMI 6 31621-2 (2). BPO, Rattle
The Nutcracker (ballet: complete); Suites 3 in G; 4 in G (Mozartiana)
Australian Decca Eloquence 480 0557 (2). SRO, Ansermet

Ansermet’s 1958 Nutcracker is simply one of the best performances of this score committed to disc. This was undoubtedly one of the finest things Ansermet did in the early days of stereo, and the Decca recording still sounds remarkably rich and vivid, with a freshness and sparkle to match the composer’s approach. Ansermet’s feeling for orchestral colour and detail tells throughout, and the short dances of Act II have much piquancy of characterization. Indeed, the whole performance feels as magical as the story itself, and all admirers of this score (one of the composer’s finest) should acquire this release. The two very appealing Suites which fill up the second disc are not quite in this league of performance but they are affectionately played and enjoyable, if not ideally polished. Tchaikovsky wrote Mozartiana to bring ‘little-known Mozart pieces’ before the public. They are much better known now; if Tchaikovsky’s orchestration is a little anachronistic, it has a certain charm. The Third Suite has a warmly moulded Tchaikovskian Elégie as its slow movement and includes a superb set of variations as its finale, one of the composer’s least-known masterpieces, characteristically inventive. There is rich use of orchestral colour throughout, and a superb polacca for its finale, introducted with characteristic Tchaikovskian sleight-of-hand.

In terms of finesse and sheer beauty of texture the Berlin Philarmonic Orchestra is in a different league from the Suisse Romande group. Rattle’s performance of Tchaikovsky’s wonderful score is fully worthy of it, in its detail, atmosphere and vividness, with some wonderful solo contributions from the BPO woodwind, and with the strings luscious in the Waltz of the Flowers. The EMI recording is excellent too, but there is an extra magic in Ansermet’s performance, and the Decca sound was ahead of its time, and fully worthy of it. Moreover, the Decca set costs very much less and has highly attractive couplings. We have enjoyed it greatly since it first appeared and continue to do so.

安塞美1958年版《胡桃夹子》始终是这部作品的标杆演绎。作为立体声早期的典范录音，DECCA的录音至今仍焕发着惊人的丰润与鲜活，与作曲家的艺术构想完美契合。安塞美对管弦乐色彩与细节的掌控贯穿始终，第二幕的短舞曲充满性格魅力，整体演绎如童话般神奇。搭配的两组组曲虽未达同等高度，但《莫扎特风格组曲》中鲜为人知的变奏曲终章，堪称柴氏最被低估的杰作之一。

柏林爱乐在精致度与音色美感上自然更胜一筹。拉特尔对这部绝妙总谱的诠释配得上这支顶级乐团——无论是木管独奏的惊艳表现，还是《花之圆舞曲》中弦乐的奢美音色。EMI录音虽佳，但安塞美版本特有的魔力与超前时代的DECCA音效，加之更实惠的价格与诱人的搭配曲目，使其自问世以来始终是我们的挚爱。


https://115cdn.com/s/swwvtot3hq9?password=3377&#
Tchaikovsky - Hamlet, Romeo & Juliet, The Tempest - Simon Bolivar SO of Venezuela, Gustavo Dudamel [DG]等9个文件(夹)
安塞美雄辩双张没找到，倒是找到了Brilliant版三大芭蕾舞合集。
恕我浅薄，感觉三四带花对比切姆过分推崇一样，这个推荐清单对安塞美的推崇到了难以理解的程度。

joseph_li

The Nutcracker; Sleeping Beauty; Swan Lake (ballets: complete)
Decca (ADD) 460 411-2 (6). Nat. PO, Bonynge

Tchaikovsky’s three great ballets are undisputed masterpieces of the genre – the only question for debate is, which of the three is the greatest. The answer, one is tempted to say, is whichever one is listening to at the time, for each is imbued with more inspiration and magic than most composers achieve in a lifetime. Richard Bonynge conducted all three in the 1970s and they remain firm recommendations, especially as they are now all available in an attractive bargain box set. In The Nutcracker, Bonynge’s approach is highly sympathetic and he secures brilliant playing from the National Philharmonic. Though it might be said that the opening is a little literal and lacking in a bit of atmosphere, from the Transformation Scene onwards the playing catches fire, and the latter part of the ballet finds the conductor on top form, with all the Characteristic Dances performed with style and brilliance. Swan Lake receives a strong and vigorous performance with the forward impulse of the music-making immediately striking. Decca have matched the interpretation with a somewhat dry acoustic, producing a leonine string-tone, though the remastering has increased the feeling of sumptuousness. The brightly lit sound-picture provides robust detail in place of glamour, but that goes with Bonynge’s theatrical interpretation. The brass sounds are open and vibrant, and the ‘fairy castle’ fanfares have here more of the atmosphere of a medieval tournament. There is a consistent freshness in this performance and many of the spectacular moments are thrilling. Again, in The Sleeping Beauty one is struck by Bonynge’s rhythmical pointing, which is always characterful. If the upper strings still lack sumptuousness, the overall sound is excellent by any standards. Bonynge is especially good at the close of Act II when, after the magical Panorama, the Princess is awakened. There is a frisson of tension here and the atmosphere is most evocative. As at the end of Swan Lake, the finale of Sleeping Beauty and the ‘Apothéose’ are almost overwhelming in impact.

柴可夫斯基的三大芭蕾舞剧无疑是该体裁的巅峰之作——唯一可争议的是三者中孰为最伟大。答案或许是：当下聆听的那部便是最佳，因为每部作品蕴含的灵感与魔力，已超越多数作曲家毕生所能企及。理查德·博宁吉在1970年代指挥的这三个版本始终是权威推荐，尤其如今它们已集结为超值套装发行。  

在《胡桃夹子》中，博宁吉以高度共情的处理方式，激发国家爱乐乐团呈现出璀璨演奏。尽管开场略显平实缺乏氛围，但从"变身场景"开始便渐入佳境，后半部的"特性舞曲"更是以无懈可击的风格与光彩展现指挥家的巅峰状态。《天鹅湖》的演绎强劲有力，音乐的推进感令人印象深刻。DECCA录音采用略干燥的声场，塑造出雄狮般的弦乐音色（经重制后奢华感有所提升）。明亮的音响虽牺牲了些许光泽感，却与博宁吉戏剧化的诠释相得益彰：铜管声部开阔激昂，"仙堡号角"更似中世纪比武大会的氛围。演绎始终保持着新鲜感，诸多华彩段落震撼人心。《睡美人》同样彰显博宁吉对节奏的精准把控，若说高音弦乐仍欠丰润，整体音效仍属顶尖水准。第二幕尾声处，随着"全景"魔幻场景后公主苏醒的段落，博宁吉营造出令人战栗的紧张感；终场的"终曲与神化"场景，其冲击力与《天鹅湖》结局同样排山倒海。  


Orchestral Suite 3 in G, Op. 55  《G大调第三管弦乐组曲》Op.55
Pentatone SACD PTC 5186 061. Russian Nat. O, Jurowski – STRAVINSKY: Le Baiser de la fée

Tchaikovsky’s Third Orchestral Suite is the most inspired of the four, and Vladimir Jurowski brings out the surging lyricism of all four movements. So the touching Elégie is warmly moulded, with phrasing that seems totally idiomatic. The rhythmic lightness of the second movement’s Waltz leads into a dazzling account of the third-movement Scherzo, taken at a genuine presto, yet with no feeling of breathlessness. But the work’s climax is the closing set of variations on a particularly attractive theme. When Tchaikovsky was in England to receive his honorary degree at Cambridge University (where he met and befriended Grieg) his skill with variations was singled out among his many talents. The attractive breadth of structural, yet derived, ideas, and the felicitous changes of orchestral colour show him at his most inspired, leading to a thrilling build-up to the polacca climax at the conclusion. Exceptionally vivid sound, recorded by Pentatone’s Dutch engineers in Moscow, spectacular in surround sound.

柴可夫斯基四部组曲中以第三部最具灵感，尤洛夫斯基完美展现了四个乐章中奔涌的抒情性。动人的"悲歌"乐章以地道的句法温暖铺陈；第二乐章圆舞曲的轻盈节奏导向真正"急板"速度的谐谑曲，却毫无急促感。但全曲巅峰当属末乐章变奏曲——柴氏在剑桥大学接受荣誉学位期间（与格里格结识），其变奏技巧就被特别赞誉。结构宏阔的主题发展配以精妙的配器色彩变化，最终在波罗乃兹舞曲的高潮中达到震撼效果。Pentatone荷兰工程师在莫斯科录制的环绕声效果异常鲜活。  


Swan Lake (highlights)
Australian Decca Eloquence (ADD) 442 9032. Concg. O, Fistoulari

This is a key recording, much admired in the early stereo era. Fistoulari was a great conductor of ballet music, and we have long admired this 1960 collection of highlights from Swan Lake which at the time of its first issue was revelatory. It is a real collector’s item and this is its CD début. It is essentially a relaxed reading, but the Concertgebouw Orchestra plays superbly and there is a wonderful sense of the theatre, combined with spontaneous music-making. For its date the recording is outstanding, too. At a little over 46 minutes’ playing time, this is very much a case of quality over quantity.

作为早期立体声时代的典范录音，费斯托拉里1960年指挥皇家音乐厅管弦乐团演绎的《天鹅湖》选段至今仍令人赞叹。这张首次CD化的珍品本质上是松弛的解读，但乐团演奏堪称超凡，兼具剧场感与即兴火花。以当时标准而言，录音效果同样出众。虽然仅46分钟时长，却完美诠释了"质重于量"的真谛。  


https://115cdn.com/s/swwvt4s3hq9?password=3377&#
Tchaikovsky - Ballet Music, Serenade - Anatole Fistoulari, RCO & LSO [DECCA]等4个文件(夹)
第2张在斯特拉文斯基词条下发过。第4张雄辩系列没找到，但是碟号4836366 应该已经包含了该曲目。

joseph_li

Symphonies 1–6; Capriccio italien; Manfred Symphony
Chan. 10392 (6). Oslo PO, Jansons

Jansons’s Tchaikovsky series, which includes Manfred, is self-recommending. The full romantic power of the music is consistently conveyed and, above all, the music-making is urgently spontaneous throughout, with the Oslo Philharmonic Orchestra always committed and fresh, helped by the richly atmospheric sound. If you want all six symphonies, this is a supreme bargain. Of course the complete Karajan set, made in the 1970s, displays the same superlative qualities we expect from this combination and is hardly less illuminating (DG 429 679-2). But Karajan does not include Manfred and the Jansons set is not displaced.

杨松斯指挥奥斯陆爱乐乐团演绎的柴可夫斯基交响曲全集（含《曼弗雷德》）堪称不证自明的经典。这套录音始终传递着音乐中饱满的浪漫力量，更重要的是其演奏充满即兴的鲜活感，配合富有氛围的录音效果，堪称全集版本中的性价比之王。当然，卡拉扬1970年代指挥柏林爱乐的DG全集（429 679-2）同样展现出顶级水准，但因未收录《曼弗雷德》，杨松斯版仍不可替代。  


Symphonies 4–6 (DVD version)
DG Unitel DVD 073 4384. BPO, Karajan
Symphonies 4–5 (DVD version)
Sony DVD 888579849. VPO, Karajan

The Fourth and Fifth were recorded by Sony in 1984 at the Grossesaal of the Musikverein with the Vienna Philharmonic at a time when Karajan’s relationship with the Berlin Philharmonic was under some strain. The Fourth is one of the most commanding and compelling accounts of this great work we have heard, and one’s attention is riveted throughout. Karajan’s famous 1950s account of the Fourth with the Philharmonia Orchestra bore witness to his special relationship with this music, and this makes an equally strong impression. Excellent video presentation enhances its impact.

The alternative performances on DG were made in 1973 and show this extraordinary partnership at their most characteristic. None of Karajan’s Tchaikovsky performances was routine; and these recordings, made at the Philharmonie, have exemplary power and feeling. The Sony versions have marginally more focused camerawork, but these earlier versions, which Karajan himself oversaw in production, are hardly less satisfying.

1984年索尼在维也纳金色大厅录制的这两部交响曲，正值卡拉扬与柏林爱乐关系紧张时期。《第四交响曲》的演绎堪称我们听过最具统御力的版本，从头至尾扣人心弦。相比指挥家1950年代与爱乐乐团的经典录音，这个视频版同样震撼，出色的影像呈现更强化了艺术冲击力。DG的替代版本录制于1973年，虽摄影略逊于索尼版，但由卡拉扬亲自监制，情感张力与音响力量堪称典范。  


Symphonies (i) 4; (ii) 5; (iii) 6 (Pathétique) (CD versions); (i) Serenade for Strings (Waltz and Finale only)
Andromeda ANDRCD 9107 (2). (i) VPO; (ii) O Sinfonica di Torino della RAI; (iii) BPO; all cond. Furtwängler

The recordings made between 1950 and 1952, this fascinating historic Furtwängler box is a curiosity well worth investigating. The Sackville-West/Desmond Shawe-Taylor Record Guide thought that in No. 4 Furtwängler’s conducting ‘lacks the fire he once brought to Tchaikovsky’s symphonies’, although they thought the strings ‘remarkably fine’. Certainly we find the climax of the first movement very impressive, although the finale, brilliantly played, lacks the last degree of free-flowing adrenalin.

The Fifth, however (deriving from acetates), is fully acceptable, with a superbly passionate slow movement. It was recorded live in Turin in 1951 and the inexperienced Italian audience provide unwanted clapping in the brief silence before the work’s final peroration. (This reminds us of a true story related in Sir Henry Wood’s autobiography, when at a Prom performance, at that same moment in the last movement he heard two ladies in the front row share the comment ‘We always fry ours in dripping’!)

The Berlin Philharmonic are on top form in the Pathétique (of which Furtwängler was a master) and this is comparable with his 1938 performance included in the conductor’s 21-disc EMI anthology (see above), although the present recording does not quite match the earlier one.

The excerpts from the String Serenade used to be available on a single HMV 78 disc, once treasured by I.M., and here, as in the other works, the transfers are generally well managed, although the violin timbre is inclined to be shrill. But for the conductor’s admirers this will be an indispensable set.

这套录制于1950-1952年间的福特文格勒历史录音宝盒，堪称值得深入探究的珍品。《萨克维尔-韦斯特/肖恩-泰勒唱片指南》曾评价其第4号交响曲的演绎"缺乏指挥家早年诠释柴氏交响曲的炽烈激情"，但称赞其弦乐声部"异常精妙"。确实，我们虽对第一乐章高潮段的震撼力印象深刻，但终曲的演奏虽精湛，却稍欠行云流水般的澎湃张力。  

第5号交响曲（源自醋酸母带）则堪称完美，尤其慢乐章的演绎饱含灼热情感。1951年都灵现场录音中，经验不足的意大利观众在终乐章庄严尾声前的静默段落不合时宜的掌声（这令人想起亨利·伍德爵士自传中的趣闻：某次逍遥音乐会上，他恰在相同乐段听见前排女士议论"我们煎东西都用油渣"）。  

柏林爱乐在福特文格勒的拿手曲目——"悲怆"交响曲中展现出巅峰状态，虽略逊于指挥家1938年EMI全集版（前文所述21碟套装），仍属杰作。《弦乐小夜曲》选段转录自I.M.曾珍藏的HMV78转唱片，小提琴音色偶显尖锐，但无损其作为福特文格勒乐迷必备藏品的价值。  


Variations on a Rococo Theme for Cello & Orchestra, Op. 33《洛可可主题变奏曲》Op.33
DG (ADD) 447 413-2. Rostropovich, BPO, Karajan – DVOÁK: Cello Concerto

Rostropovich uses the published score rather than the original version which more accurately reflects the composer’s intentions. But this account, with Karajan’s glowing support, is so superbly structured in its control of emotional light and shade that one is readily convinced that this is the work Tchaikovsky conceived. The recording (made in the Jesus-Christus Kirche) is beautifully balanced and is surely one of the most perfect examples of DG’s analogue techniques.
尽管罗斯特罗波维奇采用出版版本而非更符合作曲家原意的初稿，但与卡拉扬合作的这个演绎通过对情感明暗的精妙掌控，令人信服地再现了柴氏构想。录制于柏林耶稣基督教堂的此版，堪称DG模拟录音时代最完美的典范之一——大提琴与乐队的平衡如天鹅绒般柔滑，每个变奏都化作闪耀的珠宝，终曲回旋曲更迸发出令人窒息的辉煌。  

DVD：
https://115cdn.com/s/swwvt7a3hq9?password=3377&#
Tchaikovsky - Symphonies Nos. 4–6 1973 - Karajan, BPO [MKV 720p]等2个文件(夹)

CD：
https://115cdn.com/s/swwvt7q3hq9?password=3377&#
Tchaikovsky - Complete Symphonies - Mariss Jansons, Olso PO [Chandos]等10个文件(夹)
富老的曲目在之前发过的大包里也可以找到。《洛可可主题变奏曲》在德沃夏克词条发过。

joseph_li

Eugene Onegin (complete) 《叶甫盖尼·奥涅金》
Decca (ADD) 417 413-2 (2). Kubiak, Weikl, Burrows, Reynolds, Ghiaurov, Hamari, Sénéchal, Alldis Ch., ROHCG O, Solti

Solti, characteristically crisp in attack, has plainly warmed to the score of Tchaikovsky’s colourful opera, allowing his singers free rein in rallentando and rubato to a degree one may not expect of him. The Tatiana of Teresa Kubiak is most moving – rather mature sounding for the ingénue of Act I, but with her golden, vibrant voice rising most impressively to the final confrontation of Act III. The Onegin of Bernd Weikl may have too little variety of tone, but again this is firm singing that yet has authentic Slavonic tinges. The rest of the cast is excellent, with Stuart Burrows as Lensky giving one of his finest performances on record. Here, for the first time, the full range of expression in this most atmospheric of operas is superbly caught, with the Decca CDs vividly capturing every subtlety, including the off-stage effects. For those wishing to see this opera on DVD, there is Graham Vick’s much-acclaimed Glyndebourne production from 1994. Not only is the production convincing, but the cast is too. However, it is Elena Prokina’s magnificent portrayal of Tatiana that is the crowning glory of this release. The video direction is admirably discreet, with no intrusive camerawork and with the eye being directed where one feels it ought to be (Warner DVD 0630 14014-2).

索尔蒂以标志性的精准起奏诠释这部色彩绚烂的歌剧，出人意料地展现出对总谱的深刻理解，给予歌手在渐慢（rallentando）和弹性速度（rubato）处理上前所未有的自由度。特蕾莎·库比亚克塑造的塔季扬娜尤为动人——虽第一幕的少女形象稍显成熟，但她那金子般灿烂的嗓音在第三幕最终对决中爆发出惊人的戏剧张力。贝恩德·魏克尔演绎的奥涅金虽音色变化有限，但其扎实的演唱仍带有纯正的斯拉夫韵味。其他演员同样出色，斯图尔特·伯罗斯饰演的连斯基堪称其录音生涯最佳表现之一。DECCA的录音首次完美捕捉了这部极具氛围的歌剧的全部表现力，连幕后音效都纤毫毕现。
格雷厄姆·维克1994年格林德伯恩剧院制作的DVD版（华纳DVD 0630 14014-2）不仅制作精良，演员阵容同样强大。叶莲娜·普罗金娜对塔季扬娜的精彩演绎堪称此版的皇冠明珠。影片导演手法含蓄内敛，镜头调度恰到好处，始终将观众视线自然引导至戏剧核心。  


Iolanta (complete, CD version)
Melodiya MEL CD 10 01697 (2). Sorokina, Atlantov, Nesterenko, Mazurok, Bolshoi Theatre Ch. & SO, Ermler

About two years before this book went to print we had the good fortune to see a first-rate production of this opera at the London Guildhall School of Music and discovered that it is a small-scale masterpiece. It tells of Iolanta, daughter of King René, who is blind from birth but who, by her father’s orders, lives in ignorance of her affliction. Her doctor says a cure is possible, but only if she is told of her blindness and is eager to be cured. But the King refuses to take this course. Two knights arrive at the palace, Robert and Vaudémont. Robert was betrothed to Iolanta during his childhood, but he has not seen her and does not know that she is blind. In any case he wants to marry the Countess of Lotharingia. Because of some confusion over a red-and-white rose, Vaudémont then discovers Iolanta’s secret and, deeply touched, professes his love for her. The king is furious at his discovery, but the path is set for Iolanta, with the help of the doctor, and through her own determination to regain her sight, to join her new lover and husband. All ends happily.

Tchaikovsky was captivated by the story; his brother, Modest, wrote the libretto and the opera was first performed in 1892. Tchaikovsky’s music is delightful, full of melody and even with a reminder of Tatiana in the early music for the heroine. The performance here is understandably very Russian, with Tamara Sorokina a characterful Iolanta, if somewhat shrill in her upper range. However, Vladimir Atlantov is a strong, passionate Vaudémont with a fine tenor voice, and Evgeny Nesterenko a commanding King René. The choral and orchestral support under Mark Ermler is excellent, and the opera’s closing scene, when Iolanta first sees light, is truly memorable, for Tchaikovsky, as always, identified with his heroine’s plight. The 1976 recording is faithful and this is a delightful surprise that will give much pleasure. It is well worth seeking out as a Russian import. The set is attractively packaged, although, alas, without a translation.

在本书付梓前两年，我们有幸在伦敦市政厅音乐戏剧学院观赏了这部歌剧的一流制作，发现它实为一部精妙的袖珍杰作。故事讲述天生失明的公主约兰塔在父亲雷内国王的命令下，始终不知自己的缺陷。医生表示唯有让她知晓病情并渴望治愈，才可能重见光明，但国王拒绝这样做。随着骑士罗伯特（约兰塔的童年订婚对象）与瓦德蒙的到来，因红白玫瑰的误会，瓦德蒙发现公主的秘密并坠入爱河。在医生的协助与自身意志驱动下，约兰塔最终复明并与爱人喜结连理。
柴可夫斯基为其弟莫德斯特改编的剧本谱写了充满旋律美感的音乐，女主角早期的唱段甚至令人联想到《叶甫盖尼·奥涅金》中的塔季扬娜。这个1976年的俄版录音具有鲜明的民族特色：索罗金娜塑造的约兰塔性格鲜明（虽高音区稍显尖锐）；阿特兰托夫以辉煌的男高音诠释热情似火的瓦德蒙；涅斯特连科则展现出帝王般的威严气场。埃尔姆勒指挥下的合唱与乐团表现卓越，尤其当约兰塔初见光明的终场场景，柴氏对女主角命运的共情创造了令人难忘的音乐瞬间。
尽管这套俄版进口唱片未附译文，其精美的包装与忠实的录音品质仍使其成为值得珍藏的惊喜之作。那些渴望探索柴可夫斯基歌剧世界的乐迷，定能从中获得无上愉悦。


Queen of Spades (Pique Dame) (complete, DVD version)  《黑桃皇后》
Decca DVD 070 434-9. Grigorian, Gulegina, Leiferkus, Gergalov, Filatova, Borodina, Kirov Op. Ch. & O, Gergiev (Producer: Yuri Temirkanov; V/D: Brian Large)

Pushkin’s dark story of a gambler’s growing obsession with discovering the secret that will bring him riches is taut and concentrated. It unfolds with gripping psychological intensity, all the more powerful for its understatement, Though Modest Tchaikovsky’s libretto differs in many respects from Pushkin’s story.

Dating from 1992, the Philips DVD, with the conductor Valery Gergiev looking very young, is a live recording of the Kirov Company’s grandly traditional production. It is handsome to look at and is very well staged. Yuri Temirkanov (Gergiev’s predecessor at the Kirov) produces and does not lose sight of the Rococo component in this wonderful opera. Yet it is a straightforward and clean-cut presentation, deftly using massive choruses to match the opulent costumes and scenery, and nearly all the cast is first rate. The cast differs slightly from the CD performance, though that too is thoroughly recommendable (Ph. 438 141-2 (3)).

普希金原著中那个关于赌徒痴迷追寻致富秘密的暗黑故事，在歌剧中以紧凑浓缩的戏剧张力呈现。虽然莫德斯特·柴可夫斯基的剧本与原著多有出入，但那种扣人心弦的心理强度却因含蓄克制的表达而更显震撼力。

1992年飞利浦出品的这版DVD，记录了当时还显年轻的指挥家瓦列里·捷吉耶夫与基洛夫歌剧院（现马林斯基剧院）合作的经典传统制作。舞台视觉效果华丽壮观，制作精良。由捷吉耶夫的前任尤里·特米尔卡诺夫担任制作人，在保持歌剧中华丽的洛可可元素的同时，呈现出一个干净利落、直击核心的舞台版本。制作团队巧妙运用庞大的合唱阵容，与奢华的服装布景相得益彰，演员阵容几乎无可挑剔。需要注意的是，这个版本的演员与CD版(Philips 438 141-2)略有不同，但CD版本同样值得强烈推荐。

DVD：
https://115cdn.com/s/swwvtio3hq9?password=3377&#
Tchaikovsky - Pique Dame - Valery Gergiev, Kirov Opera; Grigorian, Gulegina, Leiferkus [Philips DVD]
《叶甫盖尼·奥涅金》这张没找到

CD：
https://115cdn.com/s/swwvtit3hq9?password=3377&#
Tchaikovsky - Eugene Onegin - Solti, the Opera House, Covent Garden; Kubiak, Hamari, Reynolds [DECCA]等3个文件(夹)

joseph_li

每层楼内容过多的结果就是，大部分都被卡住审核。

zs393

langong2004 发表于 2025-8-14 22:02
819楼 Sibelius-Symphonies (Ashkenazy) Exton iso 5

1zd0Vnsx3caAWUqW62Ig0QQ?pwd=ihxk

感谢分享

dftn888

joseph_li 发表于 2025-8-16 00:10
每层楼内容过多的结果就是，大部分都被卡住审核。

按照自己原来的节奏，不必受他人影响。

joseph_li

TELEMANN, Georg (1681–1767)
Concertos: for 2 Corni da caccia in F, TWV 52:F3; for Violin & 3 Corni di caccia in D, TWV 54:D2. Overtures: for 2 Corni di caccia in D, TWV 55:D17; for 2 Corni di caccia & 2 Oboes in F, TWV 55:F3  协奏曲：F大调为两支狩猎圆号而作，TWV 52:F3；D大调为小提琴与三支狩猎圆号而作，TWV 54:D2。序曲：D大调为两支狩猎圆号而作，TWV 55:D17；F大调为两支狩猎圆号与双簧管而作，TWV 55:F3
MDG 605 1045-2. Deutsch Natural Horn Soloists, New Düsseldorf Hofmusik

The Deutsch Natural Horn Soloists are a superb group. They play here expertly, using hand horns without valves and demonstrating the most thrilling bravura, whether in partnership with oboes, where the interplay of the Réjouissance in the F major Overture (or Suite) is a real hit number, or in the Concerto in F, which reminds one a little of Handel’s Water Music. In the Concerto scored for three horns, the solo violin in the Grave slow movement gives expressive contrast before sharing the exuberant finale. With excellent recording, this is outstanding in every way, but not to be played all in one go!

德意志自然圆号独奏家乐团是一支杰出的团体。他们以精湛技艺演绎这些作品，使用无阀键的手控圆号，展现出令人振奋的华丽技巧——无论是与双簧管合作的F大调序曲（或组曲）中《欢庆》乐章的精彩互动，还是那首令人联想到亨德尔《水上音乐》的F大调协奏曲。在为三支圆号谱写的协奏曲中，庄板乐章的小提琴独奏以富有表现力的对比铺垫，随后与乐器组共同奔向欢腾的终曲。出色的录音品质使这张唱片各方面都堪称典范，但建议不要一次性连续聆听！


Concertos, Overtures: (i) 5 Concertos for 2 Flutes, with Lute, Bassoon & Strings (Cap. 10 284); (ii) Chamber Concerto for Alto Recorder in G min., TWV 43:G3; (iii) Double Concerto in E min. for Recorder & Flute; (iv) Concerto for 3 Trumpets & 2 Oboes in D; (ii) Sonata in A for Recorder, 2 Scordato Violins & Continuo, TWV 43:A7; (v) Tafelmusik II: Trio in E min. for Recorder, Oboe & Continuo (Cap. 49 431); (vi) Overtures (Suites): in C, TWV 55:C3 (Hamburg Ebb and Flow) & C6; Overture in E min., TWV 55:C5 (Cap. 10 625); Overtures: in D (connected with a Tragicomical Suite); in F (Alster Echo), TWV 55:F11; in D, TWV 55:D15 (Cap. 49 428); (vii) Overtures (Suites): in D, TWV D18; TWV 55:D6 & D7; in F (Cap. 49 429) 协奏曲与序曲：(i) 为两支长笛、琉特琴、巴松管及弦乐创作的五首协奏曲（Cap. 10 284）；(ii) G小调高音竖笛室内协奏曲，TWV 43:G3；(iii) E小调竖笛与长笛双协奏曲；(iv) D大调为三支小号与双簧管创作的协奏曲；(ii) A大调竖笛、两把变格定弦小提琴与通奏低音奏鸣曲，TWV 43:A7；(v) 《餐桌音乐II》：E小调竖笛、双簧管与通奏低音三重奏（Cap. 49 431）；(vi) 序曲（组曲）：C大调《汉堡潮汐》，TWV 55:C3与C6；E小调序曲，TWV 55:C5（Cap. 10 625）；D大调序曲（关联悲喜剧组曲）；F大调《阿尔斯特回声》，TWV 55:F11；D大调序曲，TWV 55:D15（Cap. 49 428）；(vii) 序曲（组曲）：D大调TWV D18、TWV 55:D6与D7；F大调序曲（Cap. 49 429）
Cap. 49 426 (5). (i) Dresden Bar. Soloists, Haupt; (ii) Huntgeburth, Berlin Bar. Company; (iii) Höller, Hünteler, Capella Colonsiensis, G. Fischer; (iv) Friedrich & soloists, Budapest Strings; (v) Passin, Gütz, Leipzig Bach Coll.; (vi) Capella Colonsiensis, Linde; (vii) Deutsch Bach Soloists, Winschermann

If you want a representative collection of Telemann at his best, this Capriccio box (with the five CDs in a slip case) is hard to better. The Concertos for a pair of flutes are continually inventive, and the two compilations of miscellaneous concertos and chamber music offer plenty of variety, not only in the music but also in the performances, although all are authentic in the best possible way. The Suites (Overtures) are all among the composer’s best, including the two most famous, both pictorial or progammatic, the Alster Echo and the Hamburg Water Music. The performances and recordings are excellent, as is the documentation. As far as we know, the discs are not currently available separately.

若想收藏泰勒曼精华作品，这套Capriccio厂牌的五碟装合辑（附带插页盒）堪称不二之选。双长笛协奏曲充满层出不穷的创意，而杂锦协奏曲与室内乐选集不仅呈现音乐多样性，更以最纯正的方式展现演绎水准。所有组曲（序曲）皆属作曲家代表作，包括两首最著名的描绘性/标题性作品《阿尔斯特回声》与《汉堡水上音乐》。演奏与录音俱佳，文献资料亦属上乘。据我们所知，目前这些唱片暂无单碟发售。


Flute Concertos in D, TWV:51:D2; in G, TWV:51:G2; Concerto for 2 Flutes, Violone in A min., TWV:53:a; Concerto for Flute, Oboe d’amore & Viola d’amore in E, TWV:53:E; Tafelmusik: Concerto for Flute & Violin in A, TWV:53:A2   长笛协奏曲：D大调TWV:51:D2；G大调TWV:51:G2；A小调为双长笛与低音提琴而作，TWV:53:a；E大调为长笛、柔音双簧管与柔音中提琴而作，TWV:53:E；《餐桌音乐》：A大调长笛与小提琴协奏曲，TWV:53:A2
EMI 5 03435-2. Pahud, Berlin Bar. Soloists, Kussmaul

An enchanting disc. Everything Emmanuel Pahud plays seems to turn to gold, and he has admirable support from his solo colleagues (including Albrecht Meyer (oboe d’amore) and Wolfram Christ (viola d’amore)). Throughout allegros are wonderfully nimble and light-hearted. The Berlin Baroque Soloists, directed by Rainer Kussmaul, accompany with wonderful finesse and warmth, and the recording is in the demonstration bracket.

令人沉醉的唱片。埃马纽埃尔·帕胡德的演奏总能点石成金，其独奏搭档们（包括阿尔布雷希特·迈耶[柔音双簧管]与沃尔夫拉姆·克里斯[柔音中提琴]）亦贡献了出色配合。快板乐章始终洋溢着灵巧轻盈的欢愉气质。赖纳·库斯毛尔指挥的柏林巴洛克独奏家乐团以精妙细腻且温暖的伴奏相衬，录音效果更达示范级水准。


https://115cdn.com/s/swwvj3f3hq9?password=3377&#
Telemann - Flötenkonzerte - Emmanuel Pahud [EMI]等3个文件(夹)

joseph_li

Alster (Overture) Suite; La Bouffonne Suite; Triple Horn Concerto in D; Grillen-Symphonie  《阿尔斯特序曲》组曲；《滑稽》组曲；D大调三圆号协奏曲；《蟋蟀交响曲》
Chan. 0547. Coll. Mus. 90, Standage

The Triple Horn Concerto opens the programme with the hand-horns rasping boisterously. Then comes La Bouffonne Suite, with its elegant Loure and the extremely fetching Rigaudon, while the work ends with a touchingly delicate Pastourelle, beautifully played here. The Grillen-Symphonie (‘cricket symphony’) brings a piquant dialogue between upper wind and double-basses in the first movement, while the second has unexpected accents and lives up to its name Tändelnd (‘flirtatious’). The horns (four of them) re-enter ambitiously at the colourful Overture of the Alster Suite, add to the fun in the Echo movement and help to simulate the Hamburg glockenspiel that follows. The entry of the Alster Shepherds brings a piquant drone effect, but best of all is the wailing Concerto of Frogs and Crows, with drooping bleats from the oboe and then the principal horn. Standage and his group make the very most of Telemann’s remarkable orchestral palette and play with great vitality as well as finesse.

节目以三圆号协奏曲拉开序幕，手控圆号发出粗犷的咆哮声。随后是《滑稽》组曲，其优雅的卢尔舞曲和极具魅力的里戈东舞曲，终曲则以一段细腻动人的田园曲作结，此处演绎得尤为精美。《蟋蟀交响曲》第一乐章中，高音木管与低音提琴形成辛辣对话，而第二乐章以出人意料的切分音生动诠释了"调情"（Tändelnd）的标题。四支圆号在《阿尔斯特组曲》绚丽的序曲中强势回归，既为《回声》乐章增添趣味，又巧妙模拟了随后的汉堡钟琴音效。《阿尔斯特牧羊人》段落运用辛辣的持续音效果，但最精彩的莫过于《青蛙与乌鸦协奏曲》——双簧管先发出哀鸣般的下滑音，继而主奏圆号加入呼应。斯坦迪奇与乐团极尽展现泰勒曼非凡的管弦乐调色板，演奏兼具蓬勃活力与精妙细节。


(i) Viola Concerto in G; (ii) Suite in A min. for Recorder & Strings; Tafelmusik, Part 2: (iii) Triple Violin Concerto in F; Part 3: (iv) Double Horn Concerto in E flat  (i) G大调中提琴协奏曲；(ii) A小调竖笛与弦乐组曲；《餐桌音乐》第二部分：(iii) F大调三小提琴协奏曲；第三部分：(iv) 降E大调双圆号协奏曲
Naxos 8.550156. (i) Kyselak; (ii) Stivín; (iii) Hoelblingova, Hoelbling, Jablokov; (iv) Z. & B. Tylšar; Capella Istropolitana, Edlinger

It is difficult to conceive of a better Telemann programme for anyone encountering this versatile composer for the first time and coming fresh to this repertoire, having bought the inexpensive Naxos CD on impulse. Ladislav Kyselak is a fine violist and is thoroughly at home in Telemann’s splendid four-movement Concerto; Ji i Stivín is an equally personable recorder soloist in the masterly Suite in A minor; his decoration is a special joy. The Triple Violin Concerto with its memorable Vivace finale and the Double Horn Concerto also show the finesse which these musicians readily display. Richard Edlinger provides polished and alert accompaniments throughout. The digital sound is first class.

对于初次接触这位多才多艺的作曲家，或因一时冲动购买这张低价拿索斯唱片而初涉此曲目的听众而言，很难构想出更精妙的泰勒曼入门企划。拉迪斯拉夫·基塞拉克是位出色的中提琴家，在泰勒曼辉煌的四乐章协奏曲中游刃有余；吉日·斯蒂文在权威性的A小调组曲中展现出同样迷人的竖笛独奏，其装饰音处理尤为赏心悦目。拥有难忘活泼终章的三小提琴协奏曲，以及双圆号协奏曲，同样彰显了音乐家们与生俱来的细腻诠释。理查德·埃德林格全程提供精练而敏锐的协奏。数码录音品质堪称一流。


https://115cdn.com/s/swwvj3i3hq9?password=3377&#
Telemann - La Bouffonne - Simon Standage, Collegium Musicum 90 [Chandos]等2个文件(夹)

joseph_li

Tafelmusik (Productions 1–3; complete) 《餐桌音乐》
DG 477 8714 (4). Col. Mus. Ant., Goebel

This is one of the most rewarding of all Telemann recordings. The playing of the Cologne Musica Antiqua is distinguished by dazzling virtuosity and unanimity of ensemble and musical thinking. They also have the advantage of very vivid and fresh recording quality; the balance is close and present without being too forward, and there is a pleasing acoustic ambience. At its bargain price this is very enticing indeed.

这是泰勒曼所有录音中最值得收藏的版本之一。科隆古乐团的演奏以炫目的技巧、浑然一体的合奏默契与音乐思维著称。鲜活通透的录音品质更添优势：声部平衡既贴近真实又不过分突前，空间残响也恰到好处。以如此优惠的价格，这套唱片实在令人难以抗拒。


Kapitänsmusik, 1724  《船长音乐》
CPO SACD 777 176-2. Podkoscielna, Post, Vieweg, Abele, Telemannisches Coll. Michaelstein, Rémy

In Hamburg, Telemann often had to compose celebratory occasional pieces called Kapitänsmusik, consisting of an oratorio and serenata. The one on this CD was first performed in 1724 and this is the first time it has been performed complete since that time. The oratorio part has sacred texts, while the serenata part has secular texts, but both find the composer providing some extraordinarily good music. This music shows Telemann at his most flamboyantly creative, with some brilliantly florid, virtuosic writing, performed with comparable vigour by the soloists and the orchestra. The lively arias in both the oratorio and serenata are very exciting, and the opening of the serenata with its minor-keyed woodwinds is deliciously piquant and memorable, as is the aria which follows. One marvels time and time again at Telemann’s inventive orchestration, especially in his use of woodwind colouring, and this whole CD is one of flamboyant invigoration. Superbly recorded in SACD surround sound, warm yet sharply vivid. Full texts and translations are provided.

在汉堡期间，泰勒曼常需创作名为《船长音乐》的庆典应景作品，包含一部清唱剧与一部小夜曲。本辑收录的1724年首演版本，是时隔三百年后首次完整重现。清唱剧采用宗教文本，小夜曲则选用世俗歌词，但两者都展现了作曲家超凡的创作水准。这些极尽华美的乐章将泰勒曼的创造力推向巅峰，大量华丽炫技的段落由独唱家与乐团以同等澎湃的激情演绎。清唱剧与小夜曲中那些跃动的咏叹调令人振奋——小夜曲开头木管组在小调上的交织既辛辣诱人又过耳难忘，紧随其后的咏叹调同样精彩。泰勒曼极具创造力的配器手法（尤其是木管音色的运用）令人屡屡称奇，整张唱片洋溢着华丽的生机。采用SACD环绕声技术录制的音效既温暖又纤毫毕现，附赠完整歌词及译文。


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Telemann - Kapitansmusik 1724 - Ludger Rémy, Telemannisches Collegium Michaelstein [CPO]等2个文件(夹)

joseph_li

THOMAS, Ambroise (1811–96)
Mignon (complete)  《迷娘》
Sony (ADD) SM3K 34590 (3). Horne, Vanzo, Welting, Zaccaria, Von Stade, Méloni, Battedou, Hudson, Ambrosian Op. Ch., Philh. O, Almeida

Thomas’s once-popular adaptation of Goethe has many vocal plums, and here a very full account of the score is given, with virtually all the alternatives that the composer devised for productions after the first, not least one at Drury Lane in London, where recitatives were used (as here) instead of spoken dialogue; an extra aria was given to the soubrette Philine and other arias were expanded. The role of Frédéric was given to a mezzo-soprano instead of a tenor, and here the appropriately named Frederica von Stade is superb in that role, making one rather regret that she was not chosen as the heroine. However, Marilyn Horne is in fine voice and sings with great character and flair, even if she hardly sounds the frail figure of the ideal Mignon. Nonetheless, with Alain Vanzo a sensitive Wilhelm, Ruth Welting a charming Philine and colourful conducting from Almeida, this is an essential set for lovers of French opera. The 1977 recording has a pleasingly warm ambience and the voices are naturally caught in the present transfer.

托马斯这部改编自歌德作品的歌剧曾风靡一时，剧中包含大量精彩的唱段。本录音呈现了近乎完整的乐谱，几乎囊括了作曲家首演后为不同制作版本所作的所有修订——尤其是伦敦德鲁里巷剧院版本（如本录音所示）以宣叙调替代了对白，并为花腔女高音角色菲琳新增了一首咏叹调，同时扩充了其他咏叹调。弗雷德里克一角由女中音而非男高音饰演，而弗雷德丽卡·冯·施塔德在此角色中的演绎堪称绝妙，甚至令人惋惜她未被选为女主角。尽管如此，玛丽莲·霍恩的嗓音状态极佳，演唱充满个性与神采，尽管她的声线未必符合理想中脆弱迷娘的形象。此外，阿兰·万佐饰演的威廉细腻动人，露丝·韦尔廷诠释的菲琳娇俏迷人，加上阿尔梅达色彩绚烂的指挥，这套录音堪称法语歌剧爱好者的必藏之作。1977年的录音拥有令人愉悦的温暖氛围，此次转制中人声捕捉自然。  


https://115cdn.com/s/swwvj3j3hq9?password=3377&#
Thomas, Ambroise - Mignon - Antonio De Almeida, PO; Horne, Vanzo, Welting [Sony]

joseph_li

TIPPETT, Michael (1905 98)
(i) Concerto for Double String Orchestra; (ii) Fanfare for Brass; (i) Fantasia Concertante on a Theme of Corelli; Little Music for String Orchestra; (iii) Suite in D for the Birthday of Prince Charles  (i) 双弦乐团协奏曲；(ii) 铜管乐号角曲；(i) 科雷利主题幻想协奏曲；弦乐团小音乐；(iii) D大调查尔斯王子诞辰组曲
Australian Decca Eloquence (ADD) 476 7960. (i) ASMF, Marriner; (ii) Philip Jones Brass Ens.; (iii) LSO, Colin Davis

A splendid Tippett anthology and an ideal introduction to this composer. Beginning with the striking Fanfare for Brass, it moves on to the charming Suite for the Birthday of Prince Charles, full of attractive ideas and a distinct ‘Robin Hood’ atmosphere – the subject of the composer’s early folksong opera, parts of which were used in the score. Next comes Marriner’s classic Argo recording, featuring some of Tippett’s most inspired and approachable music. On any count, the Concerto for Double String Orchestra is one of the most beautiful works for strings written in the twentieth century. The Corelli Fantasia is a similarly sumptuous work, and the Little Music is very appealing too. Superb 1970s recordings and altogether an outstanding compilation.

这套精彩的蒂皮特选集是了解这位作曲家的理想入门。从引人注目的《铜管乐号角曲》开始，随后是充满魅力的《查尔斯王子诞辰组曲》——作品中洋溢着动人的乐思和鲜明的"罗宾汉"氛围（源自作曲家早期民歌歌剧的主题，部分旋律被融入此曲）。接下来是马里纳经典的Argo录音，收录了蒂皮特最具灵性与亲和力的作品。无论以何种标准衡量，《双弦乐团协奏曲》都是二十世纪最美丽的弦乐作品之一。《科雷利主题幻想协奏曲》同样华丽恢弘，《弦乐团小音乐》也极具吸引力。1970年代的卓越录音成就了这份杰出的合集。


‘Tippett Collection’: (i) Concerto for Orchestra; (ii) Concerto for Double String Orchestra; (ii–iii) Triple Concerto for Violin, Viola, Cello & Orchestra; (i) Fantasia Concertante on a Theme of Corelli; (iv) Fanfare for Brass; (i) Little Music for Strings; (v) Suite for the Birthday of Prince Charles; Symphonies: (i) 1–2; (i; vi) 3; (v) 4; (vii) Sonata for 4 Horns; (viii) String Quartets 1–3; (ix) Piano Sonatas 1–3; (x) Midsummer Marriage: Ritual Dances  (i) 管弦乐协奏曲；(ii) 双弦乐团协奏曲；(ii–iii) 小提琴、中提琴、大提琴与乐团三重协奏曲；(i) 科雷利主题幻想协奏曲；(iv) 铜管乐号角曲；(i) 弦乐团小音乐；(v) 查尔斯王子诞辰组曲；交响曲：(i) 第1–2号；(i; vi) 第3号；(v) 第4号；(vii) 四圆号奏鸣曲；(viii) 弦乐四重奏第1–3号；(ix) 钢琴奏鸣曲第1–3号；(x) 《仲夏婚姻》：仪式舞曲  
Decca 475 6750 (6). (i) LSO, C. Davis; (ii) ASMF, Marriner; (iii) with Pauk, Imai, Kirshbaum; (iv) Philip Jones Brass Ens.; (v) Chicago SO, Solti; (vi) with Harper; (vii) Tuckwell Horn Qt; (viii) Lindsay Qt; (ix) Crossley; (x) ROHCG O, Pritchard

For those wanting to explore Tippett’s music in depth, for the centenary of his birth Decca provided an even more extensive collection, which includes the four Symphonies, the first three conducted by Sir Colin Davis with the LSO fully committed, and the Fourth by Sir Georg Solti, who also offers the agreeable if less substantial Suite for the Birthday of Prince Charles. Tippett himself described the Third as a hybrid symphony; he consciously follows the example of Beethoven’s Ninth in the transition to the final, vocal section, in which the soprano sings three blues numbers, and Heather Harper almost manages to mute the relative crudities of Tippett’s text. Solti’s brilliantly played account of the Fourth Symphony is comparably powerful, although there are depths and tenderness in this score yet to be uncovered. Certainly these recordings and performances have a special place in the catalogue, although (as Hickox has since shown) there are other dimensions to these scores which are not uncovered here.

为纪念蒂皮特诞辰百年，DECCA推出的这套更全面的合集适合深度探索其音乐世界。科林·戴维斯爵士指挥伦敦交响乐团倾力演绎的前三部交响曲，与乔治·索尔蒂爵士执棒的第四交响曲交相辉映——后者还录制了轻盈悦耳的《查尔斯王子诞辰组曲》。蒂皮特自述第三交响曲是"混合体"，在末乐章人声部分刻意效仿贝多芬《第九交响曲》的过渡手法：女高音演唱的三段布鲁斯歌曲中，希瑟·哈珀几乎淡化了歌词文本的粗粝感。索尔蒂对第四交响曲的辉煌演绎同样震撼，但作品中仍有未被挖掘的深邃与柔情。尽管这些录音在目录中占有特殊地位（正如希考克斯后来证明的），但作品中某些维度仍有待揭示。  


https://115cdn.com/s/swwvj6f3hq9?password=3377&#
Tippett, Michael - Prince Charles Suite, Double Concerto etc. - Davis & Marriner, LSO [Decca]等2个文件(夹)

joseph_li

TIPPETT, Michael (1905 98)
(i) Concerto for Double String Orchestra; (ii) Fanfare for Brass; (i) Fantasia Concertante on a Theme of Corelli; Little Music for String Orchestra; (iii) Suite in D for the Birthday of Prince Charles  (i) 双弦乐团协奏曲；(ii) 铜管乐号角曲；(i) 科雷利主题幻想协奏曲；弦乐团小音乐；(iii) D大调查尔斯王子诞辰组曲
Australian Decca Eloquence (ADD) 476 7960. (i) ASMF, Marriner; (ii) Philip Jones Brass Ens.; (iii) LSO, Colin Davis

A splendid Tippett anthology and an ideal introduction to this composer. Beginning with the striking Fanfare for Brass, it moves on to the charming Suite for the Birthday of Prince Charles, full of attractive ideas and a distinct ‘Robin Hood’ atmosphere – the subject of the composer’s early folksong opera, parts of which were used in the score. Next comes Marriner’s classic Argo recording, featuring some of Tippett’s most inspired and approachable music. On any count, the Concerto for Double String Orchestra is one of the most beautiful works for strings written in the twentieth century. The Corelli Fantasia is a similarly sumptuous work, and the Little Music is very appealing too. Superb 1970s recordings and altogether an outstanding compilation.

这套精彩的蒂皮特选集是了解这位作曲家的理想入门。从引人注目的《铜管乐号角曲》开始，随后是充满魅力的《查尔斯王子诞辰组曲》——作品中洋溢着动人的乐思和鲜明的"罗宾汉"氛围（源自作曲家早期民歌歌剧的主题，部分旋律被融入此曲）。接下来是马里纳经典的Argo录音，收录了蒂皮特最具灵性与亲和力的作品。无论以何种标准衡量，《双弦乐团协奏曲》都是二十世纪最美丽的弦乐作品之一。《科雷利主题幻想协奏曲》同样华丽恢弘，《弦乐团小音乐》也极具吸引力。1970年代的卓越录音成就了这份杰出的合集。


‘Tippett Collection’: (i) Concerto for Orchestra; (ii) Concerto for Double String Orchestra; (ii–iii) Triple Concerto for Violin, Viola, Cello & Orchestra; (i) Fantasia Concertante on a Theme of Corelli; (iv) Fanfare for Brass; (i) Little Music for Strings; (v) Suite for the Birthday of Prince Charles; Symphonies: (i) 1–2; (i; vi) 3; (v) 4; (vii) Sonata for 4 Horns; (viii) String Quartets 1–3; (ix) Piano Sonatas 1–3; (x) Midsummer Marriage: Ritual Dances  (i) 管弦乐协奏曲；(ii) 双弦乐团协奏曲；(ii–iii) 小提琴、中提琴、大提琴与乐团三重协奏曲；(i) 科雷利主题幻想协奏曲；(iv) 铜管乐号角曲；(i) 弦乐团小音乐；(v) 查尔斯王子诞辰组曲；交响曲：(i) 第1–2号；(i; vi) 第3号；(v) 第4号；(vii) 四圆号奏鸣曲；(viii) 弦乐四重奏第1–3号；(ix) 钢琴奏鸣曲第1–3号；(x) 《仲夏婚姻》：仪式舞曲  
Decca 475 6750 (6). (i) LSO, C. Davis; (ii) ASMF, Marriner; (iii) with Pauk, Imai, Kirshbaum; (iv) Philip Jones Brass Ens.; (v) Chicago SO, Solti; (vi) with Harper; (vii) Tuckwell Horn Qt; (viii) Lindsay Qt; (ix) Crossley; (x) ROHCG O, Pritchard

For those wanting to explore Tippett’s music in depth, for the centenary of his birth Decca provided an even more extensive collection, which includes the four Symphonies, the first three conducted by Sir Colin Davis with the LSO fully committed, and the Fourth by Sir Georg Solti, who also offers the agreeable if less substantial Suite for the Birthday of Prince Charles. Tippett himself described the Third as a hybrid symphony; he consciously follows the example of Beethoven’s Ninth in the transition to the final, vocal section, in which the soprano sings three blues numbers, and Heather Harper almost manages to mute the relative crudities of Tippett’s text. Solti’s brilliantly played account of the Fourth Symphony is comparably powerful, although there are depths and tenderness in this score yet to be uncovered. Certainly these recordings and performances have a special place in the catalogue, although (as Hickox has since shown) there are other dimensions to these scores which are not uncovered here.

为纪念蒂皮特诞辰百年，DECCA推出的这套更全面的合集适合深度探索其音乐世界。科林·戴维斯爵士指挥伦敦交响乐团倾力演绎的前三部交响曲，与乔治·索尔蒂爵士执棒的第四交响曲交相辉映——后者还录制了轻盈悦耳的《查尔斯王子诞辰组曲》。蒂皮特自述第三交响曲是"混合体"，在末乐章人声部分刻意效仿贝多芬《第九交响曲》的过渡手法：女高音演唱的三段布鲁斯歌曲中，希瑟·哈珀几乎淡化了歌词文本的粗粝感。索尔蒂对第四交响曲的辉煌演绎同样震撼，但作品中仍有未被挖掘的深邃与柔情。尽管这些录音在目录中占有特殊地位（正如希考克斯后来证明的），但作品中某些维度仍有待揭示。  


https://115cdn.com/s/swwvj6f3hq9?password=3377&#
Tippett, Michael - Prince Charles Suite, Double Concerto etc. - Davis & Marriner, LSO [Decca]等2个文件(夹)

joseph_li

TOMKINS, Thomas (1572–1656)
Music for viols: Almain in F (for 4 viols); Fantasias 1, 12 & 14 (for 3 viols); Fantasia (for 6 viols); Galliard: Thomas Simpson (5 viols & organ); In Nomine II (for 3 viols); Pavane in A min. (for 5 viols & organ); Pavane in F; Ut re mi (Hexachord fantasia) (both for 4 viols). (Keyboard:) (i) Fancy for two to play. Pavan & Galliard: Earl Strafford. (Organ:) In nomine; Miserere; Voluntary. Verse anthems: Above the stars; O Lord, let me know mine end; Thou art my King  维奥尔琴音乐：F大调阿勒曼德舞曲（四把维奥尔琴）；幻想曲第1、12、14号（三把维奥尔琴）；六把维奥尔琴幻想曲；加利亚德舞曲《托马斯·辛普森》（五把维奥尔琴与管风琴）；《In Nomine II》（三把维奥尔琴）；A小调帕凡舞曲（五把维奥尔琴与管风琴）；F大调帕凡舞曲；《Ut re mi》（六音幻想曲）（后两首为四把维奥尔琴）。（键盘乐：）（i）双人幻想曲；《斯特拉福德伯爵》帕凡与加利亚德舞曲。（管风琴：）《In nomine》；《Miserere》；即兴曲。经文歌：《Above the stars》；《O Lord, let me know mine end》；《Thou art my King》
Naxos 8.550602. Rose Consort of Viols, Red Byrd; Roberts; (i) with Bryan

This well-planned Naxos programme is carefully laid out in two parts, each of viol music interspersed with harpsichord and organ pieces and ending with an anthem. It gives collectors an admirable opportunity to sample very inexpensively the wider output of Thomas Tomkins, an outstandingly fine Elizabethan musician whose music is still too little known. Perhaps the most remarkable piece here is the Hexachord fantasia, where the scurrying part-writing ornaments a rising and falling six-note scale (hexachord). The two five-part verse anthems and Above the stars, which is in six parts, are accompanied by five viols, with a fine counter-tenor in Above the stars and a bass in Thou art my King.

这套拿索斯唱片策划精良，分为两个部分——每部分维奥尔琴乐曲间穿插羽管键琴与管风琴作品，并以一首经文歌作结。这为乐迷提供了以极低成本领略汤姆金斯广阔创作的机会，这位伊丽莎白时代的杰出音乐家至今仍被严重低估。其中最引人瞩目的当属《六音幻想曲》，疾速流动的声部写作缠绕着上下起伏的六音音阶（hexachord）。两首五声部经文歌与六声部《Above the stars》由五把维奥尔琴伴奏，前者由优秀假声男高音演绎，《Thou art my King》则由男低音担纲。


Music for harpsichord and virginals: Barafostus Dreame; 2 Fancies; Fancy for 2 to Play; Fortune my Foe; Galliard of 3 Parts; Galliard Earl Strafford; 2 Grounds; In nomine; Lady Folliott’s Galliard; Miserere; Pavan; Pavan Earl Strafford with its devision; Pavane of 3 Parts; A Sad Pavane for these Distracted Times; Toy made at Poole Court; What if a Day; Worcester Brawls  羽管键琴与维吉那琴音乐：《Barafostus之梦》；两首幻想曲；双人幻想曲；《命运我的敌人》；三声部加利亚德；《斯特拉福德伯爵加利亚德》；两首格劳德；《In nomine》；《弗利奥特夫人加利亚德》；《Miserere》；帕凡；带变奏的《斯特拉福德伯爵帕凡》；三声部帕凡；《动荡时代的悲伤帕凡》；《普尔宫廷嬉游曲》；《What if a Day》；《伍斯特喧舞》
Metronome METCD 1049. Cerasi (virginals and harpsichord)

Carole Cerasi offers here the finest available collection of the keyboard music of the last of the great English virginalists, Thomas Tomkins. Indeed, it is the repertoire played on the virginals that stands out, especially her exquisitely spontaneous performance of A Sad Pavane for these Distracted Times, and her equally sensitive response to the dolorous Fortune my Foe (the two most extended pieces here). In contrast, the charmingly good-humoured Toy made at Poole Court is given the lightest rhythmic lift. She uses a modern copy of an early 17th-century Ruckers and it could hardly be more realistically recorded. The harpsichord pieces (using a copy of an instrument by Bartolomeo Stephanini) are more robust and often have exuberant decoration, as in the disc’s title-piece, Barafostus Dreame. Earl Strafford’s Galliard is another splendid example of her exciting bravura on the latter instrument, and the closing Ground with extended variations is a tour de force. The recording venue has a pleasing ambience and the balance is ideal if you set the volume level carefully.

卡洛尔·切拉西在此呈现了英国最后一位维吉那琴大师汤姆金斯的键盘乐精品集。维吉那琴曲目尤为出彩——她演绎《动荡时代的悲伤帕凡》时展现的精妙即兴感，以及对哀婉的《命运我的敌人》的细腻处理（本辑篇幅最长的两首）令人难忘。与之形成鲜明对比的是《普尔宫廷嬉游曲》中轻盈的韵律跃动。演奏使用的17世纪早期鲁克斯琴复刻版，录音极具真实感。羽管键琴曲目（采用巴托洛梅奥·斯特凡尼尼琴复刻版）更为刚健，常带有华丽装饰音，如标题曲《Barafostus之梦》。《斯特拉福德伯爵加利亚德》再次展现了她在这件乐器上的炫技才华，结尾带扩展变奏的格劳德更堪称绝技。录音场地声学环境宜人，音量调节得当时平衡度堪称完美。


https://115cdn.com/s/swwvj6k3hq9?password=3377&#
Tomkins, Thomas - Barafostus Dreame - Carole Cerasi [Metronome]等2个文件(夹)

joseph_li

TORELLI, Giuseppe (1658–1709)
Concerti musicali, Op. 6/1–12; Sonata a 4 in A min.  《音乐协奏曲》Op.6（全12首）；A小调四声部奏鸣曲
Signum SIGCD 157. Charivari Agréable, Kah-Ming Ng

This set is given the sobriquet ‘the original Brandenburg concertos’. Up to a point that is acceptable, but Bach’s Margrave of Brandenburg was a different person from Torelli’s employer, the Margrave of Brandenburg-Ansbach. However, Torelli did dedicate his Concerti musicali to Sophie Charlotte, Electress of Brandenburg, although nothing came of the dedication. But the Concerti musicali are a real discovery and they are most attractively presented here. Originally intended for strings alone, the Charivari have included oboes, recorders and bassoon and a continuo featuring chamber organ as well as theorbo and harpsichord. The result is most enjoyable: allegros are jolly and slow movements expressive and appealing, and Kah-Ming Ng brings the music to life vividly and spontaneously, helped by lively, truthful recording.

这套作品集被冠以"原始勃兰登堡协奏曲"的别称。此说法在一定程度成立，但需注意巴赫题献的勃兰登堡侯爵与托雷利的雇主安斯巴赫侯爵并非同一人。托雷利确实将《音乐协奏曲》题献给勃兰登堡选帝侯夫人索菲·夏洛特（尽管未获回应）。这些协奏曲堪称真正的发现，本辑演绎极具魅力——原作为纯弦乐编制，但夏里瓦利合奏团加入了双簧管、竖笛、巴松管，并以室内管风琴、西奥伯琴与羽管键琴构建通奏低音。最终呈现令人愉悦：快板乐章欢腾活泼，慢板乐章深情动人，指挥家吴家明以鲜活自然的处理赋予音乐生命力，生动逼真的录音更添光彩。  


(i) Violin Concertos, Op. 8/8, 9 & 11; (i–ii) Double Violin Concertos, Op. 8/2, 4, 5, 6; (iii) Sinfonias for Trumpet in D (G 8); (iii–iv) for 2 Trumpets in D (G 23); Concerto for 2 Trumpets in D  (i) 小提琴协奏曲Op.8/8,9,11；(i-ii) 双小提琴协奏曲Op.8/2,4,5,6；(iii) D大调小号交响曲（G8）；(iii-iv) D大调双小号交响曲（G23）；D大调双小号协奏曲
Chan. 0716. (i) Standage; (ii) Weiss; (iii) Steele-Perkins; (iv) Blackadder; Col. Mus. 90

While Torelli’s earlier Concertos remain in the world of the concerto grosso, by the time he came to write Op. 8 (published in 1709) he had moved away to give his soloists independence. The lustrous, busy opening of Op. 8/2 is immediately enticing, but these are all attractive works, particularly No. 4 (where the pointed theme of the finale reminds one of ‘All we like sheep’) and No. 11, with its Largo e staccato central movement anticipating Vivaldi. The solo Concerto in E minor, Op. 8/9, is also a particularly fine work. Not surprisingly, the period performances here are first class. The rather more conventional Trumpet Concertos are also in confident hands, and the accompaniments throughout are characteristically stylish and the Chandos recording first rate.

托雷利早期协奏曲仍属大协奏曲范畴，但1709年出版的Op.8已转向独奏独立性。Op.8/2华丽繁复的开篇即刻抓耳，全套作品皆具吸引力——尤以第四号（终乐章尖锐主题令人联想《我们都如羊走迷》）和第十一号为甚，其中"断奏广板"乐章更预示了维瓦尔第风格。E小调独奏协奏曲Op.8/9亦是精品。本辑古乐演绎水准一流自不待言，相对传统的小号协奏曲同样呈现稳健，伴奏始终保持着典型优雅风格，Chandos厂牌录音品质卓绝。  


https://115cdn.com/s/swwvj653hq9?password=3377&#
Torelli, Giuseppe - Concertos - Collegium Musicum 90, Simon Standage [Chandos]等2个文件(夹)

joseph_li

TOSCANINI, Arturo, with NBC Symphony Orchestra
BIZET: La Jolie Fille de Perth: Suite. COPLAND: El salón México. GOLDMARK: Rustic Wedding Symphony (2 movts only). KALINNIKOV: Symphony 1. MASSENET: Scènes alsaciennes (Suite 7). MEYERBEER: Dinorah Overture. SOUSA: El Capitán; Semper fidelis. SMITH: Star-Spangled Banner. MOZART: Sinfonia Concertante, K.364 (with Mischakoff, Cooley)  比才：《珀斯丽姝》组曲；科普兰：《墨西哥沙龙》；戈德马克：《乡村婚礼交响曲》（仅2乐章）；卡林尼科夫：第一交响曲；马斯内：《阿尔萨斯场景》（第七组曲）；迈耶贝尔：《迪诺拉序曲》；苏萨：《艾尔船长》《永远忠诚》；史密斯：《星条旗永不落》；莫扎特：交响协奏曲K.364（米沙科夫、库利独奏）
Testament mono SBT 1404 (2)

Most of these live radio recordings were made by Toscanini at the height of the Second World War, and the fervour of the playing plainly reflects that, most strikingly in the patriotic marches by Sousa and the American National Anthem. What is striking is that Toscanini in these recordings demonstrates little of the rigidity that marred so many of his NBC recordings for RCA. The ebb and flow of rhythm and phrasing in the rare Kalinnikov Symphony could not be more winning, and Toscanini’s timing in the Spanish-American rhythms of El salón México is perfect, with just the right degree of hesitation. Nor is the Mozart Sinfonia concertante rigid, with two of his NBC principals as soloists. With such colourfully tuneful rarities as the Dinorah Overture and the Scènes alsaciennes, along with the delightful Jolie Fille de Perth Suite, this makes a very winning collection. The sound too is full-bodied and generally less dry than in his commercial NBC recordings of the period, here very well transferred.

这些广播现场录音大多录制于二战白热化时期，托斯卡尼尼棒下的炽热演绎鲜明折射出时代精神——尤以苏萨的爱国进行曲与美国国歌演绎最为震撼。令人惊叹的是，这些录音全然不见其NBC-RCA商业录音中常见的刻板痕迹。卡林尼科夫冷门交响曲中流动的韵律与乐句处理极具感染力，而《墨西哥沙龙》里西班牙-美洲节奏的微妙弹性把控堪称典范，恰到好处的迟疑感尽显大师手笔。莫扎特交响协奏曲同样灵动自如，由NBC乐团两位首席担纲独奏。加上《迪诺拉序曲》《阿尔萨斯场景》等色彩斑斓的冷门佳作，以及妙趣横生的《珀斯丽姝》组曲，构成极具吸引力的合集。音质饱满丰润，较同期NBC商业录音少了许多干涩感，此次转制效果极佳。  


这张碟没找到。对于Testament厂牌，除通过俄网以及电驴时代一点点存货，我暂时没啥好办法。