SUK, Josef (1874–1935)
Asrael Symphony 《阿斯雷尔交响曲》
Ondine ODE1132-5. Helsinki PO, Ashkenazy

As far as CD is concerned (though not the concert hall), Suk’s masterpiece is coming into its own. It started life as a tribute to Dvořák, Suk’s father-in-law, who died in 1904, but Suk’s grief was compounded by the death of his wife, Dvořák’s daughter. It is a profoundly moving score and Václav Talich in his performance from the early 1950s comes closer to its spirit than any other (Supraphon mono 11 1902-2). However, Vladimir Ashkenazy’s sensitive version with his Finnish orchestra remains first choice for its authenticity of feeling and impressive modern recording. Talich remains the one to have on purely musical grounds, but most collectors will prefer the superior Ondine recording.

就唱片领域（虽非音乐厅演出）而言，苏克的这部杰作正逐渐获得应有的认可。这部作品最初是为纪念其岳父德沃夏克（1904年逝世）而作，后因妻子（德沃夏克之女）的离世更添悲怆，成为一部情感深邃的震撼之作。
瓦茨拉夫·塔利赫1950年代初的录音（Supraphon单声道版 11 1902-2）最贴近作品灵魂，但弗拉基米尔·阿什肯纳齐与芬兰乐团的演绎凭借真挚情感诠释和出色的现代录音技术，仍是首选版本。纯音乐性上塔利赫无可替代，但多数乐迷会更青睐Ondine唱片更优质的录音效果。


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Suk, Josef - Symphony No.2 Asrael - Vladimir Ashkenazy, Helsinki PO [Ondine 24-96]

STRIGGIO, Alessandro (c. 1536/7 92)
CD: Motet: Ecce beatam lucem. Missa Ecco sì beato giorno. Intermedi & madrigals: Fuggi, spene mia; O giovenil ardire; Altr’io che queste spighe; D’ogni gratia et d’amor; O de la bella Etruria invitto Duce; Caro dolce ben mio; Miser’oimè. ANON.: Spem in alium (Plainchant). GALILEI: Contrapunto Secondo di BM. TALLIS: Spem in alium. DVD: Ecce beatam lucem; Missa Ecco sì beato giorno. TALLIS: Spem in alium. Documentary: ‘The Making of Striggio’CD收录：经文歌《Ecce beatam lucem》、四十声部《Missa Ecco sì beato giorno》；幕间剧与牧歌《Fuggi, spene mia》《O giovenil ardire》《Altr’io che queste spighe》《D’ogni gratia et d’amor》《O de la bella Etruria invitto Duce》《Caro dolce ben mio》《Miser’oimè》；佚名《Spem in alium》（素歌）；伽利莱伊《Contrapunto Secondo di BM》；塔利斯《Spem in alium》。DVD收录：《Ecce beatam lucem》《Missa Ecco sì beato giorno》；塔利斯《Spem in alium》；纪录片《斯特里吉奥的创作历程》。
Decca CD & DVD 478 2734 (2). I Fagiolini, Robert Hollingworth

Alessandro Striggio, the natural son of a Mantuan nobleman, joined the court of Duke Cosimi I de’ Medici in Florence. Seven books of his madrigals were published, besides many others in anthologies, and he divided his time between work for the Medici and his court connection in Mantua. He also wrote occasional music for Medici marriages and their entertainments. His forty-part motet Ecce beatam lucem was performed for a visit of two papal envoys in 1561 and again in 1568 in Munich for a wedding feast, probably with instrumentation. By 1566 Striggio had composed the often spectacular Mass based on Ecco si beato giorno in forty parts which follows on here. It is very impressive indeed; moreover after the Bendictus, beautifully sung here by a single treble voice, he expands the doubled Agnus Dei, in its second appearance to sixty voices. Striggio was a string virtuoso and so an example of the music he played, written by Vincenzo Galilei, is used as a prelude to his other, shorter vocal works, mostly madrigals for five voices. Tallis’s more familiar Spem in alium is a tribute to Striggio. The performances here are without peer and the recording first class. The programme is made the more enticing by the inclusion of a DVD which offers a documentary about the composer plus surround-sound performances of the combined motet and Mass, and the complementary work by Tallis.

作为曼图亚贵族的私生子，亚历山德罗·斯特里吉奥效力于佛罗伦萨美第奇公爵科西莫一世宫廷，出版过七本牧歌集，并穿梭于美第奇宫廷与曼图亚之间。他为美第奇家族的婚礼与庆典创作应景音乐，其四十声部经文歌《Ecce beatam lucem》曾于1561年为教皇特使到访演出，1568年慕尼黑婚宴上可能以器乐形式再度呈现。1566年，斯特里吉奥基于《Ecco si beato giorno》创作了这部常显壮丽的四十声部弥撒——当单声部童声唱完优美的《Benedictus》后，第二段《Agnus Dei》竟扩展至六十声部，令人震撼。作为弦乐演奏名家，本辑以伽利莱伊（伽利略之父）的作品为引，衔接斯特里吉奥其他短小声乐作品（多为五声部牧歌）。塔利斯著名的《Spem in alium》正是向斯特里吉奥致敬之作。
这些演绎堪称无与伦比，录音品质一流。随附DVD更添魅力：除环绕声版经文歌、弥撒及塔利斯对应作品外，还包含作曲家纪录片。


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Striggio, Alessandro - Mass in 40 Parts - I Fagiolini [CORO 24-48]等2个文件(夹)
DVD没找到

(i) The Firebird (ballet: complete; choreography: Mikhail Fokine); (ii) Les Noces (choreography: Bronislava Nijinska) (DVD version)(i)《火鸟》 (ii)《婚礼》
Opus Arte DVD OA 0832 D. (i) Benjamin, Cope, Rosato, Drew; (ii) Yanowsky, Pickering and members of Royal Ballet; ROHCG O, or 4 pianos, cond. Carewe. (V/D: Ross MacGibbon)

A moving and well-directed visual record, totally free from attention-seeking camerawork, brings these two marvellous ballets in their original choreography back to life, as if one had the privilege of visiting Diaghilev’s Ballets Russes. The dancing is of the highest standard, led by Leanne Benjamin’s Firebird, and costumes and sets are visually equally memorable. There are two important bonuses, in addition to the rehearsal footage. Those who have treasured their TV recordings of Stravinsky’s own appearance with the New Philharmonia Orchestra at the Royal Festival Hall in 1965 when he was 83 will cherish the DVD transfer, which has much-enhanced definition, both visually and aurally. Finally there is a hilarious description by David Drew of Nijinska’s visit to Covent Garden to mount Les Noces in the late 1960s.

这部制作精良的影像记录以克制而精准的镜头语言，完美复现了两部经典芭蕾的原始编舞，仿佛带观众重返佳吉列夫的俄罗斯芭蕾舞团黄金时代。莉安·本杰明领衔的"火鸟"展现出顶尖舞技，服装与布景同样令人过目难忘。除排练花絮外，DVD更包含两大珍贵彩蛋：83岁的斯特拉文斯基1965年指挥新爱乐乐团在皇家节日大厅的珍贵电视录像经高清修复后，画质与音质显著提升；另附大卫·德鲁对尼金斯卡1960年代末在科文特花园复排《婚礼》的诙谐幕后讲述。


(i) The Firebird; (ii) The Rite of Spring (ballets: complete) (i)《火鸟》；(ii)《春之祭》(全本芭蕾)
Sony SMK 89875. Columbia SO, composer

Stravinsky’s own 1961 version of Firebird is of far more than documentary interest, when the composer so tellingly relates it to his later work, refusing to treat it as merely atmospheric. What he brings out more than others is the element of grotesque fantasy, the quality he was about to develop in Petrushka, while the tense violence with which he presents such a passage as Katshchei’s Dance clearly looks forward to The Rite of Spring. That said, he encourages warmly expressive rubato to a surprising degree, with the line of the music always held firm. But the revelatory performance here is The Rite of Spring, for Stravinsky’s own 1960 recording has never been surpassed as an interpretation of this seminal twentieth-century score. Over and over again, one finds passages which in the balancing and pacing (generally fast) give extra thrust and resilience, as well as extra light and shade. The digital transfer may be on the bright side, but brass and percussion have thrilling impact, sharply terraced and positioned in the stereo spectrum.

Readers who require the best in digital sonic splendour in The Rite could do worse than investigate Chailly’s powerfully impressive Cleveland version, now on a bargain Double Decca CD (473 73102), coupled with equally colourful accounts of The Firebird Suite, an impressive account of the Jeu de cartes ballet, a vividly characterized Petrushka and a beautifully recorded and played version of Apollo music. Indeed, these recordings from the 1980s and ’90s have rarely been equalled sonically, never mind surpassed. With Dorati’s electrifying account of The Firebird on Mercury now no longer available on CD, Ansermet’s recording on Australian Decca Eloquence should not be forgotten. It was Ansermet’s last recording and, with the New Philharmonia Orchestra used, rather than his own Suisse Romande Orchestra, the orchestral playing is as magnificent as the Decca recording, which captures with astonishing vividness all the magic Ansermet brings to this score (Australian Decca Eloquence 480 3780 (2)).

斯特拉文斯基1961年亲自指挥的《火鸟》远不止文献价值——作曲家拒绝将其简单处理为氛围音乐，而是犀利地揭示其中预示《彼得鲁什卡》的怪诞幻想元素，而"卡茨切伊之舞"段落暴烈的张力更直指《春之祭》的美学雏形。值得注意的是，他意外地允许相当自由的弹性速度，却始终保持着音乐线条的稳固性。但真正具有启示性的是1960年版《春之祭》：斯特拉文斯基对这部20世纪里程碑作品的诠释至今无人超越。通过精准声部平衡与偏快的整体速度，音乐迸发出惊人的推进力与层次感。数字转制虽稍显明亮，但铜管与打击乐的立体声定位如刀刻般清晰，冲击力摄人心魄。

追求《春之祭》极致音效的乐迷不妨关注夏伊指挥克利夫兰乐团的Decca双碟廉价版(473 73102)——除震撼的《春之祭》外，更收录色彩斑斓的《火鸟》组曲、个性鲜明的《彼得鲁什卡》、演绎精湛的《扑克游戏》与录音绝美的《阿波罗》。这些1980-90年代的录音在音质上罕逢敌手。多拉蒂在Mercury唱片那版 electrifying（令人震颤）的《火鸟》已绝版CD，但安塞美与新西兰爱乐合作的澳洲Decca Eloquence版(480 3780 (2))同样值得铭记：作为指挥家的最后录音，其魔力被Decca工程师以惊人鲜活度捕捉，乐团表现更远超他亲兵瑞士罗曼德乐团的水准。


DVD：
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CD：
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Stravinsky, Igor - Chamber Works - Riccardo Chailly [DECCA]等6个文件(夹)

Le Baiser de la fée (Divertimento) 《仙女之吻》（嬉游曲版）
Pentatone SACD Surround Sound PTC 5186 061. Russian Nat. O, Jurowski – TCHAIKOVSKY: Suite 3

In the Stravinsky Divertimento the deft scoring of the Tchaikovsky material is a constant delight, much of it on a chamber-music scale; and its delicacy, wit and occasional pungency are fully appreciated by Jurowski. His performance is as near ideal as one can imagine, electric in tension to give the illusion of live music-making. He steers a nice course between bringing out the romantic warmth of the Tchaikovsky sources (songs and piano music) and the neoclassical element in Stravinsky’s style of the 1920s. So the chugging rhythms on the horns in the most memorable section of the second movement convey jollity in their springing step, while the pointing of contrasts in the Pas de deux, the longest of the four movements, brings yearning warmth in the big lyrical moments and wit in the faster sections. Exceptionally vivid sound, recorded by Pentatone’s Dutch engineers in Moscow, which reproduces superbly in surround sound.

尤洛夫斯基对柴可夫斯基素材的灵巧改编令人陶醉——室内乐般的编制中，那份精致、诙谐与偶尔的辛辣被完美呈现。他的演绎近乎理想，紧绷的张力营造出即兴演奏般的幻觉，巧妙平衡了柴可夫斯基原作的浪漫温情（取材自歌曲与钢琴曲）与斯特拉文斯基1920年代的新古典风格。第二乐章最难忘处，圆号跳跃的节奏洋溢着欢愉；而四乐章中最长的"双人舞"段落，抒情时刻的炽热渴望与快速乐句的俏皮形成精妙对比。Pentatone荷兰团队在莫斯科录制的环绕声音效异常鲜活，细节栩栩如生。


Le Chant du rossignol (Song of the Nightingale)《夜莺之歌》（交响诗版）
RCA SACD 82876 66377-2 (2). Chicago SO, Reiner – RIMSKY-KORSAKOV: Scheherazade

Le Chant du rossignol, which Stravinsky made from the material of his opera, deserves a much more established place in the concert repertoire. It is a highly appealing work, full of colour and imagination. In its new SACD format, Reiner’s 1956 recording brings astonishingly vivid sound, full of presence, an excellent coupling for his strong and dramatic reading of Scheherazade. If this transitional work – composed over two separate periods – can seem lacking something in thrust in a mediocre performance, Reiner’s virile, sharply focused reading relates it more clearly to The Rite of Spring. The virtuosity of the playing and the clarity of direction are arresting, while the glittering detail of the orchestral palette in the work’s five cued closing sections is most evocative.

这部由歌剧素材改编的交响诗本应成为音乐会常客——它充满色彩与想象力，极具吸引力。莱纳1956年录音通过SACD格式焕发惊人临场感，与张力十足的《天方夜谭》成为绝配。这部跨越两个创作阶段的"过渡性作品"在平庸演绎中可能显得松散，但莱纳犀利而雄健的解读将其与《春之祭》的血脉联系清晰展现。乐团的炫技与指挥的精准把控令人屏息，尤其结尾五个标注段落中，管弦乐调色板的璀璨细节极具画面感。


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

Kyung-Wha Chung is at her most incisive in the spicily swaggering outer movements which, with Previn’s help, are presented here in all their distinctiveness, tough and witty at the same time. In the two movements labelled Aria, Chung brings fantasy as well as lyricism, conveying an inner, brooding quality. The pairing with Prokofiev is now reissued in Universal’s ‘Critics’ Choice’ series – and worthily so.

郑京和在辛辣张扬的首尾乐章中展现出极致锋芒——在普列文的协奏下，这些段落既硬朗又诙谐，个性鲜明。而在两段"咏叹调"乐章中，她将抒情性与幻想气质结合，透露出内省的沉思特质。该录音与普罗科菲耶夫协奏曲的搭配现由环球唱片"乐评之选"系列再版，实至名归。


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Stravinsky, Igor - Divertimento & Tchaikovsky - Suite No.3 - Russian National Orchestra, Vladimir Jurowski [Pentatone 24-96]
第2、3张分别在RIMSKY-KORSAKOV 和 PROKOFIEV 词条下发过

STRAVINSKY, Igor (1882–1971)
Sony had access to the immensely valuable series of recordings made by Stravinsky himself. They were all issued individually over the years, but the 22 discs now come complete in a handsome box with full documentation at a super-bargain price. How long they will remain available we cannot predict, but the box will undoubtedly be available in the marketplace or on line as a collector’s item and is certainly worth seeking out.

The Stravinsky Edition: Vols. 1–7: Ballets, etc.: (i) The Firebird; Fireworks; (iii) Histoire du soldat; (i) Petrushka; (iii–iv) Renard the Fox; (i) The Rite of Spring; (i) Scherzo à la russe; (ii) Scherzo fantastique; (v) The Wedding (Les Noces); (vi) Agon; (i) Apollo; (i) Le Baiser de la fée; (i) Bluebird (pas de deux); (vii) Jeu de cartes; (viii) Orphée; (i; ix) Pulcinella; (ii) Scènes de ballet. Ballet Suites: (i) Firebird; Petrushka; Pulcinella
Vols. 8–9: Symphonies: (i) Symphony in E flat; (ii) Symphony in C; (i) Symphony in 3 Movements; (ii; x) Symphony of Psalms; (i) Stravinsky in rehearsal: Apollo; Piano Concerto; Pulcinella; Sleeping Beauty; Symphony in C; 3 Souvenirs
Vol. 10: Concertos: (i; xi) Capriccio for Piano & Orchestra (with Robert Craft); Concerto for Piano and Wind; (i; xii) Movements for Piano & Orchestra; (i; xiii) Violin Concerto in D
Vol. 11: Miniatures: (i) Circus Polka; Concerto in D for String Orchestra; Concerto for Chamber Orchestra, ‘Dumbarton Oaks’; (ii) 4 Études for Orchestra; (i) Greeting Prelude; (ii) 8 Instrumental Miniatures; 4 Norwegian Moods; Suites 1–2 for Small Orchestra
Vols. 12–13: Chamber music and historical recordings: (iii) Concertino for 12 Instruments; (xiv–xv) Concerto for 2 Solo Pianos; (xv–xvi) Duo concertante for Violin & Piano; (xvii–xviii) Ebony Concerto (for clarinet & big band); (iii) Octet for Wind; (iii; xix) Pastorale for Violin & Wind Quartet; (xv) Piano Rag Music; (xviii) Preludium; (iii; xx) Ragtime (for 11 instruments); (xv) Serenade in A; (iii) Septet; (xii) Sonata for Piano; (xxi) Sonata for 2 Pianos; (xviii) Tango; (xxii) Wind Symphonies
Vols. 14–15: Operas and Songs: (iii; xxiii) Cat’s Cradle Songs; (xxiii–xxiv) Elegy for J. F. K.; (ii; xxv) Faun and Shepherdess; (iii; xxvi) In memoriam Dylan Thomas; (iii; xxvii) 3 Japanese Lyrics (with Robert Craft); (xxvii; xxix) The Owl and the Pussycat; (iii; xxvii) 2 Poems by K. Balmont; (i; xxx) 2 Poems of Paul Verlaine; (i; xxiii) Pribaoutki (Pleasant Songs); (i; xxiii) Recollections of my Childhood; (xxviii; xxxi) 4 Russian Songs; (xxxvii) 4 Russian Peasant Songs; (iii; xxiii) 3 Songs from William Shakespeare; (i; xxvii) Tilim-Bom (A Story for Children); (xxxii) Mavra; (xxxiii) The Nightingale
Vols. 16–17: (xxxiv) The Rake’s Progress
Vols. 18–19: Oratorio and Melodrama: (i; xxxv) The Flood (with Robert Craft); (i) Monumentum pro Gesualdo di Venosa (3 Madrigals recomposed for instruments); (vii) Ode; (xxxvi) Oedipus Rex; (i; xxxvii–xxxviii) Perséphone
Vols. 20–21: Sacred Works: (x) Anthem (The dove descending breaks the air); (x) Ave Maria; (i; x xxxix;) Babel; (iii; x; xxvi; xxviii) Cantata; (xl) Canticum sacrum; (ii; x) Credo; (iii; x) Introitus (T. S. Eliot in memoriam); (xli) Mass; (i; x) Pater noster; (i; xlii) A Sermon, a Narrative & a Prayer; (i; xliii) Threni; (i; x) Chorale; (xlvi) Epitaphium Variations on: Vom Himmel hoch, da komm ich her (arr.); Zvezdoliki
Vol. 22: Robert Craft Conducts: (i; xliv) Abraham and Isaac; (iii) Danses concertantes; (i; xlv) Double Canon: Raoul Dufy in memoriam; (i; xlvii) Requiem Canticles; (i) Song of the Nightingale (symphonic poem). (i) Orchestral Variations: Aldous Huxley in memoriam
Sony 88697 103112 (22). (i) Columbia SO; (ii) CBC SO; (iii) Columbia CO; (iv) Shirley, Driscoll, Gramm, Koves; (v) Allen, Sarfaty, Driscoll, Barber, Copland, Foss, Sessions, American Chamber Ch., Hills, Columbia Percussion Ens.; (vi) LA Festival SO; (vii) Cleveland O; (viii) Chicago SO; (ix) Jordan, Shirley, Gramm; (x) Festival Singers of Toronto, Iseler; (xi) Entremont; (xii) Rosen; (xiii) Stern; (xiv) Soulima Stravinsky; (xv) Igor Stravinsky; (xvi) Szigeti; (xvii) Goodman; (xviii) Columbia Jazz Ens.; (xix) Baker; (xx) Koves; (xxi) Gold, Fizdale; (xxii) NW German RSO; (xxiii) Berberian; (xxiv) Howland, Kreiselman, Russo; (xxv) Simmons; (xxvi) Young; (xxvii) Lear; (xxviii) Albert; (xxix) Craft; (xxx) Gramm; (xxxi) Di Tullio, Remsen, Almeida; (xxxii) Belinck, Simmons, Rideout, Kolk; (xxxiii) Driscoll, Grist, Picassi, Smith, Beattie, Gramm, Kolk, Murphy, Kaiser, Bonazzi, Washington, DC, Op. Society Ch. & O; (xxxiv) Young, Raskin, Reardon, Sarfaty, Miller, Manning, Garrard, Tracey, Tilney, Sadler’s Wells Op. Ch., Baker, RPO; (xxxv) Harvey, Cabot, Lanchester, Reardon, Oliver, Tripp, Robinson, Columbia SO Ch., Smith; (xxxvi) Westbrook (nar.), Shirtey, Verrett, Gramm, Reardon, Driscoll, Chester Watson, Washington, DC, Op. Society Ch. & O; (xxxvii) Gregg Smith Singers, Smith; (xxxviii) Zorina, Molese, Ithaca College Concert Ch., Fort Worth Texas Boys’ Ch.; (xxxix) Calicos (nar.); (xl) Robinson, Chitjian, LA Festival Ch. & SO; (xli) Baxter, Albert, Gregg Smith Singers, Columbia Symphony Winds & Brass; (xlii) Verrett, Driscoll, Hornton (nar.); (xliii) Beardslee, Krebs, Lewis, Wainner, Morgan, Oliver, Schola Cantorum, Ross; all cond. composer; (xliv) Frosch; (xlv) Baker, Igleman, Schonbach, Neikrug; (xlvi) Gleghorn, Bioch, Remsen; (xlvii) Anderson, Bonazzi, Bressler, Gramm, Ithaca College Concert Ch., Gregg Smith; cond. Craft

On these 22 super-bargain-price CDs you have the unique archive of recordings which Stravinsky left of his own music. Almost all the performances are conducted by the composer, with a few at the very end of his career – like the magnificent Requiem Canticles – left to Robert Craft to conduct with the composer supervising. In addition there is a handful of recordings of works otherwise not covered, mainly chamber pieces. With some recordings of Stravinsky talking and in rehearsal (included on the CDs devoted to the symphonies) it makes a vivid portrait.

Stravinsky may not have been a brilliant conductor, but in the recording studio he knew how to draw out alert, vigorous performances of his own music, and every one of these items illuminates facets of his inspiration which other interpreters often fail to notice. There are few if any rival versions of The Rite of Spring – nowadays, astonishingly, his most frequently recorded work – to match his own recording of 1960 in its compelling intensity and inexorable sense of line. Of the major ballets, Petrushka and The Firebird are valuable, but The Rite is required listening: it has real savagery and astonishing electricity. The link between Jeu de cartes from the mid-1930s and Stravinsky’s post-war opera, The Rake’s Progress, is striking; Stravinsky’s sharp-edged conducting style underlines it, while the curiously anonymous-sounding Scènes de ballet certainly have their attractive movements. Orpheus has a powerful atmosphere, though one of Stravinsky’s most classically restrained works, a good performance, with the composer’s own authority lending it special interest. However, its invention is less memorable and distinguished than Apollo, one of Stravinsky’s most gravely beautiful works. Agon is one of the most stimulating of Stravinsky’s later works. The orchestra responds with tremendous alertness and enthusiasm to Stravinsky’s direction. The recording of Le Baiser de la fée is a typical CBS balance with forward woodwind. However, if the recorded quality does not inspire too much enthusiasm, the performance certainly does. Stravinsky’s recording of Pulcinella includes the vocal numbers which, when sung well, add to the variety and sparkle of the piece, while in the orchestra the clowning act of the trombone and the humour generally is strikingly vivid and never too broad. Similarly with the chamber scoring of the suite from The Soldier’s Tale, the crisp, clear reading brings out the underlying emotion of the music with the nagging, insistent little themes given an intensity that is almost tear-laden. There is a ruthlessness in the composer’s own reading of Les Noces which exactly matches the primitive robustness in this last flowering of Russian nationalism in Stravinsky. The earlier parts are perhaps too rigid, but as the performance goes on one senses the added alertness and enthusiasm of the performers. Renard is a curious work, a sophisticated fable which here receives too unrelenting a performance. The voices are very forward and tend to drown out the instrumentalists.

In the early Symphony in E flat, the young Stravinsky’s material may be comparatively conventional and the treatment much too bound to the academic procedures taught him by his master, Rimsky-Korsakov, but at least in this performance the music springs to life. Each movement has its special delights to outweigh any shortcomings. The performance is obviously as near definitive as it could be. The composer’s account of the Symphony in Three Movements is an object lesson for every conductor who has tried to perform this work. Stravinsky shows how, by vigorous, forthright treatment of the notes, the emotion implicit is made all the more compelling. The Columbia Symphony plays superbly and the recording is full and brilliant. Stravinsky’s career never quite equalled the intensity of the pre-war 78-r.p.m. performance of the Symphony of Psalms. That had many more technical faults than this later, stereo version, and it is only fair to say that this new account is still impressive. It is just that with so vivid a work, it is a shade disappointing to find Stravinsky as an interpreter at less than maximum voltage. Even so, this closing section of the work is very beautiful and compelling. The CD transfers of the American recording are somewhat monochrome by modern standards, but fully acceptable.

The iron-fingered touch of Philippe Entremont has something to be said for it in the Capriccio for Piano and Wind, but this performance conveys too little of the music’s charm. The Movements for Piano and Orchestra with the composer conducting could hardly be more compelling. Stern’s account of the Violin Concerto in D adds a romantic perspective to the framework, and at one time, no doubt, Stravinsky would have objected. But an expressive approach to Stravinsky is permissible in a soloist, when the composer is there to provide the bedrock under the expressive cantilena. Plainly this has the forthright spontaneity of a live performance.

The Dumbarton Oaks Concerto, with its obvious echoes of Bach’s Brandenburgs, is one of the most warmly attractive of Stravinsky’s neoclassical works, all beautifully played and acceptably recorded. The Octet for Wind of 1924 comes out with surprising freshness and, throughout, the unexpected combination of neo-Bach and neo-Pop is most refreshing. Ragtime could be more light-hearted, but Stravinsky gives the impression of knowing what he wants. The Ebony Concerto, in this version conducted by the composer, may have little of ‘swung’ rhythm, but it is completely faithful to Stravinsky’s deadpan approach to jazz.

In Le Rossignol the singing is not always on a par with the conducting, but it is always perfectly adequate and the recording is brilliant and immediate. Mavra is sung in Russian and, as usual, the soloists – who are good – are too closely balanced, but the performance has punch and authority, and on the whole the CD quality is fully acceptable. The songs represent a fascinating collection of trifles, chips from the master’s workbench dating from the earliest years. There are many incidental delights, not least those in which the magnetic Cathy Berberian is featured.

The Rake’s Progress is one of the highlights of the set and has never since been surpassed. Alexander Young’s assumption of the title-role is a marvellous achievement, sweet-toned, accurate and well characterized. In the choice of other principals, too, it is noticeable what store Stravinsky set by vocal precision. Judith Raskin makes an appealing Anne Truelove, sweetly sung if not particularly well projected dramatically. John Reardon too is remarkable more for vocal accuracy than for striking characterization, but Regina Sarfaty’s Baba is marvellous on both counts. The Sadler’s Wells Chorus sings with even greater drive under the composer than in the theatre, and the Royal Philharmonic play with warmth and a fittingly Mozartian sense of style to match Stravinsky’s surprisingly lyrical approach to his score. The CDs offer excellent sound.

The Cantata of 1952 is a transitional piece between Stravinsky’s tonal and serial periods. However, of the two soloists, Alexander Young is much more impressive than Adrienne Albert, for her voice is entirely unsuitable, with an unformed choirboy sound somehow married to a wide vibrato. For the sake of Stravinsky, one endures her. The Canticum sacrum includes music that some listeners might find tough (the strictly serial choral section). But the performance is a fine one and the tenor solo from Richard Robinson is very moving. The Bach Chorale Variations has a synthetic modernity and recalls the espresso bar, though one which still reveals underlying mastery. The Epitaphium and the Double Canon are miniatures, dating from the composer’s serial period, but the Canon is deliberately euphonious.

The Mass is a work of the greatest concentration, a quality that comes out strongly if one plays this performance immediately after The Flood, with its inevitably slack passages. As directed in the score, trebles are used here, and it is a pity that the engineers have not brought them further forward: their sweet, clear tone is sometimes lost among the lower strands. In The Flood, originally written for television, it is difficult to take the bald narration seriously, particularly when Laurence Harvey sanctimoniously keeps talking of the will of ‘Gud’. The performance of Oedipus Rex, too, is not one of the highlights of this set. Perséphone, however, is full of that cool lyricism that marks much of Stravinsky’s music inspired by classical myths. As with many of these vocal recordings, the balance is too close, and various orchestral solos are highlighted.

Of the items recorded by Robert Craft, the Requiem Canticles stands out, the one incontrovertible masterpiece among the composer’s very last serial works and one of the most deeply moving works ever written in the serial idiom. Even more strikingly than in the Mass of 1948, Stravinsky conveys his religious feelings with a searing intensity. The Aldous Huxley Variations are more difficult to comprehend but have similar intensity. Valuable, too, is the ballad, Abraham and Isaac.

索尼公司获得了斯特拉文斯基亲自录制的珍贵录音系列。这些录音过去曾单独发行，如今22张CD以超值套装形式呈现，附完整资料册。虽然不确定这套合集将销售多久，但它无疑会成为收藏家争相寻觅的珍品。

在这22张超值CD中，收录了斯特拉文斯基亲自诠释自己作品的珍贵录音档案。绝大多数作品由作曲家本人指挥，仅有晚年少数作品（如宏伟的《安魂颂歌》）由罗伯特·克拉夫特执棒，斯特拉文斯基担任监制。此外还补充了一些未涵盖的室内乐作品录音。部分CD还收录了斯特拉文斯基的谈话和排练片段（如交响曲专辑），生动呈现了作曲家的艺术人格。

斯特拉文斯基或许并非顶尖指挥家，但在录音室里，他总能激发出自己作品中最敏锐、最具活力的演绎。这些录音揭示了许多其他诠释者忽略的灵感细节。例如1960年他指挥的《春之祭》——如今惊人地成为他被录制最频繁的作品——其震撼的张力与严密的线条处理至今无出其右。三大芭蕾中，《彼得鲁什卡》与《火鸟》颇具价值，但《春之祭》堪称必听之作：原始野性与惊人能量喷薄而出。1930年代的《扑克游戏》与战后歌剧《浪子历程》的关联在此尤为醒目；斯特拉文斯基锋利的指挥风格强化了这种联系，而《芭蕾场景》中那些匿名般的乐段也展现出独特魅力。《俄耳甫斯》虽属作曲家最古典克制的作品之一，但在他亲自指挥下仍散发出强大气场，不过其创意性稍逊于斯特拉文斯基最庄严优美的作品《阿波罗》。《阿贡》则是作曲家晚期最富激情的创作，乐团在他的棒下展现出惊人的敏锐度。

《仙女之吻》的录音是典型的CBS平衡风格，木管声部突出。虽然录音质量不算惊艳，但演绎本身充满活力。《普尔钦奈拉》全剧录音包含声乐段落，优秀演唱为作品增添光彩；乐队中长号的滑稽表演与整体幽默感生动而不流于浮夸。《士兵的故事》组曲的室内乐编制在作曲家 crisp（干净利落）的诠释下，那些萦绕不去的固执主题被赋予近乎催人泪下的强度。《婚礼》的原始粗犷感——斯特拉文斯基俄罗斯民族主义风格的最后绽放——在作曲家本人严苛的指挥中完美呈现，虽然前段略显僵硬，但后续演绎渐入佳境。《狐狸》这部精致寓言作品在此版中处理得过于冷酷，人声过近时常压倒器乐声部。

早期《降E大调交响曲》虽受限于里姆斯基-科萨科夫传授的传统技法，但作曲家亲自指挥仍赋予了音乐生命力，每个乐章都瑕不掩瑜。《三乐章交响曲》的录音堪称指挥家教科书：斯特拉文斯基证明，通过对音符的强劲直率处理，内在情感反而更具冲击力。哥伦比亚交响乐团表现卓越，录音饱满辉煌。尽管战前78转黑胶版的《诗篇交响曲》有着更强烈的演绎，但此版立体声录音技术更完善，终乐章依然壮美动人。美国早期录音的CD转制虽以现代标准略显单薄，但完全可接受。

菲利普·昂特蒙在《钢琴与管乐协奏曲》中展现的钢铁触键虽具特色，却损失了音乐应有的魅力。相反，作曲家亲自指挥的《钢琴与乐队乐章》则充满震撼力。斯特恩在《D大调小提琴协奏曲》中融入的浪漫视角，或许会引发斯特拉文斯基本人的异议，但当作曲家本人为表达性旋律提供坚实基底时，独奏家的个性化处理反而被允许。这个录音显然保留了现场演出的即兴火花。

《敦巴顿橡树园协奏曲》明显呼应巴赫的《勃兰登堡协奏曲》，是斯特拉文斯基新古典主义作品中最富魅力的篇章之一，演奏精妙且录音达标。1924年创作的《木管八重奏》焕发出惊人的清新感，新巴赫风格与新流行元素的意外结合令人耳目一新。《雷格泰姆》本可更轻快些，但斯特拉文斯基的掌控力毋庸置疑。作曲家亲自指挥的《乌木协奏曲》虽缺少"摇摆"节奏，却完美体现了他对爵士乐不动声色的解构。

《夜莺》中人声表现虽未及指挥水准，但整体仍属上乘，录音鲜活生动。《玛芙拉》采用俄语演唱，独唱者（虽优秀）的声部平衡过于贴近，但演绎充满力度与权威，CD音质总体可接受。歌曲集收录了大师创作初期迷人的小品，如同工作台散落的碎屑，其中凯西·贝伯里安磁性的演唱尤为夺目。

《浪子历程》堪称全集巅峰，至今未被超越。亚历山大·杨塑造的男主角音色甜美精准，性格鲜明；其他主演也体现出斯特拉文斯基对声乐精确度的严苛要求。朱迪斯·拉斯金饰演的安妮·特鲁洛夫唱段甜美但戏剧张力稍逊，约翰·里尔登以音准见长而非角色塑造，而雷吉娜·萨尔法蒂的巴巴则两者兼备。萨德勒威尔斯合唱团在作曲家棒下比剧场演出更具爆发力，皇家爱乐乐团以莫扎特式的典雅风格呼应着斯特拉文斯基对总谱出人意料的抒情处理。CD音效卓越。

1952年《康塔塔》是作曲家调性时期与序列时期过渡之作，亚历山大·杨的表现远胜嗓音条件欠佳的阿德里安娜·阿尔伯特（其未成熟的童声与宽幅颤音极不协调）。《神圣颂歌》中严格的序列合唱段落可能令部分听众却步，但理查德·罗宾逊的男高音独唱催人泪下。《巴赫众赞歌变奏曲》带有合成器般的现代感，令人联想到意式咖啡吧，仍透露出大师底蕴。《墓志铭》与《双重卡农》是序列时期的微型杰作，后者刻意追求谐和音响。

《弥撒》堪称浓缩的精华，与《洪水》不可避免的松散段落形成强烈对比。按总谱要求使用的童声高音部被录音师过分弱化，其清甜音色常湮没于低声部。《洪水》中劳伦斯·哈维故作虔诚地念叨"Gud的意志"的旁白令人出戏。《俄狄浦斯王》也非全集亮点。而《珀尔塞福涅》则充满斯特拉文斯基古典神话题材特有的冷冽抒情，可惜人声与管乐独奏的平衡失当。

罗伯特·克拉夫特录制的《安魂颂歌》尤为突出，这是作曲家晚期序列作品中无可争议的杰作，也是序列主义音乐史上最动人的篇章之一。相比1948年《弥撒》，斯特拉文斯基以更灼热的强度传递宗教情感。《赫胥黎变奏曲》更难解但具有同等强度，叙事曲《亚伯拉罕与以撒》同样珍贵。


https://115cdn.com/s/swwvim53hq9?password=3377&#
Stravinsky, Igor - The Recorded Legacy [Sony]等2个文件(夹)
两个出版时间不同，内容一致。

Der Rosenkavalier (complete, DVD version)《玫瑰骑士》
DG DVD 073 0089 (2). Lott, Von Otter, Bonney, Moll, Hornik, V. State Op. Ch. & O, Carlos Kleiber (Producer: Otto Schenk; V/D: Horant Hohlfeld)

Carlos Kleiber has spoken of Felicity Lott as his ideal Marschallin, and she is probably currently as unrivalled in this role as was Schwarzkopf in the 1950s ( whose famous recording with Karajan (EMI 5 67605-2) remains highly recommendable on CD). Lott does not wear her heart on her sleeve, and her reticence makes her all the more telling and memorable. The other roles are hardly less distinguished, with Anne Sofie von Otter’s Octavian splendidly characterized and boyish, while Barbara Bonney’s Sophie floats her top notes in the Presentation of the Rose scene with great poise and impressive beauty and accuracy. Kurt Moll’s Ochs, a splendidly three-dimensional and subtle reading, is one of the other highlights of the performance. Otto Schenk’s production deserves the praises that have been lavished on it, and Rudolf Heinrich’s sets are handsome. Carlos Kleiber draws some ravishing sounds from the Vienna Philharmonic and his reading of the score is as Straussian and as perfect as you are likely to encounter in this world. The sound is very natural and lifelike, not too forward and with a good perspective.

卡洛斯·克莱伯曾称费莉西蒂·洛特是他心中最理想的元帅夫人——如今她在这个角色上的统治力，堪比上世纪50年代的施瓦茨科普夫（其与卡拉扬合作的EMI唱片5 67605-2仍是CD时代首选）。洛特的演绎不事张扬，内敛的表演反而更具穿透力。其他角色同样耀眼：安妮·索菲·冯·奥特饰演的奥克塔维安兼具英气与少年感；芭芭拉·邦妮在"献玫瑰"场景中以惊人准确性的飘逸高音塑造苏菲；库尔特·莫尔对奥克斯男爵的诠释层次丰富，堪称全剧另一高峰。奥托·申克的制作配得上所有赞誉，鲁道夫·海因里希的布景华美考究。克莱伯棒下的维也纳爱乐焕发魔幻音色，其对总谱的解读堪称最纯正的施特劳斯风格。录音自然真实，声场层次分明。


Salome (complete, DVD version) 《莎乐美》
DG DVD 073 4339. Stratas, Beirer, Varnay, Weikl, soloists, VPO, Boehm (Producer: Götz Friedrich)
Salome (complete, CD version)
Decca (ADD) 475 7528 (2). Nilsson, Collier, Hale, Hoffmann, Stolze, Waechter, VPO, Solti

We have long treasured Karl Boehm’s 1976 performance, and it is splendid that it is now available in so excellent a DVD version. It is now almost certainly the best Salome either on CD or DVD (Birgit Nilsson notwithstanding). Teresa Stratas really looks the part as well as singing it (she has been acclaimed as the finest singing-actress of her day) and the rest of the cast is superb. Astrid Varnay’s depiction of Herodias is masterly, as is Hans Beirer’s Herod. Above all, Götz Friedrich’s production evokes the atmosphere and dramatic intensity of Strauss’s opera, and one can only echo the New York critic who declared it ‘one of the most successful musical-theatrical performances I have ever seen’. Friedrich serves the score to perfection; his production is miles removed from the ‘dustbin on Mars’ sets favoured by many directors nowadays.

Recorded in Decca’s ‘Sonic Stage’ in 1962, Solti’s analogue recording of Salome remains one of the classics of the gramophone. The balance between the voices and orchestra is most convincingly achieved, with the great orchestral climaxes handled superbly by the engineers. Birgit Nilsson is splendid throughout and this is one of her finest performances on record: she is hard-edged as usual but, on that account, more convincingly wicked; the determination and depravity are latent in the girl’s character from the start. In the final scene she rises to new heights, compelling one to accept and even enjoy the horror of it, while the uncleanness is conveyed more vividly than in almost any other performance – live or recorded. One’s spine tingles even as one squirms. The end of the opera provides a famous master-stroke of Decca engineering – where Salome kisses the head of John the Baptist in delighted horror (‘I have kissed thy mouth, Jokanaan!’) – it is made all the more spine-tingling with the close-up effect of the voice almost whispering in one’s ear. Of this score Solti is a master; he has rarely sounded so abandoned in a recorded performance. Waechter makes a clear, young-sounding Jokanaan. Gerhardt Stolze portrays the unbalance of Herod with frightening conviction, and Grace Hoffmann does all she can in the comparatively ungrateful part of Herodias.

卡尔·伯姆1976年经典演绎的DVD化令人振奋，这很可能是目前最优秀的《莎乐美》影像版本（即便尼尔森版珠玉在前）。特蕾莎·斯特拉塔斯以"歌唱演员"的巅峰水准同时征服了视觉与听觉——她痉挛般的肢体语言与病态表情完美呈现了这个扭曲灵魂。汉斯·拜瑞尔（希律王）与阿斯特丽德·瓦奈（希罗底）的表演同样登峰造极。戈茨·弗里德里希的导演艺术精准还原了施特劳斯歌剧的戏剧张力，有乐评称其"史上最成功的音乐戏剧呈现"绝非过誉。与当下流行的"火星垃圾箱"式先锋制作不同，本版每个细节都服务于音乐本质。

索尔蒂1962年在Decca"音效舞台"录制的模拟录音至今仍是唱片史上的丰碑。人声与乐队的平衡堪称典范，管弦乐高潮被工程师处理得雷霆万钧。尼尔森的演绎堪称其录音生涯巅峰：标志性的金属质感音色反而强化了角色的邪恶本质——从开场就潜伏的偏执与堕落，在终场"斩首之吻"时达到骇人高度。当那句"我吻到你的嘴唇了，约翰"近乎耳语般渗入听众耳膜时，Decca工程学的魔法令人毛骨悚然。瓦希特塑造的施洗约翰清澈年轻，格哈德·施托尔茨将希律王的癫狂演绎得令人胆寒，格蕾丝·霍夫曼则在相对单薄的希罗底角色中竭尽所能。索尔蒂在此展现了罕见的癫狂状态，将总谱中的病态美感彻底释放。


DVD：
https://115cdn.com/s/swwvikm3hq9?password=3377&#
Strauss, Richard - Salome - Karl Bohm, VPO; Stratas, Weikl, Varnay, Beier [DVD9]等2个文件(夹)
磁链：
Der Rosenkavalier：magnet:?xt=urn:btih:1E331E02ADD134FFFF3289D4D30AE9EF9259253F
Salome ：magnet:?xt=urn:btih:473EDA7B24815D9CD1F39497861F0FF87980DCAC

CD：
https://115cdn.com/s/swwvimz3hq9?password=3377&#
Strauss, Richard - Der Rosenkavalier - Karajan, PO; Schwarzkopf, Stich-Randall, Gedda [EMI]等2个文件(夹)

Elektra (CD version) 《埃莱克特拉》
Decca (ADD) 475 8231 (2). Nilsson, Collier, Resnik, Stolze, Krause. V. State Op. Ch., VPO, Solti

Both Nilsson and Solti are the great stars of this electrifying performance – one of the great operatic triumphs of the stereo era. Nilsson is incomparable in the name-part, with the hard side of Elektra’s character brutally dominant. Only when – as in the Recognition scene with Orestes – she tries to soften the naturally bright tone does she let out a suspect flat note or two. As a rule, she is searingly accurate in approaching even the most formidable, exposed top notes. One might draw a parallel with Solti’s direction – sharply focused and brilliant in the savage music which predominates; and even if he lacks the languorous warmth one ideally needs in the Recognition scene, if only for contrast, he is magnetic throughout. The rest of the cast is hardly less impressive, Regina Resnik as Klytämnestra is supremely impressive, as is Marie Collier as Chrysothemis. Tom Krause makes a dramatic Oreste, matching the interpretation of this performance as a whole. The brilliance of the 1967 recording is brought out all the more in the newest digital transfer, aptly so in this work. Indeed, the fullness and clarity are amazing for the period.

尼尔森与索尔蒂无疑是这场震撼演出的双星——立体声时代最伟大的歌剧录音之一。尼尔森塑造的埃莱克特拉无与伦比，将角色性格中的冷酷面展现得淋漓尽致。仅在"认亲场景"中试图柔化原本明亮的音色时，偶有一两个音准偏差。面对那些极具挑战性的高音，她的演绎始终如烈焰般精准。索尔蒂的指挥同样锋芒毕露，在占据主导的暴烈段落中展现出锐利与辉煌；即便"认亲场景"欠缺理想中的缠绵温情（这种对比本可更强烈），其整体掌控力仍充满魔力。其他演员同样耀眼：蕾吉娜·雷斯尼克饰演的克吕泰涅斯特拉令人叹服，玛丽·科利尔的克里索忒弥斯亦然。汤姆·克劳塞戏剧张力十足的俄瑞斯特斯完美契合全剧风格。1967年原始录音的辉煌质感在最新数字转制中得到升华，声场的饱满度与清晰度堪称同期录音奇迹。


Die Frau ohne Schatten (CD version) 《没有影子的女人》
Decca 436 243-2 (3). Behrens, Varady, Domingo, Van Dam, Runkel, Jo, VPO, Solti

In the Heldentenor role of the Emperor, Plácido Domingo, the superstar tenor, gives a performance that is not only beautiful to the ear beyond previous recordings but which has an extra feeling for expressive detail, deeper than that which was previously recorded. Hildegard Behrens as the Dyer’s Wife is also a huge success. Her very feminine vulnerability is here a positive strength. And the voice has rarely sounded so beautiful on record. Julia Varady as the Empress is equally imaginative, with a beautiful voice, and José Van Dam with his clean, dark timbre brings a warmth and depth of expression to the role of Barak, the Dyer, which goes with a satisfyingly firm focus. Reinhild Runkel in the key role of the nurse is well in character, with her mature, fruity sound. Eva Lind is shrill in the tiny role of the Guardian of the Threshold, but there is compensation in having Sumi Jo as the Voice of the Falcon. With the Vienna Philharmonic surpassing themselves, and the big choral ensembles both well disciplined and warmly expressive, this superb recording is unlikely to be surpassed for many years. Solti himself is inspired throughout.

超级男高音多明戈饰演的皇帝不仅音色之美超越前人录音，更赋予角色前所未有的细腻表情。希尔德加德·贝伦斯（染匠之妻）同样大获成功——她将女性特有的脆弱转化为戏剧力量，其嗓音在录音中罕有地焕发美感。朱莉娅·瓦拉迪（皇后）的演绎充满想象力，何塞·范·达姆以纯净暗沉的音色为染匠巴拉克一角注入温暖深邃的表达。莱茵希尔德·伦克尔（护士）成熟的音质精准塑造人物，虽伊娃·林德（守门人）的尖利音色略有遗憾，但曹秀美（猎鹰之声）作了绝佳弥补。维也纳爱乐的超常发挥与合唱团的精准表现，加上索尔蒂贯穿全剧的灵感火花，使这套录音在未来数十年恐难被超越。


Intermezzo (complete, DVD version) 《间奏曲》
Warner NVC Arts DVD 50-51442-8857-2-9. Lott, Pringle, Caley, Gale, Glyndebourne Festival Op. Ch., LPO, Kuhn (Stage Director: John Cox; V/D: David Buckton)

This is as perfect a realization of Strauss’s conversation piece as one could possibly imagine, and it is even more enjoyable for being performed in Andrew Porter’s brilliant English translation. Felicity Lott looks ravishing and sings delightfully as Christine, John Pringle is perfectly cast as her husband, Robert, and Ian Caley makes a winningly ingenuous foil as the young baron. John Cox’s 1920s sets and the costumes are ideal (notably Lott’s dresses) and the production values are what every stage director should seek, and few find. Moreover, the clever alignment with the composer’s own domestic situation is neatly achieved. Gustav Kuhn directs the complex orchestral accompaniments with great skill and the LPO is in sparkling form. If only all opera productions were as beautifully realized as this!

这部对白歌剧的呈现堪称完美，安德鲁·波特的英译本更添观赏乐趣。费莉西蒂·洛特（克里斯汀）既光彩照人又歌喉醉人，约翰·普林格（罗伯特）与伊恩·卡莱（年轻男爵）的选角无可挑剔。约翰·考克斯设计的1920年代布景与服装（尤其是洛特的裙装）尽显匠心，制作水准堪称行业标杆。制作团队对作曲家真实婚姻生活的巧妙影射更显慧心。古斯塔夫·库恩对复杂乐队伴奏的精妙把控，加上伦敦爱乐的璀璨音色，共同铸就这部歌剧制作的典范——若所有制作皆能达此境界，实乃乐坛之幸！


DVD：
https://115cdn.com/s/swwvi4f3hq9?password=3377&#
Strauss, Richard - Intermezzo - Gustav Kuhn, LPO; Lott, Pringle, Caley [DVD9]

磁链：magnet:?xt=urn:btih:97A3574DAA8C7B82EE3627C61FD71842D10442CC

CD：
https://115cdn.com/s/swwvi7r3hq9?password=3377&#
Strauss, Richard - Die Frau ohne Schatten - Georg Solti, VPO; Behrens, Domingo, Sumi Jo [DECCA]等3个文件(夹)
给个Solti的理查德.施特劳斯歌剧合集，只保存这个也可以。

Ein Heldenleben, Op. 40 (DVD version)
RCO Live DVD RCO 04103; or Surround Sound (CD) RCO 04005. Concg. O, Jansons (DVD with documentary introducing Mariss Jansons as the orchestra’s conductor; V/D: Hans Hulscher)
Ein Heldenleben, Op. 40 (CD version)
Testament SBT1430. BPO, Karajan – BEETHOVEN: Symphony 4

Jansons’s magnificent Concertgebouw performance of Ein Heldenleben comes in a superb SACD recording in natural surround sound which, with four speakers, captures the richness of the Concertgebouw acoustic and gives the orchestra the most sumptuous and detailed presentation in a live performance that combines adrenalin flow, refinement of detail and glorious playing. The DVD offers the special visual treat of the Concertgebouw as a backcloth for great music-making in first-class sound (though not quite as opulent as the CD), plus a vivid pictorial survey of the performance which is both rewarding and interesting in a score as diverse and detailed as Ein Heldenleben, as the camera follows the orchestra’s involvement.

Karajan’s Heldenleben was recorded at the Royal Festival Hall when the Berlin Philharmonic came to London in April 1985. The performance can only be described in superlatives, and the Testament sound is similarly impressive. In his sleeve-note Richard Osborne speaks of its wonderful sonority, ‘lambent in its beauty, never cloying or opaque’. How right he is! The Beethoven Fourth is superbly played too and, if perhaps not an appropriate coupling, is a very welcome one.

杨松斯与皇家音乐厅管弦乐团辉煌的《英雄生涯》演绎以顶级SACD录音呈现，自然环绕声通过四声道扬声系统完美捕捉音乐厅的丰沛声学效果，将现场演出的肾上腺素激荡、精妙细节与华美演奏展现得淋漓尽致。DVD版不仅提供一流音质（虽略逊于CD版的华美度），更以音乐厅为背景呈现视觉盛宴——镜头精准追踪乐团演奏时，这部结构繁复、细节丰富的作品通过生动画面获得全新解读，既富观赏价值又具艺术启发性。

卡拉扬1985年4月率柏林爱乐在伦敦皇家节日大厅录制的《英雄生涯》只能用"极致"形容，Testament唱片的声音同样震撼。理查德·奥斯本在册页笔记中盛赞其"如火焰般明澈的美感，绝不甜腻或浑浊"——此言极是！搭配的贝多芬第四交响曲同样精彩，虽非传统组合却令人惊喜。


4 Last Songs; Orchestral Lieder《最后四首歌》；管弦乐艺术歌曲
EMI (ADD) 5 66908-2. Schwarzkopf, Berlin RSO or LSO, Szell

For the Legends version of Schwarzkopf’s raptly beautiful version of the Four Last Songs (1965), EMI have added not just the old coupling of Strauss orchestral songs but also seven extra items which she recorded in 1968, also with George Szell conducting, but with the LSO instead of the Berlin Radio Orchestra. There are few recordings in the catalogue which readily capture the magic of Schwarzkopf’s singing in all its variety of tone and meaning, perfectly matched by inspired playing. The current remastering seems to add even more lustre to the voice and orchestra alike. The Legends release, although without texts, includes a bonus DVD of Schwarzkopf in the Act I finale of Der Rosenkavalier, with Hertha Töpper and the Philharmonia Orchestra under Mackerras (1961).

EMI为传奇系列再版的施瓦茨科普夫1965年《最后四首歌》绝美演绎，不仅保留原版管弦乐艺术歌曲，更追加1968年她与乔治·塞尔合作的七首曲目（此次指挥伦敦交响乐团而非柏林广播交响乐团）。鲜有录音能如此完整捕捉施瓦茨科普夫千变万化的音色与深邃诠释，与乐团灵感迸发的演奏相得益彰。本次重制更令其人声与乐队焕发新辉。此版虽无歌词册，但附赠DVD收录她1961年与玛克拉斯指挥爱乐乐团合作的《玫瑰骑士》第一幕终场（赫莎·托珀参演）。


Ariadne auf Naxos (CD version) 《阿里阿德涅在纳克索斯》
EMI 2 08824-2 (2). Janowitz, Geszty, Zylis-Gara, King, Adam, Schreier, Dresden State O, Kempe

Kempe’s relaxed, languishing performance of this most atmospheric of Strauss’s operas is matched by opulent (1969) EMI recording. Janowitz sings with heavenly tone-colour (marred only when hard pressed at the climax of the Lament) and Zylis-Gara makes an ardent and understanding composer. Sylvia Geszty’s voice is a little heavy for the fantasic coloratura of Zerbinetta’s part, but she sings with charm and assurance. James King sings the part of Bacchus with forthright tone and more taste than many tenors. Those who remember Karajan’s mono set with Schwarzkopf will not find this ideal, but there is warmth and atmosphere here in plenty. The reissue comes with full libretto.

肯佩对这部最具氛围感的施特劳斯歌剧的演绎松弛而缠绵，与EMI 1969年丰沛的录音相得益彰。雅诺维茨的天籁音色（仅在《哀歌》高潮处稍显紧绷）与兹莉丝-加拉饰演的作曲家角色炽热而富有洞察力。格兹蒂的音质对泽宾内塔花腔部分略显厚重，但演唱仍充满魅力与自信。詹姆斯·金以直率音色演绎酒神角色，品味远胜多数男高音。怀念卡拉扬单声道版（施瓦茨科普夫主演）的乐迷或觉此版非理想之选，但其中洋溢的温情与戏剧氛围已足够动人。再版附完整剧本。


DVD：
没找到

CD：
https://115cdn.com/s/swwvioi3hq9?password=3377&#
Strauss, Richard - 4 Last Songs, 12 Orchestral Songs - George Szell, Schwarzkopf [EMI]等8个文件(夹)
Testament 厂牌卡拉扬版《英雄生涯》在贝多芬词条下已经发过

STRAUSS, Richard (1864–1949)
An Alpine Symphony; Also sprach Zarathustra; Aus Italien; Le Bourgeois gentilhomme: Suite, Op. 60; (i) Burleske for Piano and Orchestra; (ii) Concertos for Horn, 1 & 2; (iii) Concerto for Oboe; (iv) Concerto for Violin in D minor. Dance Suite (from harpsichord pieces by François Couperin); Don Juan; (v) Don Quixote; (vi) Duett-Concertino. Ein Heldenleben; Josephslegende; Macbeth; Metamorphosen; (vii) Panathenäenzug, Op. 74; Parergon zur Sinfonia; Symphonia domestica; Der Rosenkavalier: Waltzes (arr. Kempe); Salome: Dance of the Seven Veils. Schlagobers: Waltz. Till Eulenspiegels lustige Streiche; Tod und Verklärung
《阿尔卑斯交响曲》；《查拉图斯特拉如是说》；《来自意大利》；《贵人迷》组曲，作品60；(i)钢琴与乐队的《戏谑曲》；(ii)《第一、二号圆号协奏曲》；(iii)《双簧管协奏曲》；(iv)《D小调小提琴协奏曲》；《舞曲组曲》（改编自弗朗索瓦·库普兰的羽管键琴作品）；《唐璜》；(v)《堂吉诃德》；(vi)《二重小协奏曲》。《英雄生涯》；《约瑟夫传奇》；《麦克白》；《变形》；《雅典行列》，作品74；《家庭交响曲补遗》；《家庭交响曲》；《玫瑰骑士》圆舞曲（肯佩改编）；《莎乐美》：七纱舞；《奶油圆舞曲》；《蒂尔的恶作剧》；《死与净化》
EMI 573614-2 (9). Dresden State O, Kempe; with (i) Frager; (ii) Damm; (iii) Clement; (iv) Hoelscher; (v) Paul Tortelier; (vi) Weise, Liebscher; (vii) Rösel

Rudolf Kempe’s Richard Strauss survey, recorded in the mid-1970s, has stood the test of time and is a formidable achievement, especially in its latest bargain-box incarnation. The Dresden orchestra is a magnificent body and the strings produce gloriously sumptuous tone, strikingly in evidence in Metamorphosen. Kempe had recorded the Alpine Symphony before with the RPO, and there is little to choose between the two so far as interpretation is concerned: he brings a glowing warmth to this score. His Aus Italien is more convincing than any previous version: the sound, with its finely judged perspective, is again a decisive factor here. He gives a most musical account of the delightful Dance Suite based on Couperin keyboard pieces, although here one may wish for more transparent textures. Perhaps one could also quarrel with the balance in Don Quixote, which gives Tortelier exaggerated prominence and obscures some detail. The performance, however, is another matter and must rank with the best available. Macbeth is also very convincing and is well paced. Ulf Hoelscher’s eloquent account of the early Violin Concerto is more than welcome, as is the Symphonia domestica. Kempe’s version of this work is no less desirable than Karajan’s, a little more relaxed without being in any way less masterly. His Also sprach Zarathustra is completely free of sensationalism that mars so many newer performances. Le Bourgeous gentilhomme receives a superb performance – and what a delightful score it is. Both Don Juan and Till Eulenspiegel have received more electrifying performances elsewhere, though Kempe’s are by no means second rate, just not quite at the level of inspiration of the rest of his Strauss recordings. The Burlesque is well worth having (it is beautifully recorded) and there are few satisfactory alternatives in the Parergon to the Symphonia domestica or the Panathenäenzug, both written for the one-armed pianist, Paul Wittgenstein, and played impressively here. Peter Damm’s performances of the Horn Concertos are first class. Similarly, while Manfred Clement’s Oboe Concerto is a sensitive reading, his creamily full timbre may not appeal to those brought up on Goossens. There can be no reservations whatsoever about the Duet Concertino, where the sounds from the bassoon and clarinet are beguilingly succulent, while the interwining of both wind soloists with the dancing orchestral violins in the finale has an irresistible, genial finesse. Throughout, the superb playing of the Dresden orchestra under Kempe adds an extra dimension to the music-making.

鲁道夫·肯佩于1970年代中期录制的施特劳斯全集经受住了时间考验，堪称非凡成就，尤以最新推出的超值套装版本为甚。德累斯顿乐团是支卓越的团体，其弦乐声部迸发出华美丰润的音色，在《变形》中尤为显著。肯佩此前曾与皇家爱乐乐团录制过《阿尔卑斯交响曲》，两者诠释水准难分伯仲：他为这部总谱注入了炽热的温情。其《来自意大利》比以往任何版本都更具说服力：精妙把控的录音空间感再次成为决定性因素。他对基于库普兰键盘作品的《舞曲组曲》演绎极富音乐性，尽管此处或可期待更通透的织体呈现。《堂吉诃德》的声部平衡或许存在争议——托特利埃的独奏过于突显，某些细节被遮蔽，但其演绎水准仍属顶尖之列。《麦克白》同样令人信服，节奏把控精当。乌尔夫·赫尔舍尔对早期《小提琴协奏曲》的动人演绎堪称惊喜，《家庭交响曲》亦不遑多让。肯佩版本相较卡拉扬毫不逊色，松弛有度却不失大师风范。其《查拉图斯特拉如是说》彻底规避了诸多现代演绎的哗众取宠。《贵人迷》组曲呈现绝妙演绎——这部作品本身何等迷人！虽然《唐璜》与《蒂尔》在其他版本中或有更激荡的诠释，肯佩的演绎仍属上乘，只是未达其施特劳斯录音全集的其他作品那般灵感迸发。《戏谑曲》值得珍藏（录音极其精美），而《家庭交响曲补遗》与《雅典行列》——均为单臂钢琴家保罗·维特根斯坦创作——的替代版本寥寥无几，本辑演绎令人叹服。彼得·达姆的两部《圆号协奏曲》属一流诠释。曼弗雷德·克莱门特的《双簧管协奏曲》虽为敏感读本，但其奶油般浓稠的音色可能不合古森斯拥趸的品味。至于《二重小协奏曲》，则毫无保留盛赞：巴松管与单簧管音色诱人甘美，终章中两位木管独奏家与舞动的小提琴声部交织，焕发无可抗拒的优雅灵韵。贯穿全集，德累斯顿乐团在肯佩棒下的超凡演奏为音乐演绎增添了额外维度。

An Alpine Symphony; Also sprach Zarathustra; Death and Transfiguration; Don Quixote; Ein Heldenleben, Op. 40; Metamorphosen; Symphonia domestica《阿尔卑斯交响曲》；《查拉图斯特拉如是说》；《死与净化》；《堂吉诃德》；《英雄生涯》，作品40；《变形》；《家庭交响曲》
Sony DVD 886971954469. BPO, Karajan

There have been many wonderful post-war Strauss interpreters, from Clemens Krauss to George Szell and Rudolf Kempe; but Karajan had a special way with the composer, as we are reminded in these DVD performances, sensitively handled by the video director and, of course, stunningly played. The Metamorphosen is moving, even if Karajan’s pioneering set with the Vienna Philharmonic had even greater immediacy of feeling. The Death and Transfiguration is also marvellously played and has genuine grandeur and nobility. These performances belong in any good collection. Unaccountably (and unforgivably), the two soloists in Don Quixote are not credited either in the skimpy booklet, on the sleeve, or on the screen.

战后涌现过诸多杰出施特劳斯诠释者，从克莱门斯·克劳斯到乔治·塞尔与鲁道夫·肯佩；但卡拉扬对这位作曲家有着独特理解，这些DVD演出再次印证此点——视频导演处理细腻，演奏更是惊艳绝伦。《变形》令人动容，尽管卡拉扬早年与维也纳爱乐合作的版本情感冲击更直接。《死与净化》的演绎同样壮丽恢弘，焕发真正的崇高感。这些演出值得任何优秀藏家收藏。匪夷所思且不可原谅的是，《堂吉诃德》的两位独奏家既未在简陋册页注明，也未出现在封套或屏幕上。


DVD：
https://115cdn.com/s/swwviha3hq9?password=3377&#
Strauss, Richard - Tone Poems - Karajan, BPO [DVD9]
磁链：
magnet:?xt=urn:btih:01E96034AEF376E9C07ABF826AD637CDB7691E30

CD：
https://115cdn.com/s/swwvimo3hq9?password=3377&#
Strauss, Richard - Also Sprach Zarathustra, Till Eulenspiegel, Salome, Don Juan - Karajan, BPO [DG]等8个文件(夹)

不再另起算了，已经发了80%，没多少了，而且我后期每楼尽量多发几条，减少层数。

发帖24小时左右我就不能更改或删除，被删除的原因，估计是牵涉到某些个别敏感话题，回头我不带中文翻译补上原文吧。

我看到有一帖盖到1600+层楼，也没见崩塌啊

langong2004 发表于 2025-8-12 13:41
高楼太高 易坍塌 后面会过千层的

呵呵 我也这么认为
可考虑另起一幢 首页加上这幢楼的链接 Penguin Guide to 1000 Finest Classical Recordings-Must-Have CDs and DVDs

高楼太高 易坍塌 后面会过千层的

joseph_li 发表于 2025-8-11 00:39
The Bard, Op. 64; En Saga, Op. 9; The Oceanides, Op. 73; Pohjola’s Daughter, Op. 49; Tapiola, Op. 1 ...

第一张的碟号未必有误，只是我们都没找到。仔细对照就知楼主所发的和书中列出的曲目不完全一致。这里有该指挥和乐团在BIS的全集版，其中CD4 + Saga就包含了书中所提到的所有曲目

通过百度网盘分享的文件：03 BIS Sibelius Edition：Tone Poems ...
链接：https://***.com/s/11hMIw096bb5q--h2RR6jlw?pwd=rsfz

langong2004 发表于 2025-8-12 11:22
发表于：2025-7-4 00::48 417楼 消失了吗 这个时间有两层楼：416楼 417楼  造成后面418楼以后编楼错位  难 ...

这里常发生高楼楼层被删，所以楼层号是个随机数，非常数，楼主也找不回来的

发表于：2025-7-4 00::48 417楼 消失了吗 这个时间有两层楼：416楼 417楼  造成后面418楼以后编楼错位  难到发表过的楼层可编辑吗？麻烦joseph_li兄看看