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

joseph_li

Symphony 1 (Titan); (i) 2 (Resurrection) 第1号交响曲《巨人》；第2号交响曲《复活》
Double Decca 448 921-2. LSO, Solti; (i) with Harper, Watts, L. Symphony Ch.

The London Symphony Orchestra play Mahler’s First like no other orchestra. They catch the magical opening, with its bird-sound calls and evocatively distanced brass, with a singular ambience, at least partly related to the orchestra’s characteristic blend of wind timbres. Throughout there is wonderfully warm string-playing and the most atmospheric response from the horns. Solti’s tendency to drive hard is felt only in the second movement, which is pressed a little too much, although he relaxes beautifully in the central section. Especially memorable are the poignancy of the introduction of the Frère Jacques theme in the slow movement and the exultant brilliance of the closing pages, helped by the wide dynamic and the wonderfully clear inner details of the 1964 Kingsway Hall recording.

Solti’s 1964 account of the Resurrection Symphony remains a demonstration of the outstanding results Decca were securing with analogue techniques at that time. From the opening growl on the strings, Solti’s searing energy is hard to resist in this, one of Mahler’s most flamboyantly dramatic works. By contrast, Helen Watts is wonderfully expressive, while the chorus has a rapt intensity that is the more telling when the recording perspectives are so clearly delineated. These recordings are also available separately, No. 1 on 458 622-2 and No. 2 on 475 8501.

伦敦交响乐团对马勒《第一交响曲》的演绎独树一帜。乐团以独特的氛围感呈现了开篇的魔幻段落——鸟鸣般的呼唤与悠远铜管的交相辉映，这种效果部分源于该乐团标志性的木管音色融合。弦乐始终温暖如歌，圆号的演绎更是意境深远。索尔蒂惯有的凌厉风格仅在第二乐章有所体现（节奏稍显急促），但在中段却展现出优美的松弛感。尤其令人难忘的是慢乐章中《雅克兄弟》主题引入时的哀婉，以及终乐章辉煌的爆发——1964年于金斯威大厅录制的版本动态宽广，声部细节无比清晰。

索尔蒂1964年录制的《复活交响曲》至今仍是迪卡公司模拟录音时代杰出技术的典范。从弦乐低沉的起始咆哮开始，索尔蒂灼热的能量感在这部马勒最富戏剧性的作品中令人难以抗拒。与之形成对比的是，女中音海伦·瓦茨的演绎极富表现力，合唱团在精准的录音声场中更显肃穆深邃。这两个录音亦可单独购买（第1号：458 622-2；第2号：475 8501）。


(i) Symphony 3 in D min.; (ii) Kindertotenlieder 第3号交响曲；《亡儿之歌》
Testament mono SBT2 1422. Ferrier; (i) BBC SO, Boult; (ii) Concg. O, Klemperer

In the first days of the Third Programme after the war, the BBC produced its first complete cycle of Mahler symphonies with Bruno Walter conducting the First, and later records of his Fourth and Ninth. Sir Adrian Boult conducted the Third with Kathleen Ferrier as soloist in 1947. This was its first performance in England and it was not given again until 1960. These acetates show that Sir Adrian was an echt-Mahlerian and completely inside the idiom. Older listeners will be delighted with this (R.L. remembers hearing the broadcast) in spite of the imperfections of the recorded sound. The Kindertotenlieder come from a Dutch broadcast made in 1951; Ferrier recorded the cycle with Bruno Walter, who perhaps evinces greater warmth and poetry than Klemperer but no less control. An important document both for Mahlerians and for Ferrier aficionados.

二战结束后，BBC第三频道在布鲁诺·瓦尔特指挥《第一交响曲》的广播中首次推出马勒交响曲全集，此后又陆续发行了瓦尔特的第四、第九交响曲录音。1947年，阿德里安·博尔特爵士携手凯瑟琳·费丽尔完成了英国首演的《第三交响曲》，而该作品直到1960年才再度上演。这些原始录音证明博尔特是真正的马勒诠释者，完全深入音乐内核（R.L.回忆曾亲历这场广播）。尽管录音技术存在缺陷，老乐迷仍会为之欣喜。《亡儿之歌》选自1951年荷兰广播录音：费丽尔与克勒姆佩勒的版本虽不及她与瓦尔特合作时的温暖诗意，但控制力毫不逊色。这份录音对马勒研究者与费丽尔拥趸而言俱是重要文献。


(i) Symphony 4; (ii) Lieder eines Fahrenden Gesellen 第4号交响曲；《旅人之歌》
Sony SBK 46535. (i) Raskin, Cleveland O, Szell; (ii) Von Stade, LPO, A. Davis

George Szell’s 1966 record of Mahler’s Fourth represented his partnership with the Cleveland Orchestra at its highest peak, and the digital remastering for CD brings out the very best of the early recording. The performance remains completely satisfying, and the music blossoms, partly because of the marvellous attention to detail (and the immaculate ensemble), but more positively because of the committed and radiantly luminous orchestral response to the music itself. In the finale Szell found the ideal soprano to match his conception. Moreover, in the coupling Frederica von Stade insinuates a hint of youthful ardour into her highly enjoyable account of the ‘Wayfaring Lad’ cycle.

乔治·赛尔1966年与克利夫兰乐团合作的马勒《第四交响曲》代表了双方艺术合作的巅峰，CD数字化重制更凸显了早期录音的精华。这场演绎至今令人满意：音乐如花绽放，既因对细节的精妙处理（与无瑕的合奏默契），更因乐团对音乐本身投入而璀璨的回应。终乐章中，赛尔找到了完美契合其艺术构思的女高音。此外，弗雷德里卡·冯·施塔德在《旅人之歌》中注入了青春的热忱，演绎极具感染力。


https://115cdn.com/s/swwkhub3hq9?password=3377&#
Mahler - Symphony No.1 - Georg Solti, LSO [DECCA]等5个文件(夹)

joseph_li

Symphony 5 in C sharp min.
EMI DVD 4903269-9. BPO, Rattle (with ADÈS: Asyla)
EMI Masters 9 65935. BPO, Rattle

Rattle’s fine version of Mahler’s Fifth was recorded live in November 2002 at his inaugural concert as music director of the Berlin Philharmonic. The DVD fully captures the atmospheric excitement of the occasion, and the CD too brings out the exuberance of Mahler’s writing. The emotional climax of the performance comes as it should in the hushed intensity of the great Adagietto. Yet Rattle, looking at the evidence, treats it differently from most latter-day performances which make it expansively elegiac. By contrast he responds to it with the music emerging tenderly, as though from another world. This above all is a songful version, full of tenderness, with phrasing affectionately moulded in spontaneous warmth. It is also a version which demonstrates the joyfulness of much of the writing. The CD issue is inexpensive and the recording is admirable, clear as well as atmospheric, but the DVD has a clear advantage over the CD issue in that it also includes the other work in the concert, Thomas Adès’s brilliant showpiece, Asyla. The DVD package also contains a second disc with an extended interview with Rattle by Nicholas Kenyon, his biographer.

拉特尔2002年11月执棒柏林爱乐的首场音乐会上，现场录制了这部《第五交响曲》。DVD完整保留了当晚激动人心的氛围，CD亦传递出马勒笔下蓬勃的生机。演绎的情感高潮恰如其分地落在柔板乐章——拉特尔通过考据，摒弃了多数现代版本将其处理为绵长哀歌的惯例，转而让音乐如隔世之音般温柔浮现。这是一版充满歌唱性的诠释，洋溢着自发的温情与细腻的乐句雕琢，同时彰显了作品中无处不在的欢欣。CD版本价廉物美，录音清晰而富有空间感；但DVD额外收录了托马斯·阿德斯炫技之作《避难所》，并附赠拉特尔传记作者尼古拉斯·凯尼恩的深度访谈碟片。


Symphony 8 (Symphony of 1000)
Decca 475 7521. Harper, Popp, Augér, Minton, Watts, Kollo, Shirley-Quirk, Talvela, V. Boys’ Ch., V. State Op. Ch. & Singverein, Chicago SO, Solti

Solti’s is a classic recording. Challenged by the tightest possible recording schedule, the American orchestra and European singers responded to Solti at his most inspired with a performance which vividly captures the atmosphere of a great occasion essential in this of all works. There is nothing cautious about the surging dynamism of the first movement, the electrifying hymn, Veni Creator spiritus; and the long second movement, setting the final scene from Goethe’s Faust, proceeds through its contrasted sections with unrelenting intensity. The hushed prelude in Solti’s hands is sharp-edged in pianissimo, not at all comforting, while the magnificent recording copes superbly with every strand of texture and the fullest range of dynamic – spectacularly so in the great final crescendo to the words ‘Alles vergängliche’. This is not only one of Solti’s best Mahler recordings, it is one of the great Mahler recordings in the catalogue. It now comes on a single mid-priced CD as one of Decca’s new series of ‘Originals’.

索尔蒂的录音已成经典。在极度紧张的录制周期中，美国乐团与欧洲歌唱家们在他激情迸发的指挥下，精准捕捉了这部作品必备的"伟大仪式感"。第一乐章《降临吧，造物主圣灵》以澎湃的动能震撼人心；而根据歌德《浮士德》终幕谱写的第二乐章，则在索尔蒂手中贯穿始终的张力中推进。柔板前奏被他赋予锐利的弱音边缘，毫无甜腻感。惊人的录音技术完美驾驭了所有声部纹理与动态极限——尤其在"一切无常者"的终极高潮处。这不仅是索尔蒂最杰出的马勒录音之一，更是唱片史上伟大的马勒诠释。现以中价版单CD形式收录于迪卡"原典系列"。


Symphony 9
DG 439 024-2. BPO, Karajan

Karajan’s 1982 version of the Ninth was voted record of the year in the Gramophone magazine on its appearance in 1984; and the German critic, Hans Heinz Stuckenschmidt, even went so far as to hail it as the finest performance of all time! It is masterly, wonderfully paced and finely detailed. The Berlin Philharmonic has never sounded like this since the 1980s.

卡拉扬1982年版《第九交响曲》在1984年发行时被《留声机》杂志评为"年度唱片"，德国乐评家汉斯·海因茨·施图肯施密特甚至盛赞其为"有史以来最伟大的演绎"。这场大师级的演出拥有精妙的节奏把控与细腻的细节雕琢——柏林爱乐在1980年代后的录音再未重现如此神韵


DVD：
https://115cdn.com/s/swwkhuu3hq9?password=3377&#
Mahler - Symphony No.5 - Ades Asyla, Simon Rattle, BPO [EMI DVD9]

CD：
https://115cdn.com/s/swwkhut3hq9?password=3377&#
Mahler - Symphony No.5 - Simon Rattle, BPO [EMI]等7个文件(夹)

马勒交响曲版本众多，各种格式和码率也很丰富，实在没办法一一查找。

joseph_li

MARCELLO, Alessandro (1669–1747)
6 Oboe Concertos (La Cetra) 《六首双簧管协奏曲（拉切特拉）》
Chan. 0744X. Robson, Latham, R. Brown, Coll. Mus. 90, Standage

The six concertos of La Cetra reveal a pleasing mixture of originality and convention; often one is surprised by a genuinely alive and refreshing individuality. Standage’s set with Collegium Musicum 90 makes the most of Marcello’s solo scoring, finding plenty of colour and nuance in these highly inventive works, not only for one or two oboes (or flutes) but for solo violin (Standage himself ). Slow movements often possess real poignancy and the fast movements bubble and sparkle. Moreover, he includes an additional Concerto con l’Eco that is well worth having. Performances are appealingly stylish and beautifully recorded.

这组六首协奏曲展现出原创性与传统手法令人愉悦的交融，其中跃动而清新的个性常予人惊喜。斯坦迪奇与科莱吉姆音乐90乐团的演绎充分挖掘了马尔切洛独奏谱写的精髓，在这些极具创造力的作品中呈现出丰富的色彩与微妙细节——这些作品不仅为单/双双簧管（或长笛）而作，更包含小提琴独奏段落（由斯坦迪奇亲自操弓）。慢乐章往往蕴藉真挚的哀婉，而快板乐章则如气泡般轻盈闪耀。此外，该版本还额外收录了一首《回声协奏曲》，极具收藏价值。演奏风格迷人典雅，录音效果亦堪称精美。


https://115cdn.com/s/swwkw3z3hq9?password=3377&#
Marcello, Alessandro - Concertos La Cetra - Simon Standage, Collegium Musicum 90 [Chandos]

joseph_li

MARCELLO, Benedetto (1686–1739)
Piano Sonatas 3 in G; 5 in D min.; 7 in A min.; 9 in A; 10 in C min.; 2 Minuets in C
RCA 88697814662. Bacchetti (Fazioli piano)

Benedetto Marcello spent his whole life in Venice serving as a nobleman within the Venetian government. His music had been all but forgotten until two manuscripts of his keyboard music were discovered recently in Venice’s Marciana Library. It is of the highest quality, as these splendid performances by the Genoese pianist Andrea Bacchetti demonstrate. Bacchetti has already made a number of fine recordings, including two of the Bach Goldberg Variations, and his understanding of baroque repertoire is outstanding making this superb set of performances, using a highly suitable Fazioli piano, very rewarding indeed, especially as he is beautifully recorded. He articulates the opening Allegro of the Third Sonata, with its repeated notes, most winningly, and follows with a simply played Andante. The Largo slow movements of the Fifth, Ninth and Tenth Sonatas, and the Cantabile and Largo of No. 7, are all gently expressive in Bacchetti’s hands, yet of considerable depth. Allegros are always crisply articulated and bounce along infectiously, and the interplay of the Presto movements of the A minor and C minor works is particularly engaging. The two separate Minuets make further attractive contrasts. Altogether a most rewarding collection. Yet Bacchetti tells us that it is difficult for Italian keyboard players to obtain engagements outside Italy, as concert promoters tend to identify Italians with opera only!

贝内代托·马尔切洛一生居于威尼斯，以贵族身份供职于威尼斯政府。其音乐作品曾长期被世人遗忘，直至近期在威尼斯马尔恰纳图书馆发现两份他的键盘乐手稿。这些音乐具有极高艺术价值，正如热那亚钢琴家安德烈·巴凯蒂的精彩演绎所展现的那样。巴凯蒂已录制过多张优秀唱片（包括两版巴赫《哥德堡变奏曲》），他对巴洛克曲目的理解尤为出众——这套使用法齐奥里钢琴（音色极其契合）的卓越演绎便是明证，加之出色的录音效果，更显珍贵。

他对于《第三奏鸣曲》开篇快板乐章（含重复音符）的诠释极具魅力，随后以质朴方式呈现的行板乐章同样动人。在其指下，《第五》《第九》《第十奏鸣曲》的广板慢乐章，以及《第七奏鸣曲》的如歌广板段落，皆以细腻表情传递出深邃意境。快板乐章始终以清脆触键呈现，跃动节奏令人感染，其中A小调与C小调作品的急板乐章交互尤其引人入胜。两首独立小步舞曲则形成迷人的对比。整张专辑堪称丰厚的艺术收获。

然而巴凯蒂坦言：意大利键盘演奏家难以获得海外邀约，因音乐会主办方总将意大利音乐家与歌剧画等号！


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Bach J.S. - Goldberg Variations - Andrea Bacchetti [Amadeus 2013]等4个文件(夹)

joseph_li

MARRINER, Neville, with Academy of St Martin-in-the-Fields
Fantasia on Greensleeves
Double Decca (ADD) 452 707-2 (2)

Neville Marriner made many recordings for Argo/Decca from the 1960s to the 1980s, and this two-CD compilation shows why this is considered a vintage period for both him and Argo. This exceptionally generous programme focuses mainly on English pastoral evocations, including Iona Brown’s Elysian account of RVW’s The Lark Ascending, while that composer’s Fantasia on Greensleeves is as beautiful as any, and the piquant tunes in the English Folk Song Suite are beautifully brought out. Butterworth’s orchestral works are splendidly done, as are the masterly Warlock items – some of the most attractive music in the repertoire. There can be no grumbles about the Delius items: these are lovely performances, warm, tender and eloquent. They are superbly played and recorded in a splendid acoustic. The recording is beautifully balanced – the distant cuckoo is highly evocative – though with the relatively small band of strings the sound inevitably has less body than a full orchestral group, yet in no way is the effect found wanting. If initially some of the Elgar items do not sound totally idiomatic, they are very characterful performances which grow on one, and they include the rare snippets arranged by Percy Young from Elgar’s unfinished opera, The Spanish Lady. An inexpensive and rewarding programme.

内维尔·马里纳在1960至1980年代为Argo/Decca录制了大量唱片，这套双CD精选集正揭示了为何这一时期被视为他与Argo厂牌的黄金年代。这份格外丰厚的曲目主要聚焦于英格兰田园风情——包括艾奥娜·布朗演绎沃恩·威廉姆斯《云雀高飞》的至臻境界，而这位作曲家笔下的《绿袖子幻想曲》亦展现出无与伦比的美感，《英国民歌组曲》中那些辛辣的旋律更被精妙呈现。巴特沃斯的管弦乐作品演绎堪称辉煌，沃洛克那些精湛的小品同样如此（它们堪称曲库中最迷人的音乐）。至于戴留斯的选段更无可挑剔：这些演绎充满温情、柔美而富于表现力，在出色的声学环境中以顶级演奏与录音水准完成。录音平衡极佳（远处的布谷鸟声尤为传神），尽管相对精简的弦乐编制难免缺乏全编制乐团的厚重感，但艺术效果丝毫未打折扣。即便埃尔加的某些选段初听未必尽显本色，但这些极富个性的演绎却愈听愈有滋味，其中更包含珀西·杨根据埃尔加未完成歌剧《西班牙夫人》改编的罕见片段。这套价格亲民而艺术价值丰厚的选辑堪称超值之选。


https://115cdn.com/s/swwkwno3hq9?password=3377&#
Marriner, Neville - Fantasia on Greensleeves - ASMF [DECCA]

joseph_li

MARTIN, Frank (1890–1974)
(i) Concerto for Harpsichord. Passacaille; (ii) Polyptyque for Violin & 2 String Orchestras (i) 大键琴协奏曲；帕萨卡利亚  (ii) 小提琴与双弦乐队《多联画》
MDG 601 1539-2. (i) Rudolf Scheidegger; (ii) Willi Zimmermann; Musikkollegium Winterthur, Jac van Steen

The rarity here is the Polyptyque for Violin and Two String Orchestras, as an earlier DG record under Thierry Fischer no longer survives. Polyptyque comes from the penultimate year of Martin’s life, when he would have been eighty-three. It was inspired by a polyptych, a set of very small panels he saw in Siena depicting the Passion, and this series of six movements was the result. The first, ‘Image des Rameaux’, portrays the entry of Christ into Jerusalem; its companion, ‘Image de la Chambre haute’ evokes Christ answering the anguished questions of his disciples. This pattern of an active movement followed by a reflective one is followed throughout. Polyptique is a work of powerful vision and spirituality, written for Yehudi Menuhin and Edmond de Stoutz, who recorded it with their respective orchestras in 1976 on HMV. It is played with consummate artistry by Willi Zimmermann and the Winterthur ensemble under Jac van Steen. The Harpsichord Concerto also is marvellously played and has great breadth. It takes only a few seconds longer than Martin’s own version with Christiane Jaccottet on the Swiss Jecklin label, but it feels wonderfully natural and unhurried. Martin’s own transcription for strings of the noble organ Passacaille completes an outstanding addition to his discography.

此辑珍稀之处在于《小提琴与双弦乐队多联画》——蒂埃里·菲舍尔早年为DG录制的版本已绝迹。这部作品诞生于马丁逝世前一年（时年八十三岁），灵感源自锡耶纳所见描绘基督受难的微型多联画屏。六个乐章中，首章"棕枝意象"刻画基督进入耶路撒冷，与之对应的"高室意象"则表现基督回答门徒的忧惧诘问。这种"动态乐章+沉思乐章"的交替结构贯穿全曲。这部为梅纽因与埃德蒙·德·斯托茨创作的杰作充满震撼的精神力量，1976年两位大师曾率各自乐团为HMV录制。如今威利·齐默尔曼与温特图尔乐团在雅克·范·斯蒂恩棒下，以极致技艺重现这部经典。

大键琴协奏曲的演绎同样精彩，气韵恢弘。虽比马丁本人与克里斯蒂安·雅科泰在瑞士Jecklin厂牌的录音仅多几秒，却更显从容天成。专辑还收录了马丁亲自将管风琴《帕萨卡利亚》改编的弦乐版，为其作品目录再添瑰宝。


Concerto for 7 Wind Instruments, Timpani, Percussion & Strings; (i) Petite symphonie concertante; (ii) 6 Monologues from Jedermann 七件管乐、定音鼓、打击乐与弦乐协奏曲 (i) 小交响协奏曲  (ii) 《凡人》六段独白
Warner Apex 0927 48687-2. (i) Guibentif, Jaccottet, Ruttimann; (ii) Cachemaille; SRO, Jordan

In the Petite symphonie concertante, Armin Jordan has atmosphere and an unhurried sense of pace, and the soloists and orchestra are very well balanced. It is excellently played ( with Christiane Jaccottet, who took part in the first performance). The account of the Concerto for Seven Wind Instruments is also a fine one. The Six Monologues from Hofmannsthal’s Everyman, written at the height of the Second World War, are subtle and profound. Their concentration of mood is well conveyed by Gilles Cachemaille, and the orchestral detail is well captured. Eminently recommendable and an inexpensive entry into Martin’s world.

阿明·约丹指挥的《小交响协奏曲》氛围深邃，节奏把控从容不迫，独奏家与乐团平衡绝佳（首演参与者克里斯蒂安·雅科泰亦有参演）。《七件管乐协奏曲》同样出色。二战白热化时期根据霍夫曼斯塔尔《凡人》创作的六段独白，在吉尔·卡什马耶演绎下，将凝练的情绪张力与精妙的管弦乐细节悉数呈现。这套物超所值的专辑堪称探索马丁艺术世界的理想入门。  


https://115cdn.com/s/swwkwhy3hq9?password=3377&#
Martin, Frank - Concerto For 7 Wind Instruments etc. - Marieke Blankestijn, Thierry Fischer, ECO [DG]等4个文件(夹)

DG蒂埃里·菲舍尔的《小提琴与双弦乐队多联画》为三四星带花。

第一张原文碟号出错，给找资源带来一些困扰，正确的应该是901 1539-2。

joseph_li

Symphonie concertante (arr. of Petite symphonie concertante for full orchestra); Symphony; Passacaglia 协奏交响曲；交响曲；帕萨卡利亚
Chan. 9312. LPO, Bamert

The Symphony is a haunting and at times quite magical piece. The two pianos are used effectively and although, as in the Petite symphonie concertante, lip service is paid to the 12-note system the overall effect is far from serial. Its main companion here is the transcription Martin made for full orchestra of the Petite symphonie concertante the year after its first performance. Harp and piano are used for colouristic effects but completely relinquish any hint of soloist ambitions. The Passacaglia is Martin’s 1962 transcription for full orchestra of his organ piece. Sensitive playing from the LPO under Matthias Bamert and exemplary Chandos recording.

这部《交响曲》是一部萦绕于心、时而充满魔幻色彩的作品。两架钢琴的运用效果卓著——尽管如《小交响协奏曲》般表面遵循十二音体系，整体效果却与序列主义相去甚远。与之相配的是马丁在《小交响协奏曲》首演次年改编的全乐团版本：竖琴与钢琴仅作色彩点缀，彻底摒弃了独奏属性。1962年，马丁将其管风琴作品《帕萨卡利亚》改编为全乐团版本。马蒂亚斯·巴梅特指挥伦敦爱乐乐团呈现敏感细腻的演绎，搭配Chandos厂牌典范级录音。


Der Sturm: Suite. Symphonie concertante; (i) Six Monologues from Jedermann 《暴风雨》组曲；协奏交响曲；(i)《凡人》六段独白
MDG 901 1614-6. Stavanger SO, Steven Sloane, (i) with Thomas Oliemans

Three key works in eminently acceptable performances. Fischer-Dieskau’s famous record of The Tempest and the Everyman Monologues with the composer himself conducting is one of the classics of the gramophone but enjoys intermittent availability. We do not associate Norwegian artists with this repertoire but these fine musicians prove highly sympathetic interpreters. The four movements from The Tempest are ethereal, particularly the other-worldly Prelude with its evocation of the Shakespearean seascape. The Everyman Monologues are earlier but also rank among Martin’s most inspired and challenging pieces; although Martin himself favoured the original voice and piano, the orchestral version has the greater resonance and warmth. Fearing that the Petite symphonie concertante would not enjoy many performances, he arranged it for full orchestra without soloists but it never enjoyed the same success. Excellent singing from Thomas Oliemans and fine support from the Stavanger players.

三部核心作品的演绎皆属上乘。虽然费舍尔-迪斯考与作曲家本人合作的《暴风雨》与《凡人独白》录音（唱片史上的经典）时断时续面市，但挪威音乐家们出人意料地展现出对这套曲目的深刻共情。《暴风雨》四乐章飘渺空灵，尤其以描绘莎士比亚式海景的前奏曲最具超脱尘世之美。更早创作的《凡人独白》虽马丁本人倾向人声与钢琴原版，但乐队改编版更具共鸣与温度。因担忧《小交响协奏曲》演出机会有限，他将其改编为无独奏的全乐团版，却未获同等成功。托马斯·奥利曼斯的卓越演唱与斯塔万格乐手的精湛协奏相得益彰。


https://115cdn.com/s/swwkwzl3hq9?password=3377&#
Martin, Frank - Suite from Der Sturm, Monologues etc. - Thomas Oliemans, Steven Sloane, Stavanger SO [MDG]等2个文件(夹)
第一张为三四星带花

Dietrich Fischer-Dieskau - Early Recordings on DG
链接: https://***.com/s/1euc_eiiihD2B5gfvgu2mUw?pwd=3377 提取码: 3377
第5张为费舍尔-迪斯考的《暴风雨》与《凡人独白》，企鹅三四星带花。

joseph_li

Mass for Double Choir; Passacaille for Organ 双合唱团弥撒曲；管风琴帕萨卡利亚
Hyp. CDA 67017. Westminster Cathedral Ch., O’Donnell – PIZZETTI: Messa di requiem; De profundis

The Mass for Double Choir is one of Martin’s purest and most sublime utterances. The version from the Westminster Cathedral Choir under James O’Donnell is the most outstanding. The boys produce marvellously focused tone of great purity and expressive power, and the tonal blend that O’Donnell achieves throughout is little short of miraculous. This won Gramophone magazine’s ‘Record of the Year’ award in 1998, and deservedly so. As a fill-up O’Donnell offers the Passacaille for organ, together with two magnificent Pizzetti works.

这部《双合唱团弥撒曲》堪称马丁最纯净、最崇高的音乐宣言。詹姆斯·奥唐纳指挥威斯敏斯特大教堂合唱团的版本尤为杰出——童声部呈现出极具穿透力的纯净音色与表现力，奥唐纳所实现的声部融合堪称奇迹。该录音于1998年当之无愧地获得《留声机》杂志"年度唱片"大奖。作为补白曲目，奥唐纳还演绎了管风琴《帕萨卡利亚》，并搭配两首精彩的皮泽蒂作品。


In terra pax (oratorio) 《人间和平》（清唱剧）
Decca Eloquence (ADD) 480 2316 (2). Buckel, Höffgen, Haefliger, Mollet, Stämpfli, SRO Ch. & O, Ansermet – HONEGGER: Pacific 231, etc.

Frank Martin’s beautiful score was commissioned by the Swiss Radio in preparation for the announcement of the end of the 1939 45 war, and it was first performed by Ansermet. Martin’s music has an appropriate eloquence and spirituality, and he is admirably served by the soloists. The score falls into four short sections, all with biblical texts, and its sincerity and sense of compassion leave a strong impression. With equally interesting couplings, this is well worth having.

这部优美作品由瑞士广播电台于1939-1945年战争终战公告前夕委约创作，由安塞梅首演。马丁的音乐兼具恰如其分的雄辩性与灵性，独唱家们的表现同样令人赞叹。全曲分为四个简短乐章（均采用圣经文本），其真挚情感与悲悯情怀令人震撼。搭配其他精彩曲目的本专辑极具收藏价值。


https://115cdn.com/s/swwkwwr3hq9?password=3377&#
Martin, Frank - Mass For Double Choir. Pizzetti - Messa di Requiem [Hyperion]等2个文件(夹)

wpx426

joseph_li 发表于 2025-7-19 17:50
Symphony 5 in C sharp min.
EMI DVD 4903269-9. BPO, Rattle (with ADÈS: Asyla)
EMI Masters 9 65 ...

SACD好像非书中提到的现场，是1979，80的录音

tenijrewww

多谢分享。

joseph_li

wpx426 发表于 2025-7-20 07:48
SACD好像非书中提到的现场，是1979，80的录音

感谢指正，确实不是同一个版本。对于马交、贝交、布交这种演出频率特别高的作品，确实需要仔细核对，很容易就弄错了。

wpx426

joseph_li 发表于 2025-7-20 08:16
感谢指正，确实不是同一个版本。对于马交、贝交、布交这种演出频率特别高的作品，确实需要仔细核对，很容 ...

我一直在找这个录音的高码版呐，不得。Haitink和BPO的马9 倒是有，BPO自己出的非Philips

https://115cdn.com/s/swwklzs332j?password=v2c3&#
Berliner Philharmoniker & Bernard Haitink - Mahler_Symphony No. 9 (2021) [24-96]

不过俺理解书中指的Haitink的马9应该是他和音乐厅管弦乐团的那个著名录音

joseph_li

wpx426 发表于 2025-7-20 08:53
我一直在找这个录音的高码版呐，不得。Haitink和BPO的马9 倒是有，BPO自己出的非Philips

https://115c ...

感谢补充，整理的时候确实没想起这个BPO地球版马九。原文没有指明海廷克马九的厂牌及乐团，但这本书出版于2011年，而地球版马九录制于2017年，所以我倾向于认为这里指的是评为企鹅三四星带花的1969年海廷克指挥RCO版本。

地球版[Hi-res]：https://115cdn.com/s/swwklry3hq9?password=3377#
柏林爱乐地球版马勒全集 [Hi-Res]


Haitink & RCO Mahler Symphonies [DECCA 24-96]
https://115cdn.com/s/swwklq33hq9?password=3377#
Mahler - The Symphonies & Song Cycles - RCO, Bernard Haitink (2019) [24-96]

joseph_li

wpx426 发表于 2025-7-20 08:53
我一直在找这个录音的高码版呐，不得。Haitink和BPO的马9 倒是有，BPO自己出的非Philips

https://115c ...

哈哈，刚发完才看到你的补充留言。我们所见略同。

joseph_li

MARTINŮ, Bohuslav (1890–1959)
Violin Concertos 1 & 2
Hyp. CDA 677674. Matouŝek, Czech PO, Hogwood

The First Concerto comes from 1931 and was intended for Samuel Dushkin, who had just premièred the Stravinsky Concerto. However, the performance never came off and the manuscript was lost for some time until Harry Halbreich discovered it in a Washington University library in 1968. The Second Concerto was written for Mischa Elman in 1943 and first given in Boston under Koussevitzky. They are both delightful works and Bohuslav Matouŝek plays them with much style and virtuosity. As in other issues in the series, Christopher Hogwood reveals total sympathy with the composer’s sensibility.

第一协奏曲创作于1931年，原为刚刚首演斯特拉文斯基协奏曲的塞缪尔·杜什金所作。然而演出最终未能举行，手稿一度遗失，直至1968年哈里·哈尔布雷希在华盛顿大学图书馆重新发现。第二协奏曲1943年为米沙·埃尔曼创作，由库塞维茨基指挥在波士顿首演。这两部充满魅力的作品在博胡斯拉夫·马托乌谢克兼具风格与技巧的演绎中焕发光彩。正如该系列其他专辑一样，克里斯托弗·霍格伍德展现出与作曲家精神世界的深刻共鸣。


Symphony 1; Concerto for Double String Orchestra, Piano & Timpani
Chan. 8950. Czech PO, Bělohlávek

Symphonies 1–4
BIS CD362/3. Bamberg SO, Neeme Järvi

Symphonies 5; 6 (Fantaisies symphoniques)
Sup. SU 4007-2 Czech PO, Bělohlávek

Symphony 6; Bouquet of Flowers
Sup. 11 1932-2901. Czech PO, Ančerl

Martin was a latecomer to the symphony, embarking on the First in 1942, in his early fifties. He composed the next four at annual intervals and then turned to the Sixth in 1953, commissioned and first performed by Charles Munch and the Boston Symphony. The cycle is one of the peaks of symphonic literature; its rhythmic vitality and atmospheric textures are coupled with abundant melodic invention. The opening of the Sixth sounds like an Amazonian chorus of insects and birds, with astonishingly vivid colours. Indeed, the colours are in some way enhanced and intoxicating. All six symphonies are the work of an extraordinary imagination; R.L. recalls Robert Simpson, who produced a performance of the Fifth with the visiting Czech Philharmonic, saying that the Maida Vale studios positively glowed with light during and after this glorious music. Perhaps the most genial and sunny is the Fourth; and this is a good place from which to set out exploring these masterpieces. Its themes are infectiously memorable and its textures transparent and light. The Second (1943) has the classicism of Dvořák and springs gloriously to life in Neeme Järvi’s BIS recording. The Third (1944) is darker but the music’s life-enhancing spirit is still strong. Although they took some time before establishing themselves in the LP and CD catalogue, they are now well served: few recordings fall short of excellence. The Czech Philharmonic cycle under Bělohlávek on Chandos has real authenticity of feeling and very good recording quality to commend it. The Sixth (Fantaisies symphoniques) is arguably the most profoundly original of all these works. The textures are wonderfully transparent – almost luminous – and the mood exalted. Ančerl gave the first Czech performance of No. 6, and this fine recording from 1957 has total naturalness and authority. So if you want a single disc of Martinů’s symphonies, this is the one to go for. It has all the sense of discovery and wonder that makes a strong claim on collectors even though the mono sound has its limitations. It comes with a captivating folk cantata, Bouquet of Flowers, that should be a popular repertory piece.

马丁努作为交响乐领域的后来者，年逾五旬才于1942年创作第一部交响曲。随后他以每年一部的速度连续完成四部，1953年应夏尔·明希与波士顿交响乐团委约创作并首演了第六交响曲。这套交响曲堪称交响文献的巅峰之作，跃动的节奏、极具氛围感的织体与丰沛的旋律创造力相得益彰。第六交响曲开篇宛如亚马逊雨林的虫鸟和鸣，呈现出令人惊叹的鲜活音色，其色彩处理甚至带有某种强化后的迷醉感。这六部交响曲无不彰显非凡想象力——R.L.回忆起罗伯特·辛普森率捷克爱乐乐团访演第五交响曲时称，梅达谷录音棚在这辉煌音乐响起时仿佛沐浴在圣光之中。其中最为明朗欢快的当属第四交响曲，亦是开启这套杰作之旅的理想入口：其主题令人过耳难忘，织体清澈轻盈。1943年的第二交响曲延续了德沃夏克的古典气质，在尼姆·雅尔维的BIS录音中焕发蓬勃生机。1944年的第三交响曲色调转暗，但作品中昂扬的生命力依旧澎湃。尽管这些作品在LP与CD时代经历漫长等待才获得认可，如今已不乏优秀诠释：贝洛拉维克指挥捷克爱乐乐团在Chandos的录音兼具真挚情感与出色音质，堪称典范。第六交响曲《交响幻想》或许可视为六部中最具原创深度的杰作，其织体呈现出近乎透明的光泽感，意境崇高。安切尔曾执棒该作捷克首演，这份1957年的珍贵录音浑然天成、权威十足。若只选一张马丁努交响曲专辑，此版当为首选：即便受限于单声道录音，其中蕴含的探索精神与艺术魔力仍令藏家难以抗拒。专辑另附迷人的民间康塔塔《花束》，这本该是部广受欢迎的标准曲目。
（源于DeepSeek翻译）


https://115cdn.com/s/swwkouk3hq9?password=3377&#
Martinu, Bohuslav - Bouquet of Flowers, Symphony No.3 -  Karel Ancerl, Czech PO [Praga]等9个文件(夹)

joseph_li

Cello Sonatas 1, H 277; 2, H 286; 3, H 340; Variations on a Theme of Rossini, H 290; Variations on a Slovak Theme, H 378  大提琴奏鸣曲；罗西尼主题变奏曲；斯洛伐克主题变奏曲
Chan. 10602. Paul Watkins, Huw Watkins

The three Cello Sonatas rank high in Martinů’s instrumental output. The First comes from 1939 and was written for Pierre Fournier, who gave its première in Paris with Rudolf Firkušný only a few days before the Nazi invaders took the city. Martinů fled to New York in March 1941 and composed the Second Sonata the following year for Frank Rybka, a Czech musician who had been a pupil of Janáček. In 1943 Martinů met Piatigorsky at Tanglewood, and it was for him that he composed the well-known Variations on a Theme of Rossini (Dal tuo stellato soglio from Act III of Mosè in Egitto). The Third Sonata comes nearly a decade later in 1952, written for the cellist-conductor, Hans Kindler, but first given by František Smetana in Prague. The Slovak Variations were written in the last few months of his life when he was staying with Paul Sacher in Switzerland.

Paul and Huw Watkins prove committed advocates of this repertoire and their performances can hold their own against their finest rivals. They are as muscular and vibrant as the alternative Hyperion set with Steven Isserlis and Peter Evans, and score over them in including the two sets of Variations. The Chandos sound is expertly balanced, natural and lifelike.

这三部大提琴奏鸣曲堪称马丁努器乐创作的高峰。1939年创作的第一奏鸣曲题献给皮埃尔·富尼埃，这位演奏家与鲁道夫·菲尔库什尼在巴黎首演该作数日后，纳粹铁蹄便踏入了这座城市。1941年3月马丁努流亡纽约，次年为雅纳切克的学生、捷克音乐家弗兰克·雷布卡创作了第二奏鸣曲。1943年他在坦格伍德音乐节结识皮亚蒂戈尔斯基，遂为其谱写了著名的《罗西尼主题变奏曲》（主题选自《摩西在埃及》第三幕咏叹调《Dal tuo stellato soglio》）。近十年后的1952年，应大提琴家兼指挥家汉斯·金德勒之约创作的第三奏鸣曲，由弗朗蒂谢克·斯美塔那在布拉格完成首演。而《斯洛伐克主题变奏曲》则是他晚年客居瑞士保罗·萨彻宅邸时的绝笔之作。

保罗·沃特金斯与胡·沃特金斯以充满信念的演绎证明了自己是该曲目的权威诠释者，其表现力足以比肩史蒂文·伊瑟利斯与彼得·埃文斯的Hyperion经典版本，更因收录两套变奏曲而略胜一筹。Chandos唱片精准平衡的录音技术完美呈现了自然生动的音效。


String Sextet; 3 Madrigals for Violin & Viola 弦乐六重奏；小提琴与中提琴《三首牧歌》
Hyp. Helios CDH 55321. Raphael Ens. – SCHULHOFF: String Sextet

The Sextet for two each of violins, violas and cellos was for many years during the 1950s and ’60s Martinů’s calling card in the concert hall, but it is now rather a rarity. It comes from 1932 and was written rather quickly – in the course of one week. It is a strikingly assured piece in which the musical argument unfolds with a natural sense of organic growth. Rather to his surprise, it earned Martinů the Elizabeth Sprague Coolidge Medal, winning first prize out of 145 entries. The Madrigals are post-war, very typical Martinů, and are despatched with great virtuosity. The Raphael Ensemble give a masterly account of them, and the 1991 recording is truthful and lifelike.

这部为两把小提琴、两把中提琴与两把大提琴而作的六重奏，在1950-60年代曾是马丁努音乐会演出的代表作，如今却鲜少上演。这部1932年仅用一周时间速成的作品，展现出惊人的成熟度，音乐发展如有机生命般自然生长。出乎作曲家意料，该作从145部参赛作品中脱颖而出，为他赢得了伊丽莎白·斯普拉格·柯立芝奖章。《三首牧歌》作为战后创作极具马丁努特色，拉斐尔合奏团以精湛技艺完美呈现，1991年的录音更忠实还原了鲜活的音乐质感。
（源于DeepSeek翻译）


https://115cdn.com/s/swwkoud3hq9?password=3377&#
Martinu, Bohuslav & Schulhoff -  String Sextets etc. - Raphael Ensemble [Hyperion]等4个文件(夹)

joseph_li

MASSENET, Jules (1842–1912)
Le Cid (ballet music) 《勒·熙德》（芭蕾组曲）
Australian Decca Eloquence (ADD) 476 2742. Israel PO, Martinon (with DVOŘÁK: Slavonic Dances, Op. 46/1–8; Op. 72/7) – MEYERBEER: Les Patineurs

Decca made a house speciality of recording the Le Cid and Les Patineurs ballet music together over the years, but none is more brilliant than this 1958 recording. In Martinon’s hands the tunes fizz and effervesce like the best champagne, while the colourful reflective numbers have picture-postcard atmosphere. Equally remarkable is the vivid recording, the sort of brilliant yet warm sound for which Decca became famous; and it is superbly transferred to CD. A unique collector’s item to be snapped up while it’s around.

多年来，迪卡唱片公司始终将《勒·熙德》与《溜冰者》芭蕾音乐作为招牌曲目录制发行，而这张1958年的录音堪称其中最为璀璨的版本。在马蒂农执棒下，旋律如同顶级香槟般迸发着鲜活气泡，那些色彩斑斓的抒情段落更散发着明信片般的诗意氛围。同样令人惊叹的是极具临场感的录音效果——这种既辉煌又温暖的音质正是迪卡闻名于世的标志性特色，此次CD转制更堪称完美。此乃独一无二的典藏珍品，现世流通时切莫错失良机。


Scènes alsaciennes; Scènes de féerie; Scènes napolitaines; Scènes pittoresques《阿尔萨斯场景》《仙境场景》《那不勒斯场景》《如画场景》
Naxos 8.553125. New Zealand SO, Ossonce

Best known are the somewhat ingenuous Scènes pittoresques and the Scènes alsaciennes. The most touching movement is the beautiful Sous les tilleuls (‘Under the lime trees’) with its wilting dialogue between cello and clarinet, played here with an affectionate finesse worthy of a Beecham. With full, sparkling, yet warmly atmospheric recording, this is a first-class disc in every way. A second collection is also available (on Naxos 8.553124) with similarly appealing music: Hérodiade (ballet) Suite; Orchestral Suites 1; 2 (Scènes hongroises) and 3 (Scènes dramatiques), though not quite so well recorded.

其中最为人熟知的是略带纯真气息的《如画场景》与《阿尔萨斯场景》。最动人的乐章当属《椴树下》——大提琴与单簧管缠绵悱恻的二重奏在此被演绎出堪比比彻姆爵士时代的深情细腻。饱满辉煌又氛围温暖的录音效果，成就了这张全方位堪称一流的唱片。另有一张姊妹专辑（Naxos 8.553124）收录同样迷人的曲目：《希罗底》（芭蕾组曲）及三套管弦乐组曲（第一组曲；第二组曲《匈牙利场景》；第三组曲《戏剧场景》），虽录音品质稍逊一筹。
（源于DeepSeek翻译）


https://115cdn.com/s/swwkouc3hq9?password=3377&#
Massenet, Jules - le Cid & Meyerbeer - Les Patineurs & Dvorak - Slavonic Dances - London SO, Jean Martinon [DECCA](1)等4个文件(夹)
第一张DECCA雄辩分轨是Qobuz版，可以与乐友自抓整轨对比一下。

joseph_li

Manon (complete, DVD version) 《玛侬》
DG DVD 073 4431. Netrebko, Villazón, Fischesser, Daza, Corazza, Kataja, Berlin State Op. Ch. & O, Barenboim (Producer: Bernhard Fleischer; V/D: Andreas Morell)
Manon (complete, CD version)
Testament mono SBT 3203 (3). De los Angeles, Legay, Dens, Paris Opéra-Comique O, Monteux

We are particularly well served with outstanding versions of Manon. Apart from Renée Fleming’s memorable assumption of the role on TDK, Natalie Dessay is wonderfully characterful in her partnership with Villazón on Virgin. But now Villazón (at his finest) is re-partnered with Anna Netrebko, singing gloriously on DG, in a passionate liaison that proves most moving of all. Moreover, whereas David McVicar’s production on Virgin from the very beginning underlines the seamy side of the world into which the young Manon enters, the producer of the Berlin version, Bernhard Fleisher, emphazises its glamour, underpinned by luscious costuming (from Susan Hilferty) in 1950s style. But Manon herself is totally charismatic as she moves from innocent ingénue on a bench waiting for a train, to a glamorous blonde of Marilyn Monroe vintage in the Hôtel de Transylvanie. The spectacle of the Cours-la-Reine scene is dazzling, but what one remembers most is the tenderly sensuous love scenes between the two principals, notably the delightful aria when Manon nostalgically serenades her little table, and the great emotional climax when she seduces her lover to make him abandon his plan to enter the Church. With Alfredo Daza a fine, dignified Lescaut and Rémy Corazza most convincing as the villain, Guillot, the close of the opera is handled most movingly. Throughout, Barenboim ( who stepped in at the last moment to conduct) achieves first-class orchestral playing and keeps the tension high, and overall the performance is quite unforgettable.

However, no one has recorded the role of Manon in Massenet’s opera quite as bewitchingly as Victoria de los Angeles in this historic EMI recording of 1955, girlishly provocative at the start, conveying tragic depth later. The voice is at its most golden, and this vivid new transfer from Testament gives the mono sound extra warmth and immediacy. Henri Legay as Des Grieux also sings with honeyed tones, a believable young lover ensnared, and Pierre Monteux in one of his rare opera recordings is masterly in his timing and phrasing. As a splendid bonus we are also given RCA recordings of Berlioz and Debussy, similarly persuasive, recorded in Boston, also in 1955.

For those who would like a very good modern recording on CD, there is Antonio Pappano’s impressive EMI recording (EMI 3 81842-2 (2)). In Act I Gheorghiu instantly establishes the heroine as a vivacious, wilful character with a great sense of fun, and her singing is both imaginative and technically flawless. The aria, Adieu, notre petite table, is tenderly affecting, shaded down to a breathtaking pianissimo at the end. A fine actress, she develops the character too, while Alagna, always at his happiest in French-language opera, portrays Des Grieux as full of eager innocence as well as passion. The other La Monnaie soloists make a splendid team under Pappano, with José van Dam impressively cast as Des Grieux’s father. Pappano himself is as understanding an interpreter of Massenet as he is of Puccini, drawing warmly committed playing and singing from the whole company. Available at mid-price.

我们何其有幸拥有多个杰出版本的《玛侬》。除蕾妮·弗莱明在TDK唱片中令人难忘的演绎外，娜塔莉·德赛与维拉宗在Virgin唱片中的合作亦充满戏剧张力。而如今，维拉宗（处于巅峰状态）与安娜·奈瑞贝科在DG唱片中重聚，两人激情四射的二重唱成就了最动人的诠释。相较Virgin版中大卫·麦克维卡从一开始就着力刻画玛侬堕入的阴暗世界，柏林版制作人伯恩哈德·弗莱舍则更强调浮华表象，1950年代风格的奢华戏服（苏珊·希尔弗蒂设计）更强化了这种视觉冲击。女主角从长凳上等火车的纯真少女，到特兰西瓦尼亚酒店里玛丽莲·梦露式的金发尤物，始终散发着致命魅力。宫廷花园场景的华美场面令人目眩，但最难忘的仍是两位主角间缠绵悱恻的爱情场景——无论是玛侬对旧日小桌的深情咏叹，还是她诱惑情人放弃神职计划的感情爆发点。阿尔弗雷多·达扎将莱斯科特演绎得高贵得体，雷米·科拉扎饰演的反派吉约也极具说服力，终幕的处理尤为催泪。临危受命的巴伦博姆指挥出顶级管弦乐水准，全程保持戏剧张力，整场演出令人过耳难忘。  

然而在玛斯奈歌剧的录音史上，无人能超越维多利亚·德·洛斯·安赫莱斯在1955年EMI传奇录音中的表现——从开场少女般的狡黠到后期的悲剧深度都摄人心魄。其嗓音如黄金般辉煌，Testament新版转录更赋予单声道录音额外的温暖质感。亨利·勒盖饰演的格里欧同样以蜜糖般的音色，完美诠释了沉溺爱河的青年形象，皮埃尔·蒙特乌克斯罕见的歌剧录音更展现出对节奏与乐句的绝妙把控。作为额外惊喜，唱片还收录了1955年同期录制的伯辽兹与德彪西作品，同样极具说服力。  

若寻求优质的现代录音版本，安东尼奥·帕帕诺的EMI录音（EMI 3 81842-2 (2)）堪称典范。第一幕中，安吉拉·乔治乌以鲜活任性的演绎瞬间立住角色，其演唱兼具想象力与技术精确性。《别了，我们的小桌》咏叹调结尾处弱音处理令人屏息。作为杰出戏剧家，她层层推进角色塑造，而阿兰尼亚（最擅法语歌剧）将格里欧的天真热情刻画得淋漓尽致。在帕帕诺调度下，莫奈剧院歌唱家们组成梦幻阵容，何塞·范·达姆饰演的格里欧父亲尤为出彩。帕帕诺对玛斯奈的理解不亚于普契尼，激发全员投入的演奏与演唱。此版现以中价发行。  
（源于DeepSeek翻译）


DVD：
https://115cdn.com/s/swwk73w3hq9?password=3377&#
Massenet, Jules - Manon - Barenboim, Staatskapelle Berlin; Netrebko, Villazon, Daza [DG DVD9]等2个文件(夹)

CD：
https://115cdn.com/s/swwk73q3hq9?password=3377&#
Massenet, Jules - Manon & Debussy & Berlioz - Pirre Monteux; Angeles, Legay, Michel Dens [Naxos]等4个文件(夹)
照例没找到Testament厂牌的资源，也懒得上图了。不过以Discogs查到的信息，也是从EMI（现Warner）购买的版权。个人认为，从对应关系来说，Naxos版更为一致，Naxos比较热衷重制古董级经典资源。但是从资源的保障来说，Erato版会更稳妥一些。

joseph_li

Thaïs《泰伊丝》
Decca 466 7662 (2). Fleming, Hampson, Sabbatini, Bordeaux Op. Ch. & O, Abel

The character of Thaïs in Massenet’s opera finds an ideal interpreter in Renée Fleming. After making the heroine’s unlikely conversion to virtue totally convincing, she crowns her performance with a deeply affecting account of her death scene, ending with a ravishing pianissimo top A. Thomas Hampson as Athanaël, a character working just as improbably in the opposite direction, cannot quite equal her in such total conviction but he is vocally ideal. The others are well cast too, notably Giuseppe Sabbatini as Nicias, and though the Bordeaux Opera Orchestra is not quite as refined as some, Yves Abel draws warmly sympathetic playing from them throughout, with the young French virtuoso, Renaud Capuchon, luxuriously cast in the big violin solo of the Méditation. Excellent sound. A clear first choice.

蕾妮·弗莱明堪称玛斯奈笔下泰伊丝的不二诠释者。她不仅令女主角皈依贞洁的转变极具说服力，更以一段令人心碎的临终场景达到艺术巅峰——以弱音高音A作结的瞬间堪称绝美。托马斯·汉普森饰演的亚他那埃尔（反向转变的角色）虽稍逊说服力，但音色完美契合。其他选角同样精当，朱塞佩·萨巴蒂尼的尼奇亚斯尤为亮眼。尽管波尔多歌剧院乐团细腻度略有不足，但伊夫·阿贝尔始终调动出饱满的伴奏情感，法国新秀雷诺·卡普松在《沉思曲》小提琴独奏中更展露无遗。出色的录音效果使其成为首选版本。


Werther《维特》
EMI 3 81849-2 (2). Alagna, Gheorghiu, Hampson, Petibon, Tiffin School Children’s Ch., LSO, Pappano

Though Alagna with his French background is an ideal choice for Werther himself, Gheorghiu with her bright soprano is a less obvious one for the role of the heroine, Charlotte, normally given to a mezzo. But as a magnetic actress she conveys an extra tenderness and vulnerability, with no lack of weight in such a solo as Laisse couler mes larmes in Act III. Thomas Hampson is outstanding as Albert and Patricia Petibon is a sweet-toned Sophie. As in Puccini, Pappano is subtle as well as powerful, using rubato idiomatically and with refinement to heighten the drama and point the moments of climax. Good, warm sound.

尽管法裔背景使阿兰尼亚成为维特的理想人选，但明亮的女高音乔治乌饰演通常由次女高音担纲的夏洛特则属意外之选。然而凭借戏剧天赋，她赋予角色额外的脆弱感，第三幕《让泪水中流》独唱也毫不失重。托马斯·汉普森饰演的阿尔伯特出类拔萃，帕特里夏·佩蒂邦的苏菲音色甜美。帕帕诺延续其在普契尼作品中的敏锐洞察力，通过弹性速度的精妙运用强化戏剧张力，精准烘托高潮段落。录音温暖饱满。
（源于DeepSeek翻译）


https://115cdn.com/s/swwk7383hq9?password=3377&#
Massenet, Jules - Thais - Yves Abel, Bordeaux Opera Orchestra,  Fleming, Hampson [DECCA]等2个文件(夹)

joseph_li

MATHIAS, William (1934–92)
(i–ii) Dance Overture, Op. 16; (iii; ii) Divertimento for String Orchestra, Op. 7; (i–ii) Invocation & Dance, Op. 17; (iv; ii) ‘Landscapes of the mind’: Laudi, Op. 62; Vistas, Op. 69. (iii; ii) Prelude, Aria & Finale for String Orchestra, Op. 25; (v) Sinfonietta, Op. 34
Lyrita (ADD) SRCD 328. (i) LSO; (ii) Atherton; (iii) ECO; (iv) New Philh. O; (v) Nat. Youth O of Wales, Davison

As this collection readily bears out, William Mathias was a composer of genuine talent, versatile as well as inventive. The joyful Dance Overture is vividly scored, rather after the manner of Malcolm Arnold, and the Invocation and Dance has genuine spontaneity. The Divertimento and Prelude, Aria and Finale have a family likeness in presenting workmanlike Hindemithian arguments in fast movements and warm lyricism in slow ones, although the Aria is restrained and ethereal. The colourful, extrovert Sinfonietta was written for the Leicestershire Schools Symphony Orchestra in 1967. Its Lento has a delectable blues flavour, and the finale too is popularly based rhythmically, with its lively and sometimes pungent syncopations. Undoubtedly the two most remarkable works here are the two pieces described by their composer as ‘Landscapes of the mind’. Laudi, written in 1973, a ‘landscape of the spirit’, opens with temple bells and then contrasts bold cross-rhythms with gently voluptuous string sonorities, closing with a serene yet sensuous benediction, somewhat after the manner of Messiaen. The even more mystically evocative Vistas was inspired by the composer’s visit to the USA in 1975. Here an Ivesian influence is unmistakable and, though there are ambiguous bursts of energy, the sections of restrained scoring, with evocatively distant trumpet-calls, are luminously atmospheric. Performances throughout are of the highest calibre, with Atherton at his most perceptive, and the recordings (for the most part engineered by Decca) are outstanding.

这套专辑充分印证了威廉·马赛厄斯作为作曲家的非凡才华——兼具多面性与创造力。欢快的《舞蹈序曲》以生动配器彰显马尔科姆·阿诺德式的风格，《祈愿与舞曲》则流露浑然天成的即兴感。《嬉游曲》与《前奏曲、咏叹调与终曲》虽呈现家族相似性——快板乐章体现欣德米特式的工整结构，慢板则蕴含温暖抒情性，但其中《咏叹调》却展现出内敛空灵的特质。1967年为莱斯特郡学校交响乐团创作的《小交响曲》色彩绚烂、外向奔放，其慢乐章融入迷人的蓝调风味，终章则以跃动的切分节奏展现通俗基底。

毫无疑问，集中最引人瞩目的当属作曲家自述为"心灵风景"的两部作品。1973年创作的《赞歌》作为"精神景观"，以庙宇钟声开篇，随后将 bold 的交叉节奏与弦乐柔媚音色并置，最终以梅西安式的静谧而感官化的祝福作结。更具神秘气息的《远景》则源自作曲家1975年的美国之行，其中艾夫斯式的影响清晰可辨：在能量迸发的混沌段落之间，那些配器克制的片段因远方小号的召唤而焕发空灵光泽。

整张专辑的演绎皆属顶尖水准，阿瑟顿的指挥洞察力尤为卓越，录音（大多由迪卡工程师操刀）效果更是超群绝伦。
（源于DeepSeek翻译）


我费了九牛二虎之力也没找到这张碟。