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

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！

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）

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Bloch, Ernest - Schelomo & DvorakCello Concerto & Bruch Kol Nidrei - Pierre Fournier [DG]

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

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

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

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）

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Boieldieu, Francois - La Dame Blanche - Marc Minkowski, Ensemble Orchestral de Paris; Blake, Naouri, Fouchécourt [EMI]

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

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。

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

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

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

joseph_li

xunianfeng 发表于 2025-6-8 18:04
通过网盘分享的文件：The World of Borodin
链接: https://***.com/s/1JCIMrSBlRkJi6pIGbhVl9A?pwd=ykxu ...

感谢分享补档，

joseph_li

BOUGHTON, Rutland (1878–1960)
The Immortal Hour (opera: complete)
Hyp. Dyad CDD 22040 (2). Kennedy, Dawson, Wilson-Johnson, M. Davies, George Mitchell Ch., ECO, Melville

Enormously successful in its day, to modern ears much of The Immortal Hour may seem like Vaughan Williams and water. But with its famous hit, the Faery Song, its simple tunefulness is most appealing. This fine performance, conducted by a lifelong Boughton devotee, brings out the hypnotic quality which had 1920s music-lovers attending peformances many times over, entranced by the lyrical evocation of Celtic twilight. The excellent cast of young singers includes Anne Dawson as the heroine, Princess Etain, and Maldwyn Davies, headily beautiful in the main tenor rendering of the delightful Faery Song. Warm, reverberant recording, enhanced by its CD format, this engaging opera is not to be missed at its reissued Dyad price.

《不朽的时刻》在其盛行的年代曾大获成功，但对现代听众而言，这部作品很大程度上像是"掺了水的沃恩·威廉姆斯风格"。不过剧中那首著名的《精灵之歌》，以其纯朴动人的旋律依然极具魅力。这场由毕生推崇鲍顿的指挥家执棒的精彩演出，淋漓尽致地展现了作品令人沉醉的特质——正是这种特质曾让1920年代的音乐爱好者们反复观演，沉醉在凯尔特式暮色抒情的魔幻意境中。优秀的年轻演员阵容包括饰演女主角艾婷公主的安妮·道森，以及以令人陶醉的优美男高音演绎《精灵之歌》的马尔杜恩·戴维斯。温暖的共振录音效果因CD格式而更臻完美，这套重新发行的Dyad系列双碟版歌剧绝对不容错过。
（源于DeepSeek翻译）




这张没找到，用DoubleDouble弄了半天，也没搞定，貌似只有Qobuz可以。

joseph_li

BOULANGER, Lili (1893–1918)
Faust et Hélène; Psaume 24; Psaume 130; Du fond de l’abîme; D’un matin de printemps; D’un soir triste
Chan. 9745. Dawson, Murray, Bottone, MacKenzie, Howard, CBSO Ch., BBC PO, Y.-P. Tortelier

There is a haunting and often poignant quality to the music of Lili Boulanger, in part because she died so young. Faust et Hélène has astonishing beauty and a natural eloquence. Like Psaume 24, Du fond de l’abîme and the other music on this disc, it offers testimony to an altogether remarkable talent. There is a distinguished team of soloists (Lynne Dawson and Bonaventura Bottone in the cantata and Ann Murray in one of the Psalms) and first-rate contributions from the Birmingham chorus and the BBC Philharmonic under Yan-Pascal Tortelier. An altogether magical collection.

莉莉·布朗热的音乐萦绕心头，往往令人心酸，部分原因在于她英年早逝。《浮士德与海伦》拥有惊人的美感和与生俱来的雄辩。如同《诗篇24》、《你心中的家》以及这张唱片中的其他作品一样，它展现了一位非凡的才华。唱片中不仅有杰出的独唱团队（琳恩·道森和博纳文图拉·博托内演绎了康塔塔，安·默里演绎了其中一首《诗篇》），还有伯明翰合唱团和BBC爱乐乐团在扬-帕斯卡尔·托特利耶指挥下的精彩演出。这张唱片堪称一张充满魔力的专辑。
（源于Google翻译）


https://115cdn.com/s/swwq5kp3hq9?password=3377&#
Boulanger, Lili - Faust et Helene & Psaume 24, 130 etc. - Yan Pascal Tortelier, BBC PO [Chandos]

joseph_li

BOWEN, York (1884–1961)
(i) Piano Concerto 1, Op. 11; (ii) Violin Concerto, Op. 33
Dutton CDLX 7169. BBC Concert O, Handley, with (i) Michael Dussek; (ii) Lorraine McAslan

The Piano Concerto is an early work, composed when Bowen was nineteen. There are some reminiscences of Saint-Saëns and Litolff, but the piece has refreshing fluency and charm. The Violin Concerto failed to find a persuasive champion and soon disappeared from the repertoire until this excellent recording restored it to circulation. As an eight-year-old boy, York Bowen made his début in a Dussek concerto, so it is appropriate that Michael Dussek, who is descended from the composer, should play it here.

《钢琴协奏曲》是鲍恩十九岁时的早期作品，虽带有圣桑和利托夫的些许影子，但全曲洋溢着清新流畅的韵味。而《小提琴协奏曲》因未能觅得有力的演绎者，很快从演出曲目中消失，直至这份优秀录音的问世才重获新生。约克·鲍恩八岁初登乐坛时演奏的正是杜赛克协奏曲，如今由杜赛克家族后裔迈克尔·杜赛克来诠释这部作品，堪称冥冥之中的安排。

(i) Piano Concertos 2 (Concertstück), Op. 17; 3 (Fantasia), Op. 23. Symphonic Fantasia, Op. 16
Dutton CDLX 7187. (i) Dussek; BBC Concert O, Handley

This couples the Second Concerto (subtitled Concertstück) with the Third (1907) and the Symphonic Fantasia, which no less a conductor than Hans Richter championed with the LSO. Bowen was still in his early twenties when they were written and these pieces all have a youthful freshness and generosity of feeling. Excellent notes from Lewis Foreman enhance the appeal of these most welcome and admirably performed issues.

这段录音将鲍恩的第二协奏曲（副标题为"音乐会小品"）与第三协奏曲（1907年创作）以及《交响幻想曲》一并收录。值得一提的是，连汉斯·里希特这样的大指挥家都曾亲自指挥伦敦交响乐团推广这部《交响幻想曲》。这些作品创作时鲍恩年仅二十出头，洋溢着青春气息与丰沛情感。刘易斯·福尔曼撰写的精彩唱片说明更增添了这些演绎出色、令人欣喜的录音版本的魅力。
（源于DeepSeek翻译）


https://115cdn.com/s/swwq5ea3hq9?password=3377&#
Bowen, York - Piano Concerto No.1 & Violin Concerto - Michael Dussek & Lorraine McAslan, Handley [Dutton]等2个文件(夹)