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

joseph_li

感谢langong2004补档，

开帖以来，获得了众多乐友的大力帮助，一并表示感谢，

本来费老劲找半天没找到，蛮沮丧的，结果得到各位热心相助，顿时觉得值了，

joseph_li

GRÉTRY, André (1741–1813)
Suite of Ballet Music from the Operas
Australian Decca Eloquence (ADD) 480 2373. ECO, Leppard – CHARPENTIER: Médée: Suite. RAMEAU: Le Temple de la Gloire

This suite of ballet music from Grétry’s operas was presumably chosen and arranged by the conductor, Raymond Leppard. At the time of the recording (1966) this was Sir Thomas Beecham repertoire and, like that great maestro, Leppard has skill in picking lollipops, but he added to his performances a feeling for the style of the period about which Sir Thomas would not have been quite so scrupulous. Even though the authentic movement has revolutionized performance of music from this period, these recordings remain highly enjoyable – not just mere nostalgia. Indeed, these are by any standards stylish readings; with well-sprung rhythms and nicely pointed string-playing in the delightful overture, the suite also includes two irresistibly catchy Tambourins. The gentle Ballet des Nymphes de Diane and Chaconne have a lovely laid-back insouciance which is utterly French in spirit, while the central Minuet – again very nicely pointed but not overly so – offers piquant use of the harp for further textural delight. This is the first time this recording has been issued on CD and should be snapped up immediately.

这套选自格雷特里歌剧的芭蕾组曲，据推测是由指挥家雷蒙德·莱帕德选编的。在1966年录制时，这本是托马斯·比彻姆爵士的经典曲目库作品。与那位伟大指挥家一样，莱帕德深谙挑选华彩乐段的诀窍，但他的演绎更增添了对时代风格的考究——这种考究恰是比彻姆爵士不太在意的。尽管古乐复兴运动已经彻底改变了这个时期音乐的演奏方式，这些录音依然充满魅力，绝非仅是怀旧产物。事实上，无论以何种标准衡量，这都是极具风范的演绎：欢快的前奏曲中洋溢着弹性十足的节奏与弦乐部灵动的演奏，组曲还包含两段令人无法抗拒的迷人铃鼓舞曲。《狄安娜女神芭蕾》与《恰空舞曲》散发着慵懒随性的法式神韵，而作为核心的《小步舞曲》——同样处理得细腻有致却不过火——更以竖琴的运用增添了几分令人回味的结构趣味。这是该录音首次以CD形式发行，乐迷当立即珍藏。
（源于DeekSeek翻译）

https://115cdn.com/s/sww4lkz3hq9?password=3377&#
Gretry, Andre & Rameau & Charpentier - Ballet Music and Suites - Raymond Leppard [DECCA]

joseph_li

GRIEG, Edvard (1843–1907)
Piano Concerto in A min., Op. 16
EMI 5 03419-2. Andsnes, BPO, Jansons – SCHUMANN: Piano Concerto

The coupling of the Grieg and Schumann Piano Concertos has long been dominated by the superb pairing by Kovacevich and Colin Davis (Philips 475 7773). That remains highly desirable, but Leif Ove Andsnes enjoys the support of the Berlin Philharmonic Orchestra and a more modern sound. His virtuosity is commanding but it is never at the expense of tenderness and poetic feeling.The performance, recorded live in Berlin, is ever spontaneous-sounding, with soaring flights of the imagination, while the Berlin Philharmonic is at its warmest under Mariss Jansons. The Schumann, too, brings glorious playing from both soloist and orchestra; in short this is a gramophone classic for the present decade.

格里格与舒曼钢琴协奏曲的经典唱片组合长久以来由科瓦塞维奇与科林·戴维斯联袂演绎的杰出版本（Philips 475 7773）占据主导。这一版本固然仍极具收藏价值，但莱夫·奥韦·安兹涅斯不仅获得了柏林爱乐乐团的支持，更拥有现代化的录音效果。他的演奏技巧令人叹服，却从未牺牲作品的柔情与诗意。这场柏林现场录音充满即兴般的灵动感，想象力的翱翔贯穿始终，而柏林爱乐乐团在马里斯·扬松斯棒下展现出最温暖的音色。舒曼协奏曲同样展现了独奏家与乐团辉煌的配合——简言之，这是近十年当之无愧的唱片经典。


2 Elegiac Melodies; Holberg Suite, Op. 40; 2 Lyric Pieces, Op. 68; 2 Melodies, Op. 53; 2 Nordic Melodies, Op. 63
BIS SACD 1491. Bergen PO, Ruud

This is simply the most beautiful record of Grieg’s string music in the catalogue and one of the most beautiful and realistic recordings of strings we have yet heard. It was made, appropriately, in the Grieg Hall in Bergen. The wonderfully vital account of the Holberg Suite is unsurpassed, even by Karajan’s famous account, and the gentler pieces are exquisite, especially the Two Nordic Melodies, which are Elysian, and the closing At the Cradle from the Lyric Pieces, Op. 68. Truly marvellous playing from the Bergen orchestra and inspired conducting from Ole Kristian Ruud. The surround sound is in a class of its own. Try to hear the disc on SACD equipment with four speakers, though it sounds pretty marvellous on just two.

这无疑是唱片目录中最美的格里格弦乐作品录音，也是我们迄今所闻最动人且真实的弦乐录音之一。唱片选址于卑尔根的格里格音乐厅录制可谓相得益彰。《霍尔堡组曲》充满惊人活力的演绎甚至超越了卡拉扬的著名版本，而《两首北欧旋律》等轻柔篇章则精妙绝伦——尤其是那宛若仙境的演绎，以及《抒情小品集》Op.68终曲《摇篮曲》。卑尔根乐团的演奏堪称神奇，奥勒·克里斯蒂安·鲁德的指挥更充满灵感。环绕声效果独树一帜，建议使用SACD设备搭配四扬声器聆听，不过双声道系统已足够震撼。


Lyric Pieces: Op. 12/1; Op. 38/1; Op. 43/1–2; Op. 47/2–4; Op. 54/4–5; Op. 57/6; Op. 62/4 & 6; Op. 65/5; Op. 68/2, 3 & 5; Op. 71/1, 3 & 6–7
DG (ADD) 449 721-2. Gilels

An unmissable selection of Grieg’s delightful Lyric Pieces, from the well-known Papillon, Op. 43/1, to excerpts from the less often heard and highly poetic set, Op. 71. With Gilels we are in the presence of a great keyboard master whose characterization and control of colour and articulation are wholly remarkable. An altogether outstanding record in every way. The recording has been admirably remastered and reissued in DG’s ‘Originals’ series; it is a CD that should be in every collection.

这套格里格《抒情小品集》精选堪称不可错过的珍品，从脍炙人口的《蝴蝶》Op.43/1到较少上演却充满诗意的Op.71选段。吉列尔斯的演奏让我们见证了一位键盘大师的风范——他对音色层次与触键的控制力，以及对作品性格的塑造都堪称非凡。无论从何种角度衡量，这都是张全面卓越的唱片。DG"原典系列"的母带重制效果出色，这张理应列入每位爱乐者的收藏清单。
（源于DeekSeek翻译）


https://115cdn.com/s/sww4l503hq9?password=3377&#
Grieg, Edvard & Schumann - Piano Concerto - Leif Ove Andsnes, Mariss Jansons , BPO [EMI]等6个文件(夹)
Andsnes的钢协为四星带花，吉列尔斯的Lyric Pieces为三四星带花。

joseph_li

Peer Gynt (incidental music): extended excerpts
Virgin 5 45722-2. Mattei, Tilling, Hellekant, Ellerhein Girls’ Ch., Estonian Nat. SO and Male Ch., Paavo Järvi

Paavo Järvi conducts his Estonian forces in warmly expressive, full-blooded readings of 40 items from Grieg’s complete Peer Gynt music, including the content of the two orchestral suites and omitting only those pieces where spoken words predominate. The extra warmth of the performance is helped by the full, forward sound, recorded in a rather reverberant acoustic. Though their roles are limited, the soloists are first rate, with the baritone, Peter Mattei, giving a virile portrait of Peer Gynt in his Serenade. Järvi’s account of In the Hall of the Mountain King is very exciting, with a wild accelerando and vigorous vocal contributions.

帕沃·雅尔维指挥爱沙尼亚国家乐团演绎的《培尔·金特》组曲精选（共40首）充满热烈而饱满的表现力，涵盖了两套管弦乐组曲全部曲目，仅剔除以念白为主的段落。录音在混响丰富的声学环境中完成，丰润通透的音质更添演绎的温暖质感。虽然戏份有限，但独唱家们表现一流——男中音彼得·马泰在《小夜曲》中塑造了一个充满雄性气概的培尔·金特形象。雅尔维处理的《山魔王的宫殿》尤为激动人心，野性的渐加速与激昂的人声交织出震撼效果。


(i) Peer Gynt: Suites 1–2. In Autumn (Overture); An Old Norwegian Romance with Variations; Symphonic Dance 2
EMI Masters 965 9342. (i) Hollweg, Beecham Choral Society; RPO, Beecham

Beecham showed a very special feeling for Grieg’s Peer Gynt music, and to hear ‘Morning’, the gentle textures of ‘Anitra’s Dance’ or the eloquent portrayal of the ‘Death of Aase’ under his baton is a uniquely rewarding experience. Ilse Hollweg makes an excellent soloist. The recording dates from 1956 and, like most earlier Beecham reissues, has been enhanced by the remastering process. The most delectable of the Symphonic Dances, very beautifully played, makes an ideal encore after ‘Solveig’s Song’, affectingly sung by Hollweg. The In Autumn Overture, not one of Grieg’s finest works, is most enjoyable when Sir Thomas is so persuasive, not shirking the melodramatic moments. Finally, for the present reissue, we are offered An Old Norwegian Romance with Variations. It is a piece of much colour and charm, which is fully realized here.

比彻姆爵士对格里格《培尔·金特》组曲有着非凡的洞察力，在他棒下聆听《晨景》的微光、《安妮特拉之舞》的柔美织体，或是《奥丝之死》的凄婉刻画，都是无与伦比的艺术体验。女高音伊尔瑟·霍尔维格的独唱堪称典范。这套1956年的录音经过母带重制后焕发新生，与比彻姆多数历史录音再版一样获得音质提升。《交响舞曲》中最迷人的选段被演绎得精美绝伦，作为霍尔维格动人演唱《索尔维格之歌》后的安可曲再理想不过。《秋日序曲》虽非格里格代表作，但在比彻姆极具说服力的处理下——甚至不回避那些戏剧性段落——依然令人愉悦。此次再版特别增录的《古挪威浪漫变奏曲》是首色彩斑斓的魅力之作，在此得到完美呈现。


Symphony in C min.
Australian Decca Eloquence 476 8743. Bergen SO, Anderson – GOLDMARK: Rustic Wedding Symphony

The Symphony is a student work, written while Grieg was living in Denmark, but he forbade performances of the work after hearing Svendsen’s First Symphony in 1867, and the score was bequeathed to Bergen Public Library on the understanding that it was never to be performed. The work takes just over 37 minutes, and those expecting characteristic Grieg will be disappointed. In some ways the finale is the most confident of the four movements, though its seams are clearly audible. The ideas are fresher than in the inner movements and, although it is no masterpiece, the work is uncommonly assured for a youth of 20. It is persuasively played in Bergen, and the Decca recording is truthfully balanced, with good perspective and colour. At this price, it makes a fine coupling for the rare and colourful Rustic Wedding Symphony of Goldmark.

这部交响曲是格里格旅居丹麦时的习作，但1867年听完斯文德森《第一交响曲》后，作曲家便禁止该作演出，并将总谱赠予卑尔根公共图书馆并约定永不公演。全曲时长37分钟，期待典型格里格风格的乐迷难免失望。某种程度上末乐章是四个乐章中最自信的——尽管结构接缝仍清晰可辨——其乐思比中间乐章更富新意。对于20岁青年而言，这部虽非杰作却展现出罕见的成熟度。卑尔根乐团的演绎极具说服力，DECCA录音呈现出精准的声部平衡与出色的空间层次感。以这个价位而言，与戈尔德马克稀有的《乡村婚礼交响曲》搭配出版实属超值。
（源于DeekSeek翻译）


https://115cdn.com/s/sww4lvt3hq9?password=3377&#
Grieg, Edvard - Peer Gynt etc. -  Thomas Beecham, RPO [EMI]等6个文件(夹)
卡拉扬1972年版的培尔·金特组曲三四星带花，可以一并听听。

joseph_li

GROFÉ, Ferde (1892–1972)
Grand Canyon Suite
Telarc CD 80086 (with additional cloudburst, including real thunder). Cincinnati Pops O, Kunzel (with GERSHWIN: Catfish Row)

The Cincinnati performance is played with great commitment and fine pictorial splendour. What gives the Telarc CD its special edge is the inclusion of a second performance of Cloudburst as an appendix, with a genuine thunderstorm laminated on to the orchestral recording. The result is overwhelmingly thrilling, except that in the final thunderclap God quite upstages the orchestra, who are left frenziedly trying to match its amplitude in their closing peroration.

辛辛那提交响乐团的演绎充满艺术热忱，展现出绚丽的音画效果。这张Telarc唱片最独到之处，是将《云暴》的另一个演出版本作为附录收录——真实的雷暴声被叠加在乐团录音之上。效果震撼得令人窒息，只是在最后的雷鸣处，上帝显然抢了乐团的风头：乐手们疯狂地试图在终曲高潮中与之匹敌，却终究难敌自然的伟力。

https://115cdn.com/s/sww4lei3hq9?password=3377&#
Grofe, Ferde - Grand Canyon Suite & Gershwin - Catfish Row - Erich Kunzel [Telarc]

joseph_li

GUERRERO, Francisco (1528–99)
Missa De la batalla escoutez; Conditor alme siderum; Duo Seraphim clamabant; In exitu Israel; Magnificat octavi toni; Pange lingua gloriosi; Regina caeli
Hyp. Helios CDH 55340. Westminster Cathedral Ch., His Majestys Sagbutts and Cornetts, O’Donnell

Born in 1528 and trained by his brother, Pedro, and later, briefly, by Cristóbal de Morales, Guerrero spent virtually his whole musical life serving in Seville Cathedral as singer and composer, and he was able to play many instruments expertly. He was essentially Master of the Music, yet nominally the ageing Pedro Fernández held the post and Guerrero was his assistant until 1574, when at last he took over in his own right.

The performances here (even in the Mass) use brass instruments as well as voices, following the alternation style, which was a particular feature of Guerrero’s music, where plainchant regularly alternates with polyphony. The Trinity motet, Duo Seraphim, opening descriptively with two solo trebles, uses twelve voices in three choirs to create wide contrasts of dynamic and texture. The Missa De la batalla for five voices uses a chanson of Jannequin, La Guerre, as its basis, indicated by including the French word ‘escoutez’ in its title. Pange lingua gloriosi uses a popular melody, a gently swinging Iberian song ornamented with counterpoint and moving from voice to voice, in many ways like a primitive theme and variations. Throughout the disc the eloquent singing, very well balanced and never overwhelming the brass choir, makes this a varied and highly enjoyable introduction to a remarkable composer of whom we shall undoubtedly hear more.

格列罗（1528年生）早年受兄长佩德罗启蒙，后曾短暂师从克里斯托瓦尔·德·莫拉莱斯，其音乐生涯几乎全部奉献于塞维利亚大教堂，既任唱诗班歌手亦从事创作，且精通多种乐器。虽实质执掌乐长之职，但名义上该职位长期由年迈的佩德罗·费尔南德斯担任，直至1574年格列罗才正式接任。
本专辑演绎（包括弥撒曲）遵循格列罗音乐的标志性"交替风格"——素歌与复调交替呈现，并加入铜管乐器与人声交织。三一颂经文歌《二撒拉弗》以两名童声独唱展开叙事性开场，随后十二声部分为三组合唱团，营造出力度与织体的强烈对比。五声部《战争弥撒》以雅内坎的尚松《战争》为基础，标题中保留法语词"escoutez"（聆听）为证。《舌颂光荣》则采用流行曲调，以悠扬的伊比利亚民歌为基底，通过复调装饰与声部轮转，形成类似原始主题与变奏的独特效果。整张唱片中人声与铜管声部始终保持着精妙的平衡，雄辩的演唱从未压制铜管合唱团的辉煌，为这位必将载入史册的杰出作曲家提供了丰富而迷人的艺术导览。
（源于DeekSeek翻译）


https://115cdn.com/s/sww4lek3hq9?password=3377&#
Guerrero, Francisco - Missa De La Batalla escoutez etc. - Choir of Westminster Cathedral, James O'Donnell [Hyperion]

joseph_li

GURNEY, Ivor (1890–1937)
War Elegy
Dutton CDLX 7172. BBC SO, Lloyd-Jones – ELGAR: The Spirit of England. PARRY: The Chivalry of the Sea (with KELLY: Elegy ‘In Memoriam Rupert Brooke’. ELKINGTON: Out of the Mist)

His deeply moving orchestral piece offers us a totally new view of the tragic Ivor Gurney. It is quite different from the charming songs and poems he wrote, even after he had been incarcerated in a mental home for the last 20 years of his life. That mental illness had been caused by his terrible experiences in the trenches in the First World War, something which this piece directly reflects in a powerful funeral march. After a single rehearsal run-through in 1920, it was totally neglected and here receives its very first professional performance, superbly conducted. On a fascinating disc of war-inspired pieces it stands out as a heart-stopping work, chilling in its power.

这部令人灵魂震颤的管弦乐作品，彻底颠覆了我们对悲剧人物艾弗·格尼的认知。与他生前最后二十年深陷精神病院期间仍创作的动人诗歌与艺术歌曲截然不同，这部作品以撼人心魄的葬礼进行曲，直接映射出一战战壕经历带给他的精神创伤——那场最终摧毁他神智的战争噩梦。自1920年匆匆试奏后便被彻底遗忘的遗作，在此迎来首个专业录音版本，指挥家的精湛诠释令人叹服。这张以战争为主题的音乐合辑中，这部令人窒息的杰作以其刺骨的力量感显得尤为夺目。
（源于DeekSeek翻译）


这张碟在第380楼已经发过。

joseph_li

HADLEY, Patrick (1899–1973)
The Trees so High
Lyrita (ADD) SRCD 238. Allen, Guildford Philharmonic Ch., New Philh. O Handley – FINZI: Intimations of Immortality

For most of his working career, Hadley was the archetypal Cambridge composer, seduced by the charms of life as a senior member of the university from writing the music he plainly had in him. The Trees so High, described as a symphonic ballad, is a wide-ranging choral work, taking the folksong of that name as a base. The idiom is broadly in the Vaughan Williams school, but spiced with invention eclectically drawn from later composers. Thomas Allen makes an outstanding soloist and Vernon Handley draws persuasive singing and playing from his large forces. The music is beautifully recorded and the outstanding coupling is wholly apt.

在职业生涯的大部分时间里，哈德利都是典型的剑桥派作曲家——作为剑桥大学资深成员，他被学术生活的魅力所惑，未能充分施展其真正的音乐才华。这部被称作"交响叙事诗"的《参天大树》，以同名民歌为基调，创作出一部气势恢宏的合唱作品。其音乐语言大体承袭沃恩·威廉姆斯的风格，又巧妙融汇后世作曲家的创新元素。男中音托马斯·艾伦的独唱堪称典范，指挥家弗农·汉德利则引领庞大演出阵容呈现出极具说服力的演唱与演奏。录音效果精美绝伦，搭配的曲目更是相得益彰。
（源于DeekSeek翻译）


这张碟在第395楼已经发过。

joseph_li

HANDEL, George Frideric (1685–1759)
Concerti grossi, Op. 3/1–6 (including 4b), HWV 312–17
Hyp. Helios CDH 55075. Brandenburg Consort, Goodman

Concerti grossi, Op. 6/1–12
Chan. 9004/6. I Musici di Montréal, Turovsky

Handel re-fashioned the concerto grosso format and style which had been developed and refined by Corelli, to create two masterly sets of works in his own style. The result represents the very peak of his orchestral output. The music is endlessly inventive and gives the listener enormous stimulation and pleasure. As both these groups demonstrate (and the Boyd Neel Strings and ASMF before them), these works must be as much of a joy to play as to listen to.

In Opus 3 Roy Goodman achieves the best of both worlds by including the spurious (but very engaging) No. 4b and uses an authentic version of No. 6, while featuring the concertante organ at the close as a bonus. The playing is rhythmically very spirited and enjoyably light and airy: this is period-instrument music-making at its most seductive, helped by some delightfully sensitive flute and oboe contributions from Rachel Brown and Katharina Arfken respectively. First-class recording, natural and transparent within a pleasing ambience.

I Musici di Montréal follow on with an equally refreshing and stimulating set of Opus 6. The group uses modern instruments and Yuli Turovsky’s aim is to seek a compromise between modern and authentic practice by paring down vibrato in some of the expressive music. The concertino, Eleonora and Natalya Turovsky and Alain Aubut, play impressively, while the main group (6,3,1,1) produces full, well-balanced tone, and Handel’s joyous fugues are particularly fresh and buoyant. Turovsky paces convincingly, not missing Handel’s breadth of sonority and moments of expressive grandeur, and the Chandos recording is excellent.

亨德尔对科雷利发展完善的大协奏曲形式与风格进行重塑，创作出两套具有个人风格的大师级作品，堪称其管弦乐创作的巅峰。这些音乐充满无穷创造力，带给听者极大的艺术享受与精神启迪。正如这两支乐团（以及此前的博伊德·尼尔弦乐团与圣马丁室内乐团）所展现的，演奏这些作品的乐趣绝不亚于聆听它们。

在Op.3的演绎中，罗伊·古德曼采取两全其美的方式：既收录了伪作（但极具魅力的）第4b号，又采用第6号的原版谱，更在终曲加入协奏管风琴作为彩蛋。演奏节奏灵动欢快，轻盈飘逸——这是本真乐器演奏最迷人的呈现，瑞秋·布朗与卡塔琳娜·阿尔夫肯分别贡献的长笛与双簧管演绎尤为细腻动人。一流的录音效果在怡人的声场中呈现出自然透明的质感。

蒙特利尔音乐家合奏团带来的Op.6同样令人耳目一新。乐团使用现代乐器，尤里·图洛夫斯基通过在某些抒情段落减少颤音，在现代演奏与本真实践间找到平衡。独奏组的埃莱奥诺拉、娜塔莉娅·图洛夫斯基与阿兰·奥比表现惊艳，主力乐团（6-3-1-1编制）的音色饱满均衡，亨德尔那些欢快的赋格段尤其清新活泼。图洛夫斯基的节奏把控令人信服，既保留了亨德尔作品的音响广度，又展现出恢弘的表达瞬间，Chandos唱片的录音效果同样出色。
（源于DeekSeek翻译）


https://115cdn.com/s/sww4lah3hq9?password=3377&#
Handel - Concerti Grossi, Op.3 - Roy Goodman, Brandenburg Consort [Hyperion]等3个文件(夹)
Yuli Turovsky 的Concerti grossi, Op. 6三四星带花，算是名盘。提供两个版本对比听听，一个是乐友抓轨，一个是Qobuz版。

joseph_li

Harp Concerto, Op. 4/6; Variations for Harp
Decca (ADD) 425 723-2. Robles, ASMF, Brown – BOÏELDIEU; DITTERSDORF: Harp Concertos

Handel’s Op. 4/6 is well known in both organ and harp versions. Marisa Robles and Iona Brown make an unforgettable case for the latter by creating the most delightful textures, while never letting the work sound insubstantial. The ASMF accompaniment, so stylish and beautifully balanced, is a treat in itself, and the recording is well-nigh perfect.

亨德尔的Op.4/6同时存在管风琴与竖琴版本。玛丽莎·罗布莱斯与艾欧娜·布朗通过精妙的音色编织，为竖琴版提供了令人难忘的诠释，同时确保作品不失厚重感。圣马丁室内乐团的伴奏既优雅又平衡，本身就是艺术享受，录音几近完美。


Organ Concertos, Op. 4/1–6; Op. 7/1–6
Warner Apex 2564 62760-2 (2). Koopman, Amsterdam Bar. O

Ton Koopman’s paired sets of Opp. 4 and 7 are offered economically on the Apex super-bargain label. They take precedence over all the competition, both as performances and as recordings. The playing has wonderful life and warmth, tempi are always aptly judged, and although original instruments are used, this is authenticity with a kindly presence. The warm acoustic ambience of St Bartholomew’s Church, Beek-Ubbergen, Holland, gives the orchestra a glowingly vivid coloration and the string timbre is particularly attractive. So is the organ itself, which is spendidly played by Koopman and is just right for the music.

唐·库普曼将Op.4与Op.7合集以超值价格收录于Apex厂牌。无论是演绎水准还是录音质量，这套唱片都堪称同类最佳。演奏充满生命力与温度，速度处理恰到好处，虽使用古乐器却毫无学究气。荷兰贝克-乌贝亨圣巴托洛缪教堂温暖的声学环境，赋予乐团璀璨的音色光彩，弦乐音质尤为动人。库普曼演奏的管风琴也与音乐相得益彰。
（源于DeepSeek翻译）


https://115cdn.com/s/sww4la23hq9?password=3377&#
Handel - Organ Concertos Op.4 & Op.7 - Ton Koopman, Amsterdam Baroque Orchestra [Erato]等2个文件(夹)
管风琴协奏曲三四星带花
第一张是名盘，在第185楼已经发过。

joseph_li

Music for the Royal Fireworks; Water Music (complete)
DG 477 7562. E. Concert, Trevor Pinnock

We would have liked very much to recommend the Orpheus Chamber Orchestra (also on DG) for this coupling, for they play all this music (on modern instruments) with a real sense of baroque style, crisp and buoyant, and with much elegance too. In addition the Fireworks Music brings a riveting sense of spectacle. However, this disc is currently deleted, and it seldom seems to stay in the catalogue for very long.

Fortunately Pinnock and his English Concert provide an admirable alternative. They play on period instruments with great zest, especially so in the Fireworks Music. Speeds are consistently well chosen. One test is the famous ‘Air’, which here remains an engagingly gentle piece. The recording is beautifully balanced and clear, and this coupling is very delectable indeed.

我们本欲推荐奥菲斯室内乐团（DG厂牌）的版本，他们用现代乐器演奏出纯正的巴洛克风格—— crisp（ crisp译为"干净利落"更符合中文音乐术语习惯）利落又轻盈灵动，且极具优雅气质，《皇家烟火音乐》更呈现出令人屏息的壮观效果。可惜该唱片现已绝版，在目录中留存时间总是不长。

所幸平诺克与英国音乐会乐团提供了绝佳替代选择。他们以古乐器激情演绎，尤其在《皇家烟火音乐》中表现抢眼。速度选择始终精准，试金石般的著名"Air"乐章在此仍保持着迷人的柔美气质。录音层次分明，这套合集确实令人爱不释手。
（源于DeepSeek翻译）


https://115cdn.com/s/sww4lga3hq9?password=3377&#
Handel - Water Music & Fireworks & Concerti Grossi Op.6 - Orpheus Chamber Orchestra [DG]等3个文件(夹)
Orpheus Chamber Orchestra版四星带花

joseph_li

今天又卡了4个审核，虽然确定没任何敏感词，但是还是被卡，感觉越来越严格。

武陵渔家

谢谢。每次都是井喷似的分享如此多的音乐盛宴。

joseph_li

(i) Coronation Anthems《加冕颂歌》 (complete); (ii) Ode for the Birthday of Queen Anne《安妮女王生日颂歌》
Australian Decca Eloquence (ADD) 466 676-2. (i) King’s College, Cambridge, Ch., ECO, Willcocks; (ii) Kirkby, Nelson, Minty, Bowman, Hill, Thomas, Christ Church Cathedral Ch., Oxford, AAM, Preston

Willcocks’s famous (1960) recording of these four anthems sounds much better on CD than it ever did on LP and is greatly enjoyable, especially Zadok the Priest. They are coupled with a fine performance of the Ode for the Birthday of Queen Anne, recorded in the late 1970s and sounding very good indeed. An excellent CD from Australian Decca.

威尔科克斯1960年著名的《加冕颂歌》录音在CD上的音质远胜黑胶版本，尤其是《祭司撒督》一曲尤为精彩。唱片还收录了七十年代末录制的《安妮女王生日颂歌》，演绎精湛，音效出色。这张澳大利亚迪卡出品的CD堪称精品。


Judas Maccabaeus 《犹大·马加比》(complete, CD version)
DG (ADD) 447 692-2 (3). Palmer, Baker, Esswood, Davies, Shirley-Quirk, Keyte, Wandsworth School Ch., ECO, Mackerras

Charles Mackerras’s sparkling 1976 performance of Judas Maccabaeus, with its sequence of Handelian gems, is irresistible. Though not everyone will approve of the use of boys’ voices in the choir, it gives an extra bit of character. Hearing even so hackneyed a number as See, the conqu’ring hero in its true scale is a delightful surprise. Ryland Davies and John Shirley-Quirk are most stylish, while both Felicity Palmer and Janet Baker crown the whole set with glorious singing. The recording quality is outstanding, fresh, vivid and clear.

查尔斯·马克拉斯1976年指挥的《犹大·马加比》如宝石般璀璨夺目。尽管童声合唱的运用未必人人赞同，却为作品增添了独特韵味。即便是《看啊，英雄得胜归来》这般耳熟能详的唱段，以原始编制呈现也令人耳目一新。男高音莱兰·戴维斯与男中音约翰·雪利-奎克风格典雅，女高音费莉西蒂·帕默与女中音珍妮特·贝克更以辉煌唱腔为全剧加冕。录音效果极佳，鲜活清晰。


https://115cdn.com/s/sww4i7z3hq9?password=3377&#
Handel - Four Coronation Anthems; Ode for the Birthday of Queen Anne - Willcocks, Preston [DECCA]等2个文件(夹)

joseph_li

La Resurrezione《复活》
Virgin 50999 694567 01 (2). Camilla Tilling, Kate Royal, Sonia Prina, Toby Spence, Luca Pisaroni, Le Concert d’Astrée, Emmanuelle Haïm

In 1708, halfway through his four-year stay in Italy, the young Handel wrote this refreshingly dramatic oratorio. With opera as such prohibited in Rome, it served as a kind of substitute and, though it does not have the great choral music which is so much the central element of later Handel oratorios, the choruses which close each part of the work are memorable – and even more so is the bright orchestration, with brilliant use of woodwind and trumpets. Indeed the very opening has a most attractive introductory Sonata. Altogether it is a fine and many-faceted piece and Emmanuelle Haïm does it full justice with her excellent team of soloists. One has only to sample the brilliant virtuosity of Mary Cleophas’s aria in Part I (Sonia Prina) or Mary Magdalene’s touching Per me già di morire in Part 2 (Kate Royal) to hear the calibre of this singing; and the playing of Le Concert d’Astrée is equally impressive, and the recording is most effectively balanced.

1708年，时年23岁的亨德尔在意大利旅居期间（时值其四年意大利之行的中期）创作了这部充满戏剧张力的清唱剧。由于罗马当时明令禁止歌剧演出，这部作品实质上充当了替代品。尽管它缺乏后来成为亨德尔清唱剧核心要素的宏大合唱段落，但每部分结尾的合唱都令人难忘——其明亮的管弦乐配器（特别是对木管乐器与小号的精妙运用）更堪称典范。事实上，作品开篇的序曲就包含一首极具吸引力的奏鸣曲。整体而言，这是一部精致而多元的作品，艾曼纽尔·哈姆与她杰出的独唱家团队给予了它完美的诠释。只需聆听第一幕中玛丽亚·革罗罢的咏叹调（索尼娅·普丽娜演唱展现的炫技才华），或是第二幕中抹大拉的玛利亚那感人至深的《为我已濒临死亡》（凯特·罗亚尔演唱），便能领略到演唱的超凡水准；而"星辰音乐会"乐团的演奏同样令人叹服，录音的平衡效果也堪称完美。


Solomon《所罗门》
Decca 475 7561 (2). Watkinson, Argenta, Hendricks, Rolfe Johnson, Monteverdi Ch., E. Bar. Sol., Gardiner

Gardiner’s Solomon is the very finest of all Handel oratorio recordings after Messiah and Judas Maccabaeus. With panache he shows how authentic-sized forces can convey Handelian glamour even with sharply focused textures and fast speeds. The choruses and even more magnificent double choruses stand as cornerstones of a structure which may have less of a story-line than some other Handel oratorios – the Judgement apart – but which Gardiner shows has consistent human warmth. The Act III scenes between Solomon and the Queen of Sheba are given extra warmth by having in the latter role a singer who is sensuous in tone, Barbara Hendricks. Carolyn Watkinson’s pure mezzo is very apt for Solomon himself, while Nancy Argenta is clear and sweet as the Queen; but the overriding glory of the set is the radiant singing of the Monteverdi Choir. Its clean, crisp articulation matches the brilliant playing of the English Baroque Soloists, regularly challenged by Gardiner’s fast speeds, as in the Arrival of the Queen of Sheba: the sound is superb, coping thrillingly with the interplay of the double chorus.

加迪纳爵士的《所罗门》是继《弥赛亚》《犹大·马加比》后最杰出的亨德尔清唱剧录音。他证明本真编制即便在快速度下也能展现巴洛克辉煌。双合唱段落成为全剧支柱，虽剧情性较弱（除"审判"场景外），但加迪纳揭示了其中恒久的人性温度。芭芭拉·亨德里克斯演绎的示巴女王与卡罗琳·沃特金森的所罗门王形成动人反差，南希·阿金塔的嗓音清甜如蜜。蒙特威尔第合唱团璀璨的演唱与英国巴洛克独奏家乐团的精彩演奏相得益彰，快板乐章如《示巴女王进场》更显激情澎湃。


https://115cdn.com/s/sww4iyf3hq9?password=3377&#
Handel - La Resurrezione - Emmanuelle Haïm, Le Concert d’Astree; Royal, Prina [EMI]等2个文件(夹)

joseph_li

Acis and Galatea 《阿西斯与加拉蒂亚》(complete, CD version)
Chan. (ADD) 3147. Sutherland, Pears, Galliver, Brannigan, St Anthony Singers, L. Philomusica, Boult

In 1959, originally from Decca (Oiseau-Lyre), Boult provided the début stereo recording of Handel’s delightful masque. Joan Sutherland in fresh, youthful voice makes a splendid Galatea, sparkling in the florid passages, warmly sympatheric in the lyrical music. Peter Pears, too, is at his finest, and although David Galliver is less striking, his contribution is still a good one, while Owen Brannigan was surely born to play Polyphemus, and he comes over as a very genial one-eyed giant, the villany muted. His lusty account of O ruddier than the cherry (heard in the version with treble recorder), in which he makes a positive virtue of intrusive aspirates, is alone worth the cost of the disc. Anyone hearing it who can resist smiling must be stony-hearted indeed. Although tempi are more relaxed than we would expect today, Boult’s sympathetic direction ensures that the music-making has a lift throughout. The documentation includes a full text.

1959年，由迪卡公司（Oiseau-Lyre厂牌）发行的博尔特爵士版录音，成为亨德尔这部欢快假面剧的首个立体声版本。琼·萨瑟兰以清新年轻的嗓音完美诠释了加拉蒂亚，在华丽乐段中光彩夺目，在抒情旋律里温情脉脉。彼得·皮尔斯同样展现出巅峰状态，虽然大卫·加利弗的表现稍显平淡，但其贡献仍属上乘。而欧文·布兰尼根简直是天选之人来扮演波吕斐摩斯，他将这个独眼巨人演绎得亲切可人，弱化了角色本有的邪恶特质。他演唱《比樱桃更红润》（此处采用高音竖笛伴奏版本）时，刻意加入的送气音反而成为点睛之笔，仅这一首就值回唱片价钱。任何听闻此曲却能忍住不笑的人，必定是铁石心肠。尽管演奏速度比如今惯常的更为舒缓，但博尔特充满同理心的指挥确保了整部作品始终保持着轻盈的律动。唱片说明书附有完整剧本文本。


Berenice, Regina d’Egitto 《埃及女王贝伦尼斯》(CD version)
Virgin 50999 6 28536-2 (3). Ek, Bohlin, Fagioli, Basso, Nesi, Priante, Giustiniani, Il Complesso Barocco, Alan Curtis

Handel’s ill-fated 1736/7 London season was the most ambitious he had ever attempted single-handed, including eight different opera productions, five of which were new to London. The result was the end of his career as an independent impresario, not helped by his suffering from a stroke in 1737 which paralysed his right arm and temporarily prevented him from playing the harpsichord. But at the same time he was able to complete Berenice, Regina d’Egitto. Its narrative deals with the problem of the young Egyptian queen, Berenice, who has to choose for her consort the Roman Alessandro, rather than her lover, Demetrio (who unfortunately loves her sister, Selene). However, the result is one of Handel’s finest operas, with the most famous of many splendid arias, Vedi l’ape, sung by the Roman envoy, Fabio, its famous melody introduced as a largetto in the overture. The duet, Se il mio amor, between Berenice and Demetrio is particularly beautiful, as is so much of the music in this opera. Surprisingly, it ran for only three (maybe four) performances, so this splendid recording is most welcome, especially as Alan Curtis has restored music which Handel originally cut. The performance is admirably sung, dominated by Klara Ek’s rapturous portrayal of Berenice, admirably partnered by Franco Fagioli’s Demetrio, and with Romina Basso excellent in the mezzo part of Selena, and Ingela Bohlin an appealingly voiced Alessandro – his cavatina, Mio bel sol, a highlight of Act II. The opera is lightly scored (omitting flutes, recorders and brass) but using the plaintive oboe instead. Alan Curtis secures consistently fine playing from Il Complesso Barocco and directs the opera itself with a perfect combination of sensitivity and vitality.

亨德尔时运不济的1736/37年伦敦演出季，是他单枪匹马尝试过的最雄心勃勃的演出季，包括八部不同的歌剧制作，其中五部是在伦敦首演。这一季的结果终结了他作为独立歌剧经理人的职业生涯，而1737年他中风导致右臂瘫痪、暂时无法演奏羽管键琴的病情更是雪上加霜。但就在这期间，他竟完成了歌剧《埃及女王贝伦尼斯》。该剧讲述了年轻的埃及女王贝伦尼斯不得不选择罗马人亚历山德罗作为她的配偶，而非她的爱人德米特里奥（不幸的是德米特里奥爱的是她的妹妹塞莱内）的困境。然而，这部作品却成为亨德尔最杰出的歌剧之一，剧中众多精彩的咏叹调中最著名的当属罗马使者法比奥演唱的《蜜蜂之歌》，其著名旋律在序曲中就以小广板形式呈现。贝伦尼斯与德米特里奥的二重唱《若我的爱》尤为优美，剧中大部分音乐都是如此出色。令人惊讶的是，该剧只上演了三场（也许是四场），因此这张出色的录音尤其令人欣喜，特别是艾伦·柯蒂斯还复原了亨德尔原先删减的音乐段落。演出中的演唱令人赞叹，克拉拉·埃克对贝伦尼斯如痴如醉的演绎占据主导地位，与弗朗哥·法焦利饰演的德米特里奥相得益彰，罗米娜·巴索出色地演绎了女中音角色塞莱内，而英格拉·博林饰演的亚历山德罗嗓音极具魅力——他在第二幕中的小咏叹调《我美丽的太阳》堪称亮点。该剧配器较为轻简（省去了长笛、竖笛和铜管乐器），但使用了如泣如诉的双簧管作为替代。艾伦·柯蒂斯确保了巴洛克合奏团始终如一的精湛演奏，并以感性与活力的完美结合执导了整部歌剧。


https://115cdn.com/s/sww4iyc3hq9?password=3377&#
Handel - Acis and Galatea & Messiah - Adrian Boult; Sutherland, Bumbry, McKellar [Decca]等2个文件(夹)

joseph_li

Giulio Cesare 《朱利奥·凯撒》(complete, CD version)
HM HMX 2901 385 7. Larmore, Schlick, Fink, Rorholm, Ragin, Zanasi, Visse, Concerto Köln, Jacobs

The casting of the pure-toned Barbara Schlick as Cleopatra on Harmonia Mundi proves outstandingly successful. Jennifer Larmore too, a fine, firm mezzo with a touch of masculine toughness in the tone, makes a splendid Caesar. Together they crown the whole performance with the most seductive account of their final duet. Derek Lee Ragin is excellent in the sinister role of Tolomeo (Ptolemy); so are Bernarda Fink as Cornelia and Marianne Rorholm as Sesto, with the bass, Furio Zanasi, as Achilla. René Jacobs’s expansive speeds mean that the whole opera will not fit on three CDs, but the fourth disc, at 18 minutes merely supplementary, comes free as part of the package and includes an extra aria for the servant, Nireno, delightfully sung by the French couner-tenor, Dominique Visse. Fine, well-balanced sound. This now comes at bargain price with texts and translations included.

Harmonia Mundi厂牌选择音色纯净的芭芭拉·施利克饰演克娄巴特拉一角被证明是极其成功的。詹妮弗·拉莫尔同样表现出色，这位音质坚实且略带阳刚气质的优秀女中音，完美塑造了凯撒的形象。二人联袂演绎的终场二重唱堪称全剧最迷人的华彩段落。德里克·李·拉金将阴险的托勒密一角演绎得淋漓尽致；贝尔纳达·芬克饰演的科妮莉亚与玛丽安·罗尔霍姆饰演的塞斯托同样精彩，男低音富里奥·扎纳西则出色塑造了阿基拉一角。由于勒内·雅各布斯采用的舒展速度，全剧无法容纳在三张CD内，但作为套装附赠的第四张碟片（仅18分钟补充内容）包含了仆人尼雷诺的额外咏叹调，由法国假声男高音多米尼克·维塞以令人愉悦的嗓音演唱。录音效果精良，声部平衡出色。该版本现以超值价格发售，并附赠歌词文本及翻译。

Hercules 《赫拉克勒斯》(complete, CD version)
DG 477 9112 (2). Tomlinson, Walker, Rolfe Johnson, J. Smith, Denley, Savidge, Monetverdi Ch., E. Bar. Sol., Gardiner

Gardiner’s vital performance of Hercules, using authentic forces, conveys superbly the vigour of the writing, its natural drama; and the fire of this performance is typified by the outstanding singing of Sarah Walker as Dejanira. John Tomlinson makes an excellent, dark-toned Hercules. Fresh voices consistently help in the clarity of attack: Jennifer Smith as Iole, Catherine Denley as Lichas, Anthony Rolfe Johnson as Hyllus, Peter Savidge as the Priest of Jupiter. Refined playing and outstanding recording quality make this extremely welcome at mid-price.

加迪纳爵士充满生命力的《赫拉克勒斯》演绎，采用本真乐器编制，出色地传递了作品的蓬勃活力与天然戏剧性；这场演出的炽烈特质在莎拉·沃克饰演的得伊阿尼拉那卓越的演唱中得到完美体现。约翰·汤姆林森以深沉浑厚的音色塑造了一位杰出的赫拉克勒斯形象。清新的嗓音阵容持续为清晰的声部呈现提供助力：珍妮弗·史密斯饰演伊奥勒，凯瑟琳·丹利饰演利卡斯，安东尼·罗尔夫·约翰逊饰演许罗斯，彼得·萨维奇饰演朱庇特祭司。精妙的演奏与出色的录音品质，使这张中价位唱片显得尤为可贵。


https://115cdn.com/s/sww4ik53hq9?password=3377&#
Handel - Hercules -John Eliot Gardiner; Tomlinson, Walker, Johnson [Archiv]等2个文件(夹)

joseph_li

9 German Arias; Gloria; Trio Sonata in F, HWV 392《九首德语咏叹调；荣耀经；F大调三重奏鸣曲》
BIS CD 1615. Emma Kirkby, L. Baroque

The Nine German Arias (written between 1724 and 1726) are the nearest Handel came to writing an intimate song-cycle. All the lyrics derive from Heinrich Brockes’ set of poems (‘Earthly delight in God’, designed to be set as cantatas, with recitatives, which Handel chose not to use). Many of the poems are poetic paraphrases of Bible texts and every one of these arias has a winning Handelian flavour. There have been several recordings, and that by Carolyn Sampson on Hyperion (CDA 67627) is as fresh as it is tonally beautiful. However, Emma Kirkby’s voice seems perfect for this repertoire and her performance is naturally appealing and just as fresh. Moreover this BIS CD includes also the beautiful Gloria, recently discovered in the music library of the Royal Academy of Music in London. It is a ravishing work in six sections, and Emma Kirkby sings it with full-voiced beauty. The London Baroque, who accompany splendidly, also provide a fine account of the F major Trio Sonata as a welcome interlude between the vocal works.

《九首德语咏叹调》（创作于1724至1726年间）是亨德尔最接近创作一部亲密声乐套曲的作品。全部歌词均源自海因里希·布罗克斯的诗集《尘世间的神圣欢愉》（原为配有宣叙调的康塔塔而作，但亨德尔选择不予采用）。其中许多诗歌是对圣经经文的诗意改写，每一首咏叹调都带有迷人的亨德尔风格。现有多个录音版本，卡罗琳·桑普森为Hyperion唱片（编号CDA 67627）录制的版本既清新动人又音色优美。然而艾玛·柯克比的嗓音似乎特别适合这一曲目，她的演绎自然动人且同样清新。此外，这张BIS唱片还收录了近期在伦敦皇家音乐学院图书馆发现的《荣耀经》。这部由六个乐章组成的动人作品，由柯克比以饱满优美的嗓音完美诠释。伴奏出色的伦敦巴洛克乐团还精彩演绎了《F大调三重奏鸣曲》，为声乐作品之间提供了令人愉悦的间奏。


‘Furore’: Opera arias from: Admeto; Amadigi; Ariodante; Giulio Cesare; Hercules; Imeneo; Semele; Serse; Teseo《暴怒》：选自《阿德梅托》《阿马迪吉》《阿里奥丹特》《朱利奥·凯撒》《赫拉克勒斯》《伊梅内奥》《塞墨勒》《塞尔斯》《忒修斯》的歌剧咏叹调
Virgin 50999 5 519038 2. Joyce DiDonato, Les Talens Lyriques, Christophe Rousset

All today’s singers seem to want to aspire to a collection of Handel arias, and there are many desirable collections now available. Joyce DiDonato is one of the key virtuosic mezzos to have joined the throng, and she has already received a Gramophone award. She has a voice which is beautiful in legato yet very dramatic when opening her recital with Crude furie degl’orridi abissi (‘Fierce furies of the dead abyss’) from Serse. But in the following Dolce riposo (from Teseo) as Medea she has fallen obsessively in love with the hero, Theseus, and sings of her feelings touchingly, against an oboe obbligato. Yet when she discovers he will not return her love she vents her fury, proclaiming she will either have his love or destroy him: ‘O stringerò nel sen’. As Ariodante she again despairs at her lost love (‘E vivo ancora? (‘Am I still living?’)). So throughout this boldly and dramatically sung recital the music swings between demanding, passionate feeling and unattained loss. Joyce DiDonato holds the listener in her grip through every response, and her bravura in anger is matched by her moments of tenderness. Christophe Rousset provides fine supportive accompaniments with Les Talens Lyriques, and if you enjoy vocal fireworks this can be strongly recommended. Full texts and translations are provided.

当今所有声乐家似乎都渴望录制一套亨德尔咏叹调选集，而目前市面上已有许多令人向往的精选集。乔伊斯·迪多纳托作为加入这一行列的关键炫技女中音之一，早已获得《留声机》大奖肯定。她的嗓音既能保持连音的优美，又以《塞尔斯》中《可怖深渊的残酷复仇女神》开启独唱会时展现出极强的戏剧张力。而在随后《忒修斯》中《甜蜜安息》的美狄亚唱段里，她演绎出对英雄忒修斯的痴迷爱恋，伴着双簧管助奏动情倾诉。然而当发现对方不会回应她的爱意时，她爆发出"我要么得到他的爱，要么毁灭他"的愤怒宣言。作为阿里奥丹特时，她再次为逝去的爱情绝望哀叹("我竟还活着？")。整场大胆而戏剧化的独唱会中，音乐在炽烈情感与求而不得的痛苦间激烈摇摆。迪多纳托以每一个情感回应牢牢抓住听众，其愤怒时的炫技演唱与温柔时刻同样精彩。克里斯托夫·鲁塞指挥"音乐才子"乐团提供了出色的伴奏支持，若您钟爱人声的炫技表现，这张专辑值得强烈推荐。随附完整歌词及译文。

Overtures and Arias 《歌剧序曲与咏叹调》(1704–1726) from: Almira; Amadigi di Gaula; Giulio Cesare in Egitto; Rinaldo; Rodelinda; Rodrigo; Scipione; Silla; Tamerlano
(Hyp. CDA 66860)

Overtures and Arias 《歌剧序曲与咏叹调》(1729–1741) from: Alcina; Arianna in Creta; Atalanta; Berenice, Regina d’Egitto; Deidamia; Ezio; Lotario; Partenope; Sosarme, re di Media
(Hyp. CDA 67128). Emma Kirkby, Brandenburg Cons., Goodman (available separately)

It might be thought that a collection interspersing Handel arias and overtures would not be particularly stimulating. But Emma Kirkby (in glorious voice) and Roy Goodman (directing invigorating playing by the Brandenburg Consort) prove just how enjoyable such a concert, or pair of concerts, can be. The first disc covers the first half of Handel’s operatic career. Volume 2 deals with Handel’s later operas and opens with the virtually unknown overture to Lotario (1729). Queen Adelaide’s feisty aria which follows shows Emma Kirkby at her nimblest, although she is hardly less dazzling in Dite pace from Sosarme. Perhaps the most delightful item here is Chi t’intende? from Berenice, where Kirkby clearly enjoys her continuing duet with the solo oboe.

或许有人会认为，将亨德尔的咏叹调与序曲穿插编排的选集未必能带来特别的听觉享受。然而，艾玛·柯克比（以辉煌的嗓音）与罗伊·古德曼（指挥勃兰登堡合奏团充满活力的演奏）证明了这样一场（或两场）音乐会可以多么令人愉悦。首张唱片涵盖了亨德尔歌剧创作的前半期。第二卷则聚焦亨德尔后期歌剧作品，以几乎鲜为人知的《洛塔里奥》（1729年）序曲拉开帷幕。随后阿德莱德王后充满激情的咏叹调展现了柯克比最灵动的演唱，而她在《索萨姆》中《诉说和平》的表现同样璀璨。或许最令人赏心悦目的当属《贝伦尼斯》中的《谁能明白你？》，柯克比显然乐在其中，与独奏双簧管展开持续的二重对话。


https://115cdn.com/s/sww4ikg3hq9?password=3377&#
Handel - Furore - DiDonato - Joyce DiDonato, Les Talens Lyriques, Rousset [EMI]等4个文件(夹)

xzmumaren

joseph_li 发表于 2025-7-5 16:18
感谢langong2004补档，

开帖以来，获得了众多乐友的大力帮助，一并表示感谢，

你已经很厉害了

joseph_li

HANSON, Howard (1896–1981)
(i) Symphonies 1 (Nordic), Op. 21; Lament for Beowulf; (ii) 2 (Romantic), Op. 30; Lux aeterna; Mosaics; (iii) 3 in A min., Op. 33; Merry Mount Suite, Op. 31; (iv) 4 (Requiem), Op. 34; 5 (Sinfonia sacra), Op. 43; Elegy in Memory of Serge Koussevitzky; Dies natalis
Naxos (i) 8.559700, with Seattle symphony Chorale in Lament for Beowulf; (ii) 8.559701; (iii) 8.559702; (iv) 8.559703. Seattle Symphony, Schwarz

Howard Hanson was the first American to win a ‘Prix de Rome’, in 1921, studying orchestration and composition with Respighi. He can best be described as a neo-romantic with a strong lyrical vein to his make-up. His musical sympathies lay with Scandinavia and Sibelius in particular (he was of Swedish descent), though it is the extrovert Sibelius of the warmly appealing first two symphonies that left the strongest imprint on his musical language. Gerard Schwarz has proved himself a master of Hanson’s Nordic idiom and a consistently convincing and highly idiomatic interpreter of his works, and in the symphonies he secures playing of the highest quality from the Seattle Symphony. Symphonies 1 and 2 are both hauntingly melodic, especially no. 2 (the popular favourite. The musical terrain of the Third Symphony is very similar to that of its predecessors, the string melodies surge purposely onward, and there are similar rhythmic patterns, while the Fourth again has strong Nordic influences. The single movement Sinfonia sacra – inspired by Christ’s Passion – is tellingly succinct. Of the shorter works, the Lament for Beowulf is an eloquent, elegiac piece with chorus, the Elegy for Koussevitzky is pensively touching, while the colourful Merry Mount Suite is also splendidly done. Mosaics is an inventive set of variations written in 1957 for Szell and the Cleveland Orchestra. Throughout, these Seattle performances have plenty of breadth and vigour, and we await the reissue of two remaining symphonies and the concertante works which were included in the original Delos coverage.


霍华德·汉森（Howard Hanson）是1921年首位获得"罗马大奖"的美国人，师从雷斯庇基学习配器与作曲。其创作风格可定位为新浪漫主义，作品中始终流淌着强烈的抒情血脉。尽管身为瑞典后裔，他的音乐审美更倾向北欧风格——尤其是西贝柳斯，不过对他音乐语言影响最深的，还是西贝柳斯早期两首交响曲中那种外向而迷人的特质。杰拉德·施瓦茨（Gerard Schwarz）堪称诠释汉森北欧风格的权威，其指挥的西雅图交响乐团在这些交响曲中展现出顶级演奏水准。

《第一》《第二交响曲》萦绕着挥之不去的旋律魅力（尤以广受欢迎的第二号为甚）。《第三交响曲》延续了前作的音乐疆域：弦乐旋律如浪潮奔涌，节奏型态一脉相承；《第四交响曲》则再度彰显强烈的北欧印记。单乐章《神圣交响曲》（灵感源自基督受难）以凝练见长。短篇作品中，《贝奥武夫挽歌》是部为合唱而作的动人哀歌，《库塞维茨基挽歌》透着沉思的伤感，《欢乐山组曲》的绚烂色彩亦被精彩呈现。1957年为塞尔与克利夫兰乐团创作的《马赛克》则是组创意盎然的变奏曲。

西雅图交响乐团这些演绎始终保持着恢弘气度与蓬勃活力。我们期待原Delos厂牌录音中另外两部交响曲及协奏作品的再版问世。


https://115cdn.com/s/sww4dcn3hq9?password=3377&#
Hanson, Howard - Symphonies etc. - Gerard Schwarz, Seattle SO [Delos]等2个文件(夹)
Delos厂牌缺第四交响曲