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

joseph_li

今天开个帖，将根据 《The Penguin Guide to the 1000 Finest Classical Recordings - The Must-Have CDs and DVDs》，分享相应的资源。

本人是搬砖一族，发帖前需要点时间处理，只能不定期更新。如果着急的话，各位可以自己根据书籍找资源，俄网加磁链搜索引擎并用，大多数资源都不难找。
（俄网链接：rutracker.me 或 rutracker.net;   搜索引擎：https://xiongmaoyx.top ，需要留意的是，搜索引擎有儿童不宜不良广告）

对于古典音乐企鹅指南的三（四）星带花评鉴，众乐友毁誉不一，比较诟病的有几点：一、过于推崇英国本土的艺术家；二、过多推荐历史录音，特别是单声道时代录音；第三，小厂牌占比较高，不易获得。而这个版本的推荐，这几个问题都不突出，选曲无论从时间还是地域跨度都更为平衡，推荐的资源也相对容易获得。

关于评论，吝于我个人水平实在太有限，所以先贴出原文，再用谷歌或DeepSeek 翻译成中文，保持原汁原味。

由于有大量的视频和SACD，而我的度盘空间严重不足，所以只提供5盘链接。欢迎热心乐友搬运到度盘后积极分享。

先分享几本音乐的电子书吧。手里有旧版的企鹅古典音乐指南纸质书，电子版的一直没找到。如果哪位有的话，欢迎分享。谢谢！

音乐书籍
链接: https://***.com/s/18dKCgCjTz4FkJeXbogwBfQ?pwd=3377

xunianfeng

joseph_li 发表于 2025-6-8 14:54
BORODIN, Alexander (1833–87)
‘The World of Borodin’: (i) In the Steppes of Central Asia. Prince  ...

通过网盘分享的文件：The World of Borodin
链接: https://***.com/s/1JCIMrSBlRkJi6pIGbhVl9A?pwd=ykxu 提取码: ykxu
--来自百度网盘超级会员v7的分享

xunianfeng

joseph_li 发表于 2025-6-6 21:45
Checkmate (ballet): Suite
Hyp. Helios CDH 55099. E. N. Philh. O, Lloyd-Jones – LAMBERT: Horoscope; ...

通过网盘分享的文件：Lambert -  Horoscope – Bliss -  Checkmate – Walton -  Façade
链接: https://***.com/s/1G4GrF0e_tio-OZuBjhVBDQ?pwd=59hp 提取码: 59hp
--来自百度网盘超级会员v7的分享

wpx426

joseph_li 发表于 2025-6-8 14:54
BORODIN, Alexander (1833–87)
‘The World of Borodin’: (i) In the Steppes of Central Asia. Prince  ...

Decca Double 455 632-2 The Essential Borodin里面都有

joseph_li

BORODIN, Alexander (1833–87)
‘The World of Borodin’: (i) In the Steppes of Central Asia. Prince Igor: (ii) Overture; (ii–iii) Polovtsian Dances; (iv) Symphony 2 in B min. (v) String Quartet 2: Nocturne; (vi) (Piano) Scherzo in A flat; (vii–viii) Song: Far from the shores of your native land; (vii; ix) Prince Igor: Galitzky’s Aria
Decca 444 389-2. (i) SRO, Ansermet; (ii) LSO, Solti; (iii) with L. Symphony Ch.; (iv) LSO, Martinon; (v) Borodin Qt; (vi) Ashkenazy; (vii) N. Ghiaurov; (viii) Z. Ghiaurov; (ix) L. Symphony Ch., LSO, Downes

It is not often that a composer’s output can be encapsulated on a single disc in 76 minutes. Solti’s Prince Igor Overture shows him at his finest and the Polovtsian Dances follow on excitingly. Ansermet’s contribution, In the Steppes of Central Asia, too is impressive, as are the Nocturne and the solo vocal items. But the highlight of the disc is Martinon’s unsurpassed (1960) LSO account of the Second Symphony, ideally paced, where the sound has remarkable presence and sparkle. Indeed, the opening of this striking symphony grabs you by the throat in this recording and makes an unforgettable impression, though it is the colour of the score and its memorable tunes which give the most lasting impression.

一位作曲家的作品很少能被浓缩在一张76分钟的唱片里。索尔蒂的《伊戈尔王序曲》展现了他巅峰的创作状态，而波洛维茨舞曲则紧随其后，激动人心。安塞美的《在中亚草原上》同样令人印象深刻，夜曲和独唱部分也同样精彩。但这张唱片的亮点是马丁农1960年在伦敦交响乐团录制的无与伦比的《第二交响曲》，节奏完美，音色饱满，光彩夺目。事实上，这部引人入胜的交响曲的开头就抓住了听众的心弦，给人留下了难以忘怀的印象，但真正令人印象深刻的是乐谱的色彩和令人难忘的旋律。
（源于Google翻译）

没找到这张碟。

joseph_li

BONYNGE, Richard
‘Overtures and Ballet Music of the Nineteenth Century’ (with (i) New Philh. O, or (ii) LSO): Disc 1: (i) Overtures: AUBER: Marco Spada; Lestocq. ADAM: Giralda; La Poupée du Nuremberg. LECOCQ: La Fille de Madame Angot. THOMAS: Mignon. PLANQUETTE: Les Cloches de Corneville. BOIELDIEU: Le Calife de Bagdad; La Dame Blanche. (ii) Ballet Music: MEYERBEER: Le Prophète: Coronation March. MASSENET: La Navarraise: Nocturne. GOUNOD: La Reine de Saba, Act II: Waltz. BIZET: Don Procopio. Disc 2: (ii) Overtures: DONIZETTI: Roberto Devereux. ROSSINI: Torvaldo e Dorliska. MAILLART: Les Dragons de Villars. OFFENBACH: La Fille du tambour-major. VERDI: Giovanna d’Arco. HÉROLD: Zampa. WALLACE: Maritana. AUBER: La Neige. MASSENET: Chérubin, Act III: Entr’acte; Don César de Bazan: Entr’acte Sevillana; Les Erinnyes: Invocation. GOUNOD: Le Tribut de Zamora, Act III: Danse grecque. SAINT-SAËNS: Henry VIII, Act II: Danse de la gypsy. DELIBES: Le Roi l’a dit, Act II: Entr’acte
Double Decca (ADD) 466 431-2 (2)

This superb programme is based on three Richard Bonynge LPs, two with the LSO and one with the New Philharmonia Orchestra, again from the late 1960s early 1970s. The repertoire of once-popular music is deliciously programmed, and although some of the repertoire is available elsewhere (the Zampa and Mignon Overtures, for example) much of it is still only heard on these recordings. Of the three Auber overtures – all of them rarities – Marco Spada has a most evocative opening, suggesting a sunrise, before bursting into one of the composer’s typical galloping Allegros; Lestocq contains a memorably wistful theme on the oboe, before again launching into an irresistibly jaunty Allegro, while La Neige, more subtle than usual, shows the composer’s gift for writing catchy tunes quite early in his career. Adam’s Giralda and La Poupée de Nuremberg display all the delicacy and skill we know from his ballet scores; the former includes glittering castanets for a dash of local colour while the latter features an unexpected passage for string quartet. Boieldieu’s charming La Dame Blanche is as light as thistledown and The Caliph of Bagdad has never sounded more resplendent. Lecocq’s La Fille de Madame Angot is quite felicitous. Among the LSO performances, Maritana stands out. Bonynge presents this with great affection, the melodramatic opening arresting and the hit tune, ‘Scenes that are Brightest’, lusciously presented. Rossini’s Torvaldo e Dorliska is interesting in including the second subject of the Cenerentola Overture, while Donizetti’s Roberto Devereux even draws on ‘God Save the Queen’. Offenbach’s winning La Fille du tambour-major is piquantly scored, ending with an exuberant Can-can played with superb gusto. We also turn to the LSO for the ballet music. Besides a brilliant account of Meyerbeer’s Coronation March, there is a series of bon-bouches, including Massenet’s haunting Invocation, a cello solo from Les Erinnyes) and the Nocturne from La Navarraise. Gounod’s Grande valse from La Reine de Saba sounds as though it has been left over from the Faust ballet music, while Saint Saëns’s Gypsy Dance from Henry VIII, with its ominous timpani strokes, turns into a tuneful valse macabre. The programme ends with a charming pastiche Minuet from Delibes’s Le Roi l’a dit. Bonynge is a complete master of this repertoire, which he clearly loves, and all this music is chic and poised in his hands and, of course, brilliantly played, so that enjoyment is assured.

这套精彩的曲目精选自理查德·博宁吉的三张黑胶唱片——其中两张与伦敦交响乐团合作，另一张携手新爱乐乐团，均录制于1960年代末至1970年代初。这些曾经风靡的乐段被巧妙编排，虽然部分曲目（如《赞帕》和《迷娘》序曲）另有录音版本，但多数作品仍仅存于这些珍贵唱片中。

奥柏的三首冷门序曲各具特色：
- 《马可·斯帕达》以极具画面感的日出意境开篇，旋即转入作曲家标志性的奔腾快板；
- 《莱斯托克》中双簧管吟唱的忧郁主题令人过耳难忘，而后又跃入欢快的快板；
- 《雪》则展现出奥柏早期创作中不寻常的细腻，其谱写动人旋律的才华已初露锋芒。

亚当的《吉拉尔达》与《纽伦堡的娃娃》延续了其芭蕾音乐的精致笔触——前者以璀璨响板增添异域风情，后者意外插入一段弦乐四重奏段落。布瓦尔迪厄迷人的《白衣夫人》轻盈如羽，《巴格达酋长》的华彩演绎更堪称绝响。勒科克的《昂戈夫人的女儿》同样妙趣横生。

伦敦交响乐团的演绎中：
- 《马里塔娜》尤为夺目，博宁吉以饱满情感呈现戏剧性开场，名曲《璀璨景象》更被演绎得缠绵醉人；
- 罗西尼《托瓦尔与多莉斯卡》序曲竟暗藏《灰姑娘》序曲第二主题；
- 多尼采蒂《罗伯托·德弗罗》甚至化用了《天佑女王》的旋律；
- 奥芬巴赫《鼓手长的女儿》以辛辣配器著称，终章康康舞在乐团酣畅淋漓的演奏中恣意绽放。

芭蕾音乐板块同样精彩：
- 除迈耶贝尔辉煌的《加冕进行曲》外，
- 更有马斯内《伊林尼亚丝》中萦绕心间的大提琴独奏《祷歌》、
- 《纳瓦拉姑娘》夜曲等珍馐美馔。
- 古诺《萨巴女王》中的大圆舞曲恍若《浮士德》芭蕾音乐的遗珠，
- 圣桑《亨利八世》里的吉普赛舞曲以不祥定音鼓开场，竟渐变为旋律优美的死亡圆舞曲。
- 整套曲目在德利布《国王如是说》的复古小步舞曲中优雅收官。

博宁吉无疑是这类曲目的绝对权威，在他举重若轻的掌控下，这些音乐既时髦又从容，加之乐团精湛的演奏，注定为听众带来无上享受。
（源于DeepSeek翻译）

https://115cdn.com/s/swwqb6o3hq9?password=3377&#
Bonynge, Richard - Overtures & Ballet Music of 19 Century - Bonynge, New PO & LSO [Decca]

joseph_li

La Dame Blanche (opera: complete)
EMI 3 95118-2 (2). Rockwell Blake, Naouri, Fouchécourt, Deletré, Massis, Delunsch, Brunet, Dehont, Vajou, R. France Ch., Paris Ens. O, Minkowski

Boïeldieu’s engaging overture to La Dame Blanche is one of the true miniature masterpieces of light music. (It is worth including here a true story of the experience of a first-class bassoon player (William Greenlees) who went straight from the Royal Manchester College of Music to a seasonal summer engagement with the Spa Orchestra at Scarborough. They gave concerts daily, playing everything from sight – something for which British musicians are famous. Bill was warned by his professor at the College to beware of The White Lady Overture, in which the bassoonist turns a page immediately before the second subject arrives, heralded by fast solo bassoon arpeggios (noticeably audible with a small orchestra). Having watched out carefully for the arrival of the piece on a daily basis, Bill realized that his moment had come only when he turned the page of La Dame Blanche and realized that he had been caught out! Instantly translating the title in his head, with great resource he looked quickly at the key signature and quickly filled in the gap by playing a tempo semiquaver scales in the correct key. Afterwards the conductor, Jan Hurst, congratulated him for being the first bassoonist in the history of the concerts not to break down altogether!)

The opera itself is a charmingly delicate score which uses the Scottish-based melodies (from the opera) which the composer infused with a typically Gallic flavour to piquant effect. The opera was hugely successful in its day, but this is its first complete modern recording, and it is a delightful set in every way. Completed in 1826, this light-hearted adaptation of Sir Walter Scott’s novel sparkles from first to last, helped by the inspired direction of Marc Minkowski with an excellent team of soloists who all sing with a natural feeling for the idiom. This is a piece which, with its many lively ensembles, points directly forward to Donizetti’s Daughter of the Regiment and even to Offenbach’s two gendarmes from Geneviève de Brabant. Good teamwork in this opera is more important than great solo singing; but here the cast has no weak link, with the outstanding Rossinian tenor, Rockwell Blake, matched by the others, not least by Annik Massis as Anna and Mireille Delunsch as Jenny. For some non-French speakers there may be rather too much dialogue, but that can easily be excised on CD. Warm, well-balanced sound. It is now available at bargain price, though, alas, without texts or translations.

布瓦尔迪厄那首引人入胜的《白衣夫人序曲》堪称轻音乐领域的微型杰作。（这里不妨分享一段真实轶事：曼彻斯特皇家音乐学院低音管演奏家威廉·格林利斯毕业后，直接加入斯卡伯勒温泉管弦乐团进行夏季演出季。这个以视奏能力闻名于世的英国乐团每天举办音乐会，所有曲目皆需即席演奏。离校前他的教授曾特别警告要当心《白衣夫人序曲》——当第二主题由低音管快速琶音独奏（在小乐队编制中尤为突出）引领出现前，演奏者必须立即翻谱。格林利斯每天密切关注曲目单，却在翻开《白衣夫人》乐谱时才惊觉自己中招！危急关头，他灵光乍现将标题译为英文，扫了眼调号后立即以正确调性即兴演奏出符合节奏的十六分音符音阶填补空白。演出后指挥简·赫斯特称赞他是乐团历史上首位没有演砸这段的巴松管手！）

这部歌剧本身是部精妙雅致的作品，作曲家将苏格兰风格旋律（源自原著小说）注入典型法兰西风情，产生令人回味的效果。虽然当年红极一时，但本套唱片才是其首个现代完整录音版本，各方面都令人欣喜。这部1825年根据沃尔特·司各特爵士小说改编的轻快之作，在马克·明科夫斯基充满灵性的指挥下，配合深谙此中三昧的优秀独唱家阵容，自始至终闪耀着光芒。剧中大量活泼的重唱段落，直接预示了多尼采蒂《军中女郎》乃至奥芬巴赫《布拉班特的吉纳维芙》中著名二重唱的诞生。相较于独唱，该剧更注重团队配合；而本版卡司无一短板，罗西尼式男高音洛克威尔·布莱克与安娜扮演者安妮克·马西斯、珍妮扮演者米雷耶·德伦施等相得益彰。对非法语听众而言剧中对话或许稍多，但CD版本可轻松跳过。录音温暖均衡，现已推出超值版，唯缺歌词译文是为遗憾。
（源于DeepSeek翻译）

https://115cdn.com/s/swwqb3t3hq9?password=3377&#
Boieldieu, Francois - La Dame Blanche - Marc Minkowski, Ensemble Orchestral de Paris; Blake, Naouri, Fouchécourt [EMI]

joseph_li

BOÏELDIEU, François (1775–1834)
Harp Concerto in 3 Tempi in C
Decca (ADD) 425 723-2. Marisa Robles, ASMF, Brown – DITTERSDORF; HANDEL: Harp Concertos, etc.

Boïeldieu’s Harp Concerto is a work which brings real delight. This (originally Argo) recording is still in the demonstration class and very sweet to the ear. The finale lingers in the imagination long after the music has ended: its mixture of melody, wit and a touch of melancholy is very seductive. To make this reissue even more attractive, three beguiling sets of variations have been added, including music by Beethoven and a Theme, Variations and Rondo Pastorale attributed to Mozart.

布耶尔迪厄的竖琴协奏曲是一部令人愉悦的作品。这张（原版由阿尔戈唱片公司发行）的录音至今仍在示范课中，旋律优美动听。终乐章在音乐结束后仍萦绕心头：它融合了优美的旋律、诙谐的笔触和一丝忧郁，令人沉醉。为了使这张再版专辑更具吸引力，专辑中还添加了三套引人入胜的变奏曲，包括贝多芬的作品以及莫扎特创作的主题曲、变奏曲和田园回旋曲。
（源于Google翻译）

https://115cdn.com/s/swwqq2j3hq9?password=3377&#
Boieldieu, Francois & Handel & Dittersdorf - Harp Concertos - Marisa Robles, Iona Brown, ASMF [Decca]
算得上是名碟了，企鹅三四星都带花。

joseph_li

Cello Quintet (for cello & strings), Op. 37/7
Australian Decca Eloquence 421 637-2. ASMF, Marriner – MENDELSSOHN: Octet, Op. 20

Boccherini’s Quintet is an inspired piece and makes this disc worth getting for its own sake, though the coupled performance of the Mendelssohn Octet is a particularly fine one. The opening movement is curiously haunting, and while the following Menuett is charmingly light in spirit, and its finale as jolly as can be, the slow movement has great eloquence, making this a more substantial work than might be expected from this composer. The 1968 recording remains rich and full.

博凯里尼的五重奏是一部灵感迸发的作品，这张唱片本身就值得收藏，尽管门德尔松八重奏的配乐演奏尤为精彩。开场乐章引人入胜，令人难以忘怀；接下来的小步舞曲轻快迷人，终曲欢快至极；慢乐章则气势磅礴，使其内容比人们对这位作曲家的预期更为充实。1968年的录音依然饱满丰富。
（源于Google翻译）

https://115cdn.com/s/swwqq013hq9?password=3377&#
Boccherini, Luigi - Quintet Op.37 No.7 & Mendelssohn Octet - Neville Marriner, ASMF [DECCA]
还是没找到这张雄辩系列的碟，找到的是Argo标的碟。

joseph_li

BOCCHERINI, Luigi (1743–1805)
(i) Cello Concerto 9 in B flat (original version, revised Gendron); (ii–iii) Flute Concerto in D, Op. 27 (attrib.; now thought to be by Franz Pokorny); (iv) Symphonies 3 in C; 5 in B flat, Op. 12/3 & 5; (v) Guitar Quintets 4 in D (Fandango); 9 in C (La Ritirata de Madrid); (vi) String Quartet in D, Op. 6/1; (iii) String Quintet in E, Op. 13/5: Minuet (only)
Decca 438 377-2 (2). (i) Gendron, LOP, Casals; (ii) Gazzelloni; (iii) I Musici; (iv) New Philh. O, Leppard; (v) Pepe Romero, ASMF Chamber Ens.; (vi) Italian Qt

Surely no one can hear Boccherini’s ‘Minuet’ without thinking of The Lady Killers – it is a real charmer of a work and, of course, has to be included on any ‘Best of Boccherini’ collection, such as this. In fact, Boccherini wrote much music of equally melodic appeal and this inexpensive two-CD set is a good way to start to explore it. It includes Gendron’s version of the Cello Concerto; it was he who pioneered the return of the original version (without Grützmacher’s re-working), and what an enjoyable work it is too. Equally pleasing (and one can see why it was attributed to Boccherini) is the Flute Concerto, a splendidly sparkling galant work with a very catchy finale. Splashes of Spanish colour are found in the Guitar Quintet No. 4 with its Fandango finale, and in the Quintet No. 9 (‘La Ritirata di Madrid’), both works reflecting his time spent in that country. Both receive excellent performances from Pepe Romero and the ASMF Chamber Ensemble. The Symphonies are full of vitality in these excellent performances under Raymond Leppard and are very well recorded. The Italian Quartet’s performance of the D major Quartet is notable for its freshness and refinement – and its minor-keyed slow movement is as memorable as its charming finale. All these recordings encourage one to explore more of this composer’s output, and with many fine recordings available from CPO, Naxos, Hyperion, Virgin, Chandos and others, there is plenty of exploring to do.

听到博凯里尼的《小步舞曲》时，想必没有人会不想起《淑女杀手》——这真是一部魅力非凡的作品，当然，任何一张“博凯里尼精选集”都少不了它，比如这张。事实上，博凯里尼创作了许多旋律同样优美的音乐，这套价格实惠的双CD套装是探索博凯里尼作品的绝佳起点。套装收录了根德龙版本的《大提琴协奏曲》；正是他率先回归了原版（没有经过格吕茨马赫的重新编排），这本身就是一部令人愉悦的作品。同样令人愉悦的（人们不难理解为什么它被归为博凯里尼的作品）是《长笛协奏曲》，这是一部光彩夺目、华丽华丽的作品，结尾部分引人入胜。带有西班牙色彩的作品有：第四吉他五重奏以凡丹戈舞曲结尾，第九吉他五重奏（《马德里的狂欢》），这两部作品都反映了作曲家在西班牙度过的时光。佩佩·罗梅罗和 ASMF 室内乐团对这两部作品均进行了精彩的演绎。在雷蒙德·莱帕德的指挥下，这些交响曲充满活力，录音也十分出色。意大利四重奏演奏的 D 大调四重奏以清新精致著称，其小调慢乐章和迷人的结尾一样令人难忘。所有这些录音都鼓励人们去探索这位作曲家的更多作品，而 CPO、Naxos、Hyperion、Virgin、Chandos 等唱片公司都有许多优秀的录音，值得探索的地方还有很多。（源于Google翻译）

https://115cdn.com/s/swwqq033hq9?password=3377&#
Boccherini, Luigi - The Best Of Boccherini [Philips]
这个飞利浦小双张大多数应该都有了。

joseph_li

BLOCH, Ernest (1880–1959)
Schelomo (Hebraic Rhapsody) for Cello & Orchestra
DG (ADD) 457 761-2. Fournier, BPO, Wallenstein – BRUCH: Kol Nidrei; LALO: Cello Concerto. SAINT-SAËNS: Cello Concerto 1

Bloch’s most famous piece of music is undoubtedly Schelomo (‘A Voice in the Wilderness’) – a rhapsody for cello and orchestra. Its exotic, Semitic harmonies create a richly coloured atmosphere which is quite compelling and almost hypnotic. If Fournier is a bit too closely balanced in this fervent account from 1966, he is excellently supported by Wallenstein, and the sound, apart from the balance, is excellent.

布洛赫最著名的作品无疑是《荒野之声》（Schelomo），这是一部为大提琴与管弦乐队而作的狂想曲。其充满异域风情的闪族和声营造出一种色彩丰富的氛围，引人入胜，近乎催眠。如果说福尼埃在这首1966年热情洋溢的作品中略显平衡，那么华伦斯坦则为他提供了绝佳的支持，而且除了平衡之外，整部作品的音效非常出色。
（源于Google翻译）

https://115cdn.com/s/swwqqcb3hq9?password=3377&#
Bloch, Ernest - Schelomo & DvorakCello Concerto & Bruch Kol Nidrei - Pierre Fournier [DG]

huzuoan

xunianfeng 发表于 2025-5-31 09:44
通过网盘分享的文件：Bach, C.P.E. -  Hamburg Sinfonias Nos. 1 - 6, Wq. 182
链接: https://***.com/s ...

大佬：能否劳驾再分享一次呀！来晚了，过期了！可惜啊！谢谢！

huzuoan

xunianfeng 发表于 2025-5-30 23:49
通过网盘分享的文件：Arnold, M. -  Dances等2个文件
链接: https://***.com/s/1kU-1N7Iu7A6Bc_sPEGb-AQ ...

大佬：能否劳驾再分享一次呀！来晚了，过期了！可惜啊！谢谢！

dftn888

谢谢楼主分享，楼主真是爱乐之人，紧跟更新不掉队。

joseph_li

Checkmate (ballet): Suite
Hyp. Helios CDH 55099. E. N. Philh. O, Lloyd-Jones – LAMBERT: Horoscope; WALTON: Façade

David Lloyd-Jones is a highly sympathetic advocate of Bliss’s ballet suite, and he includes also the Prologue. The Hyperion recording, while warm enough to convey the score’s lyricism, has plenty of bite in the Red Knight’s Mazurka. This is most enjoyable, but it is the superb couplings that make this triptych both distinctive and even more desirable at Helios price.

大卫·劳埃德-琼斯对布利斯的芭蕾舞组曲深表赞赏，并将序曲也收录其中。Hyperion 的录音温暖地传达了乐谱的抒情，而红骑士的玛祖卡舞曲则充满力量。这首曲子本身就赏心悦目，但真正让这首三联曲与众不同、以 Helios 的价格更令人向往的，是其精湛的配器。

(i) Clarinet Quintet. String Quartet 2
Naxos 8.557394. Maggini Qt; (i) with David Campbell

Bliss’s masterly Clarinet Quintet is given a searching account by David Campbell with the Maggini group; the latter go on to offer an equally dedicated performance of the Second Quartet, full of intensity and imagination. An altogether memorable coupling, very well recorded.

大卫·坎贝尔与马吉尼乐团合作，对布利斯大师级的单簧管五重奏进行了深入的演绎；后者随后同样倾情演绎了第二四重奏，充满张力与想象力。这对组合令人难忘，录音也非常出色。
（源于Google翻译）

第一张没找到，封面如下：





https://115cdn.com/s/swwlx8t3hq9?password=3377&#
Bliss, Arthur - Clarinet Quintet & String Quartet No.2 - Maggini Quartet, David Campbell [Naxos]
这张用 124904620 老哥教的方法，用DoubleDouble从Qobuz 抓取下来的，不到十分钟搞定，速度还可以。

joseph_li

Film Music: Caesar and Cleopatra: Suite; The Royal Palaces: Suite; Things to Come: Concert Suite; War in the Air: Theme. Welcome the Queen
Chan. 9896. BBC PO, Rumon Gamba

It seems extraordinary that Bliss’s great pioneering film score for Things to Come, some 45 minutes of music, became lost in its original form. Now, thanks to Philip Lane, we can at last hear this inspired music, a wonderfully orchestrated score, as Bliss conceived it, with the closing Epilogue full of Elgarian nobilmente spirit. The March – perhaps the composer’s finest inspiration – is played with tremendous verve here, and elsewhere the score’s dramatic moments make a great impact. Caesar and Cleopatra exists in a faded working manuscript, and again it shows him in inspirational form. The three Dance Interludes are all very different, yet conjure up a warm, nostalgic glow. War in the Air, with its Waltonesque opening fanfare, was a splendid title- and closing-credits piece of considerable panache. The Royal Palaces Suite displays plenty of regality and also shows the composer at his most diverting and tuneful in the charming Waltz from The Ballroom in Buckingham Palace; and altogether this splendid CD confirms Bliss as a composer of resource who could write good tunes to order – at least in the early part of his career. Bliss’s rollicking Welcome the Queen gets the CD off to a splendid start, and the Chandos recording is first class.

布利斯为《未来之事》创作的伟大先锋电影配乐，约45分钟的音乐，竟然在原版中失传，这似乎有些不可思议。如今，多亏了菲利普·莱恩，我们终于可以聆听到这首充满灵感的音乐，这是一部精心编排的配乐，完全符合布利斯的构思，结尾的尾声充满了埃尔加式的贵族精神。进行曲——或许是作曲家最精彩的灵感来源——在这里演奏得神采奕奕，而乐谱中的其他戏剧性时刻也令人震撼。《凯撒与克利奥帕特拉》存在于一份褪色的创作手稿中，再次展现了布利斯的灵感迸发。三首舞蹈间奏曲风格迥异，却又散发着温暖怀旧的气息。《空中战争》以其沃尔顿式的开场号角声，成为一部精彩绝伦的片头和片尾曲，气势恢宏。 《皇家宫殿组曲》展现了十足的皇室气势，而作曲家在《白金汉宫舞厅》中演奏的迷人圆舞曲，也展现了其最令人愉悦、最优美的创作状态；总而言之，这张精彩的CD证明了布利斯是一位才华横溢的作曲家，至少在他职业生涯的早期，他能够根据要求创作出优秀的乐曲。布利斯欢快的《欢迎女王》为这张CD开了个好头，而Chandos唱片公司的录音更是一流。
（源于Google翻译）

https://115cdn.com/s/swwlx843hq9?password=3377&#
Bliss, Arthur - The Film Music of Arthur Bliss - Rumon Gamba, BBC PO [Chandos 24-96]

joseph_li

BLISS, Arthur (1891–1975)
(i) Adam Zero (ballet): Suite; Mêlée fantasque; Hymn to Apollo; (i–ii) Rout for Soprano & Orchestra; (iii) Serenade for Orchestra & Baritone; (iv) The World is charged with the grandeur of God
Lyrita SRCD 225. LSO, (i) cond. composer; (ii) with Rae Woodland; (iii) Shirley-Quirk, cond. Brian Priestman; (iv) Amb. S., cond. Ledger

This CD does not contain Bliss’s most memorable piece of music (the March from Things to Come – see below), but it does contain a varied and very attractive collection of pieces which show the composer at his most entertaining. The Dance of Spring from Adam Zero is exhilarating in its rhythmic drive and pounding timpani, while the following Bridal Ceremony – and especially the lively Dance of Summer – are equally enjoyable. The Mêlée fantasque (well named) is even more striking, with strong Stravinskian influences but with a characteristic elegiac section at its centre. After the Hymn to Apollo, although the rest of the programme is primarily vocal, it is in fact the orchestral writing that one remembers most vividly, for the Serenade has two purely orchestral movements out of three. The second, Idyll, shows Bliss’s lyrical impulse at its most eloquent. The orchestra is almost more important than the voice in Rout. The solo vocal performances throughout this CD are of high quality, and John Shirley-Quirk’s swashbuckling account of the gay finale of the Serenade must have pleased the composer greatly. In The World is charged with the grandeur of God, the invention is less memorable, and it is again the orchestration that shows the composer’s imagination at work, notably the atmospheric scoring for the flutes in the second section. The recordings date from the early 1970s and are of high quality.

这张CD并未收录布利斯最令人难忘的作品（选自《未来之事》的进行曲——见下文），但它确实收录了一系列丰富多彩、引人入胜的作品，展现了这位作曲家最引人入胜的创作风格。《亚当·泽罗》中的《春之舞》以其强劲的节奏和震耳欲聋的定音鼓令人振奋，而接下来的《婚礼仪式》——尤其是充满活力的《夏之舞》——也同样令人愉悦。《幻想混战》（名副其实）更是引人入胜，其风格深受斯特拉文斯基的影响，但其核心部分却以独特的挽歌段落为主。在《阿波罗赞歌》之后，虽然其余曲目主要以人声为主，但实际上，最令人印象深刻的是管弦乐部分，因为《小夜曲》的三个乐章中有两个是纯管弦乐。第二乐章《田园诗》则将布利斯的抒情冲动发挥到了极致。在《溃败》中，管弦乐几乎比人声更为重要。整张CD的独唱表演质量上乘，约翰·雪莉-奎克对《小夜曲》欢快终曲的精彩演绎想必令作曲家十分满意。在《充满上帝威严的世界》中，创新部分则略逊一筹，而管弦乐的编曲再次展现了作曲家的想象力，尤其是第二部分中长笛营造出的氛围感。这些录音录制于20世纪70年代初，质量上乘。
（源于Google翻译）

https://115cdn.com/s/swwlx8n3hq9?password=3377&#
Bliss, Arthur - Bliss conducts Bliss [Lyrita]

joseph_li

Carmen (DVD version)
TDK DV-CLOPCAR. Obraztsova, Domingo, Buchanan, Mazurok, V. State Op., Ch. & O, Carlos Kleiber (Stage and V/D: Franco Zeffirelli)

Carmen (complete, CD version)
EMI 5 67357-2 (3). De los Angeles, Gedda, Micheau, Blanc, Fr. R. Ch. & O, Beecham

Zeffirelli’s 1978 live DVD recording will be hard to surpass. Eleana Obraztsova and Domingo are ideally cast as Carmen and Don José. They act very convincingly and sing gloriously (the Flower Song is as memorable as Carmen’s hit numbers). Moreover, for once there is a totally convincing Micaëla in Isobel Buchanan, who also sings ravishingly. Her Act III scene and aria is a highlight of the opera. From the opening Prelude Carlos Kleiber directs with fizzing vitality and drama, yet creates a warmly sympathetic backcloth for the voices in the lyrical writing: the close of Act II is unforgettable, as, of course, is the opera’s final scene. Zeffirelli’s production is predictably spectacular (especially in the outer Acts) and traditional in the best possible way, and the camera follows the action admirably. The sound cannot be faulted. The set is additionally offered in a reduced-price box with Giordano’s Fedora and Verdi’s Il trovatore, both with Domingo, and Il trovatore conducted by Karajan (TDK Gold Edition: DV-GOLDBOX2).

Victoria de los Angeles’s portrayal of Carmen is absolutely bewitching, and when in the Quintet scene she says ‘Je suis amoureuse’ one believes her absolutely. Naturally the other singers are not nearly as dominant as this, but they make admirable foils; Nicolai Gedda is pleasantly light-voiced as ever, Janine Micheau is a sweet Micaëla, and Ernest Blanc makes an attractive Escamillo. The hall acoustic makes the chorus sound very resonant but gives an attractive theatrical atmosphere to the solo voices, caught naturally and without edginess, and well balanced in relation to the orchestra. At its mid-price, this famous set reasserts its position near the top of the list of recommendations and makes a worthy addition to EMI’s ‘Great Recordings of the Century’. Beecham adds his own special touch to the orchestral interludes. The documentation cannot be faulted, including session photographs and a full translation.

泽菲雷利1978年的现场DVD录音难以超越。埃莉安娜·奥布拉佐娃和多明戈完美演绎了卡门和唐·何塞。他们的演技令人信服，歌声动听（《花之歌》与卡门的热门歌曲一样令人难忘）。此外，伊莎贝尔·布坎南饰演的米凯拉令人信服，她的歌声也令人陶醉。她在第三幕的场景和咏叹调是这部歌剧的一大亮点。从开场前奏曲开始，卡洛斯·克莱伯就以充满活力和戏剧性的风格执导，同时又为抒情诗般的歌声营造了温暖而富有共鸣的背景：第二幕的结尾令人难忘，当然，歌剧的最后一幕也同样令人难忘。泽菲雷利的制作不出所料地精彩绝伦（尤其是在外幕），并以最佳的方式传承了传统，镜头对剧情的跟踪也令人赞叹。音效无可挑剔。这套套装另附赠减价盒装，内含乔尔达诺的《费多拉》和威尔第的《游吟诗人》（两部作品均由多明戈执棒），以及卡拉扬指挥的《游吟诗人》（TDK黄金版：DV-GOLDBOX2）。

维多利亚·德·洛斯·安赫莱斯饰演的卡门令人着迷，在五重奏场景中，当她说出“我是爱人”时，观众绝对会相信她。当然，其他歌手的主导地位远不及她，但他们的演绎令人钦佩：尼古拉·盖达的嗓音一如既往地轻柔悦耳，雅妮娜·米肖饰演的米凯埃拉甜美动人，欧内斯特·布兰克饰演的埃斯卡米洛魅力十足。大厅的音响效果使合唱部分回响强烈，而独唱部分则营造出迷人的戏剧氛围，自然流畅，与管弦乐队的音色和谐统一。这套著名的录音以中等价位再次巩固了其在推荐榜单中名列前茅的地位，并成为EMI“世纪伟大录音”的有力补充。比彻姆在管弦乐间奏中融入了他独特的风格。录音资料无可挑剔，包括录音过程照片和完整的翻译。
（源于Google翻译）

Blu-Ray：
https://115cdn.com/s/swwlxw73hq9?password=3377&#
Bizet - Carmen (Carlos Kleiber, Wiener Staatsoper; Obraztsova, Domingo, Mazurok 1978) [2015 CN Blu-ray]

CD：
https://115cdn.com/s/swwlxwz3hq9?password=3377&#
Bizet, Georges - Carmen - Carlos Kleiber, Obraztsova, Domingo, Mazurok [Croatia]等2个文件(夹)
蓝光碟带中文字幕，难得

joseph_li

BIZET, Georges (1838–75)
L’Arlésienne (incidental music): Suites 1–3 (Suite 3 compiled Minkowski); Carmen: Suite
Naïve V 5130. Lyon Nat. Opéra Ch., Musiciens du Louvre, Minkowski

Minkowski’s compilation from Bizet’s L’Arlésienne offers the most generous available selection of music from this delightful score, fitting a third suite between the familiar Suites 1 and 2, with the chorus adding much beauty to the Pastorale, the Second Act Tableau and extra vividness to the Farandole. The orchestral playing is first rate in every way, with an especially delicate contribution from the flutes, and the famous string Adagietto is tenderly played Andante quasi Adagio, as the composer indicated. The Carmen Suite is vivaciously colourful and, throughout, the recording is of demonstration quality. As if this were not enough, the handsome packaging, in a beautifully printed book form, is a pleasure in itself, interspersed with famous French paintings by Van Gogh, Gauguin and others.

Symphony in C – see under Beecham: ‘French Music’.

明科夫斯基根据比才的《阿莱城姑娘》编纂的这张合辑，为这首令人愉悦的乐谱提供了最为丰富的选曲，在人们耳熟能详的第一和第二组曲之间增添了第三组曲，合唱部分为田园曲和第二幕场景增添了美感，也为法兰多拉舞曲增添了额外的活力。管弦乐的演奏在各个方面都堪称一流，长笛的演奏尤为细腻，而著名的弦乐小柔板则被温柔地演奏成行板般的柔板，正如作曲家所言。《卡门组曲》色彩明快，整张录音都堪称典范之作。此外，精美的书籍包装本身也令人赏心悦目，其中穿插着梵高、高更等大师的法国名画。

C大调交响曲——参见比彻姆：“法国音乐”部分。
（源于Google翻译）

https://115cdn.com/s/swwlxhh3hq9?password=3377&#
Bizet, Georges - Carmen Suites, L'Arlesienne Suites - Marc Minkowski, Les Musiciens du Louvre Grenoble [Naive]

joseph_li

BIRTWISTLE, Harrison (born 1934)
The Minotaur (DVD version)
Opus Arte DVD OA1000D. Tomlinson, Reuter, Rice, Watts, Langridge, Echalaz, ROHCG O & Ch., Pappano (Dir.: Stephen Langridge)

This, Birtwistle’s eighth opera, like Gawain, his earlier commission from Covent Garden, has a libretto by David Harsent, using a language nicely balanced between poetry and the vernacular, while Birtwistle’s idiom, always abrasive, has developed here a more lyrical strain. As in previous operas Birtwistle is not only preoccupied with Greek myth but with central characters who are anti-heroes. In The Minotaur the piece rises to a superb final climax when, after Theseus has killed the Minotaur (in this incarnation with a bull’s head and a human body), the monster is finally allowed to speak, so that the concluding monologue as he is dying echoes directly the Death of Boris in Mussorgsky’s Boris Godunov, a likeness that Birtwistle intends. With typical ingenuity Birtwistle has created a lyrical thread passed from instrument to instrument symbolizing the thread that Ariadne gives to Theseus to lead him back through the Minotaur’s maze.

The impact of the opera is greatly heightened not just by the casting but by the staging by Stephen Langridge at the Royal Opera House, Covent Garden, very well filmed on this DVD with simple yet vividly atmospheric designs by Alison Chitty. The role of The Minotaur as a sort of Jekyll and Hyde figure was expressly designed for Sir John Tomlinson, famed Wotan from Bayreuth and centrally cast too in Birtwistle’s earlier Gawain. His voice may no longer be as steady as it was, but his singing could not be more moving. There are no reservations whatever about Christine Rice as Ariadne, superb in every way, and other fine contributions come from the bass-baritone, Johan Reuter, as Theseus and Philip Langridge as the Oracle, while Antonio Pappano, Music Director at Covent Garden, excels himself, conducting an electrifying performance with orchestra and chorus finely coordinated.

这部由伯特威斯尔创作的第八部歌剧，与其受科文特花园歌剧院委托创作的早期作品《高文》一样，剧本出自大卫·哈森特之手。文本语言在诗意与通俗之间取得了精妙的平衡，而伯特威斯尔一贯锐利的音乐风格在此作中发展出更具抒情性的特质。与以往歌剧相同，作曲家不仅聚焦希腊神话题材，更着力塑造反英雄式的核心角色。在《牛头怪》中，当忒修斯杀死半人半牛形态的怪物后，垂死的牛头怪终获发声权利——这段撼人心魄的终场独白直接呼应了穆索尔斯基《鲍里斯·戈杜诺夫》中鲍里斯之死的经典场景，这种艺术关联正是伯特威斯尔刻意为之。作曲家以标志性的巧思，通过乐器间传递的抒情旋律线，具象化了阿里阿德涅引导忒修斯走出迷宫的命运之线。

该歌剧的震撼力不仅源于演员阵容，更得益于斯蒂芬·兰里奇在科文特花园皇家歌剧院的舞台呈现——艾莉森·奇蒂简约却极具氛围感的舞美设计，通过本DVD的出色影像得以完美展现。牛头怪这一"化身博士"式双重角色专为约翰·汤姆林森爵士量身打造，这位拜罗伊特音乐节著名的沃坦扮演者，亦是伯特威斯尔前作《高文》的核心主演。虽嗓音不复当年稳定，但其演唱的感染力已达极致。克里斯汀·莱斯饰演的阿里阿德涅堪称完美无瑕，男中低音约翰·路特（忒修斯）与菲利普·兰里奇（神谕者）同样贡献精湛演绎。科文特花园音乐总监安东尼奥·帕帕诺指挥的乐团与合唱团配合无间，成就了这场令人振奋的巅峰演出。
（源于DeepSeek翻译）

https://115cdn.com/s/swwlxn23hq9?password=3377&#
Birtwistle, Harrison - The Minotaur (Antonio Pappano, Royal Opera House; Tomlinson, Reuter, Rice, Watts 2008) [Blu-ray]
刚好有蓝光的版本