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

joseph_li

HOLBORNE, Antony (c. 1560–1602)
Pieces for bandora: Almain: The Night Watch; Fantazia; A Ground; for cittern: A French Toy; A Horne Pype; The Miller; Praeludium; Sicke Sicke and Very Sicke; (i) for cittern with a bass: Galliard; Maister Earles Pavane; Queenes Galliard; for lute: Almains: Almaine; The Choyce. Fantasia. Galliards: As it fell on a holie yve; The Fairy-rownde; Holburns passion; Muy linda; Responce; The teares of the muses. Pavans: Heres paternus; Pavan, and Galliard to the same; Posthuma; Sedet sola. A Toy. Variations: Il Nodo di gordio
Gaudeamus CDGAU 173. Heringman, (i) with Pell

An entirely delightful representation on CD of an Elizabethan lutenist, composer and poet, now totally overshadowed by Dowland. Indeed, his melancholy pavane, Posthuma, has as much ‘dolens’ as almost anything by Dowland. It is this meditative quality which Jacob Heringman catches to perfection and which makes this collection so appealing. He improvises his own divisions when needed, as was expected by the composer, and his playing is appealingly spontaneous. But there is lively writing too, like The Miller and A French Toy; and how well they sound on the cittern, a robust-timbred instrument favoured mainly by the lower classes, and which came to be much played in barber’s shops. Heringman is beautifully recorded in a most suitable ambience, providing the ideal CD for a late-evening reverie.

这张唱片完美呈现了伊丽莎白时代一位被约翰·道兰光芒所掩盖的鲁特琴演奏家、作曲家兼诗人的艺术世界。事实上，他创作的忧郁帕凡舞曲《遗作》所蕴含的哀伤情感，几乎不逊于道兰的任何作品。雅各布·赫林曼精准捕捉了这种冥想特质，正是这种特质使得本专辑如此动人心弦。他依照当时演奏传统，在适当段落即兴加入装饰变奏，演奏充满令人愉悦的 spontaneity（即兴魅力）。专辑中也不乏《磨坊主》《法国玩具》等活泼作品——这些乐曲在西特琴（一种音色浑厚、深受平民阶层喜爱，并常在理发店演奏的乐器）上的表现尤为出色。赫林曼的演奏在恰到好处的声学环境中得到完美录制，堪称深夜冥想的绝佳音乐伴侣。





https://115cdn.com/s/sww4xra3hq9?password=3377&#
Holburns, Antony - Passion (Music For Lute, Cittern & Bandora) - Jacob Heringman [ASV Opus]
找这张碟找得有点郁闷，在Qobuz上居然没有找到，Amazon Music抓下来的是Opus有损格式。

joseph_li

wpx426 发表于 2025-7-9 20:37
呵呵，哪有24-96的画廊版，这个才是：

通过百度网盘分享的文件：5-1 Alt：Peer Gynt Suiten No.1 & 2, ...

感谢补档。
下完才发现是画廊普通CD，原以为是24-96高码，

wpx426

joseph_li 发表于 2025-7-9 22:52
HINDEMITH, Paul (1895–1963)
(i) Horn Concerto. Concert Music for Brass and Strings, Op. 50; Nobili ...

EMI的，应该是同一个录音而且包括了所有书中介绍的曲目：
通过网盘分享的文件：1 Hindemith conducts Hindemith EMI Collection
链接: https://***.com/s/1fqnzvn4l8aAFOU5KyuE4bQ?pwd=ntms 提取码: ntms

langong2004

462楼........HANSON.H._ Music of Howard Hanson DE 3705 2CD 462楼 缺的S4

1-tNU4fVoNzKG2VaFWLr-_w?pwd=8rmu  

langong2004

480楼.........4803787 Bernard Herrmann - Cinema Spectacular 2CD 480楼

16fHKaTEz43iCr9Ke6bhdFg?pwd=ayt4

langong2004

483楼..........ASV CD GAU 173 Jacob Heringman - Holburns Passion 483楼

1uJ9NgazJIK7zg5ghC1Hv0Q?pwd=qfeg

langong2004

2010年版企鹅古典音乐 3星4星版 国内出书了吗？发个封面看看

langong2004

我看错了吗 贝多芬的小奏居然没推荐？

wpx426

langong2004 发表于 2025-7-10 12:08
我看错了吗 贝多芬的小奏居然没推荐？

还真是的！感觉是这几位老糊涂漏了，所以指南也编不下去了

joseph_li

感谢wpx426 和 langong2004 两位补档。

三星转四星的这版书我没见到过，只在网上见到一份四星带花的名单。

joseph_li

HOLMBOE, Vagn (1909–96)
Symphonies 1–13; Sinfonia in memoriam, Op. 65
BIS CD 843/46 (6 CDs for the price of 4). Aarhus SO, Owain Arwel Hughes ( with Jutland Op. Ch. in Sinfonia sacra)

Vagn Holmboe is the leading Danish symphonist after Nielsen. He taught at the Conservatoire in Copenhagen. The general outlook of the First Symphony (Sinfonia da camera) is neoclassical and its proportions are modest, but one recognizes the vital current, the lucidity of thinking and the luminous texures. The last movement has an infectious delight in life. The Second Symphony, with its imaginative middle movement and vital companions, is a splendid piece. The Third (Sinfonia rustica), the first of his three wartime symphonies, also has an exhilarating finale. The Fourth (Sinfonia sacra) is a six-movement choral piece. It again encompasses a bracing vigour and underlying optimism, alongside moments of sustained grief. The Fifth makes a particularly good entry point into Holmboe’s world. The only word to describe its outer movements is again exhilarating. But the slow movement, with its modal character, brings an anguished outburst in the middle to serve as a reminder that this is a wartime work, composed during the dark days of the Nazi occupation. The Sixth Symphony is even darker. Its distinctly Nordic world is established by the brooding slow-moving fourths of the long introduction, yet there is again a great luminosity too. The one-movement Seventh is a highly concentrated score, individual in both form and content, which encompasses great variety of pace and mood. The conductor penetrates the score of the Eighth with a particular sensitivity, and the Aarhus orchestra is equally persuasive in the Ninth, a dark, powerful work, among the finest Holmboe has given us. The Tenth is hardly less impressive, again dark, powerful and imaginative again one of the Danish composer’s most subtle and sensitive works, and the Eleventh also finds Holmboe at his most visionary. The Twelfth is tautly structured and well argued, although less inspired than the Eleventh Symphony. The Thirteenth Symphony is an astonishing achievement for a composer in his mid-eighties. The Sinfonia in memoriam, written much earlier, is another dark work of striking power and imaginative breadth and is masterly in every way. Every credit is owed to Owain Arwel Hughes and the Aarhus Symphony Orchestra for their fervent advocacy of all this music and to the splendid BIS engineers for the vivid and superbly natural sound. If you enjoy Sibelius, this is an inexpensive set and well worth exploring.

瓦格纳·霍尔姆博是尼尔森之后丹麦最重要的交响乐作曲家。他曾任教于哥本哈根音乐学院。他的《第一交响曲》（室内交响曲）整体呈现新古典主义风格，结构精炼，但能清晰感受到作品中跃动的生命力、明晰的思维与通透的织体。末乐章洋溢着极具感染力的生命欢愉。《第二交响曲》凭借其充满想象力的中间乐章与生机勃勃的姊妹篇章，成为一部杰出的作品。《第三交响曲"田园"》作为他三部战争时期交响曲的首部，同样拥有令人振奋的终章。由六个乐章构成的《第四交响曲"神圣"》是一部合唱交响曲，在持续哀伤的段落之外，仍贯穿着令人振奋的活力与内在的乐观精神。

《第五交响曲》堪称了解霍尔姆博艺术世界的绝佳入口，其首尾乐章只能用"振奋人心"再次形容。但带有调式特性的慢乐章在中段爆发出痛苦的呐喊，提醒着人们这部创作于纳粹占领黑暗岁月的战时作品。《第六交响曲》的基调更为阴郁，绵长引子中缓慢流动的四度音程奠定了鲜明的北欧气质，却依然保持着巨大的精神光芒。单乐章结构的《第七交响曲》是一部高度凝练的杰作，无论形式还是内容都极具个性，涵盖了速度与情绪的丰富变化。

指挥家以非凡的洞察力诠释了《第八交响曲》的乐谱精髓，而奥胡斯交响乐团在演绎《第九交响曲》时同样展现说服力——这部阴郁而强有力的作品堪称霍尔姆博最杰出的创作之一。《第十交响曲》同样令人惊叹，兼具黑暗气质、强大张力与丰富想象，再次展现了这位丹麦作曲家最精妙敏感的创作特质。《第十一交响曲》则体现了霍尔姆博最具前瞻性的艺术视野。虽然灵感稍逊于前作，但《第十二交响曲》结构紧凑、逻辑严密。作为作曲家八十五岁高龄的创作，《第十三交响曲》堪称惊人成就。更早创作的《纪念交响曲》则是另一部具有震撼力量与想象广度的暗色杰作，各方面都堪称大师手笔。

奥温·阿维尔·休斯与奥胡斯交响乐团满怀热忱地诠释了全部作品，BIS唱片公司的杰出工程师们则奉献了鲜活自然的完美音效，二者都值得最高赞誉。若您喜爱西贝柳斯，这套价格亲民的合集绝对值得探索。
（源于DeepSeek翻译）


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Holmboe, Vagn - Symphonies - Owain Arwel Hughes, Aarhus SO [BIS]

joseph_li

HOLST, Gustav (1874–1934)
(i) Beni Mora (Oriental Suite), Op. 29/1; A Fugal Overture, Op. 40/1; Hammersmith – A Prelude & Scherzo for Orchestra, Op. 52; (ii) Japanese Suite; (i) Scherzo (1933/4); A Somerset Rhapsody, Op. 21
Lyrita (ADD) SRCD 222. (i) LPO; (ii) LSO; Boult

There is more to Holst than just The Planets and, from the 1970s, Lyrita led the way in showing us his orchestral range. Of all the Holst CD collections, this is perhaps the most attractive (though they are all worth exploring). Beni Mora ( written after a holiday in Algeria) is an attractive, exotic piece that shows Holst’s flair for orchestration vividly. Boult clearly revels in its sinuosity. The Japanese Suite, though not very Japanese, is curiously haunting and possesses much charm, particularly the piquant Marionette Dance and the innocuous Dance under the cherry tree. The most ambitious work here is Hammersmith, far more than a conventional tone-picture, and it is intensely poetic. Although conceived for military band, it was orchestrated a year later (1931). The Scherzo, from a projected symphony that was never completed, is strong, confident music. The Somerset Rhapsody is unpretentious but very enjoyable, and the brief, spiky Fugal Overture is given plenty of lift and bite to open the concert invigoratingly. As with other records in this Lyrita series, the first-class analogue recording has been splendidly transferred to CD.

霍尔斯特的音乐远不止《行星组曲》。自1970年代起，利里塔唱片就率先向我们展现了他丰富的管弦乐世界。在众多霍尔斯特作品合集中，这张或许最具吸引力（尽管全都值得聆听）。《贝尼·莫拉》（阿尔及利亚度假后创作）是首充满异域风情的迷人作品，生动展现了霍尔斯特精湛的配器才华，鲍尔特指挥时显然沉醉于其蜿蜒的旋律线条。《日本组曲》虽日本风味不浓，却有种奇特的萦绕感，尤以辛辣的《木偶之舞》和天真烂漫的《樱花树下舞曲》最为动人。此处最具野心的作品当属《哈默史密斯》，远非传统音画之作，而是充满诗意的杰作。虽最初为军乐队构思，次年（1931年）便被改编为管弦乐版。来自未完成交响曲计划的《谐谑曲》洋溢着刚健自信的音乐气质。《萨默塞特狂想曲》质朴无华却赏心悦目，而尖锐简短的《赋格序曲》以充沛的跃动感与犀利感为音乐会注入开场活力。与此系列其他录音一样，这张由一流模拟录音转制的CD效果极佳。


Brook Green Suite for Strings; Capriccio for Orchestra; (i) Double Violin Concerto, Op. 49; (ii) Fugal Concerto for Flute, Oboe & Strings, Op. 40/2. The Golden Goose (ballet music, arr. Imogen Holst), Op. 45/1; (iii) Lyric Movement for Viola & Small Orchestra. A Moorside Suite: Nocturne (arr. for strings); 2 Songs Without Words, Op. 22
Lyrita SRCD 223. ECO, I. Holst, with (i) Hurwitz, Sillito; (ii) Bennett, Graeme; (iii) Aronowitz

This generous programme (75 minutes) contains many interesting rarities. The Capriccio proves an exuberant piece, with some passages not at all capriccio-like. The Golden Goose was written as a choral work for St Paul’s Girls’ School; these orchestral snippets were put together by Imogen Holst and, if comparatively slight, reflect the sharpness of an imagination which was often inspired by the needs of an occasion. The Double Concerto, with its bitonality and cross-rhythms, is grittier and with much less obvious melodic appeal, but it remains an interesting example of the late Holst. The first two movements of the Fugal Concerto are much more appealing with their cool interplay of wind colour, particularly when the soloists are so distinguished. The Lyric Movement for Viola and Small Orchestra is certainly persuasive in the hands of Cecil Aronowitz and is one of the most beautiful of Holst’s later pieces. The slow movement from the Moorside Suite – originally written for brass band – is heard here in the composer’s own arrangement for strings; and the concert is completed with the comparatively familiar Brook Green Suite and two Songs Without Words, early works that are tuneful and colourful. All the performances are sympathetically authentic and the recording is well up to Lyrita’s usual high standard.

这张内容丰沛的专辑（75分钟）收录了诸多引人入胜的珍稀之作。《随想曲》实为热情洋溢的篇章，某些段落全然不符"随想"之名。《金鹅》原为圣保罗女子学校创作的合唱作品，这些由伊莫金·霍尔斯特整理的管弦乐片段虽规模精炼，却折射出作曲家因应场合需求而迸发的锐利想象力。《双协奏曲》运用双调性与交叉节奏，质感粗粝且旋律魅力隐晦，仍是霍尔斯特晚期创作的重要见证。

《赋格协奏曲》前两乐章以木管音色冷静交织见长，在顶尖独奏家演绎下尤为动人。中提琴与小型乐队《抒情乐章》经塞西尔·阿罗诺维茨诠释极具说服力，堪称霍尔斯特晚期最美妙的创作之一。原为铜管乐队谱写的《穆尔塞德组曲》慢乐章在此呈现作曲家亲自改编的弦乐版本，音乐会以相对耳熟能详的《布鲁克格林组曲》及两首旋律绚丽的早期作品《无词歌》作结。所有演绎皆秉持本真精神，录音品质更延续利里塔唱片一贯的至高水准。


Cotswolds Symphony in F (Elegy: In memoriam William Morris), Op. 8; Indra (Symphonic Poem), Op. 13; (i) Invocation (for cello & orchestra), Op. 19/2; (iii) The Lure (ballet music); The Morning of the Year: Dances, Op. 45/2. Sita: Interlude from Act III, Op. 23; (ii) A Song of the Night (for violin & orchestra), Op. 19/1; A Winter Idyll
Lyrita (DDD/ADD) SRCD 209. (i) Baillie; (ii) McAslan; LPO or (iii) LSO; Atherton

The earliest work here, A Winter Idyll, was written in 1897, the year after his fellow-student Hurlstone’s Variations on an Original Theme when Holst was in his early twenties. Lewis Foreman’s informative note speaks of the influence of Stanford, but both in this work and in the Elegy, which is a slow movement originally forming part of a Cotswolds Symphony, one can detect little of the mature Holst. The familiar fingerprints do surface, however, in Indra (1903) and A Song of the Night (1905), which is among the scores Colin Matthews has edited. The Lure (1921) was written at short notice for Chicago and is characteristic, but the inspiration is not of the quality of The Perfect Fool. When they were first performed at a BBC concert, the Dances from The Morning of the Year (1926–7) shared the programme with Honegger’s King David, and they enjoy the distinction of being the very first commission made by the BBC Music Department. Holstians will need no urging to acquire this interesting, well-played and well-recorded disc. None of the music is perhaps Holst at his best, but it usefully fills in our picture of him.

本辑中最早的作品《冬日田园诗》创作于1897年，正值霍尔斯特二十岁出头，彼时他的同窗赫尔斯通刚完成《原创主题变奏曲》不久。刘易斯·福尔曼详实的唱片说明提及斯坦福的影响，但无论是这部作品还是《哀歌》（原为《科茨沃尔德交响曲》的慢乐章），都难以窥见成熟期霍尔斯特的特质。然而在1903年的《因陀罗》和1905年科林·马修斯校订的《夜之歌》中，那些熟悉的个人印记已清晰可辨。  

1921年应芝加哥方面紧急邀约创作的《诱惑》虽具个人风格，但灵感水准未及《完美的傻瓜》。1926-27年《岁晨之舞》组曲在BBC音乐会首演时与奥涅格的《大卫王》同台，更荣膺BBC音乐部史上首部委约作品之殊荣。霍尔斯特乐迷无需催促自会收藏这张演绎精湛、录音出色的趣味唱片——尽管这些作品或许并非其巅峰之作，却为我们拼凑其艺术全貌提供了珍贵补遗。
（源于DeepSeek翻译）


https://115cdn.com/s/swwy33i3hq9?password=3377&#
Holst, Gustav - Orchestral Works - Adrian Boult, LPO & LSO [Lyrita 24-96]等4个文件(夹)

joseph_li

The Planets (see also under Ormandy)
Decca (ADD) 475 8225. V. State Op. Ch., VPO, Karajan – STRAUSS: Don Juan

With Karajan at his peak, his extraordinarily magnetic and powerful (1961) Decca recording of The Planets is still uniquely individual, bringing rare tension, an extra magnetism, projected by superb Decca recording, produced by John Culshaw in the Sofiensaal. Mars is remorselessly paced and, with its whining Wagnerian tubas, is unforgettable, while the ravishingly gentle portrayal of Venus brings ardent associations with the goddess of love (not what Holst intended, but voluptuously compelling). The gossamer textures of Mercury and the bold geniality of Jupiter contrast with the solemn, deep melancholy expressed by the VPO strings at the opening of Saturn, while Uranus brings powerful playing from the Vienna brass, given splendid bite. A worthy candidate for Decca’s ‘Originals’, especially with its new if unexpected Richard Strauss coupling.

巅峰时期的卡拉扬1961年在Decca录制的《行星组曲》至今仍独树一帜，约翰·卡尔肖于索菲恩大厅制作的超卓录音赋予其罕见的张力与非凡的感染力。"火星"以无情的步伐推进，伴随瓦格纳式大号的嘶鸣令人过耳难忘；"金星"醉人的柔美演绎唤起对爱神的炽热联想（虽非霍尔斯特本意，却充满诱人魅力）。"水星"的缥缈织体与"木星"的豪迈欢愉形成鲜明对比，而维也纳爱乐弦乐在"土星"开端展现的沉郁哀愁，更与"天王星"中铜管声部凌厉的爆发力相映成趣。这张搭配理查·施特劳斯作品的新版本，堪称Decca"原音重现"系列当之无愧的候选之作。
（源于DeepSeek翻译）


https://115cdn.com/s/swwy33d3hq9?password=3377&#
Holst, Gustav - The Planets & R. Strauss - Don Juan - Karajan, VPO [DECCA]等3个文件(夹)

joseph_li

HONEGGER, Arthur (1892–1955)
Pacific 231; Symphonies 2; 3 (Symphonie liturgique); 4 (Deliciae Basiliensis); (i) Cantata de Noel; (ii) Le Roi David
Decca Eloquence (ADD) 480 2316 (2). SRO, Ansermet, with (i) Mollet, R. Lausanne Ch. & Children’s Ch.; (ii) Audel (narr.), Danco, Montmollin, Pauline Martin, Hamel – MARTIN: In terra pax

This double CD set is almost worth its cost for the performance of Pacific 231 – one of the most vividly descriptive tone-poems of the twentieth century. Indeed, it evokes the sort of imagery that Dukas achieved with The Sorcerer’s Apprentice, only this time it is a powerful steam locomotive that is conjured up. It is a difficult work to perform and record, but Ansermet’s is perhaps the finest ever committed to disc: it has a powerful, cumulative effect which is compelling from bar one, and the Decca recording handles the complex textures superbly. Indeed, it is a magnificent recording of a magnificent performance of a magnificent piece. The performances of the symphonies are at a slightly lower voltage (the Third is no match for the Karajan version listed below) but is decent enough and textually very clear. The Fourth Symphony, written for Paul Sacher and the Basle Chamber Orchestra, is full of character and invention, and is probably the most relaxed and unpretentious of the cycle. The Christmas Cantata was written in 1953 when the composer was ill in hospital during a painful illness which led to his early death, a couple of years later. It is an effective and often moving work and this performance, despite the odd lapses of intonation, is certainly effective. Le Roi David is full of atmospheric pageantry and was for years Honegger’s best-known work (apart from Pacific 231). Ansermet’s performance comes from the 1950s but one would hardly guess it from the vivid sound, and the performance has a wonderfully idiomatic feeling which is utterly convincing.

这套双CD仅凭《太平洋231号》的演绎就值回票价——这部20世纪最生动的音诗之一。它确实唤起了类似杜卡斯《魔法师的弟子》所营造的意象，只不过这次被召唤的是一台强大的蒸汽机车。这部作品演绎与录音难度极高，而安塞美版本可能是唱片史上最杰出的诠释：从第一个音符就迸发出极具累积效应的震撼力，Decca录音完美呈现了复杂的声部织体。这堪称伟大作品、伟大演绎与伟大录音的三重典范。交响曲的演绎稍显平淡（第三交响曲难敌下文将提及的卡拉扬版本），但仍属上乘且结构清晰。为保罗·萨赫尔及巴塞尔室内乐团创作的第四交响曲充满个性与创意，可能是整套作品中最自然率真的一部。1953年作曲家病榻中完成的《圣诞康塔塔》——这场痛苦疾病最终导致其早逝——是部感人至深的佳作，尽管偶有音准瑕疵，本版演绎依然极具感染力。《大卫王》充满仪式感的华丽氛围，曾长期是奥涅格除《太平洋231号》外最著名的作品。安塞美1950年代的演绎从鲜活的音效中几乎听不出年代感，其地道纯正的风格令人信服。


Symphonies 2 for Strings with Trumpet Obbligato; 3 (Symphonie liturgique)
DG 447 435-2. BPO, Karajan (with STRAVINSKY: Concerto in D)

An altogether marvellous CD. The playing of the Berlin strings in the wartime Second Symphony is superb, sumptuous in tone and refined in texture. The performance is quite masterly and the recording is splendidly balanced and richly sonorous. This is a first recommendation for both works, irrespective of alternative couplings. Karajan’s sensitive feeling for texture can be seen at its finest in the coda of the Liturgique, which is quite magical.

这张堪称完美的CD中，柏林爱乐弦乐在战时创作的《第二交响曲》中展现出极致的演奏艺术——音色华美、织体精妙。卡拉扬大师级的诠释与层次分明、音质丰润的录音相得益彰。无论其他版本如何搭配，这都是两部作品的首选推荐。在《礼拜交响曲》尾声处，卡拉扬对声部织体的敏锐把控达到巅峰，营造出近乎魔幻的听觉体验。
（源于DeepSeek翻译）


第一套CD没找到，只找到一部分。而且原文有误，应该是三张碟。





https://115cdn.com/s/swwy3393hq9?password=3377&#
Honegger, Arthur - Symphonies Nos.2 & 4; Une Cantate de Noel -  Ernest Ansermet [DECCA]等2个文件(夹)

joseph_li

HORNE, Marilyn (mezzo-soprano)
‘The Complete Decca Recitals’
Decca (ADD/DDD) 478 0165 (11)

Marilyn Horne is one of the great mezzo-sopranos of the recording era and this bargain-box set gathers together all of her classical Decca recitals – an amazing feast of superb singing. The earliest recital (1964), CD 4, ‘Opera Arias’, was one of the most spectacular coloratura début records to appear since the war. Horne was immediately shown as having a really big, firm mezzo voice, yet finding no difficulty whatever in coping with the most tricky, florid passages, her musicianship (guided by her husband, the conductor Henry Lewis) impeccable. It set the standard for the rest of her recitals. This was made some years before her famous DG Carmen set appeared, but after we had heard her collaboration with Joan Sutherland, more than holding her own. Here as principal soloist she continually delights and astonishes. The range is astounding, just as free and unrestrained above the stave as below. When every single item brings wonderment it is impossible to single out one above the rest, and the recording is outstandingly vivid. The French recital is also very satisfying. The Massenet is beautifully done, and the lighter mood of the charming Mignon scene is perfectly managed. The vibrancy of the Carmen excerpts make a perfect foil for the Delilah characterization. The famous Mon cœur s’ouvre à ta voix is taken in a long-breathed, spacious manner to bring out the music’s richly sensuous potential. Rossini was something of a speciality for Horne, and her Rossini recital is one of the most cherishable among all Rossini aria records ever issued. The voice is in glorious condition, rich and firm throughout its spectacular range, and is consistently used with artistry and imagination, as well as brilliant virtuosity in coloratura. By any reckoning, this is thrilling singing. The Handel arias from the Bach/Handel recital require a more florid, extrovert style, and the result is far more successful than her Bach singing ( which does not show her at her most imaginative) with excellent accompaniments by Henry Lewis. She uses a beautiful mezzo voice for the da capo of ‘Dove sei’, and in all three of the Rodelinda arias she finds her most sympathetic expressive style. Less successful is her version of Mahler’s Kindertotenlieder, where the singing has a statuesque quality that does not suit Mahler’s intensely personal inspiration. There is much to admire, and the voice is always beautiful, but tenderness is completely missing. The same can be said of the Wagner Wesendonck-Lieder: beautiful singing but lacking in emotional warmth. In her later Mahler recital (1979) with Mehta, in the Lieder eines fahrenden Gesellen and the Rückert-Lieder, Horne and Mehta are disappointing too. The unevenness of Horne’s vocal production is exaggerated by close recording, and that balance undermines any refinement in the orchestral accompaniment. Yet the sheer power of Horne’s voice can be exciting, as in the climax of Um Mitternacht. The two piano-accompanied recitals ( with Martin Katz, 1972) are very enjoyable, and if one may now think of Horne as not always a totally idiomatic singer of German lieder, the results are surprisingly good. She sings with a wonderfully hushed, controlled intensity in Schubert’s Nacht und Träume, and if the Schumann items are a little operatic at times, Die Kartenlegerin is delightfully done. Horne brings out much colour in the French and Spanish songs, with items such as Bizet’s Adieux de l’hôtesse arabe most enjoyable. The most recent recording here, ‘The Great American Songbook’, was recorded digitally in 1985 and is a success in every way. Marilyn Horne is tangily characterful in this American repertory, which draws from her a glorious range of tone, and she bridges stylistic gaps between popular and concert repertory with supreme confidence. The Copland songs are particularly delightful, and the Decca recording here – and throughout this set – is outstandingly vivid. Each of the recordings is presented in a cardboard sleeve with the original artwork – a nice touch – and the box artwork itself is striking. ‘Souvenir of a Golden Era’, included in this set, is available separately (475 8493).

玛丽莲·霍恩是录音时代最伟大的女中音之一，这套超值合集收录了她为Decca录制的全部古典声乐专辑——堪称一场顶级演唱的饕餮盛宴。1964年最早录制的《歌剧咏叹调》（CD4）是战后最惊艳的花腔女中音处女作，霍恩一开嗓便展现出浑厚坚实的声线，却能轻松驾驭最繁复的装饰乐段，其音乐素养（在其指挥家丈夫亨利·刘易斯指导下）堪称无懈可击，为后续录音树立了标杆。该专辑录制于她著名的DG版《卡门》之前，但已通过与琼·萨瑟兰的合作证明实力。作为主唱，她始终带来惊喜：音域之广令人咋舌，高低音区同样自由奔放。当每首曲目都精彩绝伦时，实难选出最佳，何况录音效果极其鲜活。

法国咏叹调专辑同样出色：马斯奈作品演绎精美，《迷娘》选段的轻盈格调拿捏精准，《卡门》选段的炽烈与《参孙与达丽拉》的戏剧性形成绝妙对比。经典唱段"我心花怒放"以绵长的气息展现音乐的感官张力。罗西尼堪称霍恩的招牌曲目，其罗西尼专辑在所有已发行的罗西尼咏叹调录音中都属珍品。嗓音状态极佳，辉煌音域内始终饱满有力，艺术处理兼具想象力与花腔炫技，堪称震撼演绎。巴赫/亨德尔专辑中，亨德尔咏叹调需要更华丽的演绎风格，效果远胜于她略显拘谨的巴赫演唱（亨利·刘易斯的伴奏尤为出色）。《何处寻觅》的返始段落运用美妙音色，《罗德琳达》三首咏叹调则展现了她最富感染力的表达。

马勒《亡儿之歌》的演绎稍逊一筹，雕塑般的唱腔与马勒私密的情感表达不甚契合。虽嗓音依旧华美，却缺乏应有的柔情。瓦格纳《韦森东克之歌》同样美则美矣，情感温度不足。1979年与梅塔合作的马勒专辑（《旅伴之歌》与《吕克特之歌》）亦令人失望，近距离录音放大了声音的不稳定，也削弱了乐队伴奏的细腻。不过《午夜时分》的高潮仍能展现其嗓音的爆发力。1972年与马丁·卡茨合作的两场钢琴伴奏独唱会相当悦耳，尽管霍恩对德国艺术歌曲的诠释未必完全地道：舒伯特《夜与梦》的克制演绎极具张力，舒曼作品虽偶显歌剧化，《占卜女郎》却妙趣横生。法文与西班牙歌曲中（如比才《阿拉伯女主人之告别》）她更展现出丰富的音色变化。

1985年数码录制的《美国歌本》是全集最新录音，各方面都堪称成功。霍恩在这套美国曲目中展现出鲜明的个性与多变的音色，游刃有余地跨越流行与古典的风格界限，科普兰歌曲尤其动人。Decca的录音始终保持着惊人的鲜活度。每张CD均采用原始封面设计的纸套包装，外盒设计亦十分抢眼。包含在本集中的《黄金年代回忆录》亦可单独购买（编号475 8493）。
（源于DeepSeek翻译）


https://115cdn.com/s/swwy33x3hq9?password=3377&#
Horne, Marilyn - Souvenir of a Golden Era [DECCA]等2个文件(夹)

joseph_li

卡了两个要审核。

前两天的翻译忘了备注，都是DeepSeek翻译。这AI也很鸡贼，前两天的内容有点多，我偷懒一次性发了很多内容上去翻译，结果它居然偷工减料，而且质量大幅下降。

joseph_li

HOROVITZ, Joseph (born 1926)
(i) Clarinet & String Concerto; (ii) Concerto for Euphonium & Small Orchestra; (iii) Concerto for Violin & Strings; (iv) Jazz Concerto for Piano, Strings & Percussion
Dutton CDLX 7188. Royal Ballet Sinfonia, composer; with (i) Cross; (ii) Mead; (iii) Haveron; (iv) Norris, Skelton

Joseph Horovitz is a composer of light music of the highest quality, at once light and lyrical, and beautifully crafted. This Dutton disc of four delightful concertos could not be more welcome. Horovitz unerringly brings out the special qualities of each solo instrument, not least the euphonium, subject of all too few concertos. The Jazz Concerto for Piano, Strings and Percussion brings out another side of Horovitz’s writing, with its reliance on catchy syncopations, developing a quality that runs through all his music. Ideal performances under the composer’s lively direction.

约瑟夫·霍洛维茨是一位创作最高品质轻音乐的作曲家，其作品既轻盈明快又富有抒情性，且结构精妙绝伦。这张达顿唱片收录的四部精彩协奏曲可谓恰逢其时。霍洛维茨总能精准地挖掘每件独奏乐器的独特魅力——尤其是上低音号，这件鲜少成为协奏曲主角的乐器。而为钢琴、弦乐与打击乐创作的《爵士协奏曲》则展现了霍洛维茨创作的另一个维度：通过令人过耳难忘的切分音运用，进一步拓展了贯穿其所有音乐作品的独特品质。在作曲家充满活力的指挥下，这些演绎堪称完美典范。（源于DeepSeek翻译）


https://115cdn.com/s/swwy6i03hq9?password=3377&#
Horovitz, Joseph - Four Concertos - Royal Ballet Sinfonia [Dutton]

joseph_li

HOVHANESS, Alan (1911–2000)
(i) Guitar Concerto 2. Fanfare for the New Atlantis; Symphony 63 (Loon Lake)
Naxos 8.559336. RSNO, Robertson; (i) with Calderón

The Second Guitar Concerto was commissioned by Narciso Yepes. The solo guitarist (here the excellent Javier Calderón) dominates a kaleidoscope of orchestral chorale sonorities, pizzicati and fugati in the most inventive way. The Fanfare moves from a solo trumpet to the climax of the rebirth of Atlantis in the full orchestra. The Symphony 63 (Loon Lake) is characteristically evocative, spectacular in its washes of orchestral colour from both the strings and woodwind alike. Hovhaness’s music is strangely haunting, when the performers are as dedicated and responsive as they are here, and the recording is worthy of the complex scoring.

《第二吉他协奏曲》由纳西索·耶佩斯委约创作。独奏吉他手（此处由杰出的哈维尔·卡尔德隆担纲）以极具创造力的方式统领着管弦乐声部——从如万花筒般的众赞歌和声、拨奏段落到赋格处理，无不令人称奇。《号角华彩》从一支小号独奏逐步推进至全乐队奏响亚特兰蒂斯重生的恢弘高潮。《第六十三交响曲"卢恩湖"》延续了霍夫哈奈斯标志性的音画风格，弦乐与木管声部交织出的瑰丽音色如泼彩般壮美。当演奏者们如此全情投入且默契配合时，霍夫哈奈斯的音乐便焕发出令人魂牵梦萦的奇异魅力，而这张录音也完美承载了作品中复杂的配器艺术。（源于DeepSeek翻译）


https://115cdn.com/s/swwy6iu3hq9?password=3377&#
Hovhaness, Alan - Guitar Concerto No.2 & Symphony No.63 - Javier Calderon [Naxos]

joseph_li

HOWELLS, Herbert (1892–1983)
The B’s (Suite for Orchestra); (i) 3 Dances for Violin & Orchestra; (ii) Fantasia; Threnody (both for cello & orchestra) King’s Herald; Paradise Rondel, Op. 40; (iii) In Green Ways (song-cycle); Pastoral Rhapsody; Procession, Op. 36
Chan. 2-for-1 241 20 (2). LSO, Hickox, with (i) Mordkovitch; (ii) Welsh; (iii) Kenny

The inspired suite, The Bs, celebrates the composer’s musician friends and colleagues at the Royal College of Music at the beginning of the 1914–18 war. As such it has something in common with Elgar’s Enigma Variations, although Howells clearly identified each dedicatee. ‘Blissy’ (Arthur Bliss) inspires a dainty, chimerical Scherzo on the second disc, with the piano an orchestral soloist. The shorter evocations are framed by an exuberant Overture with a nobilmente lyrical expansiveness representing the composer himself (‘Bublum’) and the finale (‘Benjee’ – Arthur Benjamin), which begins light-heartedly but ends grandiloquently, recalls the composer’s own themes from the overture. The Three Dances for Violin and Orchestra, another wartime work (1915), are in the best English folk/pastoral tradition, with Lydia Mord kovitch a brilliant violin soloist; the song-cycle, In Green Ways, also includes poignant elegies. The English countryside is strikingly evoked in this group of five songs, using lyrics by Shakespeare and Goethe. Yvonne Kenny sings the whole group most affectingly and Richard Hickox and the LSO are ardent and communicative advocates of all this fine music.

The most personal works on the first disc are the Fantasia and Threnody, both for cello and orchestra, together forming a sort of rhapsodic concerto. Howells was reflecting his anguish over the death of his nine-year-old son, with flashes of anger punctuating the elegiac lyricism. The other major piece is the Pastoral Rhapsody, written in 1923. Similarly pastoral but predominantly vigorous, the Paradise Rondel of 1925 is full of sharp contrasts, with one passage offering clear echoes of the Russian Dance from Petrushka. The collection opens with the boldly extrovert King’s Herald, bright with Waltonian fanfares. Procession brings more echoes of Petrushka, again reflecting Howells’s response to the Diaghilev Ballets Russes’ appearances in London. Helped by rich, atmospheric sound, Richard Hickox draws performances that are both brilliant and warmly persuasive from the LSO, with Moray Welsh a movingly expressive soloist in the concertante works. A most attractive bargain reissue, joining together two equally desirable discs.

这套充满灵性的组曲《以B为名》创作于一战初期（1914-1918年间），用以致敬皇家音乐学院的音乐家好友与同僚。虽与埃尔加《谜语变奏曲》有异曲同工之妙，但豪厄尔斯为每位题献对象都标注了明确身份。第二张唱片中，"布利斯"（亚瑟·布利斯）激发出一支精巧奇异的谐谑曲，钢琴在此充当管弦乐队的独奏声部。这些短小的音乐肖像被包裹在一首意气风发的序曲中——以庄严抒情的宽广旋律代表作曲家本人（"布勃伦"），而终曲（"本吉"——亚瑟·本杰明）始于轻快终于雄辩，再现了序曲中的主题动机。同为战时作品（1915年）的《为小提琴与乐队而作的三支舞曲》承袭了最纯正的英格兰民谣/田园传统，由小提琴独奏家莉迪娅·莫德科维奇精彩演绎；声乐套曲《绿荫小径》则包含令人心碎的挽歌，通过莎士比亚与歌德的诗作，五首歌曲惊人地唤起了英格兰乡野的意境，伊冯·肯尼的演唱感人至深，理查德·希考克斯与伦敦交响乐团以饱满热忱的演奏为这些佳作代言。
首张唱片中最具私人性的作品是《幻想曲》与《哀歌》——两部为大提琴与乐队而作的姊妹篇，共同构成某种狂想协奏曲。豪厄尔斯在此倾注了丧子之痛（其九岁幼子夭折），挽歌式的抒情段落间不时迸发愤怒火花。另一部重要作品是1923年创作的《田园狂想曲》，而1925年问世的《天堂回旋曲》虽同具田园气质却更显蓬勃朝气，鲜明的对比段落中某处明显呼应了《彼得鲁什卡》中的俄罗斯舞曲。这套合辑以气势恢宏的《国王信使》开场，洋溢着沃尔顿式的华丽号角声。《队列》再次折射出《彼得鲁什卡》的回响，印证着迪亚吉列夫俄罗斯芭蕾舞团伦敦巡演对豪厄尔斯的影响。在丰沛的空间音效加持下，理查德·希考克斯率领伦敦交响乐团呈现出既辉煌夺目又深情动人的演绎，大提琴独奏家莫雷·威尔什在协奏风格作品中尤其催人泪下。此次将两张同样精彩的唱片合璧再版，堪称极具吸引力的超值之选。


(i–ii) Elegy for Viola, String Quartet & String Orchestra; (i) Merry-Eye; Music for a Prince: Corydon’s Dance; Scherzo in Arden; (iii) Procession for Small Orchestra
Lyrita (ADD) SRCD 245. Boult, with (i) New Philh. O; (ii) Herbert Downes; (iii) LPO ( with WARLOCK: An Old Song for Small Orchestra. HADLEY: One Morning in Spring) – BUTTERWORTH: The Banks of Green Willow, etc.

Of these short pieces the Elegy is much the most searching, a thoughtful and expressive inspiration, playing on textual contrasts such as make VW’s Tallis Fantasia so moving in its restrained way. Written in 1917, it represents the sort of response to the First World War that one also finds in Vaughan Williams’s Pastoral Symphony. The other pieces are relatively slight, but they present a welcome sample of the work of a highly discriminating composer. Merry-Eye offers some lively and very attractive invention, and the Music for a Prince, commissioned to mark the birth of Prince Charles, is hardly less enjoyable. Added to the original Howells programme is the short but colourful and effective Procession, apparently inspired by a dream the composer had in which he witnessed a sinister procession approaching and dispersing. It was so well received at the Proms in 1922 that it had to be repeated! Supreme performances and recording, with an outstanding coupling of Butterworth’s items plus two excellent works by Warlock and Hadley.

在这些短小作品中，《悲歌》无疑最具思想深度——这首创作于1917年的沉思性杰作通过文本对比手法（正如沃恩·威廉斯《泰利斯幻想曲》以含蓄方式催人泪下的特质），成为与沃恩·威廉斯《田园交响曲》相呼应的、对第一次世界大战的典型艺术回应。其余作品虽相对轻巧，却为这位极具鉴赏力的作曲家提供了令人欣喜的创作样本：《欢眸》展现出活泼迷人的创意，《王子诞辰音乐》（为庆祝查尔斯王子诞生而委约）同样赏心悦耳。原豪厄尔斯曲目单外新增的短篇《队列》虽篇幅精炼却色彩绚烂、效果卓著——据传灵感源自作曲家梦见阴森仪仗队逼近又消散的梦境，1922年在逍遥音乐节首演时因反响热烈而破例返场！顶尖的演绎与录音品质，更超值搭配巴特沃斯经典作品，以及沃洛克与哈德利的两部优秀创作。
（源于DeepSeek翻译）


https://115cdn.com/s/swwy64n3hq9?password=3377&#
Howells, Herbert & Butterworth & Warlock & Hadley - Adrian Boult, LPO & New PO [Lyrita]等2个文件(夹)

joseph_li

HUMMEL, Johann (1778–1837)
Piano Concertos: in A min., Op. 85; in B min., Op. 89
Chan. 8507. Hough, ECO, Thomson

The A minor is Hummel’s most often-heard concerto, never better played, however, than by Stephen Hough on this prize-winning Chandos disc. The coda is quite stunning; it is not only his dazzling virtuosity that carries all before it but also the delicacy and refinement of colour he produces. The B minor, Op. 89, is more of a rarity, and is given with the same blend of virtuosity and poetic feeling which Hough brings to its companion. He is given expert support by Bryden Thomson and the ECO – and the recording is first class.

这首A小调协奏曲是胡梅尔最常上演的作品，然而斯蒂芬·霍夫在这张获奖的Chandos唱片中的演绎堪称绝响。终乐章尾声的处理令人叹为观止——不仅因其横扫千军的炫技演绎，更在于他营造出的细腻音色与精妙层次。相对罕见的B小调协奏曲（作品89号）同样被赋予了霍夫标志性的技艺与诗情，布莱登·汤姆森与英国室内乐团为其提供了精湛的协奏，录音品质亦属一流。


Piano Quintet in E flat, Op. 87; Piano Septet in D min., Op. 74
Australian Decca Eloquence (ADD) 476 2447. Melos Ens. – WEBER: Clarinet Quintet

These two highly engaging works show the composer at his most melodically fecund and his musical craftsmanship at its most apt. One can see how Hummel charmed nineteenth-century audiences into regarding him as being a greater composer than he was, although newer recordings have certainly raised his claims in recent years. His skill at shaping and balancing a movement can be impressive: it is the ideas themselves (as in all music) that can make or break a structure, and here they are entirely appropriate to music designed to entertain. That these works certainly do in such spontaneous and polished performances just try the opening movement of the Septet to sample the composer’s felicity. The 1965 sound is warm, full and rich, and this is a vintage recording in every way. The coupling’s a charmer too.

这两部引人入胜的作品展现了作曲家最为丰沛的旋律天赋与恰到好处的音乐技艺。不难理解胡梅尔为何能让十九世纪的听众误以为他是比实际地位更伟大的作曲家——尽管近年来的新录音确实提升了他的艺术声望。他对乐章结构与平衡的掌控令人印象深刻：正如所有音乐作品一样，核心乐思的质量决定结构成败，而这些作品中的乐思与娱乐性音乐的定位完美契合。在如此自然流畅又精雕细琢的演绎中，这些作品确实实现了这一目标——试听七重奏的开篇乐章，便能领略作曲家妙笔生花的才情。1965年的录音温暖饱满、层次丰富，堪称全方位的经典之作，搭配的曲目同样魅力非凡。


https://115cdn.com/s/swwy64s3hq9?password=3377&#
Hummel, Johann - Piano Concertos - Stephen Hough [Chandos]等2个文件(夹)