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

joseph_li

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

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

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

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

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

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


https://115cdn.com/s/sww5ezi3hq9?password=3377&#
Schubert - An die Musik - Bryn Terfel [DG]等2个文件(夹)

joseph_li

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

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

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


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

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

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

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

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


https://115cdn.com/s/sww5e6x3hq9?password=3377&#
Schubert - Karl Münchinger the Schubert Recordings [DECCA]等4个文件(夹)
第一张雄辩系列没找到，但是传奇系列内容完全一样，还多了其它作曲家的两个小作品。

joseph_li

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

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

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

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

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

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

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


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

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

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


https://115cdn.com/s/sww5enq3hq9?password=3377&#
Schubert - Last Six Years Vol.1-6 - Imogen Cooper [Ottavo]等6个文件(夹)

joseph_li

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

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

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

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

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

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

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

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

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

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

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

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

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


https://115cdn.com/s/sww5enh3hq9?password=3377&#
Schubert - Alfred Brendel plays and introduces Schubert Works [5DVD9]

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

joseph_li

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

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

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


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

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

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


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

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

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


https://115cdn.com/s/sww5enn3hq9?password=3377&#
Schubert - Piano Quintet 'The Trout' - Andras Schiff, Hagen Quartet [DECCA]等5个文件(夹)

joseph_li

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

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

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


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

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

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

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

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


https://115cdn.com/s/sww5e3e3hq9?password=3377&#
Schubert & Spohr - Octet - Wiener Oktett [DECCA]等6个文件(夹)
第1张已经在第327楼发过，DECCA双张也包含了该曲目。

joseph_li

SCHUBERT, Franz (1797–1828)
Symphonies 1–6; 8 (Unfinished); 9 (Great); Grand Duo in C, D.812 (orch. Joachim); Rosamunde Overture (Die Zauberharfe), D.644  C大调二重奏，D.812（约阿希姆配器）；《罗莎蒙德》序曲（《魔竖琴》），D.644  
DG 477 8687 (5). COE, Abbado

Abbado’s is an outstanding set in every way. Rarely has he made recordings of the central Viennese classics which find him so naturally sunny and warm in his expression. The playing of the Chamber Orchestra of Europe is both beautiful and deeply committed, consistently refined and elegant, but with ample power when necessary. Speeds are often on the fast side but never feel breathless, and the recording is refined, with fine bloom on the string-sound. Textually, too, the Abbado set takes preference over its rivals. Abbado asked a member of the orchestra, Stefano Mollo, to carry out research on the original source-material in Vienna for the symphonies not yet included in the ‘Neue Schubert-Ausgabe’. As a result of his work, there are certain fascinating differences from what we are used to. The box contains the five separate discs (including Joachim’s orchestration of the Grand Duo – originally for piano duet) and a booklet with a modest note by Wolfgang Stähr.

阿巴多这套录音堪称典范。他演绎维也纳古典核心作品时，罕见地展现出如此浑然天成的明媚与温情。欧洲室内乐团的演奏兼具美感与深度，既精致优雅又不失磅礴力量。速度处理常偏快却毫不仓促，录音质感细腻，弦乐声部泛着迷人的光泽。文本考据方面亦独树一帜——阿巴多特邀乐团成员斯特凡诺·莫洛赴维也纳考证未收入《舒伯特新全集》的交响曲原始资料，由此呈现诸多耐人寻味的细节差异。套装含五张独立唱片（含约阿希姆改编的钢琴二重奏版《大二重奏》）及沃尔夫冈·施泰尔撰写的精要解说。


Symphonies (i) 8 (Unfinished); (ii) 9 in C (Great) (CD version)
Decca Australian Eloquence 480 4725. (i) VPO; (ii) LSO; Josef Krips
Symphonies 8 (Unfinished); 9 in C (Great) (DVD version)
TDK DVD DVWW-COWANDS6. NDR SO, Günter Wand

Krips first recorded the Unfinished in the very early days of mono LP, a gentle, glowing performance; and here in 1969 with the VPO he directs an unforced, flowing and wonderfully satisfying account, helped by excellent playing and splendid Sofiensaal recording, produced by Christopher Raeburn. This may lack some of the dramatic bite of more histrionic accounts, but the atmospheric opening of both movements is immediately gripping, and concentration is maintained consistently up to the beautifully shaped final coda, establishing the work’s claim to be the first truly great romantic symphony. It makes a splendid coupling for Krips’s much earlier LSO recording of the Ninth, which has long been counted by us as one of his very finest records, perhaps the finest. The performance similarly has a direct, unforced spontaneity which shows Krips’s feeling for Schubertian lyricism at its most engaging. The playing is polished, yet flexible, dramatically strong without ever sounding aggressive. In the final two movements Krips finds an airy exhilaration which makes one wonder why some other conductors can ever keep the music earthbound as they do. The pointing of the Trio in the Scherzo is delectable, and the feathery lightness of the triplets in the finale makes one positively welcome every one of its many repetitions. As a whole this represents the Viennese tradition at its finest. Great care has been taken with the remastering, which in No. 9 retains the glowing Kingsway Hall bloom and expansiveness of the original LP.

Munch also gives a magnificent performance of the Great C major Symphony with the Boston Symphony Orchestra, but one whose character is very different from the Krips version. In sheer dramatic tension it even outshines Toscanini. This is very much the Toscanini approach – in the introduction and Allegro of the first movement even faster than his – but one must emphasize that it is far from being an unsympathetic or rough-riding account of the work. True there is more excitement than repose, and at the big climax of the slow movement Munch reinforces the dissonances with an accelerando. Yet throughout, he and his players show an implicit sympathy; indeed, in the hushed slow-movement passage immediately after the climax, the rubato is controlled in an exact and precise manner, yet somehow remains spontaneous-sounding. The remastered 1958 recording still has plenty of edge, yet in the impressive new SACD transfer the sound is filled out by the warm resonance of the Boston acoustic. This is even more striking in the expansive lower strings at the opening of the Unfinished Symphony, recorded three years earlier. Here Munch’s performance has a fine, lyrical impulse, with sensitive wind-playing in the second movement; but (especially compared with Krips) there is a certain heaviness of approach (not unattractive) which is quite different from the Munch account of the Ninth Symphony (RCA SACD (ADD) 88697 04603-2).

Recorded live, Günter Wand’s performances of the two greatest Schubert symphonies have immense concentration and visionary atmosphere. But to have his magically evocative and ravishingly played account of the Unfinished as well as the Great C major on a single DVD makes for an unforgettable listening and watching experience. The cameras continually and perceptively follow the performance detail, showing Wand as a direct, unostentatious conductor, often achieving remarkable results with the minimum of gesture. The interpretation of the Ninth solves the work’s problems of tempo changes by achieving a warmly natural musical flow, expanding spontaneously to high drama at key moments. The sound in the Musik- und- Kongresshall, Lübeck, is first class too, and this must be counted among the finest orchestral DVDs yet to appear.

克里普斯早年在单声道LP时代录制的《未完成》已尽显温柔光辉，而这版1969年与维也纳爱乐的合作更臻化境，自然流动的演绎辅以顶尖演奏与雷伯恩制作的索芬萨尔绝佳录音。虽不及某些戏剧化版本的强烈冲击，但两个乐章极具氛围感的开篇瞬间摄人心魄，直至终曲精妙收束始终保持着张力，完美印证此作作为首部浪漫主义交响杰作的地位。搭配其早年与伦敦交响乐团合作的《第九交响曲》更显相得益彰——后者历来被视为其巅峰录音之一。演绎中浑然天成的即兴感，将舒伯特式抒情发挥到极致。演奏兼具精准与灵动，戏剧张力充沛却毫无压迫感。末乐章三连音如羽毛般轻盈的质感，甚至令人期待每个反复段落。整体堪称维也纳传统的至高体现。重制工程极其考究，《第九交响曲》完美保留了原始LP在金斯威大厅录制的辉煌音场。  

明希与波士顿交响乐团联袂呈现的《C大调交响曲》则另辟蹊径。其戏剧张力较托斯卡尼尼更胜一筹——首乐章引子与快板段落甚至更为迅疾，却绝非粗暴诠释。慢乐章高潮处通过加速强化不谐和音的震撼效果后，弱奏段落精准控制的弹性速度仍保有即兴神韵。1958年录音经SACD转制后，波士顿音乐厅的温暖残响令声音更为丰盈，这在三年前录制的《未完成》开篇深沉弦乐中尤为显著。该版虽充满抒情张力（第二乐章木管演奏尤为细腻），但相较克里普斯更显厚重质感（RCA SACD (ADD) 88697 04603-2）。  

旺德的现场版两大交响曲以惊人凝聚力构建超验意境。尤其将《未完成》空灵缥缈的演绎与《伟大》同收于单张DVD，成就无与伦比的视听盛宴。镜头精准捕捉每个演绎细节，展现指挥家如何以极简手势激发惊人效果。其对《第九交响曲》速度转换难题的解决堪称典范——音乐如呼吸般自然流动，又在关键处迸发壮丽戏剧性。吕贝克音乐会议大厅的顶级声学效果，更使此版跻身最杰出交响乐DVD之列。

DVD：
已经在第240楼发过，补个磁链：
Part1：magnet:?xt=urn:btih:ABDC28BE40D59D586ECC7410A8BB61631CAFCA1B
Part2：magnet:?xt=urn:btih:95ADF4AD72761F6CCC784C819B87D070013DFC35

CD：
https://115cdn.com/s/sww5r1r3hq9?password=3377&#
Schubert - Symphonies etc. - Claudio Abbado, COE [DG]等8个文件(夹)

joseph_li

huzuoan 发表于 2025-8-8 12:06
楼主，刚看了一下，DVD是缺文件的！应该是却VTS_01_6.VOB这个文件！请明查！谢谢

第794楼伯恩斯坦指挥维也纳爱乐舒曼交响曲全集DVD磁链：

magnet:?xt=urn:btih:02FB480BEAD14DBD9E9CB35D660FF1A356171B66

dftn888

谢谢楼主分享，天气热注意防护。

huzuoan

joseph_li 发表于 2025-8-7 21:03
Symphonies 1–4 (DVD version)
DG DVD 073 4512. VPO, Bernstein
Symphony in G min. (Zwickau); Sympho ...

楼主，刚看了一下，DVD是缺文件的！应该是却VTS_01_6.VOB这个文件！请明查！谢谢

sportchen

joseph_li 发表于 2025-8-7 21:09
明天专门发舒伯特

5盘分享DVD时经常提醒有违规文件，如果缺VOB视频文件，请回复告知，我到俄网找磁链分 ...

谢谢辛苦分享，周末愉快

joseph_li

明天专门发舒伯特

5盘分享DVD时经常提醒有违规文件，如果缺VOB视频文件，请回复告知，我到俄网找磁链分享，也可以自行到俄网找，5盘都可以秒离。

joseph_li

String Quartets 1–3, Op. 41/1–3
Naxos 8.570151. Fine Arts Qt

Having all three of Schumann’s Opus 41 Quartets on a single Naxos disc makes a superb bargain. These fine works (notably the last and most impressive, No. 3) are the products of Schumann’s extraordinary year of chamber inspirations, 1842, which also saw the composition of the Piano Quintet and Piano Quartet. The Fine Arts Quartet, founded as long ago as 1946, remains a magnificent interpreter, here vividly recorded in sessions in Holland in 2006.

拿索斯唱片将舒曼三首Op.41四重奏全集收录于单张唱片，实属超值之选。这些杰作（尤以最杰出的《第三号》为甚）诞生于作曲家1842年室内乐创作爆发期——同年问世的还有著名的《钢琴五重奏》与《钢琴四重奏》。成立于1946年的美艺四重奏团诠释功力依然精湛，2006年在荷兰录制的音效鲜活生动。


‘Abegg’ Variations, Op. 1; Arabeske, Op. 18; Blumenstück, Op. 19; Bunte Blätter, Op. 99; Carnaval, Op. 9; Davidsbündlertänze, Op. 6; Études symphoniques, Op. 13; Fantasy in C, Op. 17; Fantasiestücke, Op. 12; Faschingsschwank aus Wien, Op. 26; Humoreske, Op. 20; Kinderszenen, Op. 15; Kreisleriana, Op. 16; Nachtstücke, Op. 23; Novelletten, Op. 21/1, 2 & 8; Papillons, Op. 2; 3 Romanzen, Op. 28; Sonatas 1–2; Waldszenen, Op. 82《"阿贝格"变奏曲》Op.1、《阿拉伯风格曲》Op.18、《花之歌》Op.19、《彩色树叶集》Op.99、《狂欢节》Op.9、《大卫同盟舞曲》Op.6、《交响练习曲》Op.13、《C大调幻想曲》Op.17、《幻想曲集》Op.12、《维也纳狂欢节》Op.26、《幽默曲》Op.20、《童年情景》Op.15、《克莱斯勒偶记》Op.16、《夜曲集》Op.23、《新事曲》（选曲）Op.21/1,2&8、《蝴蝶》Op.2、《三首浪漫曲》Op.28、《第一、二钢琴奏鸣曲》、《森林情景》Op.82

Decca 470 915-2 (7). Ashkenazy

Vladimir Ashkenazy’s survey of Schumann’s piano music comes from the late 1980s through to the mid-1990s. Of course there are individual performances here that have been equalled by other artists – Lupu’s unforgettable accounts of the Humoresque and Kreisleriana and Brendel’s strong, poetic Fantasiestücke and Kinderszenen for instance (434 732-2). But this is not to minimize the achievement of these thoughtful and intuitive performances or the artistry and excellence which Ashkenazy brings to bear on a composer for whom he obviously he has a great feeling. The recordings are very natural, and readers wanting a complete Schumann coverage will find this set very rewarding.

阿什肯纳齐这套舒曼钢琴作品集录制于1980年代末至1990年代中期。虽有个别曲目被其他演奏家超越——如鲁普令人难忘的《幽默曲》《克莱斯勒偶记》，或布伦德尔充满诗意的《幻想曲集》《童年情景》——但这丝毫不减损阿什肯纳齐诠释的深度与直觉魅力。他对舒曼音乐的深刻共鸣，通过极具艺术性的演奏与自然真实的录音得以完美呈现。这套全集对希望系统收藏舒曼钢琴作品的乐迷而言极具价值。


Humoreske, Op. 20; Kinderszenen, Op. 15; Kreisleriana, Op. 16 – see LUPU, Radu
《幽默曲Op.20》《童年情景Op.15》《克莱斯勒偶记Op.16》的经典演绎请参见拉杜·鲁普词条


https://115cdn.com/s/sww5idh3hq9?password=3377&#
Schumann, Robert - Humoreske; Kinderszenen; Kreisleriana - Radu Lupu [DECCA]等4个文件(夹)

joseph_li

Fünf Stücke im Volkston 《五首民谣风格小品》
Decca 475 8239. Rostropovich, Britten – SCHUBERT: Arpeggione Sonata. DEBUSSY: Cello Sonata

Though simpler than the Debussy Sonata with which it is coupled, this is just as elusive a work. Rostropovich and Britten show that the simplicity is not quite as square and solid as might at first seem and that, in the hands of masters, these Five Pieces in Folk Style have rare charm, particularly the last with its irregular rhythm. The excellent recording justifies the reissue under the ‘Classic Sound’ logo.

这部与德彪西奏鸣曲搭配的作品虽结构更为简朴，却同样蕴含深邃艺术魅力。罗斯特罗波维奇与布里顿的演绎证明，这些看似方正坚实的旋律在大师手中焕发出罕见魅力——尤其末乐章非常规节奏的处理更显精妙。出色的录音品质使其在"经典之声"系列再版中实至名归。


Piano Quartet, Op. 47; Piano Quintet, Op. 44; Piano Trios 1–3, Opp. 63, 80 & 110
Decca Duo 456 323-2 (2). Beaux Arts Trio (augmented)

Philips compiled a particularly generous measure for this Duo of Beaux Arts/Schumann performances from the 1970s, which now reappears on the Decca label. The illustrious trio ( with associates) give splendid readings of the Piano Quartet and Quintet. The vitality of inspiration is brought out consistently, and with that goes their characteristic concern for fine ensemble and refined textures. The Piano Trios are hardly less successful.

飞利浦将美艺三重奏1970年代录制的舒曼室内乐珍品集结成双CD套装，现由DECCA再版发行。名家组合（及合作音乐家）对《钢琴四重奏》与《钢琴五重奏》的诠释堪称典范，始终保持着灵感迸发的生命力，同时展现出对声部平衡与细腻织体的极致追求。三首《钢琴三重奏》的演绎同样精彩绝伦。


https://115cdn.com/s/sww5ik13hq9?password=3377&#
Schumann, Robert - Complete Piano Trios, Piano Quartet, Piano Quintet - Beaux Arts Trio, Rhodes, Bettelheim [Philips]
第1张在第327楼已经发过

joseph_li

Symphonies 1–4 (DVD version)
DG DVD 073 4512. VPO, Bernstein
Symphony in G min. (Zwickau); Symphonies 1–32; 3 (Rhenish), Op. 97; Symphony 4 (original, 1841 version and revised, 1851 version); (i) Konzertstück for 4 Horns & Orchestra in F, Op. 86. Overture, Scherzo & Finale, Op. 52 (CD version)
DG 457 591-2 (3). (i) Montgomery, Edwards, Dent, Maskell; ORR, Gardiner

Schumann’s symphonies offer searing nineteenth-century romanticism with their flowing melodies and fresh, vibrant inspiration. Apart from Bernstein’s set with the VPO, there have been several fully recommendable accounts of these works over the years, with classic versions from Sawallisch (EMI), Karajan (DG) and Solti (Decca), all very different but all very recommendable and worth considering. However, John Eliot Gardiner offers the most revelatory insights of all and includes not just the four regular symphonies but a complete survey of Schumann as symphonist. He seeks specifically to explode the myth that Schumann was a poor orchestrator, pointing out how quick he was to learn from his own mistakes. Gardiner makes an exception over the 1851 revision of the Fourth Symphony, in which Schumann thickened the woodwind writing with much doubling. Illuminatingly, both versions of that symphony are included, with the contrasts well brought out. Gardiner himself, like Brahms, prefers the slimmer, more transparent first version, suggesting that the 1851 changes made it safer and less original. Yet, paradoxically, in performance Gardiner is even more inspired in the later version, which here emerges as bitingly dramatic, working up to a thrilling coda. Like other cycles, this one offers the Overture, Scherzo and Finale of 1841 as a necessary extra; but still more fascinating is the Konzertstück of 1849 for four horns, with the ORR soloists breath-taking in their virtuosity on nineteenth-century instruments. Also included is the early, incomplete Symphony in G minor of 1832 (named after Schumann’s home town of Zwickau). Under Gardiner, the two completed movements emerge as highly original in their own right. This set is undoubtedly one of Gardiner’s finest achievements.

Bernstein’s outstanding complete DVD set of the Schumann symphonies (on a single disc) shows him at his very finest – electrifying in controlling tension, spirited and genial in bringing out Schumann’s rich lyricism, powerful in creating the music’s drama. John Rockwell of the New York Times suggested that in these later Schumann performances ‘the orchestral playing is surer and more idiomatic … warm, full and Germanic’. ‘Bernstein,’ he concludes, ‘catches the romantic secret of this music in a way that most conductors have not.’ Throughout the set he achieves glorious orchestral textures from the VPO to completely negate any suggestion that the composer’s scoring is thick and unwieldy. Indeed, he always uses the original scores, and the very First Symphony sounds wonderfully fresh and spring-like, the performance joyously light-hearted. In the Second Bernstein obviously identifies completely with the Adagio, playing it with great tenderness, and then the orchestra jubilantly explodes into the closing molto vivace. In the Third the very opening is exuberant and the brass produces remarkable sonority in the fourth movement’s opening evocation of Cologne Cathedral. Most remarkable of all is the Fourth, played with enormous zest, and in the extraordinary ‘Wagnerian’ transition, from Scherzo to finale, Bernstein out-Furtwänglers Furtwängler in bringing a feeling of actual creative growth as the brass, with unforgettable power, makes its way remorselessly to the main allegro, which then dashes off bitingly and exhilaratingly, and accelerates spontaneously into the unstoppable coda. Throughout, the Vienna Philharmonic give of their all, and watching Bernstein enjoying himself doing the same is an experience in itself. Fortunately, Humphrey Burton’s video direction is worthy of the occasion, and the audio producer, John McClure, can take similar credit for the superbly balanced sound in the Musikverein.

舒曼交响曲以奔涌的旋律与鲜活的灵感，展现了十九世纪浪漫主义的灼热情怀。除伯恩斯坦与维也纳爱乐的全集录音外，萨瓦利什（EMI）、卡拉扬（DG）和索尔蒂（Decca）的经典版本各具特色，均值得推荐。而约翰·艾略特·加迪纳的诠释最具启发性，不仅涵盖四部常规交响曲，更全面展现了舒曼作为交响乐作曲家的艺术轨迹。他特别驳斥了"舒曼配器薄弱"的成见，指出作曲家善于从失误中快速学习。对于1851年修订版《第四交响曲》中木管声部的加厚处理，加迪纳持保留态度——本辑同时收录两个版本，鲜明对比中可见初版更透明简洁的织体更受推崇。然而颇具戏剧性的是，加迪纳对修订版的演绎反而更具爆发力，终乐章惊心动魄的推进令人屏息。

与其他全集版本一样，本套收录1841年《序曲、谐谑曲与终曲》作为补充；更难得的是1849年为四把圆号创作的《音乐会小品》，古乐学会乐团演奏家们在古乐器上展现了令人窒息的技巧。1832年未完成的《茨维考交响曲》（以舒曼故乡命名）前两乐章在加迪纳棒下焕发出独特原创性。这套录音无疑是加迪纳艺术生涯的巅峰成就之一。

伯恩斯坦的舒曼交响曲全集DVD（单碟版）展现其巅峰状态：张力掌控令人颤栗，抒情段落神采飞扬，戏剧性构建充满力量。《纽约时报》乐评人约翰·洛克威尔盛赞这些晚期演绎中"乐团演奏更自信地道...具有德式厚重温暖的特质"，认为"伯恩斯坦捕捉到了多数指挥家未能触及的浪漫内核"。维也纳爱乐辉煌的声部质感彻底粉碎了所谓"舒曼配器笨重"的偏见。

《第一交响曲》如春泉般清新欢愉；《第二交响曲》柔板乐章极尽温柔，终章"极活泼"段落则爆发出狂喜；《第三交响曲》开篇意气风发，第四乐章科隆大教堂的铜管召唤震撼人心；《第四交响曲》尤为惊人，从谐谑曲到终曲的"瓦格纳式"过渡段落，伯恩斯坦甚至超越了富特文格勒——铜管声部以不可阻挡之势推向主部快板，最终在自发加速中冲向无可抑制的尾声。维也纳爱乐全情投入的演奏与伯恩斯坦忘情挥洒的镜头相得益彰，汉弗莱·伯顿的影像执导与约翰·麦克卢尔在金色大厅录制的平衡音效同样功不可没。


Symphony 2 in C, Op. 61
Orfeo mono 427041. VPO, Mitropoulos – PROKOFIEV: Symphony 5

Mitropoulos was an artist of the strongest personality and integrity. Schumann’s greatest symphony, together with Prokofiev’s Fifth, comprised his début with the Vienna Philharmonic at the 1954 Salzburg Festival. He holds the Second Symphony together but achieves great intensity in its heavenly slow movement. The ORF (Austrian Radio) balance is not ideal but, given the quality of this electrifying performance, the sound is of lesser importance.

米特罗普洛斯这位极具个性与艺术操守的大师，1954年萨尔茨堡音乐节携舒曼《第二》与普罗科菲耶夫《第五》完成维也纳爱乐首秀。他将这部舒曼最伟大的交响曲严密整合，尤其在神圣的慢乐章中营造出极致强度。奥地利广播公司的录音平衡虽非理想，但对于如此震撼的演绎，音质已属次要。

DVD：
https://115cdn.com/s/sww5ikl3hq9?password=3377&#
Schumann, Robert - The Symphonies - Leonard Bernstein, VPO [DVD9]

CD：
https://115cdn.com/s/sww5ik53hq9?password=3377&#
Schumann, Robert - Symphonies - Gerog Solti, Wiener Symphoniker [DECCA]等5个文件(夹)
第二交响曲在第697楼已经发过

joseph_li

SCHUMANN, Robert (1810–56)
Cello Concerto in A min., Op. 129 (DVD version)
DG DVD 073 4351. Maisky, VPO, Bernstein – HAYDN: Cello Concertos 1–2; Violin Concerto G, in C: Adagio, arr. for cello (V/D: Humphrey Burton)

Maisky and Bernstein make a splendid partnership in Schumann’s Cello Concerto, ardent and commanding, with a warmly expressive slow movement. Visually this could hardly be better managed, and the recording is first class. What a joy too are Maisky’s glorious performances of Haydn’s pair of Cello Concertos, which he directs himself, alongside the transcription of part of the Violin Concerto with the Vienna strings playing beautifully on modern instruments.

伯恩斯坦与麦斯基的合作为舒曼大提琴协奏曲注入了炽热的激情与恢弘的气度，慢乐章尤其温暖动人。影音效果堪称典范，录音品质一流。更令人欣喜的是麦斯基对海顿两首大提琴协奏曲的辉煌演绎——他亲自执棒维也纳弦乐团，用现代乐器精彩呈现了这部改编自小提琴协奏曲的杰作。


Piano Concerto in A min., Op. 54
EMI 5 03419-2. Andsnes, BPO, Jansons – GRIEG: Piano Concerto

Though Kovacevich’s coupling of the Schumann and Grieg Concertos remains thoroughly recommendable and very tempting (Philips 475 7773), Andsnes’s Schumann is of the highest poetic feeling and distinction. Like the Grieg, it brings glorious playing from both soloist and orchestra under Jansons, a performance similarly combining spontaneity and concentration, dedication and warmth, with no hint of self-consciousness or routine. The pianistic virtuosity is commanding but never overrides tenderness. A performance of both subtlety and nobility, recorded in particularly lifelike and well-balanced sound. A classic version for our time.

尽管科瓦切维奇演绎的舒曼与格里格双协奏曲（Philips 475 7773）仍极具推荐价值，但安兹涅斯的舒曼诠释达到了诗意与卓越的巅峰。在杨颂斯指挥下，独奏家与乐团珠联璧合的演奏将自发性与专注力、奉献精神与温暖情感完美融合，毫无矫饰或程式化痕迹。精湛的钢琴技巧始终服务于音乐表现，在权威性中不失柔情。这个兼具细腻与高贵的演绎，配合栩栩如生的平衡录音，堪称当代经典版本。


(i) Piano Concerto in A min.; Konzertstück, Op. 92. Arabeske, Op. 18; Carnaval, Op. 9; Davidsbündlertänze, Op. 6; Fantasie in C, Op. 17; Humoreske, Op. 20; Kinderszenen, Op. 15; Kreisleriana, Op. 16; Nachtstücke, Op. 23; Novellette, Op. 99/9; Papillons, Op. 2; 3 Romanzen, Op. 28; Sonata 2 in G min., Op. 22; Symphonic Studies, Op. 13; Waldszenen, Op. 82
DG (ADD) 477 8693 (5). Wilhelm Kempff; (i) with Bav. RSO, Kubelik

Recorded between 1967 and 1973, this anthology celebrates Kempff’s special feeling for Schumann. He is in his element in pieces like the Arabesque, the relatively little-known first and third Romances, and the Novellette, where he inspires an element of fantasy, of spontaneous recreation, and he is also at his most inspirational in the Fantasie in C. Davidsbündlertänze, the Nachtstücke and Papillons are also extremely fine. On the other hand, the comparatively extrovert style of the Carnaval Suite suits him less well. However, Kempff’s thoughtful, intimate readings of two of the Études symphoniques and Kreisleriana are marvellously persuasive, giving a clear illusion of live performance spontaneously caught, and again well recorded. Similarly, if the sharper contrasts of the Humoresque are toned down by charm and geniality, the Waldszenen are glowingly relaxed, and both are comparably personal and individual.

The Concerto was one of the last works to be recorded. It opens with a very solid account of the opening chords, and then Kempff proceeds characteristically to produce an unending stream of poetry. His tempi are generally leisurely and he is richly supported by Kubelik and the Bavarian Radio Orchestra. The Konzertstück too, not one of Schumann’s most inspired pieces, is played most persuasively, with Kempff’s magic leading the ear on.

这套1967-1973年间录制的全集见证了肯普夫对舒曼音乐的独特感悟。在《阿拉伯风格曲》、相对冷门的《三首浪漫曲》之第一、三首，以及《新事曲》中，他展现出令人陶醉的幻想气质与即兴魅力；《C大调幻想曲》的演绎更是灵感迸发。《大卫同盟舞曲》《夜曲》与《蝴蝶》同样精彩绝伦。不过，《狂欢节》这类外向型作品稍逊于他内省风格的发挥。

肯普夫对《交响练习曲》与《克莱斯勒偶记》的沉思式解读极具说服力，宛如捕捉现场演出的鲜活感，录音效果出色。《幽默曲》中尖锐对比被优雅气质柔化，《森林情景》则洋溢着暖意融融的松弛感，均彰显其独特艺术个性。

协奏曲作为最后录制曲目之一，开篇和弦坚实有力，随后肯普夫以标志性的诗意流淌贯穿全曲。库贝利克指挥巴伐利亚广播交响乐团的丰厚支撑，与其从容的速度处理相得益彰。即便在舒曼相对平庸的《音乐会小品》中，肯普夫的魔法仍能引领听觉享受。


DVD：
在第465楼已经发过，补个油管抓的MP4
https://115cdn.com/s/sww54dn3hq9?password=3377&#
Schumann - Cello Concerto in A minor, Op 129 - Mischa Maisky, Bernstein.mp4

CD：
https://115cdn.com/s/sww5ikh3hq9?password=3377&#
Schumann, Robert - Piano Works - Wilhelm Kempff [DG]
第2张在第445楼已经发过

joseph_li

SCHUMAN, William (1910–92)
(i) Violin Concerto. New England Triptych（一）小提琴协奏曲；《新英格兰三联画》
Naxos 8.559083. Bournemouth SO, Serebrier, (i) with Quint (with IVES: Variations)

Schuman’s powerfully expressive Violin Concerto (1959) underwent more than one transformation during its gestation, with the original three movements becoming two. After a strong, rhythmically angular opening ( with the soloist immediately introducing the work’s dominating motif ) the first movement soon slips into a magically lyrical molto tranquillo. Later there is a sparkling scherzando section and an extended cadenza, before the brilliant conclusion. Lyrical feeling also seeps through the finale, although there is plenty of vigour and spectacle too, and a fugue, before the bravura moto perpetuo display of the closing section. Altogether a splendidly rewarding work, given a first-rate performance here by Philip Quint and the strongly involved Bournemouth players under Serebrier. They are no less persuasive in the New England Triptych, a folksy, immediately communicative work. First-class recording in an attractively spacious acoustic. The coupling, which Schuman orchestrated, could not be more apt.

舒曼这首情感充沛的小提琴协奏曲（1959）在创作过程中历经多次蜕变，最终由原定的三乐章精简为两乐章。作品以棱角分明的节奏化开场（独奏小提琴直接奏出主导动机），第一乐章很快转入充满魔力的抒情段落"极为宁静"。随后出现闪耀的谐谑段落与扩展的华彩乐段，最终导向辉煌的终结。终章同样渗透着抒情气质，其间不仅充满活力与戏剧性，更包含赋格段落，最后以炫技的"永恒运动"作结。这部极具艺术价值的杰作在此由菲利普·昆特与塞雷布里埃指挥的伯恩茅斯交响乐团倾情呈现，他们对《新英格兰三联画》这部民俗风格、直击人心的作品同样诠释得令人信服。录音堪称一流，空间感绝佳。舒曼亲自配器的搭配曲目选择可谓恰到好处。


Symphonies 3; 5; Judith (Choreographic Poem)
Naxos 8.559317. Seattle SO, Schwarz
Symphonies 4; 9 (Le fosse ardeatine); Circus Overture; Orchestra Song
Naxos 8.559254. Seattle SO, Schwarz
Symphony 6; New England Triptych (3 Pieces for Orchestra after William Billings); Prayer in a Time of War
Naxos 8.559625. Seattle SO, Schwarz
Symphonies 7; 10 (The American Muse)
Naxos 8.559255. Seattle SO, Schwarz
Symphony 8; Night Journey (with IVES, arr. SCHUMAN: Variations on ‘America’)
Naxos 8.559651
Naxos 8.505228 (5). Seattle SO, Schwarz

Gerard Schwarz and the Seattle orchestra have recorded all the Schuman symphonies. Nos. 1 and 2 appear to not be available at present, although recordings exist. Nos. 3–10, recorded between 2004 and 2010, are all included in this box. Schuman is said to have composed early in the morning and then turned to musical education and administration for the rest of the day. The two-movement Third Symphony has a baroque model, offering a ‘Passacaglia and Fugue’ balanced by a ‘Chorale and Toccata’. The Fourth Symphony followed its better-known predecessor within a few months, and its première was conducted by Koussevitzky. The Fifth is for strings alone and is contrapuntally stimulating, as is the comparatively sober Sixth. Dating from 1960, the Seventh was commissioned for the 75th season of the Boston Symphony and marks Schuman’s return to the symphony after a gap of 11 years. The Eighth (1962) is a large-scale work, using an expanded orchestra with an impressive array of percussion. The Ninth was written in 1967, when Schuman had visited Rome and seen the memorial Le fosse ardeatine that commemorates a random massacre by Nazi forces. It is a dark and powerful score. The Tenth was commissioned for the bicentennial celebrations of 1976.

Of the shorter works, Judith (1949), a ‘choreographic poem’, powerfully tells the story of the Jewish widow who offered herself to General Holofernes, then, when he was about to seduce her, beheaded him. The New England Triptych is based on melodies from the time of the American Revolution, and Prayer in a Time of War anticipated America’s participation in the Second World War. Night Journey is drawn from Schuman’s ballet about Jocasta and Oedipus, while his resplendent arrangement of Ives’s Variations on ‘America’ is both spectacular and patriotic.

William Schuman is a major voice in American symphonic music, and no one investigating these works will be disappointed, as they are exceptionally well played and recorded.

杰拉德·施瓦茨与西雅图交响乐团完成了舒曼全部交响曲的录音。虽然第一、第二号交响曲现存录音，但目前暂未发行。2004至2010年间录制的第三至第十号交响曲均收录于此套装中。据说舒曼惯于清晨创作，日间则投身音乐教育与行政工作。采用巴洛克范式的两乐章《第三交响曲》以"帕萨卡利亚与赋格"对应"众赞歌与托卡塔"。《第四交响曲》紧随其更著名的前作于数月后问世，由库塞维茨基指挥首演。《第五交响曲》专为弦乐而作，对位技法精妙；相对内敛的《第六交响曲》同样如此。1960年为波士顿交响乐团75周年乐季创作的《第七交响曲》，标志着舒曼时隔11年重返交响曲领域。《第八交响曲》（1962）是部大型作品，运用扩展管弦编制与令人印象深刻的打击乐群。《第九交响曲》（1967）创作于舒曼造访罗马目睹纪念纳粹随机屠杀的"阿迪蒂尼穴"纪念碑之后，是部阴暗而有力的作品。《第十交响曲》则为1976年美国建国二百周年庆典委约创作。

在短篇作品中，《朱迪斯》（1949）这部"舞蹈诗"生动讲述了犹太寡妇献身敌军将领霍洛弗尼斯继而斩首复仇的故事；《新英格兰三联画》取材自美国独立战争时期的旋律；《战争时期的祈祷》预示了美国参与二战；《夜途》选自舒曼关于伊俄卡斯忒与俄狄浦斯的芭蕾音乐；而他改编自艾夫斯《"美国"变奏曲》的辉煌配器版本既壮观又饱含爱国情怀。

威廉·舒曼是美国交响乐的重要代表人物，这些演绎精湛、录音出色的作品绝不会让探索者失望。


https://115cdn.com/s/sww5i453hq9?password=3377&#
Schuman, William - Symphonies No.3, 5 & Judith - Gerard Schwarz, Seattle SO [Naxos]等6个文件(夹)

joseph_li

SCHULHOFF, Ervin (1894–1942)
String Sextet
Hyp. Helios CDH 55321. Raphael Ens. – MARTINŮ: String Sextet; 3 Madrigals for Violin & Viola

Like Martinů, Schulhoff was born in Bohemia and was first a student in Prague. He studied briefly with Reger and Debussy no less, and was highly prolific (there are eight symphonies, though the last two were not complete). The Sextet of 1924 is an effective piece, with traces of Mahler and early Schoenberg. Its première at Donaueschingen in 1924 took place in the same week as Schoenberg’s Serenade. Schulhoff lived in Germany during the inter-war years, returning to Prague at the time of the Nazi invasion. A man of the Left, he had taken Soviet citizenship, which afforded him protection until Hitler invaded Russia. As a Jew, he was arrested and he died in the notorious Würzburg concentration camp.

与马蒂努一样，舒尔霍夫也出生于波希米亚，最初在布拉格求学。这位作曲家曾短暂师从雷格尔和德彪西等大师，创作成果极为丰硕（现存八部交响曲，其中最后两部未完成）。1924年创作的《六重奏》是一部颇具感染力的作品，隐约可见马勒与早期勋伯格的影子——该作1924年在多瑙艾辛根音乐节首演时，恰与勋伯格的《小夜曲》在同一周亮相。

两次大战期间，舒尔霍夫旅居德国，纳粹入侵时返回布拉格。这位左翼人士曾取得苏联公民身份，在希特勒进攻苏联前一直受此庇护。最终他仍因犹太身份被捕，惨死于臭名昭著的维尔茨堡集中营。


这张碟在第598楼发过。

这里讲到了舒尔霍夫的遭遇，不由得想起前几天有人发帖寻第三帝国御用指挥家的作品，其言辞（不管是否引用或原发）对第三帝国充满崇拜，对希特勒的艺术品位充满溢美之词，还有人附和。对这个恶魔般的存在，他配谈艺术吗？基本的是非观必须有！有空看看《南京照相馆》。三观不正，大麻烦！

joseph_li

SCHREKER, Franz (1878–1934) 弗朗茨·施雷克尔
Ekkehard (Symphonic Overture), Op. 12; Fantastic Overture, Op. 15; Interlude from ‘Der Schatzgräber’; Nächtstuck (from ‘Der ferne Klang’); Prelude to a Drama; Valse lente《埃克哈德》交响序曲（作品12号）、《幻想序曲》（作品15号）、《掘宝人》间奏曲、《远方之声》夜曲、戏剧序曲、缓板圆舞曲
Chan. 9797. BBC PO, Sinaisky

This sequence of six pieces presents a good cross-section of his output, demonstrating Schreker’s development from the Symphonic Overture, Ekkehard, and the charmingly unpretentious Valse lente, to the later works, which remain sumptuously late-romantic but which were regarded as daringly modern by early audiences. Both the Nachtstück from Der ferne Klang (1909) and the Prelude to a Drama (1913) – the drama in question being the opera, Die Gezeichneten – are powerfully imaginative. Perhaps the most seductive piece is the Valse lente. Schreker had a wonderful sense of fantasy, a feeling for colour, and impressive mastery of the orchestra. The textures are lush and overheated. Sinaisky draws seductively beautiful playing from the BBC Philharmonic, heightened by gloriously rich Chandos sound, and the whole disc serves to advance Schreker’s cause.

这六部作品精选展现了施雷克尔创作历程的完整剖面：从早期《埃克哈德》交响序曲与质朴迷人的《缓板圆舞曲》，到后期那些既保持晚期浪漫主义华美风格又被当时听众视为大胆前卫的作品。选自《远方之声》（1909）的《夜曲》与为歌剧《被标记者》所作的《戏剧序曲》（1913）均展现出惊人的想象力。其中最具魅惑力的当属《缓板圆舞曲》——施雷克尔以非凡的幻想气质、卓越的色彩感知力及精湛的管弦乐技法，构建出浓烈到几近炽热的音响织体。指挥家西奈斯基带领BBC爱乐乐团呈现令人沉醉的演绎，配合Chandos唱片招牌式的丰沛录音效果，整张专辑堪称对施雷克尔艺术成就的最佳推介。


Prelude to a Grand Opera; Prelude to ‘Das Spielwerk’; Romantic Suite, Op. 14; (i) 5 Gesäng大歌剧序曲、《音乐盒》序曲、浪漫组曲（作品14号）及（一）五首艺术歌曲
Chan. 9951. (i) Karneus; BBC PO, Sinaisky

The Romantic Suite comes from 1903, when Schreker was in his mid-twenties, though its third movement began life independently as an Intermezzo for Strings a year earlier. It is a rather beautiful piece, as, for that matter, is the first-movement Idylle, written at much the same time as when he was making the first sketches for Der ferne Klang. There is a lot of Strauss here and, in the mercurial Scherzo, Reger – the latter is a highly inventive movement. Only the finale, Tanz, is routine. The Five Songs, imaginatively sung by the Swedish mezzo, Katarina Karneus, have plenty of atmosphere and mystery, and are well worth getting to know. The disc covers the whole of Schreker’s career: the Prelude to Das Spielwerk is a wartime piece, while the Vorspiel zu einer grossen Oper comes from the last months of his life. It is darker than his earlier pieces but, despite its expert orchestration, remains somewhat overblown. The playing of the BBC Philharmonic under Sinaisky is superb and the recording is in the demonstration class. Intelligent liner notes.

创作于1903年的《浪漫组曲》时年施雷克尔二十五岁，其第三乐章原为前一年独立创作的弦乐《间奏曲》。这部优美作品与《远方之声》初稿同期诞生的第一乐章《田园曲》同样精彩，明显可见施特劳斯影响，而变幻莫测的《谐谑曲》则带有雷格风格印记（该乐章创意尤为突出），唯终章《舞曲》略显平庸。瑞典女中音卡塔琳娜·卡尔纽斯以充满想象力演绎的《五首艺术歌曲》，兼具神秘氛围与艺术价值，值得细品。本辑涵盖施雷克尔整个创作生涯：《音乐盒》序曲属战时作品，而《大歌剧序曲》则是生命最后数月所作，虽延续精妙配器技法，但较早期作品更为阴郁且略显浮夸。BBC爱乐乐团在西奈斯基指挥下奉献示范级演奏，录音品质堪称标杆，内页解说亦颇具见地。


https://115cdn.com/s/sww5iim3hq9?password=3377&#
Schreker, Franz - Orchestral Works, Vol.1 - BBC PO, Vassily Sinaisky [Chandos 24-44.1]等2个文件(夹)

joseph_li

(i–ii) Gurrelieder; (iii) Chamber Symphony 1, Op. 9; (ii) Verklaerte Nacht（一至二）《古雷之歌》；（三）《第一室内交响曲》，作品9号；（二）《升华之夜》
Decca 473 728-2 (2). (i) Jerusalem, Dunn, Fassbaender, Brecht, Haage, Hotter, St Hedwig’s Cathedral Ch., Berlin, Düsseldorf State Musikverein; (ii) Berlin RSO; (iii) Concg. O; Chailly

Chailly’s magnificent recording of Schoenberg’s massive Gurrelieder remains highly recommendable. Siegfried Jerusalem as Waldemar is not only warm and firm of tone, but imaginative too. Susan Dunn makes a sweet, touchingly vulnerable Tove, while Brigitte Fassbaender gives darkly baleful intensity to the message of the Wood-dove. Hans Hotter is a characterful speaker in the final section. The impact of the performance is the more telling with sound both atmospheric and immediate, bringing a fine sense of presence, not least in the final choral outburst. For this bargain Double Decca issue, Decca have added well-played and -recorded accounts of the Chamber Symphony No. 1 – one of the first works to show the composer at full stretch – and his most popular work, Verklaerte Nacht.

夏伊对勋伯格鸿篇巨制《古雷之歌》的辉煌演绎仍极具推荐价值。齐格弗里德·耶路撒冷饰演的瓦尔德玛不仅音色温暖坚实，更充满想象力。苏珊·邓恩将托芙演绎得甜美而惹人怜惜，布里吉特·法斯宾德则以幽暗悲怆的强度传递出"林鸽"的预言。汉斯·霍特在终章部分的朗诵极富戏剧张力。这场演出的震撼力因极具空间感与临场感的录音效果而更为凸显，尤其在最终合唱爆发处营造出强烈的存在感。此次DECCA双碟平价版额外收录了演绎精湛、录音出色的《第一室内交响曲》（首批展现作曲家完整创造力的作品之一）及其最受欢迎的作品《升华之夜》。


Pierrot lunaire, Op. 21 《月迷彼埃罗》，作品21号
Chan. 6534. Manning, Nash Ens., Rattle ( with WEBERN: Concerto for 9 Instruments, Op. 24)

With Pierrot lunaire we come to Schoenberg at his most taxing, with its vocal writing that combines speech and a vocal line. Yet if anyone can convince the listener that it can provide a unique atmosphere it is Jane Manning. She steers a masterful course between the twin perils, on the one hand actually singing, on the other simply speaking. Her sing-speech brings out the element of irony and darkly pointed wit that is essential. Rattle again proves a natural Schoenbergian, drawing strong, committed performances from the members of the Nash Ensemble and, apart from some intermittently odd balances, the sound is excellent.

《月迷彼埃罗》代表着勋伯格最具挑战性的创作——将人声朗诵与歌唱线条融为一体的声乐写法。若论谁能令人信服地展现这部作品独特的艺术氛围，简·曼宁当属不二人选。她在"真正演唱"与"单纯朗诵"的双重危险间把握精妙平衡，其"诵唱"技法精准呈现出作品中至关重要的反讽意味与黑色尖锐的智慧。拉特尔再次证明自己是天生的勋伯格诠释者，带领纳什合奏团成员呈现极具说服力的演绎。除偶尔失衡的声部比例外，录音品质堪称卓越。


https://115cdn.com/s/sww5iil3hq9?password=3377&#
Schoenberg, Arnold - Gurrelieder, Verklärte Nacht, Chamber Symphony No.1 - Riccardo Chailly [DECCA]等2个文件(夹)