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

joseph_li

RAMEAU, Jean-Philippe (1683–1764) 拉莫，让-菲利普
Ballet music: Les Fêtes d’Hébé; Hippolyte et Aricie  芭蕾音乐：《赫柏的节日》《希波吕托斯与阿里奇埃》
Erato 3984 26129-2. Les Arts Florissants, Christie

This is all delightfully fresh and inventive music and Rameau’s scoring is ever-resourceful and, as presented here, constantly sparkling and ear-tickling. Most entertaining, and beautifully recorded.

这些音乐无不洋溢着令人愉悦的新鲜创意，拉莫的配器手法始终充满巧思。本专辑呈现的演绎如水晶般剔透灵动，令人耳畔生辉。极富娱乐性且录音精美。


Pygmalion (Acte de ballet); Le Temple de la Gloire (excerpts); Air gay. Grands Motets: Deus noster refugium; In convertendo, Dominus; Quam dilecta tabernacula  芭蕾独幕剧《皮格马利翁》；《荣耀殿堂》（选段）；《欢快曲》。大经文歌：《上帝是我们的避难所》《当主回转》《你的帐幕何等可爱》
Virgin 2CD 5 22027-2 (2). Soloists, including Fouchécourt, Piau, Gens, Le Concert Spirituel, Niquet

Pygmalion falls in love with a female statue he has sculpted. The statue is then (courtesy of Venus) brought to life by that very love – a moment of sheer orchestral magic in Rameau’s delightful score. The Virgin recording is robustly operatic, immediately obvious in the Overture, with its boldly repeated notes, superbly articulated, which may (or may not) have been intended by Rameau to simulate the sculptor’s chisel. Jean-Paul Fouchécourt gives a strong characterization of Pygmalion and, apart from Sandrine Piau as the statue, her two female colleagues are suitably histrionic. The excerpts from Le Temple de la Gloire are quite brief (about 8 minutes). For the reissue, the coupling is three of Rameau’s most impressive Grands Motets, beautifully sung and with refined accompaniments. Deus noster refugium is a colourful setting of Psalm 46, while Quam dilecta tabernacula opens with a particularly lovely soprano solo, pure yet sensuous, followed by an impressive fugue. In convertendo, Dominus is an even more complex setting of Psalm 126 with great variety between the movements and an interpolation from Psalm 69 as the fifth movement.

雕塑家皮格马利翁爱上了自己雕刻的女性雕像。这座雕像最终（在维纳斯的恩赐下）因这份爱意获得生命——拉莫在这部迷人作品中以纯粹的管弦乐魔法呈现了这一瞬间。维京唱片公司的录音充满歌剧般的张力，序曲中铿锵有力的重复音符（或许暗喻雕塑家的凿刀动作）被演绎得锋芒毕露，这是否符合拉莫原意已不可考。让-保罗·富谢古尔生动塑造了皮格马利翁的角色形象，除桑德琳·皮欧诠释的雕像外，另两位女声部的表现亦极具戏剧张力。《荣耀殿堂》选段时长仅八分钟。再版专辑增补的三首拉莫重要大经文歌演绎精妙，伴奏细腻。《上帝是我们的避难所》是对《诗篇46篇》的绚丽诠释，《你的帐幕何等可爱》开篇的女高音独唱纯净中透着感性，随后接入恢弘赋格。而《当主回转》作为《诗篇126篇》的配乐更为复杂，乐章间变化丰富，并在第五乐章巧妙融入了《诗篇69篇》的内容。


Hippolyte et Aricie (CD version) 《希波吕托斯与阿里奇埃》
Erato 2564 66305-2 (3). Padmore, Panzarella, Hunt, Naouri, James, Les Arts Florissants, Christie

William Christie has the benefit of using the text specially prepared for the complete Rameau Edition by Sylvie Bouissou, restoring fully the original 1733 score. Christie, using rather larger forces than his competitor on DG, produces warmer textures and timbres, consistently bringing out the sensuous beauty of much of the writing as well as its dramatic point. At speeds fractionally broader than Minkowski’s, he bounces rhythms more infectiously, and allows himself more flexible phrasing without undermining the classical purity of style. Though Anne-Maria Panzarella as Aricie is not as golden in tone as Véronique Gens on the alternative DG set, she is fresh and bright, responding immediately to Christie’s timing, which more consistently seems geared to stage presentation, with a conversational quality given to passages of recitative. Mark Padmore is a more ardent Hippolyte than his opposite number and Lorraine Hunt a weightier, more deeply tragic Phèdre, with Eirian James a warm Diane, and Laurent Naouri as Thésée weightier than Russell Smythe on DG. The Erato sound too is weightier and more immediate than that of the DG set. Altogether this is a most welcome reissue.

威廉·克里斯蒂采用了西尔维·布伊苏为《拉莫全集》特别校勘的1733年原始乐谱。相比DG版竞争对手，克里斯蒂动用了更庞大的演出阵容，织体音色更显丰润，始终凸显作品中感官之美与戏剧张力。其节奏处理较明科夫斯基版略舒缓，却以更具感染力的弹性速度取胜，在保持古典风格纯粹性的同时赋予乐句更多灵动。虽然安妮-玛丽亚·潘萨雷拉饰演的阿里奇埃音色不如DG版韦罗妮克·詹斯那般金黄，但其清新明亮的嗓音与克里斯蒂的节奏把控相得益彰，宣叙调段落尤具剧场对话感。马克·帕德莫尔塑造的希波吕托斯比DG版更炽烈，洛林·亨特演绎的准德拉王后更具悲剧深度，艾里安·詹姆斯诠释的狄安娜温暖动人，洛朗·诺维饰演的特修斯也比DG版的拉塞尔·史密斯更显厚重。华纳唱片音效较DG版更具实体感与临场感。这套再版专辑堪称令人欣喜的佳作。


https://115cdn.com/s/swwmsrk3hq9?password=3377&#
Rameau, Jean-Philippe & Charpentier -  Musique de Ballet - William Christie, Les Arts Florissants [Erato]等4个文件(夹)
第一和第三张Erato版在Les Arts Florissants 大包里都有。

joseph_li

Les Indes Galantes (DVD version)  《优雅的印第安人》
Opus Arte DVD OA 0923 D (2). Panzarella, Agnew, Berg, Croft, Petibon, Les Arts Florissants Ch. & O, Christie (V/D: Thomas Grimm)

Described as an Opera-ballet in four Acts, Les Indes Galantes was Rameau’s biggest stage success in his own lifetime, and one can understand why from this spectacular production, staged at the Paris Opéra in 2004. The director, Andrei Serban, presents the piece with the sort of lavish effects and movement that would have delighted eighteenth-century audiences. Sets are stylized and costumes are basically in period, but with random updating for members of the chorus, as when they appear as French sailors. Act II, set in Peru at the time of the Incas, brings the most striking spectacle, with the eruption of a volcano – cue for the backcloth of Andean peaks to wobble and sway amid fiery lightning – for which Rameau devised vividly descriptive music. His inspiration is at white heat throughout, with William Christie and a large and stylish team of singers and players revelling in each number, often deliberately over-acting in the more melodramatic moments of this fantastic drama. Outstanding amongst the soloists are Nathan Berg as Huascar (crushed by a boulder from the sky after his Act II aria), Anna Maria Panzarella as Emilie and Paul Agnew as Valère, with João Fernandez memorably in drag as Bellone. The final curtain brings an exuberant encore after the credits, with Christie hilariously joining in the dance. Extras include a feature about Rameau with Christie, Serban and the choreographer, Bianca Li, among those interviewed.

这部被定义为四幕歌剧芭蕾的《优雅的印第安人》，是拉莫生前最成功的舞台作品。2004年巴黎歌剧院的豪华制作版完美诠释了其经久不衰的魅力——导演安德烈·塞尔班以十八世纪观众钟爱的华美布景与动态效果呈现全剧：舞台设计采用风格化处理，服装大体保留时代特征，但合唱团造型（如法国水手形象）偶现现代元素。以印加时期的秘鲁为背景的第二幕最具视觉冲击力，火山喷发场景中，安第斯山脉的景片在烈焰闪电中震颤晃动，拉莫为此谱写的描绘性音乐极具画面感。威廉·克里斯蒂率领规模庞大的精英演唱演奏团队，始终保持着炽热的创作灵感，在这部奇幻戏剧的夸张桥段中甚至刻意强化表演张力。男低音内森·伯格饰演的瓦斯卡尔（唱完第二幕咏叹调后被天降巨石压毙）、女高音安娜-玛丽亚·潘萨雷拉诠释的艾米莉，以及男高音保罗·阿格纽塑造的瓦莱尔皆表现出众，若昂·费尔南德斯反串战争女神贝罗娜的造型令人过目难忘。谢幕时演职人员表后附有欢腾的返场片段，克里斯蒂滑稽加入舞蹈的场景妙趣横生。花絮内容包含拉莫专题纪录片，克里斯蒂、塞尔班与编舞家比安卡·李等人出镜访谈。


Une Symphonie imaginaire 《幻想交响曲》
DG 47903974. Les Musiciens du Louvre, Minkowski

What a splendid idea of Marc Minkowski’s it was to create this ‘imaginary’ symphony, based on Rameau’s theatre music. The result is a highly entertaining suite of dance movements, rather in the tradition of Beecham’s Handel suites, but with somewhat more authentic orchestrations! And what a colourful composer Rameau was! Right from the opening number, the colourful Zaïs Overture, with its scurrying strings and woodwind writing punctuated with dramatic percussion, grabs your attention straight away. One marvels at Rameau’s imagination and sheer entertainment value throughout. Minkowski has selected some obvious highlights, including an orchestrated version of the famous La Poule (an anonymous transcription), plus many of the dance numbers which we have enjoyed from complete opera recordings. There are plenty of fast, exciting numbers, such as the brilliant Tambourins from Dardanus (try getting that out of your mind after playing it), many with a piquant rustic flavour (the Musette and Rondeau from Les Fêtes d’Hébé and the ensuing Tambourin are delightful and similarly hard to dislodge from one’s memory), and the lively Danse des Sauvages from Les Indes galantes offers plenty of exhilaration. No less impressive is the beauty of many of the slow numbers – the Air gracieux from La Naissance d’Osiris and the Air tendre from Les Fêtes d’Hébé are hauntingly beautiful. But there are several such examples. The playing is brilliant throughout and numbers such as Orage (from Platée) give the strings an opportunity to show off their prowess to the full. Minkowski directs this delightful Rameau concoction with Gallic brilliance and elegance, all caught in exceptionally vivid sound. What a distinctive and original composer Rameau was – highly recommended. DG also offer on their website as a bonus Mozart, symphony no. 14 in G minor.

马克·明科夫斯基从拉莫戏剧音乐中提炼出这部"幻想"交响曲的创意堪称绝妙。最终成果是一套极具娱乐性的舞蹈组曲，延续了比彻姆改编亨德尔组曲的传统，但配器更具本真色彩！拉莫的调色板何等绚烂！开篇《扎伊斯》序曲便以弦乐与木管的疾走线条配合戏剧性打击乐瞬间攫住听众耳膜。贯穿全曲，拉莫的想象力与娱乐价值令人叹服。明科夫斯基既选取了《著名母鸡》（匿名改编的乐队版）等标志性段落，也收录多部歌剧全本录音中的经典舞曲。快板乐章如《达耳达诺斯》中辉煌的铃鼓舞曲（听过便萦绕脑海）多带有辛辣的田园风味——《赫柏的节日》的缪赛特回旋曲及后续铃鼓舞曲同样令人难忘，《优雅的印第安人》的野人舞曲更将欢腾气氛推向高潮。慢板乐章同样惊艳：《奥西里斯诞生》的优雅曲调与《赫柏的节日》的柔情咏叹皆萦绕心间。诸如《普拉蒂埃》暴风雨场景等段落，更让弦乐声部得以充分炫技。明科夫斯基以法兰西特有的华丽与优雅驾驭这套拉莫音乐精选，DG的卓越录音将其鲜活捕捉。官网额外附赠莫扎特《G小调第14号交响曲》作为福利。


Le Temple de la Gloire: Suites 1 & 2《荣耀殿堂》第一、二组曲
Australian Decca Eloquence (ADD) 480 2373. ECO, Leppard – CHARPENTIER: Médée: Suite. GRÉTRY: Suite of Ballet Music

Even though the authentic movement has revolutionized performances of this repertoire, it is a joy to return to these very stylish Raymond Leppard recordings again. This is an enchanting CD, superbly recorded. Rameau’s score has much character: the opening, with its brass effects, is most impressive, while the Air for the Demons is especially evocative and the Air tendre has a haunting beauty of its own. Raymond Leppard gives us an object lesson in how to perform this music on modern instruments; his springy rhythms and, especially, his use of the continuo to colour the texture are most imaginative. Rameau was relatively unknown when this recording was made (1966) and it was recordings like this which alerted us to the many delights this composer offers. With equally appealing couplings, this CD should be snapped up immediately.


即便在本真演绎革命席卷此类曲目的今天，重听雷蒙德·莱帕德这些格调高雅的录音仍令人欣喜。这张录音精良的唱片充满魔力：拉莫谱写的铜管效果开场气势恢宏，魔鬼咏叹调氛围诡谲，柔情曲调则自带萦绕心间的美感。莱帕德为现代乐器演绎这套曲目树立范本——弹性节奏处理与通奏低音的色彩运用尤见巧思。该录音问世时（1966年）拉莫尚属冷门作曲家，正是此类录音让我们见识到其作品的无穷魅力。搭配曲目同样精彩，此碟值得即刻收藏。

DVD：
https://115cdn.com/s/swwmsrj3hq9?password=3377&#
Rameau, Jean-Philippe - Les Indes Galantes - William Christie, Les Arts Florissants; Niese, Fernandes, Petibon [DVD9]

CD：
https://115cdn.com/s/swwmseh3hq9?password=3377&#
Rameau, Jean-Philippe - Une Symphonie imaginaire - Les Musiciens du Louvre, Marc Minkowski [DG SACD]等2个文件(夹)
第三张CD已经在第269楼发过。

joseph_li

RAUTAVAARA, Einojuhani (born 1928)
Adagio Celeste (for string orchestra); Book of Visions; Symphony 1  《天界柔板》（弦乐队版）；《幻象之书》；《第一交响曲》
Ondine SACD ODE 1064-5. Belgian Nat. O, Franck

This is recorded in spacious four-channel SACD, which admirably suits Rautavaara’s rich orchestral textures, and immediately so in the sumptuously powerful string cantilena which opens the First Symphony, written in two movements in 1955, but with a third added in 2003. Rautavaara acknowledged his debt to Shostakovich in this work, partly because of its string writing, but also because of the ‘grotesque and ironic’ Scherzo which closes the work.

The Adagio Celeste then follows. Inspired by a poem by Lassi Nummi which begins, ‘Then, that night, when you want to love me in the deep of night, wake me,’ it makes an ecstatic interlude between the Symphony and the imaginatively scored four chapters of the Book of Visions, each telling a Tale: darkly of Night, feverishly of Fire, warmly and sensuously of Love, and dramatic and apprehensive in Fate. The performances throughout are superbly played by this fine orchestra and, whether using two or four speakers, the sound is richly opulent, and in the demonstration bracket for its superb recording of the strings.

本专辑采用四声道SACD技术录制，完美契合劳塔瓦拉丰盈的管弦乐织体——1955年创作的双乐章《第一交响曲》在2003年补入第三乐章后，以一段恢弘的弦乐咏叹拉开序幕。作曲家坦言此作受肖斯塔科维奇影响，既体现在弦乐写作技法上，也彰显于终乐章"怪诞而讽刺"的谐谑曲中。  

随后呈现的《天界柔板》灵感源自拉西·努米的诗句："当你在深夜渴望爱我时，请唤醒我"。这部作品犹如狂喜的间奏曲，为交响曲与《幻象之书》搭建桥梁。后者四个篇章通过精妙配器分别讲述暗夜传说、炽热火焰、温存情爱及宿命焦虑。赫尔辛基爱乐乐团演绎精湛，无论双声道或四声道播放，录音皆呈现弦乐录制的示范级水准，音质丰沛华美。  


Angels and Visitations; (i) Violin Concerto. Isle of Bliss  《*天*使*与*显*灵*》；(i)《小提琴协奏曲》；《极乐岛》
Ondine ODE 881-2. (i) Oliveira; Helsinki PO, Segerstam

Rautavaara’s wholly original Violin Concerto is hauntingly accessible and grips the listener completely. It moves from an ethereal opening cantilena, through a series of colourful events and experiences until, after a final burst of incandescent energy, it makes a sudden but positive homecoming. The lively opening of the Isle of Bliss is deceptive, for the music centres on a dreamy, sensual romanticism and creates a rich orchestral tapestry with a sense of yearning ecstasy, yet overall it has a surprisingly coherent orchestral structure. Angels and Visitations is close to the visions of William Blake and (as the composer tells us) brings a sense of ‘holy dread’. The extraordinary opening evokes a rustling of angels’ wings which is then malignantly transformed, becoming a ferocious multitude of bumble-bees. It is a passage of real imaginative power, in some ways comparable to the storm sequence in Sibelius’s Tapiola. Elmar Oliveira is the inspired soloist in the Violin Concerto, floating his line magically and serenely in the opening Tranquillo and readily encompassing the work’s adventurous shifts of colour and substance. Segerstam provides a shimmering backing and directs a committed and persuasively spontaneous orchestral response throughout all three works. The recording is superbly balanced, spacious and vivid in detail.


https://115cdn.com/s/swwmsag3hq9?password=3377&#
Rautavaara, Einojuhani - Book of Visions, Symphony No.1etc. - Belgique National Orchestra, Mikko Franck [Ondine 24-96]等2个文件(夹)

joseph_li

第二段翻译居然触碰敏感词汇，只能删除。神经质

joseph_li

(i) Harp Concerto. Symphony 8
Ondine ODE 978-2. (i) Nordmann; Helsinki PO, Segerstam

The Concerto (2001) is predominantly reflective and highly imaginative in its use of texture. In addition to the soloist, Rautavaara adds two harps in the orchestra in order, as he puts it, to create ‘a really full and lush harp sound when needed’. The French soloist, Marielle Nordmann, a pupil of Lily Laskine, gives a performance of great distinction and subtlety. Rautavaara speaks of the musical growth of the Eighth Symphony as characterized by slow transformation, a strong narrative element and ‘the generation of new, different aspects and perspectives from the same premises, the transformation of light and colour’. As always with this composer there is a strong feeling for nature. Perhaps the most haunting movement is the third, the quiet radiance of which stays with the listener. Excellent playing from the Helsinki Philharmonic under Leif Segerstam and state-of-the-art recording.

这部创作于2001年的协奏曲以沉思气质见长，织体运用极富想象力。除独奏竖琴外，劳塔瓦拉还在乐队中增设两架竖琴，旨在营造"真正丰沛华丽的竖琴音效"。法国竖琴家玛丽埃尔·诺德曼（莉莉·拉斯金弟子）的演绎兼具高贵品格与精妙细节。作曲家如此描述《第八交响曲》的音乐生长性："以缓慢蜕变为特征，蕴含强烈的叙事元素，从相同前提衍生出崭新视角，实现光与色的嬗变。"如常般，作品中涌动着对自然的深切感悟，尤以第三乐章静谧的辉光最为萦绕心间。莱夫·塞格斯坦指挥赫尔辛基爱乐乐团呈现精湛演绎，辅以顶尖录音技术。  


Symphony 7; Cantus arcticus; (i) Dances with the Winds (Concerto for Flutes & Orchestra) 《第七交响曲》；《北极赞歌》； (i) 《与风共舞》（长笛与乐队协奏曲）
BIS CD 1038. (i) Alanko; Lahti SO, Vänskä

The Seventh Symphony is both powerful and atmospheric. There is a good deal of Sibelius in its first movement and there is a pervasive sense of nature. Rautavaara betrays some affinities with the minimalists but offers greater musical substance. The BIS recording is excellent, with state-of-the-art sound, and Vänskä’s performance has impressive power and atmosphere; he keeps the music moving and casts a strong spell. Both shorter pieces, the familiar Cantus arcticus and the Dances with the Winds, a concerto in which the solo flautist plays four members of the flute family, are from the 1970s, and these fine performances have appeared before in other couplings.

《第七交响曲》兼具磅礴力量与空灵意境。首乐章明显承袭西贝柳斯遗风，通篇弥漫自然气息。劳塔瓦拉虽显露与极简主义的亲缘性，却赋予更丰厚的音乐实质。BIS唱片公司以尖端录音技术捕捉完美音效，万斯卡的诠释既震撼人心又营造强烈氛围，流畅推进的演绎令人沉醉。两首短篇中，《北极赞歌》早已耳熟能详，《与风共舞》则是需独奏者驾驭长笛家族四种乐器的协奏曲，均属1970年代作品，这些优秀演绎曾见于其他合辑。


https://115cdn.com/s/swwmsax3hq9?password=3377&#
Rautavaara, Einojuhani - 12 Concertos [Ondine]等4个文件(夹)

joseph_li

中午发到一半，临时有事外出，现在接着把Ravel发完。

joseph_li

RAVEL, Maurice (1875–1937)
Alborada del gracioso; Une barque sur l’océan; Boléro; (i) Daphnis et Chloé (complete). Ma Mère l’Oye (complete); Menuet antique; Ouverture de féerie; Pavane pour une infante défunte; Rapsodie espagnole; Le Tombeau de Couperin; La Valse; Valses nobles et sentimentales  《丑角的晨歌》；《海上小舟》；《波莱罗舞曲》； (i) 《达芙妮与克洛伊》（全剧）；《鹅妈妈组曲》（全本）；《古代小步舞曲》；《奇幻序曲》；《悼念公主的帕凡舞曲》；《西班牙狂想曲》；《库普兰之墓》；《圆舞曲》；《高贵而伤感的圆舞曲》
EMI (ADD) 5 00892-2 (3). O de Paris, Martinon; (i) with Paris Op. Ch.

Like his version of Daphnis et Chloé, Martinon’s Ma Mère l’Oye is exquisite, among the finest ever put on record. The Valses nobles et sentimentales and La Valse are very good indeed, though La Valse has a rather harsh climax; but there is much ravishing delicacy of orchestral playing, notably in Le Tombeau de Couperin and the rare Ouverture de féerie (Shéhérazade). The sound is warm and luminously coloured and the refined virtuosity of the Orchestre de Paris is a constant source of delight. All in all, these represent some of the finest and most idiomatic versions of this repertoire in the catalogue. However, Karajan’s EMI collection (EMI 476859-2) and Reiner’s collection (RCA 74321 88692-2) are comparable and distinguished classics of the gramophone.

与马蒂农指挥的《达芙妮与克洛伊》一样，其《鹅妈妈组曲》的演绎堪称精妙绝伦，位列史上最佳录音版本。《高贵而伤感的圆舞曲》与《圆舞曲》的表现同样出色，尽管后者高潮段落略显锐利；但乐团演奏中处处可见令人陶醉的精妙细节，尤其在《库普兰之墓》和罕见的《奇幻序曲》（《舍赫拉查德》）中尤为突出。录音效果温暖且色彩绚丽，巴黎管弦乐团精湛的技艺始终带来愉悦享受。总体而言，这套录音堪称目录中最地道、最出色的拉威尔作品诠释之一。不过，卡拉扬的EMI选集（EMI 476859-2）和莱纳的版本（RCA 74321 88692-2）同样杰出，均为唱片史上的经典。  


(i) Piano Concerto in G. Gaspard de la nuit(i) 《G大调钢琴协奏曲》；《夜之幽灵》
DG 447 438-2. Argerich; (i) BPO, Abbado – PROKOFIEV: Piano Concerto 3

Argerich’s half-tones and clear fingerwork give the G major Concerto unusual delicacy, but its urgent virility – with jazz an important element – comes over the more forcefully by contrast. The compromise between coolness and expressiveness in the slow minuet of the middle movement is tantalizingly sensual. Her Gaspard de la nuit abounds in character and colour. The remastered recordings sound first class.

阿格里奇通过细腻的半音处理和清晰的指法，赋予《G大调钢琴协奏曲》一种罕见的精致感，但其强烈的活力——爵士元素占据重要地位——在对比中更显突出。中乐章慢板小步舞曲在冷静与抒情之间的平衡，散发出诱人的感官魅力。她的《夜之幽灵》则充满个性与色彩。经过重新母带处理的录音效果堪称一流。  


Piano Concerto in G; Piano Concerto in D for the Left Hand 《G大调钢琴协奏曲》；《左手钢琴协奏曲》
Chan. CHSA 5084. Jean-Efflam Bavouzet, BBC SO, Y. P. Tortelier (with MASSENET: 2 Impromptus; 2 Pièces; Toccata; Valse folle) – DEBUSSY: Fantaisie

Bavouzet’s accounts of the two Ravel Piano Concertos are very special, quite wonderfully atmospheric, indeed magical; the delicacy and finesse of the pianism are dazzling. His refinement of nuance and clarity of articulation are a source of wonder, and jazz influences are infectiously conveyed. The slow movement of the G major is ravishing and the Left Hand Concerto is wonderfully atmospheric, particularly at the opening. Beautifully balanced and finely detailed recording. The coupled Debussy Fantaisie, which influenced Ravel, is no less revealing, and the Massenet encores are delectable.

巴维耶对两部拉威尔钢琴协奏曲的诠释极为独特，氛围营造堪称神奇，钢琴演奏的细腻与精巧令人目眩。他对音色微妙的把控和清晰的触键令人惊叹，爵士元素的表现也极具感染力。《G大调协奏曲》的慢板乐章美得令人心醉，而《左手协奏曲》的开篇氛围尤为出色。录音平衡优美，细节丰富。搭配的德彪西《幻想曲》（对拉威尔产生过影响）同样揭示深刻，马斯奈的加演曲目也赏心悦目。


https://115cdn.com/s/swwmbsf3hq9?password=3377&#
Ravel - Orchestral Works - Jean Martinon, Paris Orchestre de Paris [SACD]等2个文件(夹)
第2、3张分别在第694、318楼发过了。第一段里Karajan 和 Reiner 的碟都没找到。

joseph_li

Daphnis et Chloé (ballet: complete) 《达芙妮与克洛伊》（芭蕾全剧）
RCA (ADD) SACD 82876 61388-2. New England Conservatory & Alumni Ch., Boston SO, Munch

Charles Munch’s Boston account of Daphnis et Chloé is one of the great glories of recorded music. The playing in all departments of the Boston orchestra is simply electrifying. The sound here may not be as sumptuous as the Dutoit on Decca (though it is still very fine by any standards), but the richness of colour lies in the playing, and there is a heady sense of intoxication that at times sweeps you off your feet, and the integration of the chorus is impressively managed. Try the Danse de supplication de Chloé and the ensuing scene in which the pirates are put to flight, and you will get a good idea of how dazzling this is, with the ballet ending in tumultuous orchestral virtuosity. The SACD transfer offers rather more ambience than the CD, and the effect is quite glorious.

查尔斯·明希指挥波士顿交响乐团的《达芙妮与克洛伊》堪称唱片史上的璀璨明珠。乐团各部门的演奏充满触电般的魔力。此版音效或许不及迪图瓦的DECCA录音那般华美（但仍属一流），但其色彩丰盈尽显于演奏本身——令人眩晕的迷醉感时而排山倒海，合唱团的融入也处理得堪称典范。试听《克洛伊的祈求之舞》及随后海盗溃逃的段落，便能领略其震撼力：芭蕾终场时乐团以排山倒海的炫技收束。SACD转制比CD版更具空间感，效果恢宏壮丽。


Daphnis et Chloé: Suite 2 《达芙妮与克洛伊》第二组曲
Sony DVD 88697202449. BPO, Karajan – DEBUSSY: La Mer; Prélude à l’après-midi d’un faune

A magical account of Daphnis. Perhaps Karajan’s DG recording on LP during the mid-1960s was even more sumptuous, but this superbly controlled and beautifully recorded performance still captivates, and it is expertly directed for the cameras. It was recorded at the Philharmonie in 1987, two years before Karajan’s death.

卡拉扬这份魔法般的诠释，或许其1960年代中期DG黑胶版更为奢华，但1987年柏林爱乐大厅录制的这个版本（大师逝世前两年），以精妙的控制力与精美的录音效果依然摄人心魄，镜头调度亦显专业功力。  


Valses nobles et sentimentales; La Valse《高贵而伤感的圆舞曲》；《圆舞曲》
VAI DVD 4226. Chicago SO, Charles Munch (with BERLIOZ: Royal Hunt and Storm. RAMEAU, arr. D’INDY: Dardanus suite. BEETHOVEN: Symphony 8. BERLIOZ: Le Carnaval romain. WAGNER: Die Meistersinger: Prelude to Act III, cond. Pierre Monteux)

Charles Munch’s Valses nobles is one of the very finest accounts of the piece we have heard. The sound on this black-and-white telecast of 1963 is far from ideal but the performance has immense charm and character. The Valses nobles is perfectly paced, much more relaxed than we hear nowadays and with plenty of time for the artists to breathe. This is a model of Ravel style and, watching Munch, one realizes how naturally his charm captivates his players. The DVD is self-recommending as it includes some fine Berlioz from both Munch and Monteux (recorded in 1961) and a splendidly characteristic Beethoven Eighth from the latter.

明希1963年黑白电视直播的《高贵圆舞曲》堪称此曲目最卓越的演绎之一。虽音质远非理想，但演出充满难以抗拒的魅力与个性：速度把控完美，比当代演绎更显从容，给予艺术家充分的呼吸空间。这是拉威尔风格的典范教科书——观察明希的指挥姿态，便能理解其天然魅力如何感染乐手。该DVD还包含明希与蒙托克斯（1961年录制）精彩的柏辽兹选段，以及后者极具特色的贝多芬《第八交响曲》，自具收藏价值。  


DVD：
https://115cdn.com/s/swwmbqt3hq9?password=3377&#
Ravel, Beethoven, Berlioz, Rameau, Wagner - Historic Telecast - Monteux & Munch, CSO [DVD5]
第1个DVD在第326楼已经发过

CD：
https://115cdn.com/s/swwmbbq3hq9?password=3377&#
Ravel - Daphnis Et Chloe - Charles Munch, Boston SO [RCA SACD]等3个文件(夹)
卡拉扬1964版 Daphnis et Chloé: Suite 2 为DG画廊版，在第326楼已经发过。

joseph_li

(i) String Quartet in F; (ii) Violin Sonata in G
Hyp. CDA 67759. (i) Dante Quartet; (ii) Krysia Osostowicz, Simon Crawford-Phillips – DEBUSSY: String Quartet

The Dante performance of the Ravel Quartet matches the finest available, admirable in ensemble, attack and beauty of timbre, and very well balanced. Krysia Osostowicz has an impeccable sense of style and she herself gives an authoritative account of the Ravel Sonata in partnership with Simon Crawford-Phillips.

但丁四重奏演绎的拉威尔《弦乐四重奏》堪称典范版本，其默契的合奏、凌厉的起奏与醇美的音色相得益彰，声部平衡堪称完美。小提琴家克雷西娅·奥索斯托维奇以无可挑剔的风格把控力，与钢琴家西蒙·克劳福德-菲利普斯联袂呈现了权威版的拉威尔《小提琴奏鸣曲》。  


(i) Frontispice (for five hands). Introduction and Allegro; Rapsodie espagnole; Shéhérazade; Sites auriculaires: Entre cloches. La Valse  (i) 五手联弹《卷首画》；《引子与快板》；《西班牙狂想曲》；《天方夜谭》；《耳畔风景：钟声之间》；《圆舞曲》
Regis RRC 1356. Stephen Coombs & Christopher Scott (pianos); (i) with Yuki Matsuzawa

Ravel often composed his orchestral music at the piano before he orchestrated it and, as we wrote about this disc when it was first issued in 1990, this recital is quite outstanding in every way: in terms of imaginative vitality, sensibility and wit. The recording too is beautifully clear and atmospheric. Obviously Stephen Coombs and Christopher Scott are a first-class team, and they are effectively joined by Yuki Matsuzawa’s fifth hand in the rare Frontispice. But the highlights of the recital are the sensuously idiomatic Rapsodie espagnole, full of Spanish subtlety, and La Valse with its thrilling climax, which are used to frame the programme.

拉威尔的管弦乐作品往往先以钢琴创作后配器，正如我们在1990年该唱片首发时的评论所言：这场录音无论在想象力、敏感度还是机巧性上都堪称全方位杰出。录音效果既清澈透明又氛围感十足。史蒂芬·库姆斯与克里斯托弗·斯科特组成的一流双钢琴组合，与松泽由纪的"第五只手"在稀见曲目《卷首画》中默契配合。而音乐会的巅峰时刻当属充满西班牙风韵的《西班牙狂想曲》和具有震撼高潮的《圆舞曲》，二者作为框架曲目为整场演出奠定基调。


Histoires naturelles  《自然的故事》
Testament mono SBT 1311. Souzay, Bonneau – FALLA: 7 Canciones populares españolas. FAURÉ: Après un rêve, etc.

Souzay made this record of the Histoires naturelles in 1951, only half a dozen years after his début in Paris, and it still remains arguably the finest recorded account of Ravel’s imaginative cycle. Magnificently transferred, the sound belies its age and comes with some Fauré songs that are among the classics of the gramophone.

苏哉在1951年录制的这套《自然的故事》，距其巴黎首演仅六年之久，至今仍被公认为拉威尔这部想象力丰富的声乐套曲最杰出的录音版本。经过精良的母带处理，录音效果完全超越了时代局限，随碟附赠的福雷艺术歌曲亦是唱片史上的经典之作。  


https://115cdn.com/s/swwmbib3hq9?password=3377&#
Ravel - Music for two pianos - Stephen Coombs, Christopher Scott [Regis]
第1张在第327楼发过，第3张langong2004 兄在第390楼发过

joseph_li

Shéhérazade (song-cycle)  《天方夜谭》（声乐套曲）
Decca 475 7712. Crespin, SRO, Ansermet (with recital of French song) – BERLIOZ: Les Nuits d’été. DEBUSSY; POULENC: Songs

Ravel’s magically sensuous writing finds the ideal interpreter in Régine Crespin, supported as she is here by the maestro magician, Ansermet. The sheer richness of the singer’s tone does not prevent this fine artist from being able to achieve the delicate languor demanded by an exquisite song like The enchanted flute. Indeed, her operatic sense of drama brings almost a sense of self-identification to the listener as the slave-girl sings to the distant sound of her lover’s flute (while her master sleeps). This is ravishing. The warm, rich sheen of the glorious Decca recording spins a tonal web around the listener which is quite irresistible. This CD is one of the great glories of recorded music.

拉威尔充满魔幻感官美的旋律在蕾吉娜·克雷斯潘的诠释下臻于化境，而指挥大师安塞梅的魔法棒更添神韵。这位杰出女高音丰润的音质丝毫不妨碍她展现《魔笛》等精妙歌曲所需的纤柔慵懒——当女奴在主人酣睡时遥应情人笛声的咏唱（《异域公主》），其戏剧表现力几近令听者身临其境。DECCA传奇录音打造的温暖音场如丝绒般包裹听众，堪称唱片艺术的不朽瑰宝。  


(i) L’Enfant et les sortilèges; (ii) L’Heure espagnole (complete operas)  (i) 《孩子与魔法》； (ii) 《西班牙时光》（全本歌剧）
DG (ADD) 449 7692 (2). Ogéas, Collard, Berbié, Sénéchal, Gilma, Herzog, Rehfuss, Maurane, RTF Ch. & Boys’ Ch., RTF Nat. O; (ii) Berbié, Sénéchal, Giraudeau, Bacquier, Van Dam, Paris Op. O; Maazel (with RIMSKY-KORSAKOV: Capriccio espagnol; STRAVINSKY: Le Chant du rossignol)

Maazel’s recordings of Ravel’s two one-Act operas were made in the early 1960s and, though the solo voices in L’Enfant are balanced rather closely, the remastered sound in both operas is wonderfully vivid and atmospheric, and each performance is splendidly stylish. The singing is delightful: neoclassical crispness of articulation goes with refined textures that convey the ripe humour of the one piece, the tender poetry of the other. The inclusion of Maazel’s superb, early-stereo accounts of Rimsky’s Capriccio (with the Berlin Philharmonic) and Le Chant du rossignol glitteringly played by the Berlin Radio Orchestra, two classics of the gramophone, makes this reissue more desirable than ever. Readers may also be interested to learn that Ansermet’s equally vividly characterized early-stereo account of L’Enfant et les sortilèges is available on Australian Decca Eloquence. The vividness of the sound still amazes today, and it is coupled with his mono L’Heure espagnole and some Ravel songs gorgeously sung by Suzanne Danco (480 0124 (2)). Bour’s pioneering magical (1947) mono version of L’Enfant et les sortilèges on Testament (SBT 1044) also should never be forgotten and in some ways is the greatest performance of this sublime score on disc.

马泽尔1960年代初录制的这两部拉威尔独幕歌剧虽《孩子》中人声平衡稍显迫近，但经重制后音效惊艳：既保有鲜活质感，又弥漫着戏剧氛围。演唱堪称典范——新古典主义的精准咬字与细腻织体完美交融，既能传递《西班牙时光》的辛辣幽默，又可诠释《孩子》的童真诗意。更难得的是此再版收录了马泽尔早年与柏林爱乐合作的里姆斯基-科萨科夫《西班牙随想曲》，以及柏林广播交响乐团炫技演绎的斯特拉文斯基《夜莺之歌》两部立体声经典，收藏价值倍增。安塞梅同曲目录音现由澳大利亚DECCA雄辩系列发行，其1953年《孩子》立体声版仍以惊人的声音鲜活度著称，搭配单声道版《西班牙时光》及苏珊·丹科演唱的拉威尔艺术歌曲集；另布尔的1947年历史录音[Testament SBT 1044]作为该剧首个录音室版本，其魔法般的演绎至今未被超越。


https://115cdn.com/s/swwmbk13hq9?password=3377&#
Ravel - L'enfant et les sortileges & L'heure espagnole etc.- Lorin Maazel, ORTF [DG]等3个文件(夹)
第一张在第158楼已经发过
Testament SBT 1044没找到，但是找到了华纳出的版本（Testament是从华纳引进）

joseph_li

RAWSTHORNE, Alan (1905–71)
(i) Oboe Concerto; (ii) Cello Concerto. Symphonic Studies (i) 双簧管协奏曲；(ii) 大提琴协奏曲。交响练习曲
Naxos 8.554763. RSNO, Lloyd-Jones, with (i) Stéphane Rancourt; (ii) Alexander Baillie

Rawsthorne belongs to the same generation as Rubbra, Frankel and Constant Lambert, and his distinctive voice with its richly inventive harmonic idiom is too rewarding to disappear from view, although his profile has been less in evidence in recent years. The Symphonic Studies (1939) sums up all his characteristic strengths: melodic inventiveness, structural resource and lucid and individual-sounding orchestration. The lyrical post-war Oboe Concerto (1946), written for Evelyn Rothwell, and the eloquent Cello Concerto (1965) are both full of memorable ideas, and Alexander Baillie has the full measure of the latter’s breadth and sweep. David Lloyd-Jones is a masterly and persuasive advocate of this music.

罗斯索恩与鲁布拉、弗兰克尔和康斯坦特·兰伯特同属一代作曲家，其独具特色的音乐语言与丰富创新的和声风格本应获得更多关注，尽管近年来他的声名略显沉寂。1939年创作的《交响练习曲》集中展现了他所有标志性优势：旋律创作的独创性、结构布局的巧思以及清晰而个性化的配器手法。战后创作的抒情作品《双簧管协奏曲》（1946年为伊芙琳·罗斯韦尔而作）与深情款款的《大提琴协奏曲》（1965）均充满令人难忘的乐思，亚历山大·贝利完美诠释了后者恢弘磅礴的气韵。大卫·劳埃德-琼斯堪称这部音乐的权威诠释者，其演绎极具说服力。


Piano Concertos 1–2; (ii) Overture: Street Corner. Symphonic Studies 钢琴协奏曲第1-2号；(ii) 序曲《街角》。交响练习曲
Lyrita (ADD) SRCD 255. (i) Binns, LSO, Braithwaite; (ii) LPO, Pritchard

Both of Rawsthorne’s Piano Concertos are among the most memorable written by twentieth-century British composers, providing a Prokofiev-like contrast between jagged figuration and lyrical warmth. Without losing the necessary edge in the writing, Malcolm Binns (creating their stereo début in 1979) brings out the expressiveness of the music, particularly in the First Concerto with its hushed slow movement and interlude in the middle of the final Tarantella. There is plenty of vigour in both dance finales (the second has its quota of Latin-American rhythms). Street Corner is one of Rawsthorne’s once familiar shorter pieces, but it is not often heard now in spite of its considerable inventive appeal. The Symphonic Studies is by general consent Rawsthorne’s most original and masterly composition and well withstands the test of time. The LPO under Pritchard plays with evident enjoyment and the 1977 recording has a fine sense of space and splendid detail.

罗斯索恩的两部钢琴协奏曲堪称二十世纪英国作曲家笔下最令人难忘的杰作，呈现出普罗科菲耶夫式的锐利音型与抒情暖意的鲜明对比。马尔科姆·宾斯在1979年完成这两部作品的立体声首录时，既保持了必要的锋芒，又充分挖掘出音乐的表现力——尤其在第一协奏曲中，静谧的慢板乐章与终曲塔兰泰拉舞曲中段的间奏段落令人印象深刻。两部作品充满活力的舞曲终章（第二协奏曲融入了拉美节奏元素）均展现出蓬勃生机。《街角》曾是罗斯索恩广为人知的短篇佳作，如今虽创意依然夺目却鲜少上演。《交响练习曲》被公认为罗斯索恩最具原创性与大师风范的创作，历经时间考验仍熠熠生辉。普里查德指挥下的伦敦爱乐乐团演奏酣畅淋漓，1977年的录音更呈现出绝佳的空间感与丰富的细节层次。


https://115cdn.com/s/swwmmyi3hq9?password=3377&#
Rawsthorne, Alan - Cello Concerto, Oboe Concerto & Symphonic Studies - Royal Scottish National Orchestra, David Lloyd-Jones [Naxos]等3个文件(夹)

joseph_li

Symphonies (i) 1; (ii) 2 (Pastoral); (iii) 3
Lyrita (ADD/DDD) SRCD 291. (i–ii) LPO; (i) Pritchard; (ii) Chadwell, cond. Braithwaite; (iii) BBC SO, Del Mar

Here is a chance to get to grips with the symphonies of another neglected British composer whose music is distinguished by impeccable craftsmanship and first-rate invention, as is readily demonstrated by the First, played with evident enjoyment by the LPO under Sir John Pritchard. But, of the three, the Second (Pastoral) Symphony is the most readily approachable, since its thematic material catches the ear, especially in the expressive ideas of the Poco lento and the gay country-dance Scherzo. Like Vaughan Williams (and Mahler), Rawsthorne uses a soprano soloist in the finale, with a succinct text by Henry Howard, Earl of Surrey (1516–47), giving brief impressions of three of the four seasons: spring, summer and winter. The music has a powerful atmosphere, and Tracy Chadwell copes successfully with the rather angular vocal line to catch the essential melancholy of the poem.

Though the actual thematic material of the Third Symphony is initially hard to identify (it is possibly too consistent in style and cut for conventional ideas of sonata form), the formal layout is never in doubt. The first movement culminates in a calm recapitulation which resolves earlier tensions most satisfyingly, and the separate sections of the Sarabande slow movement build up into one of the most passionate climaxes that Rawsthorne ever wrote. A Scherzo with nebulous, rather Waltonian motifs flying around is followed by a finale that daringly keeps changing gear between fast and slow. It is questionable whether Rawsthorne maintains the flow of argument with sufficient momentum in this movement, but there is no doubting whatever the beauty and effectiveness of the hushed epilogue. All three works receive superb performances, and the recording is outstanding, with the sense of space and splendid detail we expect from Lyrita.

此番录音让我们得以深入探究另一位被忽视的英国作曲家的交响曲创作——其音乐以精湛技艺与一流创意著称，约翰·普里查德爵士指挥伦敦爱乐乐团倾情演绎的《第一交响曲》便是明证。不过三部作品中，《第二（田园）交响曲》最为平易近人，其主题素材尤为抓耳，尤其是《稍缓板》中深情的乐思与欢快的乡村舞曲谐谑曲。与沃恩·威廉斯（及马勒）相似，罗斯索恩在终章运用了女高音独唱，歌词取自萨里伯爵亨利·霍华德（1516-47）的凝练诗作，勾勒出春、夏、冬三季的倏忽印象。音乐氛围浓烈，特蕾西·查德维尔精准驾驭棱角分明的声乐线条，传递出诗歌内核的忧郁气质。

尽管《第三交响曲》的主题素材初听较难辨识（或许因其风格过于统一，突破了传统奏鸣曲式的框架），但其结构布局始终清晰可辨。第一乐章以平静的再现部达到高潮，将先前积蓄的张力完美消解；萨拉班德慢板乐章各段落层层推进，最终汇聚成罗斯索恩笔下最炽烈的巅峰之一。谐谑曲中飘忽的沃尔顿式动机盘旋交织，随后终章大胆地在快慢节奏间切换变速。罗斯索恩是否在此乐章保持了足够的叙事动能或可商榷，但静谧尾声的美学效力毋庸置疑。三部作品均获顶级演绎，录音亦属典范——Lyrita品牌标志性的空间感与精妙细节尽显无遗。


String Quartets 1–3; Theme and Variations for Two Violins弦乐四重奏 第1-3号；双小提琴《主题与变奏》
Naxos 8.570136. Maggini Qt

The Maggini continue their survey of British quartets with this comprehensive recording of the three Quartets of Rawsthorne, plus the work which in many ways helped to spawn them, the Theme and Variations for Two Violins of 1937. What links all these works is Rawsthorne’s obsession with variations form, very clearly demonstrated in that early duet. The First Quartet, of 1939, similarly consists of a theme and variations, while the Second Quartet (1954) similarly concludes with a variation movement, and the Third Quartet (1965) has a Chaconne as its darkest and most intense movement. Those last two works increasingly demonstrate the influence of Bartók, without disturbing the distinctive clarity of Rawsthorne’s musical idiom. Ideal performances, vividly recorded.

马吉尼四重奏延续其英国四重奏文献探索计划，此番完整收录罗斯索恩的三部四重奏，外加1937年双小提琴《主题与变奏》——这部作品堪称其四重奏创作的灵感雏形。贯穿这些作品的核心是罗斯索恩对变奏形式的痴迷，早期二重奏已昭示无遗。1939年的《第一四重奏》同样采用主题与变奏结构，1954年的《第二四重奏》终章亦为变奏乐章，而1965年《第三四重奏》则以恰空舞曲作为全曲最阴郁浓烈的乐章。后两部作品日益显露出巴托克的影响，却未削弱罗斯索恩音乐语汇特有的明晰性。演绎堪称理想，录音鲜活生动。


https://115cdn.com/s/swwmmyg3hq9?password=3377&#
Rawsthorne, Alan - String Quartets Nos. 1-3 etc. - Maggini Quartet [Naxos 24-44.1]等2个文件(夹)
交响曲没找到

joseph_li

RESPIGHI, Ottorino (1879–1936)
(i) Ancient Airs and Dances; (ii) 3 Botticelli Pictures; (iii) The Birds (suite); (iv) Feste romane; (v) The Fountains of Rome; (vi) The Pines of Rome (i)《古风舞曲与咏叹调》；(ii)《波提切利三联画》；(iii)《鸟》（组曲）；(iv)《罗马节日》；(v)《罗马之泉》；(vi)《罗马松树》
Double Decca (ADD) 443 759-2 (2). (i) LPO, López-Cobos; (ii) Argo CO, Heltay; (iii) LSO, Kertész; (iv) Montreal SO, Dutoit; (v) SRO, Ansermet; (vi) Cleveland O, Maazel

An inexpensive anthology, useful for including three of Respighi’s most charming, rarer works – The Birds, Ancient Airs and Dances and Three Botticelli Pictures – among his more famous ‘Roman Trilogy’. The Birds is one of the most engaging pieces of Respighi’s music and deserves to be better known. Kertész’s recording dates from the late 1960s and remains impressive, both as a performance and for the vintage Decca sound. The Dove is evocative in its minor-keyed elegance, and the strings play deliciously in The Hen, as they do delicately in The Nightingale. The Cuckoo is very naturally evoked and makes the music sound more substantial than it really is.

Now that Dorati’s classic Mercury recording of the Ancient Airs and Dances is not available, the 1978 version here, conducted by López-Cobos, takes its place. If it is not quite so subtle it is superbly recorded, and the Kingsway Hall acoustic, with its characteristic warmth, gives the orchestra an enticing bloom. The music-making has striking intensity – and the third movement of the Second Suite and the central movements of the Third demonstrate this readily. The LPO strings produce playing of considerable fervour, and there is plenty of sparkle in the lighter sections throughout.

The third rarity in this collection is the Three Botticelli Pictures, a delicate and affecting piece, striking in its orchestral colour and freshness of invention. The music is fastidiously scored for small forces, and the effect is one of refinement and great skill in the handling of pastel colourings. It is both beautifully played (the opening Spring is exhilarating) by the Argo Chamber Orchestra under László Heltay and recorded (1978).

Respighi’s Roman Trilogy is presented here with three different conductors and orchestras: Ansermet, with his ear for detail and orchestral colour, yields up vivid results in the Fountains of Rome (the opening of the Triton Fountain is startling), while the rarer and ultra-flamboyant Feste romane is full-bloodedly presented under Dutoit. Maazel’s Pines of Rome is a strong, direct performance, and memorable in impact. If not in the league of the very best available, the recording is excellent.

这套平价合辑收录了雷斯庇基最负盛名的"罗马三部曲"，更难得囊括三部优美却鲜少上演的冷门佳作——《鸟》《古风舞曲与咏叹调》与《波提切利三联画》。《鸟》堪称作曲家最具感染力的作品，其艺术价值值得更广泛认知。克尔特斯于1960年代末的录音至今仍堪称典范，无论是演绎水准还是DECCA黄金年代的录音技术都令人叹服。《鸽子》以婉转的小调旋律勾勒出诗意画面，《母鸡》中弦乐声部的诙谐演绎与《夜莺》的纤柔音色相映成趣，《布谷鸟》的生动描摹更赋予音乐超乎预期的厚重感。

由于多拉蒂指挥水星唱片的那版经典《古风舞曲与咏叹调》已绝版，洛佩兹-科博斯1978年这个版本便成为首选。虽细腻程度稍逊，但录音效果极为出色——金斯威音乐厅特有的温暖声学环境为乐团音色镀上迷人的光泽。演奏充满戏剧张力，尤其在第二组曲的第三乐章与第三组曲的中段乐章体现得淋漓尽致。伦敦爱乐弦乐声部的演奏激情澎湃，轻快段落更是流光溢彩。

本辑第三部珍品《波提切利三联画》是一部精致动人的小品，其绚丽的配器色彩与新颖的创作构思令人耳目一新。作曲家为小编制乐团精心谱写的音符，展现出对柔美音色炉火纯青的掌控力。赫尔泰指挥阿尔戈室内乐团1978年的演绎美不胜收，开篇《春》的乐章更令人心旷神怡。

"罗马三部曲"在此由三位指挥大师分别执棒不同乐团呈现：安塞美凭借对细节与音色的敏锐把控，在《罗马之泉》中创造出栩栩如生的音响画卷（《特里顿喷泉》开场令人惊艳）；杜托特则以饱满的激情诠释了更为罕见且极尽华丽的《罗马节日》；马泽尔棒下的《罗马松树》演绎刚劲直率，给人留下深刻印象。虽非史上最佳版本，但录音品质堪称一流。


Belkis, Queen of Sheba: Suite. Metamorphosen modi XII 《示巴女王贝尔基斯》组曲；《十二调式变奏曲》
Chan. 8405. Philh. O, Simon

The ballet-suite Belkis, Queen of Sheba is a score that set the pattern for later Hollywood biblical film music. Indeed, from the richly exotic The Dream of Solomon to the final Orgiastic Dance, via the explosive War Dance and the seductive Dance of Belkis at Dawn, this is hardly subtle music, though Respighi’s orchestral palette is as imaginative as always. The Metamorphosen, on the other hand, is a taut and sympathetic set of variations. It has been ingeniously based on a medieval theme, and though a group of cadenza variations relaxes the tension of argument in the middle, the brilliance and variety of the writing have much in common with Elgar’s Enigma. Superb playing from the Philharmonia, treated to one of the finest recordings that even Chandos has produced. Indeed, this mid-1980s CD received one of the many Gramophone Engineering Awards that Chandos won in the 1980s and ’90s and sounds just as spectacular today.

芭蕾组曲《示巴女王贝尔基斯》为后世好莱坞圣经史诗电影音乐确立了范式。从充满异域风情的《所罗门之梦》到终曲《狂欢之舞》，中间穿插着爆裂的《战争之舞》与魅惑的《黎明时分的贝尔基斯之舞》，这部作品虽不以精妙见长，但雷斯庇基标志性的配器手法依然创意十足。

与之形成鲜明对比的是《十二调式变奏曲》，这部结构严谨而情感丰沛的作品以中世纪主题为基础进行巧妙变奏。虽然中段插入的华彩变奏稍缓叙事张力，但其绚烂多变的创作手法与埃尔加《谜语变奏曲》有异曲同工之妙。爱乐乐团精湛的演绎搭配Chandos唱片公司有史以来最出色的录音工程之一——这张1980年代中期问世的唱片曾荣获《留声机》杂志录音技术大奖（该厂牌在八九十年代屡获此殊荣），其震撼的音响效果至今听来仍令人叹服。


https://115cdn.com/s/swwmmdy3hq9?password=3377&#
Respighi, Ottorino - Ancient airs and dances - Antal Dorati, Philharmonia Hungarica [Mercury 24-192]等5个文件(夹)

joseph_li

Burlesca; 5 Études-Tableaux (Rachmaninov, arr. Respighi); Preludio, corale e fuga; Rossinia  《谐谑曲》；五首《音画练习曲》（拉赫玛尼诺夫，雷斯庇基改编）；《前奏曲、众赞歌与赋格》；《罗西尼主题曲集》
Chan. 10388. BBC PO, Noseda

Few composers can rival Ottorino Respighi in his exploitation of orchestral sound, not least in his arrangements of other composers’ music. This splendid disc offers two important examples of his arrangements, not just the score he concocted from Rossinian fragments, but (most impressive of all) the total re-creation of five of Rachmaninov’s Études-Tableaux, turning them into totally new works, at times barely recognizable against the piano originals.

It is true that Rossiniana does not match its dazzling predecessor, La Boutique fantasque, in colour or memorability, but here Respighi chose Rossini pieces that are not quite so memorable, with the longest of the four movements a solemn lament. Of the Rachmaninov arrangements there can be no reservations whatever, leaving one open-mouthed at Respighi’s ingenuity and imagination. The other two works date from much earlier, with the Burlesca ripe with horn-writing and the Prelude, Chorale and Fugue even more remarkable. Written as a student exercise when Respighi was only 21, it already demonstrates his mastery over orchestral colours. Performances of all four works are outstanding, with the Chandos sound bringing out the full richness of Respighi’s writing.

在管弦乐音响的开发运用上，能比肩奥托里诺·雷斯庇基的作曲家寥寥无几，其改编他人作品的手法更是独树一帜。这张精彩的唱片收录了他两部重要改编作品：不仅有用罗西尼音乐片段拼贴而成的组曲，更令人叹为观止的是将拉赫玛尼诺夫五首《音画练习曲》彻底重构——这些改编曲几乎脱胎换骨，某些段落甚至难以辨认出钢琴原作的痕迹。

虽然《罗西尼主题曲集》在色彩与记忆点上稍逊于前作《神奇的玩具店》，但雷斯庇基此次刻意选取了罗西尼相对冷门的作品，其中四个乐章中最长的段落是一曲庄严的哀歌。而拉赫玛尼诺夫改编曲则堪称完美，雷斯庇基的巧思与想象力令人拍案叫绝。另外两部早期作品同样精彩：《谐谑曲》中圆号声部的处理堪称典范，而《前奏曲、众赞歌与赋格》更显非凡——这是雷斯庇基二十一岁时的习作，却已展现出对管弦乐色彩的惊人掌控力。四部作品的演绎皆属顶尖水平，Chandos录音完美呈现了雷斯庇基笔下丰沛的音响世界。


The Fountains of Rome; The Pines of Rome 《罗马之泉》；《罗马松树》
RCA (ADD) 09026 61401-2. Chicago SO, Reiner – MUSSORGSKY: Pictures at an Exhibition

Reiner’s legendary recordings of The Pines and Fountains of Rome were made in Symphony Hall, Chicago, on 24 October 1959, and these extraordinarily atmospheric performances have never been surpassed since for their spectacle or their sultry Italian warmth. The turning on of the Triton fountain brings an unforced cascade of orchestral brilliance. Reiner’s classic recording has now been given RCA’s SACD face-lift and sounds more vividly brilliant than ever. The coupling of the Mussorgsky Pictures is hardly less compelling.

莱纳于1959年10月24日在芝加哥交响厅录制的《罗马松树》与《罗马之泉》已成为传奇，这些极具氛围感的演绎至今无人超越，无论是壮丽的音画效果还是浓郁的意大利风情都无与伦比。"特里顿喷泉的开启"段落中，管弦乐如自然流淌的瀑布般璀璨夺目。经RCA公司SACD技术重制后，这张经典录音焕发出前所未有的鲜活光彩。搭配的穆索尔斯基《图画展览会》同样令人叹服。


https://115cdn.com/s/swwmmd93hq9?password=3377&#
Respighi, Ottorino - Fountains of Rome, Pines of Rome & Debussy La Mer - Fritz Reiner, Chicago SO [RCA SACD]等5个文件(夹)

joseph_li

Rossiniana (arr. Respighi) 《罗西尼风格曲》（雷斯庇基改编）
Australian Decca Eloquence (ADD) 476 2724. SRO, Ansermet – OFFENBACH: Gaîté Parisienne. GOUNOD: Faust: ballet music

It is perhaps curious that this work is usually catalogued under Respighi, whereas La Boutique fantasque, which Respighi also based on Rossini’s music, is more often found under Rossini. Rossiniana is not as inspired as that score, but there is still much to enjoy. Ansermet’s performances are the very opposite of the Solti items on this CD, and it is the delicate colour and balance of these scores (rather than immaculate orchestral playing) that Ansermet fans will most admire. The final Tarantella is especially enjoyable here. Vintage Decca sound.

耐人寻味的是，这部作品通常被归在雷斯庇基名下，而同样取材自罗西尼音乐的《神奇玩具店》却多被列入罗西尼作品目录。虽然《罗西尼风格曲》的灵感不及前者充沛，但依然充满艺术魅力。安塞美的诠释与同CD中索尔蒂的演绎风格截然不同——其拥趸最推崇的正是这些作品细腻的音色处理与精妙的声部平衡（而非无懈可击的演奏技巧）。终曲《塔兰泰拉舞曲》的演绎尤为精彩。DECCA黄金年代的录音品质令人称道。


String Quartet in D min.; Quartetto dorico. (i) Il tramonto (The Sunset)  D小调弦乐四重奏；《多利亚调式四重奏》；（一）《日落》（为女高音与弦乐四重奏）
BIS CD1454. New Hellenic Qt, (i) with Stella Doufexis

The New Hellenic is reputedly the finest quartet in Greece, and their accounts of these two Respighi rarities are certainly accomplished. The D minor Quartet comes from 1909, at the end of the composer’s studies with Rimsky-Korsakov in Russia and Bruch in Germany. Respighi was an accomplished violinist and violist, playing in the Imperial Opera as the latter and in the Mugellini Quartet as the former. His knowledge of string technique is evident in the early Quartet and in the later Dorian Quartet of 1924, written when he was being drawn towards ecclesiastical modes. Il tramonto (The Sunset), a setting of Shelley, is more familiar in its orchestral form, but Stella Doufexis blends in with the more intimate texture to good effect. The recording is up to the high standards of the house.

新希腊四重奏团被誉为希腊最杰出的室内乐组合，他们对这两部雷斯庇基冷门作品的诠释确实造诣非凡。创作于1909年的D小调四重奏诞生于作曲家结束在俄罗斯师从里姆斯基-科萨科夫、在德国受教于布鲁赫的学习生涯之际。作为技艺精湛的小提琴与中提琴演奏家，雷斯庇基曾在帝国歌剧院担任中提琴手，并参与穆杰里尼四重奏团演出。他对弦乐技法的深刻理解在早期四重奏与1924年创作的《多利亚调式四重奏》中显露无遗——后者创作时他正潜心研究教会调式。为雪莱诗歌谱曲的《日落》其管弦乐版本更为人熟知，但斯黛拉·杜菲克西斯的女声与更为亲密的四重奏织体相得益彰。录音品质延续了该厂牌一贯的高水准。


https://115cdn.com/s/swwmmd23hq9?password=3377&#
Respighi, Ottorino - String Quartet, Quartetto dorico, Il Tramonto - Stella Doufexis, New Hellenic Quartet [BIS 24-44.1]
第一张 langong2004 兄在第439楼发过。

joseph_li

RICCI, Ruggiero (violin)  鲁杰罗·里奇
SIBELIUS: Violin Concerto in D min. (with LSO, Fjeldstad). TCHAIKOVSKY: Violin Concerto (with LSO, Sargent); Scherzo; Sérénade mélancolique (with LSO, Fjeldstad). SARASATE: Carmen Fantasy; Zigeunerweisen. SAINT-SAËNS: Havanaise; Introduction and Rondo Capriccioso, Op. 28 (with LSO, Gamba). KHACHATURIAN: Violin Concerto (with LPO, Fistoulari)
Australian Decca Eloquence (ADD) 480 2083 (2)

Ricci was a prolific recording virtuoso who made many dashing recordings for Decca from the 1950s to the 1970s. Not all listeners responded to his close vibrato, but he had a considerable international reputation. These two CDs contain some of his most successful discs, and his admirers will be glad to have them available again, though they must be approached with some caution. Though there have been finer accounts of the Sibelius Violin Concerto, Ricci’s, dating from the late 1950s, still remains a formidable one. He has the clean, clear-cut and effortless technique that is a prime necessity for this concerto. The reading is straightforward, with no lack of intensity (the finale has real electricity). A considerable contribution to the success of the performance is made by Fjeldstad with the LSO (the same conductor who made Curzon’s classic recording of the Grieg Piano Concerto around the same time). Although Ricci is well forward, he is sufficiently detached from the orchestra to give an impression of depth. The same conductor accompanies the two delightful Tchaikovsky movements that might almost be part of an early Tchaikovsky violin concerto. The Sérénade was written in 1875, three years before the well-known concerto. It is slighter than the slow movement of the actual concerto but has a similar wistful sweetness, entirely characteristic of the composer, and is most appealing melodically. The Scherzo, arranged from a group of pieces written for violin and piano, is short, genial, pithy and very attractive. Ricci plays both pieces admirably and the accompaniment and recording are again excellent. As for the performance of the main Tchaikovsky Concerto, Ricci is especially impressive in the finale, where the soloist’s brilliance comes into its own – inspiring an electricity in Sargent’s conducting which was often lacking in his studio recordings. If the slow movement isn’t quite as impressive as either his earlier, mono recording or his later, Phase 4 version with Fournet (it lacks a warm lyricism, not helped by his close vibrato), it remains a vital reading, and the Decca sound is excellent. The second disc comprises colourful violin show-pieces of Sarasate and Saint-Saëns which show off Ricci’s extrovert style very well. His brilliance is dazzling, making the most of the bright colours and seductive melodies. The Saint-Saëns items are justly admired, but part of the success of these performances is also thanks to the lively, precise accompaniments of Piero Gamba and the LSO – all brightly captured in stereo by Decca in the late 1950s. The Khachaturian Violin Concerto (one of the composer’s very best works) completes this disc. Fistoulari matches Ricci’s brilliance in terms of extrovert, bright playing and, with vivid Decca stereo sound (1956), one can see why this recording was originally so popular. For Ricci’s admirers this two-CD set makes a suitable companion to Decca’s five-CD ‘Originals Masters’ box (475 108-2), which includes some of Ricci’s most impressive chamber-music recordings, including the delightful Weber Violin Sonatas, as well as his classic Paganini Caprices (for which he was well suited) and his mono recording of Paginini’s First and Second Violin Concertos (with excellent accompaniments from Anthony Collins) and a characterful performance of Lalo’s Symphonie espagnole (with Ansermet). A second volume of concertos has also been released on Australian Decca Eloquence (480 2080), which includes a rare mono performance of the Beethoven Violin Concerto (with the LPO and Boult), a brilliant Mendelssohn (with the Netherlands RPO and Fournet), the Bruch No. 1 (with the LSO and Gamba – a full-blooded reading) and the much rarer Concerto of Dvořák (with the LSO and Sargent).

作为一位高产录音大师，里奇在1950至1970年代为DECCA灌录了大量炫技作品。尽管他标志性的密集揉弦风格并非人人欣赏，但其国际声誉毋庸置疑。这两张CD集结了他最成功的录音，乐迷们定会为它们的再版欣喜，不过聆听时仍需稍加留意。

在西贝柳斯小提琴协奏曲的众多版本中，里奇1950年代末的演绎虽非最佳，却仍堪称典范。他以干净利落、举重若轻的技巧完美驾驭这部高难度作品，直率而不失张力的诠释（特别是火花四射的终章）令人难忘。菲耶尔斯塔特指挥伦敦交响乐团的协奏功不可没（这位指挥家同期还为柯曾录制了经典的格里格钢琴协奏曲）。尽管小提琴声部较为突出，但与乐队的层次分离恰到好处，营造出丰富的空间感。

同张CD中，里奇与菲耶尔斯塔特还合作了两首柴可夫斯基小品，这些作品几乎可视为作曲家早期小提琴协奏曲的雏形。创作于1875年的《小夜曲》（比著名协奏曲早三年问世）虽不及正式协奏曲慢乐章的深度，却同样散发着作曲家特有的忧郁甜美，旋律极具感染力。改编自钢琴小品集的《谐谑曲》短小精悍、明朗动人。里奇对两首作品的演绎堪称典范，伴奏与录音同样出色。

在主打的柴可夫斯基协奏曲中，里奇在终章展现出惊人技巧，其辉煌音色成功激发了萨金特（其录音室作品常欠缺的）澎湃激情。尽管慢乐章不及他早年的单声道版本或后期与富尔奈合作的Phase4立体声版本那般温暖抒情（密集揉弦也稍减表现力），但这个充满生命力的演绎配合DECCA优质录音仍属上乘。

第二张CD集中展现里奇外向型演奏风格的萨拉萨蒂与圣-桑炫技小品。他炫目的技巧将明快色彩与诱人旋律发挥到极致。圣-桑作品的卓越演绎部分归功于甘巴与LSO精准活泼的协奏——1950年代末DECCA的立体声录音将这些明亮音色完美定格。哈恰图良小提琴协奏曲（作曲家最杰出作品之一）为这张唱片画上圆满句号。菲斯图拉里与里奇同样光彩夺目的演绎，配合1956年DECCA生动的立体声录音，令人理解这个版本当年风靡的原因。

对里奇拥趸而言，这套双CD可与DECCA五CD《原版大师》系列（475 108-2）互为补充——后者收录了里奇最杰出的室内乐录音，包括迷人的韦伯小提琴奏鸣曲、为他量身定制的帕格尼尼《随想曲》经典版本、与安东尼·柯林斯合作的帕格尼尼第一、二小提琴协奏曲单声道录音（伴奏极佳），以及与安塞美合作的拉罗《西班牙交响曲》个性演绎。澳大利亚DECCA雄辩系列还发行了第二卷协奏曲集（480 2080），包含里奇与博尔特及LPO合作的贝多芬小提琴协奏曲稀有单声道版本、与富尔奈及荷兰广播爱乐合作的精彩门德尔松、与甘巴及LSO合作的热血布鲁克第一协奏曲，以及与萨金特及LSO合作的德沃夏克协奏曲珍稀录音。


https://115cdn.com/s/swwmmmr3hq9?password=3377&#
Ricci, Ruggiero - Decca Recordings (1950-1960)  [DECCA]等2个文件(夹)
雄辩系列 480 2080 在Qobuz上没找到，其它途径基本没戏。

joseph_li

RIES, Ferdinand (1784–1838)
Piano Concerto, Op. 132; Grand Variations on ‘Rule Britannia’, Op. 116; Introduction et Variations Brillantes, Op. 170 《钢琴协奏曲》（作品132）；《“统治吧，不列颠”华丽变奏曲》（作品116）；《引子与华丽变奏曲》（作品170）
Naxos 8.570440. Hinterhuber, RLPO, Grodd

Perhaps these are not the greatest recordings of the greatest music, but it is entertaining rarities like these that make record collecting so much fun. These three works are associated with Ferdinand Ries’s successful period of living in England, from 1813 until the early 1820s. Beethoven’s influence in this 35-minute Piano Concerto is obvious and it is a thoroughly entertaining work, subtitled ‘Farewell to England’. Written in 1823, it is very much in the same vein as Hummel’s concertos of the period: very tuneful, with melodic classicism tempered with more dramatic overtones. The finale is a toe-tapping delight. It would be wonderful to hear such music in the concert hall, but I suspect that all we ever shall get is this recording – which luckily is first rate. The Grand Variations on ‘Rule Britannia’ is an absolute hoot, with its bold introduction leading up to its famous theme, which is treated to some brilliant variations. The Introduction et Variations Brillantes is a similarly brilliant treatment of ‘Soldier, soldier, will you marry me?’ Sparkling performances to match the music, and the recording is first rate.

或许这些录音演绎的并非最伟大的音乐，但正是此类稀世珍品让唱片收藏充满乐趣。这三部作品均创作于里斯旅居英国的成功时期（1813至1820年代初）。这部35分钟的《钢琴协奏曲》（副标题"告别英格兰"）明显受到贝多芬影响，是部极具娱乐性的作品。1823年问世的协奏曲与同时期胡梅尔的作品一脉相承——旋律优美，古典主义的优雅中糅合戏剧性张力，终章更令人不禁随之律动。若能在音乐厅聆听此类作品该有多好，但恐怕我们只能通过这张录音来领略——所幸这是顶级水准的演绎。  

《"统治吧，不列颠"华丽变奏曲》堪称妙趣横生：豪迈的引子引出经典主题，随后展开一系列炫技变奏。《引子与华丽变奏曲》同样以"士兵，士兵，你可愿娶我？"为主题进行华丽改编。演奏者以璀璨技巧完美呼应音乐精髓，录音品质亦属一流。  


https://115cdn.com/s/swwmm5l3hq9?password=3377&#
Ries, Ferdinand - Complete Piano Concertos - Christopher Hinterhuber, Uwe Grodd [Naxos]等2个文件(夹)

wpx426

joseph_li 发表于 2025-8-1 23:46
RAVEL, Maurice (1875–1937)
Alborada del gracioso; Une barque sur l’océan; Boléro; (i) Daphnis e ...

补Karajan：
通过百度网盘分享的文件：01-2 Bolero, La Valse etc - Karajan...
链接：https://***.com/s/1GVP5I0IytuB4EEmbvDPWEA?pwd=swvk

至于Reiner的，把The Reiner Sound和那张Debussy的Iberia中的Ravel并起来就够了

langong2004

4802152 Shostakovich-Piano Quintet-Prokofiev-Quintet In G Minor-Seiber-Three Fragments 698楼 别审了

1MbcgbkJeEuFVXKxzBLHqiQ?pwd=r4ua  

langong2004

居然不审