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

joseph_li

ddd123ddd456 发表于 2025-6-12 11:10
感谢楼主的辛苦工作，希望楼主再接再厉。

无需跟催。一早就说，无法保证每天都更新。如果停更，一定会提前说明。

joseph_li

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; ...

补第178楼资源：

https://115cdn.com/s/swwbzdf3hq9?password=3377&#

Bliss - Checkmate & Lambert - Horoscope& Walton - Façade - David Lloyd-Jones, English Northern PO [Hyperion]

joseph_li

BRIDGE, Frank (1879–1941)
Orchestral Works (complete recording)
BBC Nat. O of Wales, Hickox:

Vol. 1: Enter Spring; Isabella; Mid of the Night; 2 Poems for Orchestra
Vol. 2: Dance Poem; Dance Rhapsody; 5 Entr’actes; Norse Legend; The Sea
Vol. 3: Coronation March; (i) Phantasm. Sir Roger de Coverley (A Christmas Dance); Summer; There is a Willow Grows aslant a Brook; Vignettes de danse
Vol. 4: Allegro moderato; Lament for String Orchestra; (i) Oration (Concerto elegiaco). Rebus – Overture for Orchestra; (ii) A Prayer (for chorus & orchestra)
Vol. 5: 2 Entr’actes; 2 Intermezzi from ‘Threads’; 2 Old English Songs; Sir Roger de Coverley (A Christmas Dance); Suite for Strings; Todessehnsucht; Valse Intermezzo à cordes (arr. Hindmarsh); (i) The Hag; 2 Songs of Robert Bridges
Vol. 6: Berceuse; Chant d’espérance; The Pagent of London; A Royal Night of Variety; Serenade; (i) Adoration; (ii) Berceuse; (i) Blow Out, You Bugles; (ii) Day After Day; (i) Love Went A-Riding; (ii) Mantle of Blue; Speak To Me; (i) Thy Hand In Mine; Where She Lies Asleep

Richard Hickox’s comprehensive survey of Frank Bridge’s orchestral music with the BBC National Orchestra of Wales is one of the highlights of the Chandos catalogue. Volume 1 begins with his fresh and bracing rhapsody, Enter Spring, dating from 1927, while his second tone-poem, Isabella (1907), brooding and haunting, fully captures Keats’s gruesome story which inspired this Lisztian tone-poem. In the longest work on this volume, Mid of the Night, Liszt is recalled again, and one has the feeling of a young composer (24) spreading his wings and exploring orchestral colour. The Two Poems for Orchestra (1915), the first chromatically sinuous and the second a lively orchestral dance, are also vividly scored.

Volume 2 includes Bridge’s most celebrated piece, the tone-poem, The Sea, and it here receives a superbly briny performance. The disc opens with an exceptionally lively Dance Rhapsody (1908), again brilliantly orchestrated. The light but very charming folk-tune-inspired 5 Entr’actes come from the music Bridge wrote for a play, The Two Hunchbacks while the more experimental Dance Poem, premièred in 1914, is harmonically and melodically more diffuse. This is followed by the short but beautiful Norse Legend, an evocative miniature tone-poem, originally written for violin and piano in 1905, but later (1938) orchestrated.

Volume 3 begins with the stirring Coronation March of 1911, which just misses having a truly memorable big tune. Summer (1914) evokes a summer’s day in the country while Phantasm finds Bridge at his most searching and exploratory. As Paul Hindmarsh writes in the sleevenotes, ‘it inhabits a spectral world of dreams and ghostly apparitions’. Howard Shelley is the responsive soloist. There is a Willow Grows aslant a Brook is hauntingly dark and bleak, as befits its Shakespearean inspiration: Gertrude’s Act IV speech in Hamlet, in which she describes the drowning of Ophelia. The Vignettes de danse are orchestrations of earlier piano pieces, as is the much more famous and hugely enjoyable Sir Roger de Coverley, which ends this disc in its full orchestral version.

Volume 4 contains perhaps Bridge’s finest orchestral work, the Oration for cello and orchestra. Alban Gerhardt’s performance can stand alongside the finest earlier accounts. Rarities on this disc include the Rebus Overture, the composer’s last completed work (1940), and, although the textures are sparer than in his earlier music, the scoring is characteristically original. The Allegro moderato (or Symphony) for String Orchestra, completed by Anthony Pople, shows Bridge at his most deeply eloquent, as does the poignant Lament (1915), written for a young friend who died with her family when the Lusitania was sunk. A Prayer, an anti-war work completed in orchestrated form in 1918, is Bridge’s only setting for chorus and orchestra. Deliberately written to be performed by amateur choral societies, its relatively simple style is direct and affecting. The performance and recording here – and throughout this CD – is excellent.

The highlight of Volume 5, the Suite for Strings (1909), is full of delightful pastoral writing and piquant colour. Of the Two Intermezzi from ‘Threads’, the second movement, a pastiche of a Viennese dance, is sparklingly toe-tapping. Both the Two Old English Songs, ‘Sally in Our Alley’ and ‘Cherry Ripe’, are imaginatively scored, with the former in lush harmonies and the latter turned into a virtuoso string tour de force for strings, where the tune only emerges from the hustle and bustle towards the close. Todessehnsucht is an arrangement of Bach (the funeral chorale, Komm, Süsser Tod) which is Stokowskian in its sumptuous grandeur. The nostalgic pair of Entr’actes are orchestrated piano works and evoke much warm nostalgia. The Valse Intermezzo à cordes is a stylish early student work, beautifully crafted and surprisingly memorable. Roderick Williams is the superb baritone in the lively setting of Robert Herrick’s poem, The Hag, and the Two Songs of Robert Bridges are no less colourfully evocative.

The final volume largely comprises Bridge’s orchestral songs, beginning with the stirring Blow Out, You Bugles, based on Rupert Brooke’s most famous war poem. The contrasting Berceuse is also memorable, with again Bridge’s orchestral colour very telling. Sarah Connolly sings it most beautifully too, as she does in all her items. Love Went A-Riding, with its galloping accompaniment, is very enjoyable, with the late Philip Langridge lustily vigorous. The orchestral items here include the colourful suite, The Pageant of London for wind orchestra, written for a pageant performed at the Crystal Palace in 1911. These are lively music vignettes of ‘Ye Olde England’ and they receive their première recording here in their original version. The Berceuse, Chant d’espérance and Serenade are all orchestral miniatures of much pastoral charm. The CD ends with the brief A Royal Night of Variety, written for the BBC in 1934, which starts robustly and ends unexpectedly quietly.

Throughout these six collections the BBC National Orchestra of Wales are on top form; they obviously enjoy the music. Hickox is persuasively idiomatic and spontaneous, and the Chandos recording is first class.

理查德·希科克斯与BBC威尔士国家乐团合作录制的弗兰克·布里奇管弦乐作品全集，是Chandos唱片目录中的瑰宝。第一卷以1927年创作的新鲜奔放狂想曲《春之降临》开篇，而第二首音诗《伊莎贝拉》（1907）则阴郁凄美，完美捕捉了济慈笔下这个激发李斯特式音诗创作的惊悚故事。本辑最长作品《子夜》再次令人联想到李斯特，能感受到时年24岁的年轻作曲家正舒展羽翼探索管弦乐色彩。为管弦乐队而作的两首诗（1915）中，第一首半音蜿蜒，第二首则是活泼的管弦舞曲，配器同样生动鲜明。

第二卷收录了布里奇最负盛名的音诗《大海》，此处演绎得极具咸涩海韵。唱片以异常活泼的《舞蹈狂想曲》（1908）开场，其管弦编排再次展现精妙才华。灵感源自民谣的五首轻松迷人的《幕间曲》出自戏剧《两个驼背》配乐，而更具实验性的《舞蹈诗》1914年首演时，在和声与旋律上都更为发散。随后是短小精美的《挪威传奇》，这首 evocative 的微型音诗原为1905年小提琴与钢琴创作，后于1938年改编为管弦乐。

第三卷以1911年振奋人心的《加冕进行曲》启幕，仅差一步便可成就真正难忘的雄浑旋律。《夏日》（1914）描绘乡间夏日景致，而《幻象》则展现布里奇最深沉的探索精神。正如保罗·辛德马什在唱片说明中所写："它栖居于梦境与幽灵幻影的 spectral 世界"。钢琴家霍华德·雪莱的演绎极具默契。《溪畔柳》阴郁荒凉得令人 haunting，恰合其莎剧灵感——源自《哈姆雷特》第四幕中葛楚德描述奥菲莉亚溺亡的独白。《舞蹈小品》是早期钢琴曲的管弦改编，同卷终曲《罗杰·德·科弗利爵士》亦然，这个极负盛名的欢快曲目在此以完整管弦乐版呈现。

第四卷包含布里奇或许最杰出的管弦乐作品《大提琴与乐队挽歌》。阿尔班·格哈特的演绎可与历来最佳版本比肩。本辑珍品包括作曲家绝笔之作《谜语序曲》（1940），虽织体较早期作品简朴，配器仍独具匠心。由安东尼·波普尔续完的《弦乐队中速快板（或交响曲）》展现布里奇最深邃的雄辩，为"卢西塔尼亚号"沉船事件中罹难的年轻友人而作的《哀歌》（1915）同样如此。反战作品《祈祷》1918年完成管弦编配，是布里奇唯一为合唱与乐队创作的 setting。特意为业余合唱团演出谱写的相对简单风格直击人心。本CD全程的演绎与录音皆属上乘。

第五卷亮点《弦乐组曲》（1909）充满怡人田园笔触与辛辣色彩。《"线索"间奏曲二首》中，第二乐章对维也纳舞曲的戏仿令人不禁踏节。两首《古英语民歌》——《我们巷里的萨莉》与《樱桃熟了》——配器想象力丰富，前者和声丰沛，后者成为弦乐炫技杰作，曲调直至尾声才从纷扰中浮现。《死亡渴望》改编自巴赫葬礼众赞歌《来吧，甜蜜死亡》，其华丽壮美堪比斯托科夫斯基风格。怀旧风《幕间曲二首》由钢琴曲改编，唤起温暖乡愁。《弦乐间奏圆舞曲》是学生时代风格之作，结构精巧且出奇地 memorable。男中音罗德里克·威廉斯在赫里克诗歌《女巫》生动谱曲中表现绝佳，两首《罗伯特·布里奇斯诗歌谱曲》同样色彩斑斓。

终卷主要为布里奇艺术歌曲，以鲁珀特·布鲁克著名战争诗歌谱写的激昂曲《吹响吧，军号》开场。对比鲜明的《摇篮曲》同样 memorable，布里奇的管弦色彩再次彰显威力。女中音莎拉·康诺利所有曲目皆演绎绝美，包括伴奏奔腾的《爱驰骋》。已故男高音菲利普·兰德里奇在后者中活力四射。器乐作品包含1911年为水晶宫庆典创作的色彩缤纷的《伦敦盛会》管乐组曲，这些"古英格兰"音乐小品在此以原始版本迎来首录。《摇篮曲》《希望之歌》与《小夜曲》皆是田园魅力十足的管弦小品。唱片终曲《皇家综艺之夜》（1934年为BBC创作）开场雄浑，收尾却出奇静谧。

这六套合辑中，BBC威尔士国家乐团始终处于巅峰状态，显然乐在其中。希科克斯的指挥兼具说服力与 spontaneity，Chandos的录音品质一如既往地一流。
（源于DeepSeek翻译）


https://115cdn.com/s/swwbz5w3hq9?password=3377&#
Bridge, Frank - Complete Orchestral Works - Richard Nickox, BBC National Orchestra of Wales [Chandos 6CD]

joseph_li

Phantasm for Piano & Orchestra
Dutton CDLX 7223. Stott, RPO, Handley (with IRELAND: Piano Concerto); WALTON: Sinfonia concertante

Bridge’s curiously titled Phantasm is a large-scale piano concerto, some 26 minutes long, in a single, massive movement. Kathryn Stott, most sympathetically accompanied by Vernon Handley and the RPO, proves a persuasive, committed interpreter, matching her achievement in the other two works on the disc, and especially the delightful Ireland Piano Concerto. Warm, generally well-balanced (originally Conifer) recording.

布里奇的专辑《幻影》标题奇特，是一首大型钢琴协奏曲，长约26分钟，包含一个宏大的单一乐章。凯瑟琳·斯托特在弗农·汉德利和皇家爱乐乐团的热情伴奏下，展现了她极具说服力且投入的诠释能力，这与她在专辑中其他两部作品，尤其是令人愉悦的《爱尔兰钢琴协奏曲》中的成就不相上下。这张专辑温暖而平衡（原版由Conifer唱片公司发行）。

(i) Piano Quintet. 3 Idylls; String Quartet 4
Hyp. CDA 67726. (i) Lane; Goldner Qt

The Piano Quintet dates from 1905, but Bridge completely re-wrote it in 1912. The passionate energy of the original first movement remains, but it is the memorable secondary theme that all but dominates. The broodingly enticing Adagio frames a sparkling Scherzo, and the finale reintroduces the main ideas from the first movement at its climax. It is altogether most rewarding and, with Piers Lane leading the Goldner Quartet, the performance here has irresistible impetus and responds to the music’s rich, lyrical feeling.

The Three Idylls, the second of which Britten used for his celebrated Variations, are sheer delight, the first ravishingly, delicately sensuous, and the third more animated but no less winning. They are most beautifully played here. The Fourth Quartet (1937), Bridge’s last chamber work, is thematically and harmonically much more forward-looking, although it is not atonal. Its atmosphere has a haunted quality, with even the central Quasi minuetto far from conventional. The finale is pithily energetic, and once again Bridge closes with quotations from his first movement. But the work has moments of ethereal beauty that place it among the composer’s most deeply felt music.

钢琴五重奏创作于1905年，但布里奇于1912年对其进行了彻底改写。原作第一乐章的激情能量依然保留，但令人难忘的次要主题几乎占据了主导地位。沉郁迷人的慢板构成了一段光彩夺目的谐谑曲，终曲在高潮处重新引入了第一乐章的主要思想。总而言之，这部作品令人回味无穷。在皮尔斯·莱恩指挥戈德纳四重奏的指挥下，这场演出充满了令人难以抗拒的动力，并与音乐丰富而抒情的情感相呼应。

《三首田园诗》（其中第二首被布里顿用于他著名的变奏曲）令人愉悦，第一首则令人陶醉，细腻而感性，第三首则更加生动活泼，但同样引人入胜。它们在这首作品中演奏得最为优美。布里奇的最后一部室内乐作品《第四四重奏》（1937年）在主题和和声上都更具前瞻性，尽管它并非无调性作品。它的氛围弥漫着一种萦绕心头的氛围，就连中央的准小步舞曲也远非传统。终曲简洁有力，布里奇再次以第一乐章的引用作为结尾。然而，这部作品中不乏空灵之美，使其成为作曲家最感人至深的音乐作品之一。
（源于Google翻译）

https://115cdn.com/s/swwbzvc3hq9?password=3377&#
Bridge, Frank - Phantasm & Ireland - Piano Concerto & Walton - Sinfonia concertante - Kathryn Stott, Handle, LPO [Sony]等2个文件(夹)
第一张整合在Sony RCA Masters系列里了，第9张。

joseph_li

BRITTEN, Benjamin (1913–76)
The Hidden Heart – A Life of Benjamin Britten and Peter Pears
EMI DVD 50999 2 16571-9 (Editor: Jake Martin; Exec. Producers: Nicolas Kent, Vanessa Phillips; Producer/Director: Teresa Griffiths)

This fine documentary, originally produced for Channel 4, offers an intimate and sympathetic portrait of the composer and his friend and interpreter, Peter Pears. Those taking part include Pears’s niece and, briefly, members of the Britten family, Donald Mitchell and John Evans. The programme is full of valuable documentary and archival material and concentrates on three periods of Britten’s life: Peter Grimes from the war’s end, with an engaging contribution from the original apprentice; the War Requiem from the 1960s; and his last opera, Death in Venice, imaginatively pictured and evoked, with Robert Tear in the role of Aschenbach, and an illuminating commentary by James Bowman and John Amis. It brings both the composer and Peter Pears vividly to life and affords many insights into their achievements.

这部精彩的纪录片最初为第四频道制作，以亲密而感人的方式展现了布里顿及其友人兼翻译彼得·皮尔斯的人生。参与其中的嘉宾包括皮尔斯的侄女，以及布里顿家族成员唐纳德·米切尔和约翰·埃文斯。纪录片充满了珍贵的纪录片和档案资料，聚焦布里顿人生的三个时期：战争末期的《彼得·格莱姆斯》时期（原先的学徒也参与其中）；20世纪60年代的《战争安魂曲》时期；以及他的最后一部歌剧《魂断威尼斯》。这部歌剧以富有想象力的画面和叙事结构呈现，罗伯特·蒂尔饰演阿申巴赫，詹姆斯·鲍曼和约翰·艾米斯则为其撰写了富有启发性的评论。这部纪录片生动地展现了作曲家和彼得·皮尔斯的生平，并深入探讨了他们的成就。
（源于Google翻译）

https://115cdn.com/s/swwbzr53hq9?password=3377&#
Britten, Benjamin - The Hidden Heart - Teresa Griffiths [AVI]
只找到AVI格式的。视频我非常依赖俄网的资源，若俄网上找不到，基本上就没有。

joseph_li

(i) Violin Concerto; (ii) Serenade for Tenor, Horn & Strings, Op. 31
CfP 5 75978-2. (i) Rodney Friend; (ii) Ian Partridge, Nicholas Busch; LPO, Pritchard (with TIPPETT: Concerto for Double String Orchestra)

Rodney Friend proves a masterful soloist in the Violin Concerto, combining expressive feeling with incisiveness. Ian Partridge then gives a consistently stylish reading of the Serenade, often strikingly new in its illumination, more tenderly beautiful than Peter Pears’s classic recording with the composer, culminating in a heavenly performance of the final Keats setting. Excellent recording in both works, and Vernon Handley’s Tippett coupling is no less memorable. This disc is inexpensive but would be a top choice if it cost far more.

罗德尼·弗兰德在小提琴协奏曲中展现了大师级的独奏能力，将富有表现力的情感与敏锐的洞察力完美结合。伊恩·帕特里奇随后对《小夜曲》的演绎始终如一，风格独特，其光彩夺目，比彼得·皮尔斯与作曲家合作的经典录音更加温柔动人，最终在济慈的最终版本中更是达到了天籁般的演绎。两部作品的录音都堪称完美，弗农·汉德利与蒂皮特的合作也同样令人难忘。这张唱片价格不贵，但如果价格更高，它将会是最佳选择。

(i) Simple Symphony; Variations on a Theme of Frank Bridge; (ii) The Young Person’s Guide to the Orchestra
Decca (ADD) 417 509. Composer, with (i) ECO; (ii) LSO

This early CD compilation has remained at full price in the catalogue since its release in 1986. Lasting an unremarkable 60 minutes, it undoubtedly represents quality over quantity. Britten’s Simple Symphony is a delight from beginning to end, and the warmth and vitality of the playing has striking presence in this 1969 recording. The strings at the opening sweep one into the fun spirit of this work immediately, and with superbly virtuoso playing in the Playful Pizzicato movement and the Frolicsome Finale – separated by the beautiful and surprisingly touching Sentimental Sarabande – this remains one of the most immediately appealing of all Britten’s works. In the Variations on a Theme of Frank Bridge, Britten goes more for half-tones and he achieves an almost circumspect coolness in the waltz-parody of the Romance, though the Aria Italiana which follows is exhilarating; in the Viennese Waltz section later, he is again subtly atmospheric; and the Funeral March is one of the composer’s most searingly haunting and striking pieces. The 1968 recording is again splendid. The Young Person’s Guide to the Orchestra receives a blistering performance from the composer, which knocks spots off most rival recordings in terms of sheer brilliance, not only in the playing, but in the vivid recorded sound (from 1964). The performance is undoubtedly very fast – so fast, in fact, that even the LSO don’t always quite keep up with Britten – but the sheer adrenalin of the music-making is impossible to resist.

这张早期的 CD 合辑自 1986 年发行以来一直在目录上保持全价销售。它只有较短的 60 分钟，无疑代表了质量胜过数量。布里顿的《简单交响曲》从头到尾都令人愉悦，演奏的温暖和活力在这张 1969 年的唱片中尤为突出。开头的弦乐立刻将听众带入了这部作品的欢乐精神，俏皮的拨奏乐章和欢闹的终曲中技艺精湛——中间以优美而出人意料地动人的伤感萨拉班德舞曲隔开——这仍然是布里顿所有作品中最具吸引力的作品之一。在《弗兰克·布里奇主题变奏曲》中，布里顿更多地使用了半音，在模仿浪漫曲的圆舞曲中他达到一种近乎谨慎的冷静，尽管接下来的意大利咏叹调令人振奋；在后面的维也纳圆舞曲部分，他再次营造出微妙的氛围； 《葬礼进行曲》是作曲家最令人难忘、最震撼人心的作品之一。1968年的录音再次精彩绝伦。作曲家对《青少年管弦乐指南》的演绎更是精彩绝伦，其精湛技艺远超大多数竞争对手的录音，不仅体现在演奏上，更体现在1964年的录音中那鲜活的音色。毫无疑问，这场演奏速度非常快——事实上，即使是伦敦交响乐团也难以完全跟上布里顿的节奏——但音乐创作中那种纯粹的肾上腺素飙升的感觉令人无法抗拒。
（源于Google翻译）

https://115cdn.com/s/swwbzgd3hq9?password=3377&#
Britten, Benjamin - Violin Concerto & Serenade for Tenor, Horn and Strings -  Rodney Friend,  Partidge,  Busch, Pritchard, LPO [EMI]

https://115cdn.com/s/swwbzg73hq9?password=3377&#
Britten conducts Britten [DECCA 35CD]
这是布里顿指挥布里顿大包子，后续好几个资源都在这个大包子里。

joseph_li

(i) Les Illuminations; (ii) Nocturne for Tenor, Seven Obbligato Instruments & Strings, Op. 60; (i; iii) Serenade for Tenor, Horn & Strings, Op. 31
Australian Decca Eloquence mono/stereo 476 8470. Pears; (i) New SO, Goossens; (ii) LSO (members), composer; (iii) with Brain

The Australian Decca CD contains the early release the 1953 recording of the Serenade for Tenor, Horn and Strings and Les Illuminations¸ conducted by Goossens. Dennis Brain’s horn playing is magical, almost ethereal in its beautiful timbre, with Pears superb in both these works, fresher than in the famous stereo versions under the direction of the composer. Goossens’s conducting cannot be faulted – it is highly sensitive and strikingly alert, and the Decca sound is exceptionally good for its period; the voices emerge with uncanny warmth and vividness. The strings may be a little thin in the upper register, but their intensity is fully conveyed: these performances are full of atmosphere. The (1960) stereo recording of the Nocturne completes the CD, and we reproduce the original review from the 1961 Penguin Guide as not only does it remain as valid as when it was written (by E.G.), it gives a nostalgic reminder of the amount of space we were able to give a major new recording in those days: ‘In this wide-ranging cycle on the subject of night and sleep, Britten chooses from a diverse selection of poets – Coleridge, Tennyson, Wordsworth, Wilfred Owen and Keats, and he finishes with a Shakespeare sonnet. The sonnet setting is a miraculous example of Britten’s technique. The poem on the face of it seems one of the more trivial of Shakespeare’s sonnets with puns and conceits of the most artless kind, but Britten in his setting finds an entirely new depth of meaning, so that what at first seemed mere playing on words appears in the song as a moving commentary on the absence of the beloved. One of my colleagues complained after the first performance that the music is too profound for the words, but that surely is to miss the point, and repetition on the gramophone shows the piece’s true stature. This is a work full – as so much of Britten’s output – of memorable moments. One thinks of the “breathing” motif on the strings which link the different songs, the brilliant dialogue for flute and clarinet in the Keats setting and above all the towering climax of the Wordsworth excerpt. Each song has a different obbligato instrument (with ensemble unified for the final Shakespeare song), and for the Wordsworth – an excerpt from The Prelude describing the poet’s visit to Paris after the French Revolution – Britten chooses timpani obbligato from the ominous slow march setting. This is a long crescendo as the writer describes his increasing horror until finally the climax bursts out on the words “Sleep no more!” Heavy chords thunder out, only to subside into gentle thrumming on pizzicato strings for the Wilfred Owen setting with its heavy cor anglais obbligato. Though the Nocturne may not have quite the same charisma as its obvious predecessor, the Serenade for Tenor, Horn and Strings, it surpasses it in depth of insight.

‘The performance is as nearly definitive as anything could be. Pears is the ideal interpreter, and the composer a most efficient conductor. The fiendishly difficult obbligato parts are played superbly, and it would be invidious to single anyone out. The recording is brilliant and clear with just the right degree of atmosphere, in the best Decca manner.’

澳大利亚Decca唱片公司发行的CD收录了1953年早期发行的由古森斯指挥的《男高音、圆号与弦乐小夜曲》和《光明会》的录音。丹尼斯·布莱恩的圆号演奏充满魔力，其优美的音色近乎空灵，皮尔斯在这两部作品中都表现出色，比作曲家指挥的著名立体声版本更加清新自然。古森斯的指挥无可挑剔——他高度敏感，机敏灵敏，而Decca的音色在当时也堪称一流；人声呈现出不可思议的温暖和鲜活。弦乐的高音区可能略显单薄，但其强度却得到了充分的展现：这些演出充满了氛围。这张CD以1960年的立体声录音《夜曲》收尾，我们重现了1961年《企鹅指南》中的原始评论，因为它不仅像E.G.撰写时一样具有现实意义，更让人回想起当时我们能够为这张重要的新专辑提供如此广阔的篇幅：“在这套以夜晚和睡眠为主题的系列作品中，布里顿从众多诗人中选择了心仪的诗人——柯勒律治、丁尼生、华兹华斯、威尔弗雷德·欧文和济慈，最后以一首莎士比亚十四行诗收尾。十四行诗的编排堪称布里顿技艺的典范。”乍一看，这首诗似乎是莎士比亚十四行诗中较为平凡的一首，充斥着最朴实的双关语和奇思妙想，但布里顿在他的作品中找到了全新的意义深度，以至于最初看似文字游戏的东西，在歌曲中却变成了对爱人离别的动人注视。我的一位同事在首演后抱怨说，音乐太深奥，歌词表达不出来，但这无疑是没有抓住重点，留声机上的重复播放才展现了这首曲子的真正地位。这部作品——就像布里顿的许多作品一样——充满了令人难忘的时刻。人们会想到连接不同歌曲的弦乐“呼吸”主题，济慈作品中长笛和单簧管的精彩对话，以及华兹华斯选段中气势恢宏的高潮。每首歌都配有不同的伴奏乐器（莎士比亚的最后一首歌是统一的合奏）。在《华兹华斯》——一首选自《序曲》、描述诗人法国大革命后巴黎之行的诗——布里顿选择了不祥的慢进行曲式中的定音鼓伴奏。这是一个漫长的渐强，作者描述了他日益增长的恐惧，直到最终在“不再沉睡！”这句歌词中爆发出高潮。沉重的和弦如雷鸣般响起，但在威尔弗雷德·欧文式的伴奏中，英国管的伴奏逐渐减弱，变成了轻柔的拨弦声。虽然《夜曲》或许不如其前作《男高音、圆号和弦乐小夜曲》那样魅力十足，但它在深度上却超越了后者。

“这场演出几乎达到了极致。皮尔斯是完美的诠释者，而作曲家则是最高效的指挥家。”极其高难度的助奏部分演奏得非常出色，很难挑出谁来挑出谁来。录音精彩清晰，氛围营造得恰到好处，体现了Decca一贯的风格。
（源于Google翻译）

https://115cdn.com/s/swwbzpg3hq9?password=3377&#
Britten, Benjamin - Serenade, Les Illuminations, Nocturne - Pears, Goossens, Brain, Britten [DECCA]

joseph_li

The Prince of the Pagodas (complete ballet) (choreography by Kenneth MacMillan)
Warner DVD 9031-738262. Darcey Bussell, Jonathan Cope, Artists of the Royal Ballet, ROHCG O, Ashley Lawrence (V/D: Derek Bailey). Includes Out of Line (feature on Kenneth MacMillan by Derek Bailey)

Decca’s early but vibrant stereo recording of Britten’s colourful score is sadly not available at the moment. However, this superb DVD is. The Prince of the Pagodas is a masterly score that repays much repetition, and both the outer Acts are wonderfully inventive. The performances of Darcey Bussell as Princess Rose and Jonathan Cope as the Prince are every bit as impressive as we remember them, and MacMillan’s choreography is, as always, distinguished by imagination and great musicality. The DVD also includes a feature on MacMillan by Derek Bailey which is full of interest and includes some excerpts from other ballets. Seeing MacMillan’s choreography greatly enhances the musical experience.

遗憾的是，迪卡公司早期录制的布里顿色彩缤纷的配乐，虽然音色饱满，但立体声录音目前已无法发行。不过，这张精彩的DVD却可以发行。《宝塔王子》是一部值得反复欣赏的大师级配乐，其外幕和外幕都极具创意。达西·布塞尔饰演的玫瑰公主和乔纳森·科普饰演的王子，他们的表演依然令人印象深刻，丝毫没有改变我们的记忆。麦克米伦的编舞也一如既往地以丰富的想象力和出色的音乐性著称。DVD还收录了德里克·贝利关于麦克米伦的专题报道，内容精彩纷呈，并包含一些其他芭蕾舞剧的片段。欣赏麦克米伦的编舞，无疑会大大提升音乐体验。

(i) A Ceremony of Carols; (ii) Deus in adjutorium meum; Hymn of St Columba; Hymn to the Virgin; Jubilate Deo in E flat; Missa brevis, Op. 63
Hyp. CDA 66220. Westminster Cathedral Ch., Hill; with (i) S. Williams (harp); (ii) O’Donnell (organ)

No collection of outstanding recordings would be complete without Britten’s Ceremony of Carols, his first great hit, which did more than anything to establish his ascendancy as a composer of English vocal music. The singing of the Westminster boys here is particularly impressive, with perfect ensemble, the solo work amazingly mature, and a superb contribution from the solo harpist. The other, rarer pieces make up an altogether outstanding collection, beautifully and atmospherically recorded in an ideal ambience.

如果没有首部杰作《圣诞颂歌仪式》，任何一套布里顿的杰出唱片合集都不算完整。这首作品奠定了他作为英国声乐作曲家的统治地位，功不可没。这张专辑中威斯敏斯特男童乐团的演唱尤其令人印象深刻，合奏完美，独奏作品成熟得令人惊叹，竖琴独奏家也贡献了精湛的技艺。其他一些较为罕见的作品构成了这张唱片的杰出之作，在理想的氛围中录制得优美动听，氛围浓厚。
（源于Google翻译）


DVD：
https://115cdn.com/s/swwbzt83hq9?password=3377&#
Britten, Benjamin - Prince of the Pagodas - Ashley Lawrence, Royal opera house; Bussell, Chadwick [AVI]

CD：
https://115cdn.com/s/swwbztr3hq9?password=3377&#
Britten, Benjamin - A Ceremony of Carols, Missa brevis etc. - Westminster Cathedral Choir, David Hill [Hyperion]
DVD只有AVI格式，很是鸡肋。

joseph_li

Saint Nicolas; Hymn to Saint Cecilia
Hyp. Helios CDH 55378. Anthony Rolfe Johnson, Corydon Singers, Girls of Warwick University Ch., Choristers of St George’s Chapel, Windsor, Catherine Edwards & John Alley (piano duet), John Scott (organ), ECO, Matthew Best

For the first time in a recording the congregational hymns are included in Matthew Best’s fresh and atmospheric account of Saint Nicolas, adding greatly to the emotional impact of the whole cantata. Though the chorus is slightly distanced, the contrasts of timbre are well caught, with the waltz-setting of The Birth of Nicolas and its bath-tub sequence delightfully carolled by the boy-trebles alone. The Hymn to St Cecilia is also beautifully sung, with gentle pointing of the jazzy syncopations in crisp, agile ensemble and with sweet matching among the voices.

马修·贝斯特清新而富有氛围的圣尼古拉斯颂歌，首次在录音中收录了会众赞美诗，大大增强了整部康塔塔的情感感染力。虽然合唱部分略显疏离，但音色的对比却十分鲜明，《尼古拉斯的诞生》的华尔兹背景和浴缸段落由男高音独自吟唱，令人愉悦。《圣切契利亚颂歌》的演唱也十分优美，爵士风格的切分音在清脆灵动的合唱中轻柔过渡，人声之间也和谐地融为一体。

War Requiem, Op. 66
Decca (ADD) 475 7511 (2). Vishnevskaya, Pears, Fischer-Dieskau, Bach Ch., L. Symphony Ch., LSO, composer

Britten’s own 1963 recording of the War Requiem comes near to ideal and it has been splendidly remastered for this first reissue at mid-price, to take an honoured place among Universal’s impressive series of ‘Originals’. Full documentation is included.

Hickox’s later recording (Chandos SACD CHSA 5007) has the advantage of SACD, with spectacular multi-channel surround sound. Moreover the boys’ chorus from St Paul’s Cathedral is exceptionally fresh. Another advantage is the choice of the golden-toned Heather Harper (who sang in the very first Coventry performance) as the soprano soloist. The composer’s choice was Vishnevskaya; while having a Russian soloist was emotionally right, her actual singing is less honeyed. Nevertheless there is something very special about the Decca performance, which must remain a clear primary choice.

布里顿1963年录制的《战争安魂曲》近乎完美，此次以中等价位首次再版，经过了精彩的母带处理，在环球唱片令人印象深刻的“原版”系列中占据了一席之地。专辑内含完整录音。

希科克斯后期的录音（Chandos SACD CHSA 5007）拥有SACD的优势，拥有壮观的多声道环绕声。此外，圣保罗大教堂的男童合唱部分也格外清新自然。另一个优势在于选择了嗓音金润的希瑟·哈珀（她在考文垂的首场演出中演唱）担任女高音独唱。作曲家选择了维什涅夫斯卡娅；虽然选择一位俄罗斯独唱在情感上恰到好处，但她实际的演唱却略显逊色。然而，迪卡唱片的演出仍然独具特色，这无疑仍然是首选。


https://115cdn.com/s/swwbzxy3hq9?password=3377&#
Britten, Benjamin - Saint Nicolas etc. - Anthony Rolfe Johnson, Corydon Singers, Matthew Best, ECO [Hyperion]等4个文件(夹)
《战争安魂曲》在第226楼（由于卡住一个审核，现显示225楼）的大包子（Vol.3）也可以找到。

joseph_li

Albert Herring (DVD version)
Warner DVD 5046 78790-2. Graham-Hall, Kerns, Johnson, Palmer, Hammond-Stroud, Van Allan, Gale, Oliver, Opie, Rigby, Glyndebourne Ch., LPO, Haitink (V/D: Peter Hall)

Albert Herring (CD version)
Nim. NI 5824/6 (3). Pears, Cross, Parr, Kraus, Ashton, Evans, Lawson, E. Opera Group, composer

Peter Hall’s DVD of Britten’s engaging Albert Herring is wonderfully entertaining. John Gunter’s sets are imaginatively, charmingly real, and the casting could hardly be better. John Graham-Hall in the title-role is splendidly offset by Patricia Kerns’s portrayal of his dominating mother. Patricia Johnson’s pompous but believable Lady Billows is almost but not quite an amusing caricature, and Felicity Palmer is a whimsically idiosyncratic Florence Pike. The rest of the cast sing splendidly and take their roles as to the manner born, and the whole show is conducted marvellously by Bernard Haitink.

彼得·霍尔（Peter Hall）的DVD收录了布里顿饰演的迷人阿尔伯特·赫林（Albert Herring），精彩绝伦。约翰·冈特（John Gunter）的布景充满想象力，真实迷人，演员阵容也堪称完美。约翰·格雷厄姆-霍尔饰演的主角与帕特里夏·科恩斯（Patricia Kerns）对他专横母亲的演绎形成了鲜明对比。帕特里夏·约翰逊（Patricia Johnson）饰演的浮夸却可信的“比洛斯夫人”（Lady Billows）几乎是一幅滑稽的漫画，但又不完全是。费利西蒂·帕尔默（Felicity Palmer）饰演的弗洛伦斯·派克（Florence Pike）则天马行空、个性鲜明。其他演员的演唱精彩绝伦，他们扮演的角色也恰如其分，伯纳德·海廷克（Bernard Haitink）的整部剧指挥更是精彩绝伦。

The incredibly lively CD performance of Albert Herring cuts through any sonic limitations of this 1949 broadcast, conducted by the composer at the Theatre Royal, Copenhagen, on 15 September 1949. Indeed, it surpasses the composer’s studio Decca recording in sparkle and life, made in the 1960s, with this cast largely comprising members of the first performance of this work. Pears here seems ideally suited as the gormless Albert Herring, but the entire cast is pretty well flawless (Otakar Kraus as Mr Gedge, the vicar, is a delight), and the excellence of the performance is reflected in the (unobtrusive) laughter from the audience. The diction of the cast is superb, with vowels beautifully enunciated (notably by Joan Cross) in ways which, sadly, belong to another era. Britten’s electrifying conducting keeps the story rattling along with an exhilarating deftness and lightness of touch, but all sharply characterized. The booklet gives a fascinating, personal history of the opera by Nigel Douglas and a complete libretto is included. At the end, the composer thanks the audience in a short but charming speech, quoting Albert’s key line, ‘Thank you very much,’ and we thank Nimbus very much for making this performance available once again. No admirer of this opera should be without this set.

阿尔伯特·赫林这张CD演绎的活力四射，打破了1949年9月15日在哥本哈根皇家剧院由作曲家指挥的广播剧在音效方面的任何限制。事实上，这张CD的活力和生动程度甚至超越了作曲家在20世纪60年代录制的Decca录音室唱片，而这张唱片的演员阵容主要由参与过这部作品首演的演员组成。皮尔斯似乎非常适合饰演愚蠢的阿尔伯特·赫林，但整个演员阵容也相当完美（奥塔卡·克劳斯饰演的牧师盖奇先生令人欣喜），而观众席中（不引人注意的）笑声也体现了演出的精彩。演员们的吐字非常精湛，元音发音优美（尤其是琼·克罗斯），可惜的是，这些发音方式却属于另一个时代。布里顿激动人心的指挥让故事以令人振奋的灵巧和轻盈的触感持续推进，但所有这些都鲜明地展现了其特点。这本小册子讲述了奈杰尔·道格拉斯歌剧的精彩个人经历，并附有完整的剧本。最后，作曲家以简短而动人的致辞感谢观众，引用了阿尔伯特的名句“非常感谢”。我们也非常感谢Nimbus再次为观众带来这场演出。所有歌剧的爱好者都不可或缺这套作品。
（源于Google翻译）




DVD：
https://115cdn.com/s/swwbz1s3hq9?password=3377&#
Britten, Benjamin - Albert Herring - Bernard Haitink, LPO; Graham-Hall, Johnson, Opie [DVD9]

CD：
这个版本没找到，在226楼大包子Vol.1里是1964版，不是同一个版本。

joseph_li

卡了两个要审核

joseph_li

Billy Budd (original 4-Act production; DVD version)
Decca DVD 074 3256. Pears, Glossop, Langdon, Bowman, Tear, Kelley, Amb. Op. Ch., LSO, Mackerras (Producer: Cedric Messina)

This outstanding film version, conducted by Mackerras, dates from as early as 1966, and immediately when this black-and-white film opens there is a compelling intensity to the performance which is almost unsettling. Peter Pears was a definitive Edward Fairfax Vere, a role with which he is inextricably linked. With a supreme cast including Peter Glossop (memorable in the title-role) and Michael Langdon as the sinister Claggart, the performance could hardly fail – and it doesn’t. Indeed it crackles with intensity, with superb direction and an excellent production. Mackerras secures plenty of electricity from the orchestra, with all the interjections from the brass heard crisply on the soundtrack.

这部由马克拉斯指挥的杰出电影版本早在1966年就已上演。这部黑白电影一开场，便展现出一种令人信服的强烈氛围，几乎令人不安。彼得·皮尔斯堪称爱德华·费尔法克斯·维尔的化身，他与这个角色有着千丝万缕的联系。凭借彼得·格洛索普（片名中令人难忘的表演）和迈克尔·兰登（饰演阴险的克拉加特）等一众实力派演员的出色演绎，这部作品几乎不可能令人失望——而事实也的确如此。影片的确充满了张力，导演技艺精湛，制作精良。马克拉斯巧妙地运用管弦乐队，使其充满活力，铜管乐器的插曲在配乐中清晰可闻。
（源于Google翻译）

https://115cdn.com/s/swwbh3p3hq9?password=3377&#
Britten, Benjamin - Billy Budd - Charles Mackerras, LSO; Pears, Glossop, Langdon [DECCA DVD9]

joseph_li

Death in Venice (CD version)
Decca (ADD) 425 669-2. Pears, Shirley-Quirk, Bowman, Bowen, Leeming, E. Op. Group Ch., ECO, Bedford

Thomas Mann’s novella, which made an expansively atmospheric film far removed from the world of Mann, here makes a surprisingly successful opera. Pears’s searching performance in the central role of Aschenbach is set against the darkly sardonic singing of John Shirley-Quirk in a sequence of roles as the Dionysian figure who draws Aschenbach to his destruction and, though Steuart Bedford’s assured conducting lacks some of the punch that Britten would have brought, the whole presentation makes this a set to establish the work outside the opera house.

托马斯·曼的这部中篇小说，曾被改编成一部氛围宏大、与曼本人截然不同的电影，如今却意外地成为了一部成功的歌剧。皮尔斯饰演的主角阿申巴赫，其探索性的演绎与约翰·雪莉-奎克饰演的狄俄尼索斯式人物的阴暗讽刺的歌声形成鲜明对比，后者将阿申巴赫引向毁灭。尽管斯图尔特·贝德福德沉着冷静的指挥略逊于布里顿，但整体呈现效果足以让这部作品在歌剧院之外树立起良好的口碑。

A Midsummer Night’s Dream (CD version)
Decca (ADD) 425 663-2 (2). Deller, Harwood, Harper, Veasey, Watts, Shirley-Quirk, Brannigan, Downside and Emanuel School Ch., LSO, composer

The beauty of the instrumental writing comes out in this recording even more than in the opera house, for John Culshaw, the recording manager, put an extra halo round the fairy music to act as a substitute for visual atmosphere. Britten again proves himself an ideal interpreter of his own music and draws virtuoso playing from the LSO. Peter Pears has shifted to the straight role of Lysander. The mechanicals are admirably led by Owen Brannigan as Bottom; and among the lovers Josephine Veasey (Hermia) is outstanding. Deller, with his magical male alto singing, is the eerily effective Oberon. For a DVD version of this work, we recommend Glyndebourne’s 1981 production in which the atmospheric sets of John Bury exploit the limited space of the Glyndebourne stage in the old theatre. With Peter Hall an inspired director, the superb cast is conducted by Haitink, and it is available on Warner DVD 0630 16911-2.

这部录音中的器乐作品之美甚至比在歌剧院中更加凸显，因为录音经理约翰·卡尔肖为这首仙女般的音乐增添了一层光环，以此来代替视觉氛围。布里顿再次证明了自己是一位完美的诠释者，并邀请伦敦交响乐团的大师级演奏。彼得·皮尔斯则直接饰演莱桑德一角。欧文·布兰尼根饰演的波顿在机械音效方面表现出色；而约瑟芬·维西（饰演赫米娅）在剧中的恋人中更是精彩绝伦。戴勒以其充满魔力的男低音萨克斯风，饰演了令人毛骨悚然的奥伯龙。想要观看这部作品的DVD版本，我们推荐格林德伯恩1981年的制作，其中约翰·伯里营造的氛围充分利用了格林德伯恩老剧院舞台的有限空间。这部作品由彼得·霍尔执导，海廷克指挥，由海廷克指挥，华纳DVD发行，编号0630 16911-2。
（源于Google翻译）


DVD：
https://115cdn.com/s/swwbhnr3hq9?password=3377&#
Britten - Midsummer night's dream - Bernard Haitink; Cotrubas, Bowman, Appelgren [DVD9]

CD：
https://115cdn.com/s/swwbhnj3hq9?password=3377&#
Britten, Benjamin - Death in Venice - Steuart Bedford, ECO; Pears, Shirley-Quirk, Bowman [Decca]
第二套布里顿《仲夏夜之梦》CD在226楼大包子Vol.2里。

joseph_li

Peter Grimes (DVD version)
Decca DVD 074 3261. Pears, Harper, Drake, Robson, Brannigan, Bainbridge, Gomes, Tear, Amb. Op. Ch., LSO, composer (Producer: John Culshaw; V/D: Brian Large)

While the original Decca CD set (475 7713) of Peter Grimes remains indispensable, one of the great achievements of the early analogue stereo era, the BBC’s later (1969) recording must take its place as a primary recommendation. Pears remains superb in the title-role, every bit as compelling as on CD, yet with the additional projection possible with video. But what makes this performance so compelling is the excellence of the cast in general: from the beauty of Helen Harper’s Ellen Orford to the superb characterization of Ann Robson’s Mrs Sedley. All the roles here are splendidly done and everything about the production and direction brings top quality.

虽然迪卡唱片公司原版的《彼得·格莱姆斯》CD套装（475 7713）依然不可或缺，堪称早期模拟立体声时代的伟大成就之一，但BBC后期（1969年）的录音必须成为首选推荐。皮尔斯在主角中的表演依然精彩绝伦，每一处细节都和CD一样引人入胜，而且视频的附加功能也更加丰富。但真正让这部剧如此引人入胜的是全体演员的精湛演绎：从海伦·哈珀饰演的艾伦·奥福德的美貌，到安·罗布森饰演的塞德利夫人的精湛演绎。剧中所有角色都演绎得非常出色，制作和导演的每一个环节都堪称一流。

The Turn of the Screw (CD version)
Decca mono 425 672-2 (2). Pears, Vyvyan, Hemmings, Dyer, Cross, Mandikian, E. Op. Group O, composer

Though the recording is in mono only, the very dryness and sharpness of focus give an extra intensity to the composer’s own incomparable reading of this most compressed opera. The creepily ambiguous story (by Henry James) is beautifully evoked by Britten, who presents the narrative in almost cinematic terms. Indeed, so atmospheric and powerful is this performance, visuals become almost irrelevant, so vividly are pictures painted in the mind. Britten’s construction of the score is marvellous, with its prologue and sixteen scenes, each preceded by a variation on the twelve-note ‘Screw’ theme, its mixture of tonality and dissonance highly compelling. Peter Pears as Peter Quint is superbly matched by Jennifer Vyvyan as the governess and by Joan Cross as the housekeeper, Mrs Grose. It is also fascinating to hear David Hemmings as a boy treble, already a confident actor.

虽然录音仅为单声道，但其干涩的音色和清晰的聚焦，却为作曲家对这部极简歌剧无与伦比的诠释增添了额外的张力。布里顿将亨利·詹姆斯创作的令人毛骨悚然的暧昧故事演绎得惟妙惟肖，几乎以电影般的手法呈现。的确，这场演出氛围浓厚、气势磅礴，视觉效果几乎变得无关紧要，画面栩栩如生地刻画在脑海中。布里顿对乐谱的构建堪称精妙，序幕和十六个场景，每个场景都以十二音符“螺丝”主题的变奏开场，其调性与不和谐音的交融令人叹为观止。彼得·皮尔斯饰演的彼得·昆特与詹妮弗·维维安饰演的家庭女教师以及琼·克罗斯饰演的管家格罗斯夫人完美契合。大卫·海明斯饰演的男高音同样引人入胜，他早已是一位自信满满的演员。（源于Google翻译）

DVD：
https://115cdn.com/s/swwbhfz3hq9?password=3377&#
Britten, Benjamin - Peter Grimes - Britten, LSO; Peter Pears, Balstrode, Drake[DVD9]
访问码：3377

CD：
https://115cdn.com/s/swwbhfy3hq9?password=3377&#
Britten, Benjamin - Death in Venice - Steuart Bedford, ECO; Pears, Shirley-Quirk, Bowman [Decca]等2个文件(夹)
第二套布里顿《螺丝在拧紧》CD在226大包子Vol.2里也有。

布里顿的更完。推荐的数量比J.S. Bach和贝多芬的都多，但谁让他是英国作曲家呢。

ddd123ddd456

joseph_li 发表于 2025-6-12 11:55
无需跟催。一早就说，无法保证每天都更新。如果停更，一定会提前说明。

非常感谢，辛苦辛苦

xunianfeng

joseph_li 发表于 2025-6-12 12:04
Albert Herring (DVD version)
Warner DVD 5046 78790-2. Graham-Hall, Kerns, Johnson, Palmer, Hammond- ...

通过网盘分享的文件：Britten -  Albert Herring
链接: https://***.com/s/1vo4RQHNVhLfpgaorOyrRWA?pwd=tyx4 提取码: tyx4
--来自百度网盘超级会员v7的分享

武陵渔家

又一波井喷的音乐分享，特别是那个大包子。谢谢。

joseph_li

BRUCH, Max (1838–1920)
Violin Concerto 1 in G min., Op. 26; Scottish Fantasy, Op. 46
Decca (ADD) 460 976-2. Chung, RPO, Kempe – MENDELSSOHN: Violin Concerto

Kyung-Wha Chung goes straight to the heart of Bruch’s G minor Concerto and couples it, not only with the composer’s other hit concertante work, the delightful Scottish Fantasy, but also with an equally sympathetic performance of Mendelssohn’s E minor Concerto. Always a spontaneously inspired artist, Chung finds mystery and fantasy as well as the more extrovert qualities of the music. In the Scottish Fantasy her concentration transcends the episodic nature of the work to give the music unexpected depth, above all in the lovely slow movement. Kempe and the RPO are ideal accompanists, ever sympathetic, and the glowing recording is one of Decca’s best.

郑京和直击布鲁赫G小调协奏曲的核心，不仅将其与作曲家另一部热门协奏曲——令人愉悦的《苏格兰幻想曲》——完美融合，还以同样饱含深情的演绎演绎了门德尔松的E小调协奏曲。郑京和始终是一位灵感迸发的艺术家，她不仅捕捉到了音乐中神秘与奇幻的特质，也展现了音乐更为外向的特质。在《苏格兰幻想曲》中，她对音乐的专注超越了作品的片段性，赋予了音乐意想不到的深度，尤其是在优美的慢乐章中。肯普和皇家爱乐乐团是理想的伴奏者，始终充满感染力，这张光彩夺目的录音堪称Decca唱片的最佳之作之一。

Kol Nidrei
DG (ADD) 457 761-2. Fournier, LOP, Martinon – LALO: Cello Concerto. SAINT-SAËNS: Cello Concerto 1. BLOCH: Schelomo

Like Bloch’s Schelomo, Bruch’s Kol Nidrei is a Jewish rhapsody, even though Bruch was not himself Jewish. Like that work, it is an intensely atmospheric piece, with a gorgeously flowing Hebrew melody, and it is beautifully performed by Pierre Fournier, who is well supported by Jean Martinon. The early 1960s sound is excellent.

与布洛赫的《舍洛莫》一样，布鲁赫的《科尔·尼德雷》也是一部犹太狂想曲，尽管布鲁赫本人并非犹太人。与布洛赫的作品一样，这部作品氛围浓厚，希伯来旋律优美流畅，由皮埃尔·富尼埃演绎，并得到了让·马蒂农的鼎力支持。20世纪60年代初的音效非常出色。
（源于Google翻译）

https://115cdn.com/s/swwb7vy3hq9?password=3377&#
Bruch, Max & Mendelssohn - Violin Concerto - Kyung Wha Chung, Kempe, RPO & Dutiot, Montreal  SO [Decca]等2个文件(夹)

joseph_li

BRUCKNER, Anton (1824–96)
Symphonies 1–9 (complete)
DG (ADD) 477 7580-5 (9). BPO, Karajan

Karajan’s magnificent cycle of Bruckner symphonies, recorded between 1976 and 1978, brings a yardstick by which others have been measured and – at mid-price – must be a clear first choice. We have sung the praises of these recordings loud and long, and in their new format they make outstanding value. There are many fine individual recordings of these works: Karl Boehm’s strength in the Fourth gives the impression that in every bar he knows where he is going (Decca 475 8403); and Sinopoli’s live recording of the Fifth brings playing of incandescent beauty from the Dresden Staatskapelle. But Karajan’s readings are not just poised but superbly structured on every level, and the playing of the Berlin Philharmonic throughout the cycle is unforgettably fine, one of his finest achievements on record.

卡拉扬录制于1976年至1978年间的布鲁克纳交响曲系列，堪称典范，堪称其他作品的标杆，而且价格适中，绝对是您的首选。我们对这些录音赞不绝口，而新版式的演绎更是物超所值。这些作品的录音有很多优秀的个人录音：卡尔·伯姆在第四交响曲中的强劲表现让人感觉他在每个小节都游刃有余（Decca 475 8403）；而西诺波利的第五交响曲现场录音，则展现了德累斯顿国家管弦乐团的精彩演奏。卡拉扬的演绎不仅沉稳，而且在各个层面都结构精妙，柏林爱乐乐团在整个系列中的演奏令人难忘，堪称他录音生涯中最辉煌的成就之一。
（源于Google翻译）


BD-Audio：
https://115cdn.com/s/swwb7pn3hq9?password=3377&#
Bruckner - Symphonies - Karajan, BPO [DG 2021 BD-Audio 24-192]

CD & SACD：
https://115cdn.com/s/swwb7pd3hq9?password=3377&#
Bruckner - Complete Symphonien - Herbert Van Karajan, BPO [DG]等3个文件(夹)
访问码：3377
看清楚是蓝光音频，没有图像的哈。我手上没有第一至三交响曲SACD。

joseph_li

Symphony 4 in E flat (Romantic) (DVD version)
TDK DVD DVWW-COWANDS. N. German RSO, Wand (with BEETHOVEN Overture: Leonora No. 3)

Symphony 4 in E flat (Romantic) (CD version)
Decca (ADD) 475 8403. VPO, Boehm

This DVD performance comes from the Schleswig-Holstein Festival and was recorded in Lübeck Cathedral on 24 June 1990. It is an altogether magnificent reading, free from any kind of artifice. This is echt-Bruckner, the real thing without any attempt to inflate Bruckner’s vision or take attention away from this inspired score. The production by Klaus Reinke and direction by Hugo Käch are wonderfully natural and could hardly be improved both in the symphony and in Beethoven’s Leonora No. 3 Overture which precedes it.

这张DVD演出来自石勒苏益格-荷尔斯泰因音乐节，于1990年6月24日在吕贝克大教堂录制。这是一场气势恢宏的演绎，毫无任何矫揉造作。这是真正的布鲁克纳作品，原汁原味，丝毫没有夸大布鲁克纳的视野，也没有转移观众对这部充满灵感的乐谱的注意力。克劳斯·莱因克的制作和雨果·卡赫的指挥都极其自然，无论是交响曲还是之前的贝多芬《莱奥诺拉》第三号序曲，都堪称完美。

There are many who admire Boehm’s Bruckner, and he certainly controls the lyrical flow of the Fourth Symphony convincingly, helped by first-rate playing from the VPO and vintage Decca sound from 1973, with the advantage of the spacious acoustics of the Sofiensaal. The balance provides splendid detail and a firm sonority. Boehm’s sobriety was also his strength; in every bar he gives the impression that he knows exactly where he is going and, choosing the Nowak edition, he shapes the structure compellingly.

许多人都钦佩伯姆演绎的布鲁克纳，他无疑令人信服地掌控了第四交响曲的抒情流畅，这得益于维也纳爱乐乐团一流的演奏、1973 年的经典 Decca 音响系统，以及索菲恩萨尔音乐厅宽敞的音响效果。平衡的音色提供了精彩的细节和坚实的音色。伯姆的冷静也是他的优势所在；在每一小节，他都给人一种清晰地知道自己要去哪里的感觉，而选择诺瓦克版本，他则以引人入胜的方式塑造了乐曲的结构。
（源于Google翻译）

DVD：
https://115cdn.com/s/swwb7tk3hq9?password=3377&#
Bruckner - Symphonies 4-9; Haydn - Sym. 76; Schubert - Sym. 8-9; Brahms - Sym. 1; Beethoven - Overture Leonore III  -  Gunter Wand, NDRSO [8DVD5]

CD：
https://115cdn.com/s/swwb7tj3hq9?password=3377&#
Bruckner - Symphony No.4 - Karl Böhm, VPO [DECCA](1)等3个文件(夹)
DVD是个大包，不仅仅只有布4。