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

joseph_li

William Tell: ballet music 《威廉·退尔》芭蕾音乐
Australian Decca Eloquence (ADD) 480 2388 (2). Paris Conservatoire O, Fistoulari (with SAINT-SAËNS: Bacchanale. VERDI: Aida: ballet music) - (see also under FISTOULARI)

With such stylish pointing of strings, Rossini’s ballet music to William Tell sounds freshly minted, with the distinctive sound of the Paris orchestra adding to the drama of proceedings. Outstanding couplings, too.

巴黎管弦乐团以独具风格的弦乐处理，赋予罗西尼这部芭蕾音乐崭新的生命力。乐团标志性的音色更为戏剧场景增添张力，搭配的其他曲目同样精彩非凡。  


Stabat Mater 《圣母悼歌》
Chan. 8780. Field, D. Jones, A. Davies, Earle, L. Symphony Ch., City of L. Sinfonia, Hickox

Richard Hickox rightly presents Rossini’s Stabat Mater warmly and with gutsy strength. Rossini’s Stabat Mater is full of rollicking good tunes and operatic theatricality – and includes an exhilarating final chorus, among many memorable moments. All four soloists here are first rate, not Italianate of tone but full and warm, and the London Symphony Chorus sings with fine attack as well as producing the most refined pianissimos in the unaccompanied quartet, here as usual given to the full chorus rather than to the soloists. Full blooded and atmospheric sound.

理查德·希考克斯以饱满的热情与强劲的张力，精准呈现了罗西尼这部《圣母悼歌》。作品中充满跌宕起伏的动人旋律与歌剧式的戏剧性——尤其令人难忘的是那振奋人心的终曲合唱。四位独唱家虽非意大利美声流派，却以醇厚温暖的音色展现一流水准；伦敦交响乐团合唱团既能在无伴奏四重唱（此处按惯例由全体合唱团而非独唱家演绎）中呈现极致细腻的弱音，亦能爆发出凌厉的声浪。录音饱满鲜活，氛围感十足。


https://115cdn.com/s/swwmeqg3hq9?password=3377&#
Ballet Music From The Opera - Paris Conservatoire Orchestra - Anatole Fistoulari [RCA SACD]等3个文件(夹)
第一张碟号应该是错的，Eloquence 480 2388 这张碟上没有罗西尼的作品。根据作品及指挥乐团信息，找到的是RCA版。

joseph_li

Il barbiere di Siviglia (complete, DVD version) 《塞维利亚的理发师》
Warner NVC Arts DVD 4509 99223-2. Ewing, Rawnsley, Cosotti, Desderi, Furlanetto, Glyndebourne Ch., LPO, Cambreling (Producer: John Cox; V/D: Dave Heather)
Il barbiere di Siviglia (complete, CD version)
EMI mono 4 56444-2 (2). Callas, Alva, Gobbi, Ollendorf, Philh. Ch. & O, Galliera

The NVC DVD offers the finest recording of Il barbiere since the famous Callas/Gobbi set on CD; moreover it has the inestimable advantage of video, which greatly enhances the humour. Maria Ewing is an absolutely delightful Rosa, her prettiness matching her coquettish charm and superb vocal bravura. John Rawnsley’s ebulliently self-assured Figaro dominates the proceedings as he should, and Max René Cosotti’s golden-toned Almaviva completes the vocal cast with distinction although, as Basilio, Ferruccio Furlanetto’s La calunnia is also a joy. Claudio Desderi is an old hand at opera buffa and his Bartolo is as vocally fluent as his demeanour is amusingly angry. All told, a marvellous cast, superb singing, and sparklingly stylish orchestral playing from the LPO under Cambreling make this 1981 Glyndebourne recording a set to treasure.

Gobbi and Callas were at their most inspired in 1957 when the famous EMI mono recording was made in Kingsway Hall, whose acoustics ensured a recording with an attractive ambience. It has been nicely refurbished and, while the set is not absolutely complete in its text, the performance comes up so crisp and sparkling that it can be confidently recommended even above Cecilia Bartoli’s Decca version which, also full of fun, is on three CDs (425 520-2) against EMI’s pair. Callas remains supreme as a minx-like Rosina, summing up the character superbly in Una voce poco fa. The sound comes up very acceptably in this fine new transfer, clarified, fuller and more atmospheric, presenting a uniquely characterful performance with new freshness and immediacy.

NVC出品的这版DVD堪称自卡拉斯/戈比经典CD录音以来最出色的《塞维利亚的理发师》版本，其影像呈现更将喜剧效果升华至全新高度。玛丽亚·尤因饰演的罗西娜堪称绝妙——娇俏的容貌与妩媚风姿、精湛的花腔相得益彰。约翰·朗斯利以浑然天成的自信气场完美驾驭费加罗一角，马克斯·雷内·科索蒂金嗓演绎的阿玛维瓦伯爵同样出色，而费鲁乔·富拉内托饰演的巴西利奥在《诽谤之歌》中的表现亦令人叫绝。克劳迪奥·德赛德里作为歌剧喜剧老手，将巴尔托洛医生的滑稽怒态与流畅唱腔结合得天衣无缝。1981年格林德伯恩音乐节这一版由康布雷林执棒伦敦爱乐乐团，璀璨的演唱阵容与火花四射的演奏使之成为传世珍品。  

1957年EMI单声道录音中，戈比与卡拉斯在金斯威大厅的演出堪称神作。该场地卓越的声学效果赋予录音独特的氛围感，经修复后音质更显清晰饱满。虽然文本略有删节，但演绎之鲜活灵动仍使其力压巴托莉的三碟版Decca录音（425 520-2）。卡拉斯塑造的罗西娜精灵般狡黠，《我心中有个声音》一曲便将角色精髓尽显。新版转录技术令声音更富层次与临场感，使这一极具个性的经典演绎焕发新生。  


La Cenerentola (CD version) 《灰姑娘》
Decca 478 3456 (2). Bartoli, Matteuzzi, Corbelli, Dara, Costa, Banditelli, Pertusi, Teatro Comunale di Bologna Ch. & O, Chailly

On the Decca CDs Cecilia Bartoli makes an inspired Cenerentola. Her tone-colours are not just more sensuous than those of her rivals; her imagination and feeling for detail add enormously to her vivid characterization, culminating in a stunning account of the final rondo, Non più mesta. William Matteuzzi is an engaging prince, sweeter of tone and more stylish than his direct rivals, while the contrasting of the bass and baritone roles is ideal between Alessandro Corbelli as Dandini, Michele Pertusi as the tutor, Alidoro, and Enzo Dara as Don Magnifico. Few Rossini opera-sets have such fizz as this, and the recording is one of Decca’s most vivid.

Bartoli also appears in this, practically her signature role, in a fizzing Houston Opera production on DVD (Decca 071 444-9: Dara, Giménez, Corbelli, Pertusi, Houston Grand Opera Choir and Symphony Orchestra, Campanella). Bruno Campanella conducts very spiritedly and visually the production could not be more winning; and the camera placing is a great credit to Brian Large.

塞西莉亚·巴托莉在Decca版中展现了"灰姑娘"角色的终极诠释。她不仅以比同行更丰润的音色见长，其对细节的想象力与感知力更赋予角色惊人的生命力——终场咏叹调《不再独自悲伤》的演绎堪称震撼。威廉·马特乌齐饰演的王子音色甜润、风格典雅；亚历山德罗·科贝利（丹迪尼）、米歇尔·佩尔图西（导师阿利多罗）与恩佐·达拉（马尼菲科伯爵）的男声三重唱形成绝妙对比。这套录音堪称罗西尼歌剧录音中鲜活的典范，Decca的录音工程亦达到巅峰水准。  

巴托莉在休斯顿歌剧院制作的DVD版（Decca 071 444-9）中再次诠释这一标志性角色。布鲁诺·康帕内拉充满激情的指挥与布莱恩·拉奇精心设计的镜头语言，使这套制作在视觉与听觉上均达到极致——达拉、希门尼斯、科贝利与佩尔图西的黄金阵容，配合休斯顿大歌剧院合唱团与交响乐团的精彩演出，成就了真正令人沉醉的舞台魔法。


DVD：
https://115cdn.com/s/swwmeqx3hq9?password=3377&#
Rossini - Il barbiere di Siviglia - Sylvain Cambreling, LPO; Ewing, Rawnsley, Cosotti [DVD9]等2个文件(夹)

CD：
https://115cdn.com/s/swwmebh3hq9?password=3377&#
Rossini - Il barbiere di Siviglia - Alceo Galliera, PO; Callas, Gobbi, Alva [EMI]等6个文件(夹)

joseph_li

Le Comte Ory (CD version) 《奥里伯爵》
DG 477 5020 (2). Flórez, Miles, Bonfadelli, Todorovitch, De Liso, Pratico, Prague Ch., Bologna Theatre O, López-Cobos

This is one of the most delectable of all Rossini’s comic operas, an essay in French that set a new pattern for the composer. Jesús López-Cobos, the most skilled of Rossini conductors, even matches in rhythmic lift and comic timing the magic example of Vittorio Gui on the classic Glyndebourne recordings of the 1950s. The big ensemble that ends Act I is even faster than Gui, yet it is just as effervescent. The presence of an audience plainly helps, and the performance gains enormously too from the brilliant characterization of the central character of the predatory Count himself, played by Juan Diego Flórez, tackling the most formidable florid passages with ease and imagination. As the object of his desires, the Countess Adele, whose husband is away at the Crusades, Stefania Bonfadelli sings with equal fluency, a coloratura soprano with a mezzoish tinge in the lower register who can reach a top E flat with ease. Alastair Miles as the Count’s tutor sings strongly, making him rather a severe character, with Marina de Liso light and sparkling as the page, Isolier. The closely focused recording is full and firm, if not always kind to the orchestra, with the voices very well caught, and vociferous applause at the end of each Act adding to the sense of presence.

Warner have also issued an excellent DVD of this wonderful opera (0630 18646-2), with bright, colourful sets and a superb cast (Marc Laho as Ory, Annick Massis as the Countess and Diana Montague as Isolier), conducted with sparkle by Andrew Davis.

这部法语歌剧堪称罗西尼最迷人的喜歌剧杰作，开创了作曲家创作的新范式。指挥家赫苏斯·洛佩斯-科沃斯以媲美五十年代格林德伯恩传奇版的节奏张力与喜剧节奏，完美复现了原版魔力——第一幕终场大合唱的速度甚至更快，却同样欢腾热烈。现场观众的存在为演出注入活力，而胡安·迭戈·弗洛雷兹对风流伯爵的演绎尤为耀眼：他举重若轻地驾驭了最艰深的花腔段落。饰演独守空闺的阿黛尔伯爵夫人，斯特凡尼娅·邦法代利以同样精湛的唱功展现魅力，其嗓音兼具女高音的华彩与次女高音的醇厚。阿拉斯泰尔·迈尔斯将伯爵导师塑造得威严有力，玛丽娜·德·利索则灵巧诠释了侍童角色。录音虽稍偏重人声，但饱满的音质与落幕时的热烈掌声，共同营造出强烈的临场感。

该剧另有一版出色的影像制作，由安德鲁·戴维斯执棒，演员阵容堪称黄金组合，配合明艳的舞台设计，成就视听盛宴。


La gazza ladra (complete, DVD version) 《贼鹊》
Arthaus DVD 102 203. Feller, Condo, Kuebler, Cotrubas, Cologne Op. Ch., Gürzenich O, Cologne, Bartoletti (TV Director: José Montes-Baquer)

Recorded live at the Cologne opera in 1987, this sparkling performance is a winner. One forgets the improbabilities of the plot, so agreeably enjoyable is the performance, with Cotrubas a charming Ninetta; and her suitor, Giannetto, sung by David Kuebler, is ardent but tender when he needs to be. All the roles are done with character and obvious enjoyment, including the ensembles and choruses. The orchestra is lively and alert, with Rossini’s tuneful invention a constant source of delight. The production is the crowning glory of this performance, with beautiful sets and costumes, all brightly and sympathetically lit.

Chandos have recorded an equally winning version of this opera, sung in English, with a superb cast including Majella Cullagh as the heroine, Ninetta, and Christopher Purves as the Major, her employer, and David Parry draws sparkling playing from the orchestra, chorus and soloists alike (CHAN 3097 (2)).

一九八七年科隆歌剧院现场录制的这版演绎堪称典范。女主角妮内塔的甜美嗓音令人忘却剧情漏洞，其情人角色在炽烈与柔情间切换自如。所有演员均展现出鲜明的个性魅力，合唱与重唱同样精彩。乐团精准捕捉了旋律中的灵动机趣，华美的布景与考究的灯光更将制作水准推向巅峰。

另有英语演唱版本同样出色，由玛杰拉·卡拉与克里斯托弗·珀维斯领衔主演，在指挥家戴维·帕里的带领下，独唱、合唱与乐团演奏皆迸发耀眼光彩。


DVD：
https://115cdn.com/s/swwmeo63hq9?password=3377&#
Rossini - La Gazza Ladra - Bruno Bartoletti, Gürzenich-Orchester Kölner PO; Feller, Condo, Kuebler, Cotrubas [DVD9]

CD：
https://115cdn.com/s/swwmeb03hq9?password=3377&#
Rossini - Le comte Ory - Jesús López-Cobos, Teatro Comunale Di Bologna; Flórez, Bonfadelli, Todorovitch, Miles [DG]等2个文件(夹)

joseph_li

William Tell (complete, CD version in French) 《威廉·退尔》（法语版）
EMI 028 826 2 (3), Finley, Lemieux, Byström, Osborn, St Cecilia Ac., Pappano

Opening with an arresting account of the Overture, then offering consistently thrilling singing from the chorus, and a vividly energetic orchestral response, Pappano’s new live recording of William Tell (in the original French version) tends to sweep the board. The performance is cast from strength: Gerald Finley is an excellent Tell, Malin Byström is an impressive Matilde and the high-lying tenor role of Arnold is accomplished with flair by John Osborn. But it is the ensembles that one remembers most, especially the splendour of the powerful closing affirmation of Swiss liberty.

帕帕诺这版现场录音以震撼人心的序曲拉开序幕，合唱团始终充满激情，乐团演奏活力四射，堪称法语原版演绎的巅峰之作。杰拉尔德·芬利完美诠释了退尔一角，玛琳·碧斯特伦塑造的玛蒂尔德令人印象深刻，约翰·奥斯本则以精湛技艺驾驭了高难度的阿诺德这一男高音角色。但最令人难忘的是那些气势恢宏的合唱段落，尤其是结尾处瑞士人民为自由呐喊的壮丽场景。


L’italiana in Algeri (complete, DVD version) 《意大利女郎在阿尔及尔》
DG DVD 073 4261. Horne, Montarsolo, Ahlstedt, Merritt, Kesling, Milas, Met. Op. Ch. & O, Levine (V/D: Brian Large)

Marilyn Horne is the great star focus of the 1986 production from the Met. She had a great affinity with the role of Isabella. ‘I don’t know where she leaves off and I begin: the character comes to easily to me,’ she comments. She is predictably brilliant in the coloratura passages, with her commanding presence not getting in the way of a sense of fun. Her lover, Lindoro, is sung more than capably by Douglas Ahlstedt, though his tone is not consistently beautiful (some high-lying passages are a bit strained). Mustafà, sung by the veteran Paolo Montarsolo, has a bit of wobble in his voice, but he has the relish of an old pro who knows his role inside out. His wife Elvira is charmingly sung by Myra Merritt. All the various comic roles are well done, especially with such seasoned singers as Spiro Milas in the role of Haly, the captain of the Algerian pirates. The production by Jean-Pierre Ponnelle is brightly attractive, and the direction is at the service of the performance. Levine conducts with characteristic energy, though his style is more suited to Verdi than to the charm of Rossini. The bonuses include an interview with Marilyn Horne talking about Rossini, plus a couple of extra arias from Samson et Dalila and The Ghosts of Versailles.

There have been many fine recordings of this score on CD, but Berganza’s Decca version from the 1960s is still very recommendable (475 8275). The fine cast (Alva, Corena, Panerai, Maggio Musicale Fiorentino Ch. & O) under Varviso offers Rossinian sparkle in abundance and the music blossoms readily. Teresa Berganza makes an enchanting Italian Girl, and the three principal men are all characterful. The recording is vintage Decca, vividly remastered, and adds greatly to the sparkle of the whole proceedings. The reissue includes a libretto with translation, and this is a fine bargain.

1986年大都会歌剧院这版制作的最大亮点无疑是玛丽莲·霍恩。她对伊莎贝拉这一角色的理解已臻化境，其花腔演唱既精准又充满戏剧张力。道格拉斯·阿尔斯特德饰演的恋人林多罗表现称职，虽高音区偶有紧绷。老牌演员保罗·蒙塔尔索诠释的穆斯塔法嗓音虽略显沧桑，却将角色刻画得入木三分。迈拉·梅里特饰演的埃尔维拉甜美动人。让-皮埃尔·波内尔设计的舞台明快绚丽，詹姆斯·莱文的指挥充满能量。特别收录包含霍恩谈罗西尼的访谈，以及两首选自其他歌剧的咏叹调。

CD版本中，贝尔甘萨上世纪60年代在Decca的录音仍值得推荐（475 8275）。瓦尔维索指挥佛罗伦萨五月音乐节乐团与合唱团，配合阿尔瓦、科雷纳等黄金阵容，将罗西尼音乐中的灵动展现得淋漓尽致。特蕾莎·贝尔甘萨塑造的"意大利女郎"魅力十足，三位男主角各具特色。经重新制作的录音更显鲜活，附赠译本的全本唱词使其成为超值之选。


DVD：
https://115cdn.com/s/swwme7p3hq9?password=3377&#
Rossini - L'Italiana in Algeri - James Levine, Metropolitan Opera House; Horne, Montarsolo, Ahlstedt [DVD9]

CD：
https://115cdn.com/s/swwmei33hq9?password=3377&#
Rossini - L'Italiana in Algeri - Silvio Varviso, Maggio Musicale Fiorentino; Berganza, Alva, Corena [Decca]等3个文件(夹)

joseph_li

Semiramide (complete, CD version) 《塞米拉米德》
Decca (ADD) 475 7918-2 (3). Sutherland, Horne, Rouleau, Malas, Serge, Amb. Op. Ch., LSO, Bonynge

This is simply one of the great opera recordings in the catalogue. The partnership of Joan Sutherland and Marilyn Horne – both at their supreme peak – delivers one ravishing number after another. Rossini concentrates on the love of Queen Semiramide for Prince Arsace (a mezzo-soprano) and musically the result is a series of fine duets. In Sutherland’s interpretation, Semiramide is not so much a Lady Macbeth as a passionate, sympathetic woman and, with dramatic music predominating over languorous cantilena, one has her best, bright manner. Marilyn Horne is well contrasted, direct and masculine in style, and Spiro Malas makes a firm, clear contribution in a minor role. Rouleau and Serge are variable but more than adequate, and Bonynge keeps the whole opera together with his alert, rhythmic control of tension and pacing. Vintage Decca sound is the icing on the cake.

这部录音堪称歌剧史上的巅峰之作。琼·萨瑟兰与玛丽莲·霍恩两位顶尖歌唱家正值艺术黄金期，她们的联袂演出将剧中每个唱段都演绎得摄人心魄。罗西尼着重刻画了塞米拉米德女王对阿尔萨切王子的爱恋之情，通过一系列精妙绝伦的二重唱展现得淋漓尽致。萨瑟兰塑造的并非狠毒女王形象，而是一位热情动人、令人心生怜惜的女性。她以明亮激昂的演唱风格，完美驾驭了剧中以戏剧性为主的音乐段落。霍恩则以刚健有力的演唱形成鲜明对比，完美诠释了王子这一角色。斯皮罗·马拉斯虽戏份不多，但表现稳健扎实。鲁洛和塞尔日的演唱虽有起伏，但整体水准在线。波宁吉的指挥充满韵律感，精准把控着全剧的戏剧张力与节奏推进。DECCA黄金年代的录音品质更为这部杰作锦上添花。


Tancredi (complete, DVD version) 《坦克雷迪》
TDK DVD DVWW OPTANC. Barcellona, Takova, Giménez, Maggio Musicale Fiorentino, Frizza (V/D: Andrea Bevilacqua)

Tancredi (1813) was Rossini’s first mature opera and it secured his popularity at home and abroad as the leading composer of Italian opera. Recordings have already revealed it to be a score of some power, but now we have a superb performance on DVD. The cast is terrific, with Raúl Giménez coping with Rossini’s florid and high-flying writing, and Marco Spotti’s bass firm and positive. The women are equally impressive: Darina Takova is agile and she gets round her fiendishly difficult writing with aplomb. She is sweetly affecting in her yearning numbers and looks marvellous on the stage. Daniela Barcellona, in the trouser role of Tancredi, is very fine indeed, providing appropriate contrast to Takova. Riccardo Frizza’s conducting maintains the forward impulse of the rather complicated story with both musical spontaneity and theatrical drama. One’s admiration for this Rossini opera is also enhanced: apart from the impressive arias and duets, the exciting rum-ti-tum choruses and grand finales are irresistible – no wonder he became so popular! The (alas) sad ending is touchingly and exquisitely done. The production, by Pier Luigi Pizzi, is unfussy and effective, with the greys and blacks of the stylish set sympathetically lit to provide an excellent backdrop to the drama. Simple costumes but, again, very effective. The production works for the opera, the music and the singers. Decent sound. Thoroughly recommended.

这部创作于1813年的歌剧标志着罗西尼艺术风格的成熟，也奠定了他作为意大利歌剧领军人物的地位。如今这部DVD呈现的精彩演绎，让我们得以重新认识这部作品的力量。劳尔·希门尼斯完美驾驭了罗西尼华丽高亢的唱段，马尔科·斯波蒂的男低音坚实有力。女歌唱家们同样耀眼：达丽娜·塔科娃以灵动的嗓音轻松攻克高难度唱段，在抒情段落中更展现出感人至深的艺术魅力。丹妮拉·巴塞罗纳反串的坦克雷迪一角尤为出色，与塔科娃形成绝妙对比。指挥家里卡多·弗里扎既保持了剧情的推进力，又赋予音乐以自然的即兴感与戏剧张力。除了动人的咏叹调与二重唱，那些充满活力的合唱段落和辉煌终场同样令人沉醉——难怪罗西尼能赢得如此广泛的喜爱！虽然结局令人唏嘘，却处理得细腻动人。皮尔·路易吉·皮齐的制作简约而富有成效，灰黑色调的舞台设计在精心设计的灯光下，为戏剧提供了绝佳背景。服装设计虽简洁却极具表现力，整体制作完美服务于音乐与戏剧。音效出色，强烈推荐。


Il viaggio a Reims (complete, DVD version) 《兰斯之旅》
Opus Arte DVD OA 0967 D. Belyaeva, Ouspenski, Youdina, Shtoda, Kiknadze, Safiouline, Guigolachvili, Voropaev, Kitchenko, Tsanga, Kamenski, Sommer, Tanovtski, Iliouchnikov, Chmoulevitch, Mariinsky Theatre Ac., Mariinsky Theatre O, Gergiev (Director: Alain Maratrat; V/D: Vincent Bataillon)

In a co-production with the Théâtre Châtelet in Paris, the singing team and orchestra from the Mariinsky Theatre in St Petersburg offer a sparkling account of Rossini’s festival opera under their director, Valery Gergiev. Originally written for a one-off celebration, Il viaggio a Reims was almost entirely forgotten until recent years, and it proves to be a delight from beginning to end, with a feast of fine numbers. Some of these were quickly used by Rossini in one of his earliest Paris operas, Le Comte Ory, but there is much besides. Maratrat’s production updates the action to the 1930s, with the men in the cast wearing trilbies. That includes Gergiev himself, who conducts his orchestra on stage. With such a well-coordinated team it is hard to pick out individual stars among the young singers, but Vladislav Ouspenski as Baron von Trombonok, Anastasia Belyaeva as Madame Cortese, Daniil Shtoda as Count Libenskof and Edouard Tsanga as Lord Sidney all give memorable performances.

For those wanting a CD version of this score, DG offers one of the most sparkling and totally successful live opera recordings available, with Claudio Abbado (with the COE) in particular more free and spontaneous sounding than he generally is on disc, relishing the sparkle of the comedy, and the line-up of soloists could hardly be more impressive (Ricciarelli, Terrani, Cuberli, Gasdia, Araiza, Giménez, Nucci, Raimondi, Ramey, Dara), with no weak link. Abbado’s brilliance and sympathy draw the musical threads compellingly together with the help of superb, totally committed playing from the Chamber Orchestra of Europe (DG 477 7435 (2)).

这部马林斯基剧院与巴黎夏特莱剧院的联合制作中，捷杰耶夫率领圣彼得堡的艺术家们为罗西尼这部庆典歌剧注入了鲜活生命力。原作为单次庆典创作的《兰斯之旅》曾长期被遗忘，直到近年才重获认可。导演马拉特拉特将故事背景巧妙移至1930年代，演员们头戴软呢帽的造型（包括登台指挥的捷杰耶夫本人）赋予作品新颖的现代质感。在众多出色的青年歌唱家中，弗拉迪斯拉夫·乌斯片斯基饰演的冯·特隆博诺克男爵、安娜斯塔西娅·别利亚耶娃演绎的科蒂斯夫人、丹尼尔·什托达诠释的利本斯科夫伯爵以及爱德华·曾加扮演的西德尼勋爵都留下了令人难忘的舞台瞬间。全剧充满令人愉悦的精彩唱段——其中部分音乐后被罗西尼用于《奥里伯爵》，但原作独特的艺术魅力丝毫未减。

若寻求CD版本，DG出品的阿巴多指挥版（477 7435）堪称该剧录音典范。欧洲室内乐团在指挥家带领下展现出罕见的自由灵动，充分释放了作品的喜剧光彩。独唱阵容堪称梦幻组合：里恰雷利、泰拉尼、库贝莉、加斯迪亚、阿莱扎、希门尼斯、努奇、莱蒙迪、拉梅、达拉等歌唱家强强联手，无一短板。阿巴多以其标志性的艺术洞察力将音乐脉络梳理得清晰动人，配合欧洲室内乐团全情投入的演奏，使这套现场录音成为兼具学术价值与艺术感染力的经典之作。


DVD：
https://115cdn.com/s/swwmeic3hq9?password=3377&#
Rossini – Tancredi - Riccardo Frizza, Maggio Musicale Fiorentino; Barcellona, Takova, Giménez [DVD9]等2个文件(夹)

CD：
https://115cdn.com/s/swwmeit3hq9?password=3377&#
Rossini - Il Viaggio A Reims - Abbado, ECO; Ricciarelli, Terrani, Cuberli [DG]等3个文件(夹)

joseph_li

卡了5个审核

joseph_li

langong2004 发表于 2025-8-3 18:18
居然不审

要不上图试试，

Melos Ensemble Of London 这个系列的几张封面都很劲爆，这个尤其。。。

langong2004

680......Antoni Wit - Naxos (1992-2017) 82辑 24小时

1UTUeIAYogWCG154HgTd3Ew?pwd=7a3p  

joseph_li

ROUSE, Christopher (born 1949)
(i) Flute Concerto. Phaeton; Symphony 2
Telarc CD 80452. Houston SO, Eschenbach, (i) with Wincenc

The remarkable five-movement Flute Concerto, commissioned by the present soloist, followed two years after Rouse’s Trombone Concerto. The beautiful first and last movements, with their serene, soaring solo line, are connected thematically and share the Gaelic title Anhran (‘Song’). They frame two faster, much more dissonant and rhythmically unpredictable movements. The kernel of the work is the gripping central Elegia, written in response to the terrible murder of the two-year-old James Bulger by two ten-year-old schoolboys. Rouse introduces a rich, Bach-like chorale which moves with a wake-like solemnity towards a central explosion of passionate despair. Throughout, the solo writing demands great bravura and intense emotional commitment from the flautist, which is certainly forthcoming here.

The Second Symphony is a three-part structure, with the outer movements again using identical material to frame the anguished central slow movement. In the composer’s words, that forms a ‘prism’ through which the mercurial opening material is ‘refracted’ to yield the angry, tempestuous finale. The desperately grieving Adagio is another threnody for a personal friend and colleague, Stephen Albert, killed in a car accident in 1992. Phaeton is a savage, explosive early work (1986), which could hardly be more different from the tone-poem of Saint-Saëns. Helios’s sun chariot, immediately out of his son’s control, charges its way across the heavens with horns roistering, and is very quickly blown out of the sky by Zeus’s thunderbolt. Performances here are excellent, very well played and recorded, and the Flute Concerto is unforgettable.

Alas, the supreme RCA recording of Rouse’s Trombone Concerto, Gorgon and Iscariot (with the Colorado SO, Alsop, 09026 68410-2) is deleted but can probably be found on the internet. Well worth seeking out – it is an electrifying sonic experience, breathtaking in its impact and one of the great digital recordings of the last century.

这首非凡的五乐章《长笛协奏曲》由现任独奏家委约创作，问世于鲁斯《长号协奏曲》完成两年后。优美如歌的首尾乐章以盖尔语标题"Anhran"（意为"歌谣"）相互呼应，宁静悠扬的独奏线条贯穿其间。它们包裹着两个节奏诡谲、 dissonance突出的快板乐章。作品的核心是令人窒息的《挽歌》乐章——作曲家听闻两岁幼童詹姆斯·巴尔杰被两名十岁学童杀害的惨案后，以巴洛克式众赞歌的厚重笔触，裹挟着送葬行列般的肃穆推向高潮，迸发出炽烈的悲怆。全曲要求演奏家兼具精湛技巧与深刻情感投入，本辑演绎堪称完美。

《第二交响曲》采用三部分结构，首尾乐章同样以相同素材构成框架，中间是痛苦挣扎的慢板。作曲家自述这个慢板如同"棱镜"，将开头变幻莫测的主题"折射"成暴烈的终章。这段哀恸的柔板是为1992年车祸罹难的挚友斯蒂芬·阿尔伯特所作的又一首挽歌。创作于1986年的《法厄同》是部充满野性的早期作品，与圣桑同名音诗截然不同：太阳神赫利俄斯的战车甫一失控，铜管声部便喧嚣着横贯天穹，转瞬就被宙斯的雷霆击落。本辑演奏精彩绝伦，录音精良，尤其长笛协奏曲令人过耳难忘。

可惜，RCA唱片为鲁斯《长号协奏曲》、《戈耳工》与《加略人犹大》制作的绝世录音（科罗拉多交响乐团/阿尔索普指挥，编号09026 68410-2）已绝版，但或许还能在互联网寻得。这张堪称二十世纪最伟大数字录音之一的专辑，其震撼音效与艺术冲击力绝对值得乐迷追寻。


https://115cdn.com/s/swwmtiv3hq9?password=3377&#
Rouse, Christopher - Symphony No. 2, Flute Concerto & Phaethon - Christoph Eschenbach, Houston SO, Carol Wincenc [Telarc]等2个文件(夹)
访问码：3377

joseph_li

ROUSSEL, Albert (1869–1937)
Bacchus et Ariane (ballet: complete), Op. 43; Le Festin de l’araignée (The Spider’s Feast), Op. 17  《酒神巴克斯与阿里阿德涅》（芭蕾全曲），作品43；《蜘蛛的盛宴》，作品17
Chan. 9494. BBC PO, Y. P. Tortelier

The exhilarating (1931) score for Bacchus et Ariane teems with life and is full of rhythmic vitality. What a marvellously inventive and resourceful score it is! Tortelier offers the best version yet and the BBC Philharmonic play with tremendous zest. They also give a sensitive and atmospheric account of Le Festin de l’araignée. They offer us the complete banquet, not just the chosen dishes on the set menu! This magical score weaves a strong spell. Splendid recording and performances of rewarding and colourful music that deserves to be more widely heard – although it has to be said that neither of the two works here is long absent from the catalogue, and rightly so.

这部创作于1931年的《酒神巴克斯与阿里阿德涅》令人振奋，充满生命力，节奏活力四射。多么富有创造力和想象力的音乐啊！托特利埃呈现了迄今为止最佳的演绎版本，BBC爱乐乐团演奏得激情澎湃。他们对《蜘蛛的盛宴》的诠释同样细腻而富有氛围，完整呈现了这场盛宴，而非仅仅挑选几道招牌菜！这部神奇的作品编织出强烈的魔力。录音与演奏皆属上乘，这些色彩斑斓且值得聆听的音乐理应获得更广泛的关注——尽管不得不说，这两部作品从未长期缺席唱片目录，而这完全合情合理。


Le Marchand de sable qui passe (incidental music): Suite, Op. 13; Divertissement for Piano Quintet, Op. 6; Sérénade for Flute, Harp, & String Trio; Trio for Flute, Viola & Cello, Op. 40; Impromptu for Harp, Op. 21; Duo for Bassoon & Double-Bass  《沙商》（戏剧配乐）：组曲，作品13；钢琴五重奏《嬉游曲》，作品6；长笛、竖琴与弦乐三重奏《小夜曲》；长笛、中提琴与大提琴三重奏，作品40；竖琴《即兴曲》，作品21；低音管与低音提琴二重奏
Praga PRD 350018. Czech Nonet, with Englichová (harp), Wiesner (piano)

This is an enchanting disc, revealing another side to Roussel in the elegance and refinement of his writing for small instrumental groups. The incidental music for Le Marchand de sable qui passe, scored for string quintet, harp, flute, clarinet and horn, is hauntingly atmospheric, recalling Ravel’s Introduction and Allegro. Although the textures and colouring are quite individual, the ethereal melody of the Scène finale has a magic comparable with the closing scene of Ravel’s Ma Mère l’Oye. The piquant Sérénade and Flute Trio are hardly less delicate in feeling; both have subtly restless slow movments, the latter closing with whimsically capricious high spirits. The Duo for Bassoon and Double-Bass (written for Serge Koussevitzky) brings an interlude of bucolic humour, and the miniature Divertissement for piano quintet is also capriciously light-hearted and worthy of Jean Françaix, although still Rousselian. The performances have an Elysian charm and sophistication of feeling and are beautifully recorded.

这张迷人的唱片展现了鲁塞尔另一面的优雅与精致，尤其是他为小型器乐组合创作的作品。《沙商》的配乐由弦乐五重奏、竖琴、长笛、单簧管和圆号演奏，氛围萦绕不去，令人联想到拉威尔的《引子与快板》。尽管织体和色彩独具特色，但终场“场景”的空灵旋律却有着与拉威尔《鹅妈妈》终章相媲美的魔力。《小夜曲》和长笛三重奏同样细腻动人，两者均带有微妙不安的慢乐章，后者以 whimsically capricious（异想天开、变幻莫测）的欢快情绪收尾。低音管与低音提琴二重奏（为库塞维茨基而作）带来了一段田园般的幽默插曲，而钢琴五重奏《嬉游曲》虽短小却轻快诙谐，堪比让·弗朗赛的风格，却仍不失鲁塞尔本色。这些演奏兼具超凡的魅力和细腻的情感，录音亦十分精美。

https://115cdn.com/s/swwmt4c3hq9?password=3377&#
Roussel, Albert - Bacchus et Ariane, Le Festin de L’Araignee - Yan Pascal Tortelier, BBC PO [Chandos]等2个文件(夹)

joseph_li

Symphony 1 (Le Poème de la forêt); Le Marchand de sable qui passe: Incidental music; Résurrection: Symphonic Prelude
Naxos 8.570323. RSNO, Denève
Symphony 2; Pour une fête de printemps; Suite in F
Naxos 8.570529. RSNO, Denève
Symphony 3 in G min.; Bacchus et Ariane, Op. 43
Naxos 8.570245. RSNO, Denève
Symphony 4; Concert pour petit orchestre; Petite suite; Rapsodie flamande; Sinfonietta
Naxos 8.572135. RSNO, Denève

The Roussel symphonies have often maintained a somewhat tenuous hold on the catalogue, but all at once there is a wide choice available, and collectors must make up their own minds about which of the alternatives are most desirable. The most recent digital set on Naxos is, on balance, perhaps the best, and is certainly well on its way to being the most comprehensive. The First Symphony is a highly atmospheric, impressionistic piece and, although with no programme, each movement represents a season, starting with Winter. The influence of Debussy is felt, along with d’Indy as well as Franck. It is music to wallow in, and much of it is exquisitely coloured and all of it is highly atmospheric. Résurrection is the composer’s earliest work. Again, Roussel’s ability to capture a mysterious atmosphere is on full display – qualities which also make his music for the play Le Marchand de sable qui passe (‘The Sandman’) so appealing. The four movements include an atmospheric ‘Prélude’, a lovely, imaginative ‘Scène 2’, a beautifully languorous ‘Interlude et Scène 4’ and a wistful ‘Scène finale’. None of the music is particularly fast or lively, but it is never dull.

Unlike the majority of performances in this cycle, the Second Symphony is taken at quite a slow pace, but not unsympathetically slow. All the brooding colours of this densely impressionistic score are brought out, allowing the listener to wallow in much gorgeous orchestral detail. Pour une fête de printemps delightfully paints a picture of French rural life, while the composer’s vibrant Suite in F finds the composer in his best neo-baroque mode; this work is undoubtedly complex in structure, but overall it leaves an impression of exhilaration, with these three baroque dances full of incident (though memories of Paul Paray’s Mercury recording are not erased).

With the third CD, one comes to the Third Symphony and the ballet, Bacchus et Ariane – two of the most colourful and vibrant scores of the twentieth century. This is undoubtedly exciting music, and Denève catches the mood perfectly. The pounding rhythms of the opening of the Symphony No. 3 are perhaps the best captured on CD and the imposing slow movement builds up to a fine climax, and the following Vivace and Allegro con spirito have all the dash one could ask for. The same can almost be said of Bacchus et Ariane. Denève characterizes the ballet superbly and it ends in the fine blaze of colour, as it should.

The Fourth Symphony, with its mysterious opening, launches into an arresting Allegro con brio every bit as thrilling as the opening of the Third Symphony, with the Fourth again offering another powerful slow movement, followed by two lively and exhilarating fast movements, of much quirky appeal and colour. This final CD is especially valuable for including many rarities: a delightful Flemish Rhapsody with an especially imposing beginning and three three-movement works: the delightful Petite suite, with its exhilarating opening Aubade, a magically wistful Pastorale, and again a quirkily rhythmic Mascarade finale, makes for very enjoyable listening. Similarly entertaining is the Concerto pour petit orchestre in which rhythmic interest is just as entertaining as the orchestral colours themselves. The Sinfonietta lasts for just under 10 minutes, yet its three movements are perfectly crafted and are not a second too long or too short. This last CD falls a little short, for although the sound of this Naxos cycle is generally first rate, here the engineers do not always follow the main melodic lines in the Symphony’s textures.

鲁塞尔的交响曲在唱片目录中的存在向来岌岌可危，但如今突然涌现诸多选择，收藏家们需自行权衡最中意的版本。拿索斯最新数字套装总体而言或许是最佳选择，且正朝着最全面的方向迈进。《第一交响曲》是部极具氛围的印象派作品，虽无明确标题，每个乐章却以冬季为始描绘四季。德彪西的影响清晰可辨，丹第与弗兰克的痕迹亦在其间。这是令人沉醉的音乐，大多段落色彩精妙，整体氛围感极强。《复活》是作曲家最早期的创作，再次展现了鲁塞尔营造神秘氛围的非凡才能——这种特质也使其戏剧配乐《沙商》如此迷人。四个乐章包含朦胧的"前奏曲"、充满想象力的"第二场景"、慵懒迷人的"间奏曲与第四场景"以及怅惘的"终场"。虽无激烈快板，却始终引人入胜。

与整套录音中多数演绎不同，《第二交响曲》采用相当缓慢的速度，但慢得恰到好处。这部浓墨重彩的印象派作品中所有幽暗色调都被呈现，令听众得以沉浸于绚丽的管弦乐细节中。《春之祭典》生动描绘了法国田园生活，而活力四射的《F大调组曲》则展现了作曲家新巴洛克风格的巅峰。这部作品结构复杂，但整体令人振奋，三支巴洛克舞曲充满戏剧性（不过保罗·帕雷在水星唱片中的经典演绎仍难以超越）。

第三张CD收录了《第三交响曲》与芭蕾音乐《酒神巴克斯与阿里阿德涅》——这两部二十世纪最富色彩与生命力的杰作。德内夫精准捕捉了音乐的精髓：《第三交响曲》开篇的震撼节奏堪称CD录音之最，庄严的慢板乐章逐步推向高潮，随后的"活泼的快板"与"热情的快板"更是酣畅淋漓。《酒神巴克斯与阿里阿德涅》同样精彩，德内夫对芭蕾戏剧性的刻画入木三分，终章绚丽的音色爆发堪称完美。

《第四交响曲》以神秘引子开场，"辉煌的快板"如同《第三交响曲》开篇般摄人心魄。其强有力的慢板乐章后接两个灵动快板，以奇特的魅力与色彩见长。这张终曲CD尤为珍贵，收录了多部冷门佳作：开篇气势恢宏的《佛兰德斯狂想曲》，以及三部分三乐章作品——迷人的《小套曲》（包含欢快的"晨曲"、魔幻怅惘的"田园曲"与节奏诙谐的"假面舞终曲"）提供绝佳听觉享受；同样精彩的《小乐队协奏曲》中，节奏趣味与管弦色彩相得益彰；时长不足十分钟的《小交响曲》三个乐章结构精炼，多一分则冗，少一分则缺。唯一缺憾在于录音：虽拿索斯整套录音音质上乘，但本碟工程师未能始终突出交响曲织体中的主旋律线。


(i) Symphonies 3 in G min., Op. 42; 4 in A, Op. 53; (ii) Bacchus et Ariane Suite 2  (i) G小调第三交响曲，作品42；A大调第四交响曲，作品53；(ii)《酒神巴克斯与阿里阿德涅》第二组曲
RCA stereo/mono 2CD 74321 84601-2 (2). Radio France PO, Janowski; (ii) Boston SO, Munch – MESSIAEN: Turangalîla Symphony

Janowski has a natural feeling for the Roussel idiom and his performances of the symphonies are well worth having. Perhaps the Scherzo of the Third is a shade too fast, but in all other respects his readings cannot be faulted. The digital recording has plenty of presence, body and detail, and this coupling is made especially recommendable by the presence not only of Ozawa’s Turangalîla but also of the mono recording of Munch’s second suite from Roussel’s ballet. In the new transfer the sound is little short of amazing in its colour and bloom and has striking luminosity. The Boston Orchestra was still under Koussevitzky’s spell at the time and the playing is quite electrifying. This is indispensable, even if a few bars are missing – perhaps owing to the original tapes being damaged, or Munch himself having made a cut in performance.

亚诺夫斯基对鲁塞尔音乐语汇有着天然悟性，其交响曲演绎极具收藏价值。或许《第三交响曲》谐谑曲稍显急促，但整体诠释无可挑剔。数字录音层次丰富、细节饱满，更因小泽征尔《图朗加利拉》与明希单声道版《酒神》第二组曲的加持而愈显超值。经全新转录后，明希1950年指挥波士顿交响乐团的录音焕发惊人光彩，音色之丰润与透明度令人惊叹——当时乐团仍笼罩在库塞维茨基的魔力下，演奏可谓电光石火。尽管可能因原始母带受损或明希现场删节缺失数小节，这份录音仍属不可或缺的经典。


https://115cdn.com/s/swwmtk93hq9?password=3377&#
Roussel, Albert - Complete Symphonies - Royal Scottish National Orchestra, Stéphane Denève [Naxos]等2个文件(夹)

joseph_li

RÓZSA, Miklós (1907–95)
Film Scores: (i–ii) Ben Hur (extended excerpts); (iii) Julius Caesar (3 excerpts); (i; iv) Quo Vadis (extended excerpts) (i-ii)  电影配乐精选：《宾虚》（加长版选段）；(iii)《尤利乌斯·凯撒》（3段选曲）；(i; iv)《暴君焚城录》（加长版选段
Australian Decca Eloquence (ADD) 480 3790 (2). (i) composer; (ii) Nat. PO & Ch.; (iii) Nat. PO, Herrmann; (iv) RPO & Ch.

With its gaudy primary colours and red-blooded conviction, Rózsa’s score for Ben Hur is a potent mixture of orchestral spectacle and choral kitsch. There is an appealing lyrical theme for the love story, an exciting sequence for the galley slaves rowing into battle, and a stirring Parade for the famous chariot race. Towards the end, the religiosity, with its lavish spectacle of chorus and orchestra, overwhelms the listener in an ocean of sumptuous vulgarity.

Quo Vadis provides more of the same, with an exciting Chariot Chase, an exotic Assyrian Dance, stirring marches and red-blooded, epic ‘Hollywood’ choral contributions in such items as the Fertility Hymn. In The Burning of Rome, the composer pulls out all the stops with this colourful orchestral palette, and if by the end of it all one feels a little exhausted, the journey was never dull. The rather darker music for the three short items from Julius Caesar is equally effective, with Caesar’s Ghost with its eerie tremolo strings, vividly captured by Decca, especially memorable. It is all presented here with great conviction, and the Decca Phase Four techniques create maximum impact, with rich sonorities and a sparklingly brilliant upper range.

罗饶的《宾虚》配乐以浓墨重彩的基调与炽热的情感，将恢弘的管弦乐场面与浮夸的合唱糅合成极具冲击力的听觉盛宴。其中既有爱情故事的抒情主题，也有战船奴隶划桨迎战的激烈段落，而著名的战车竞赛场景更以雄壮的《游行进行曲》点燃激情。临近尾声时，宗教元素的铺陈——合唱与乐队的华丽交织——以近乎奢靡的磅礴气势席卷听众。  

《暴君焚城录》延续了相似的风格，包含激动人心的《战车追逐》、异域风情的《亚述之舞》、振奋的进行曲以及《生育颂歌》等充满好莱坞史诗气魄的合唱段落。在《罗马焚城》中，作曲家以绚烂的管弦色调极尽渲染之能事，即便听完略感疲惫，这段旅程也绝不乏味。相比之下，《尤利乌斯·凯撒》的三段短曲更显阴郁，其中《凯撒亡魂》以弦乐颤音营造的诡谲氛围尤为突出，Decca的录音精准捕捉了这种戏剧张力。这些演绎无不充满说服力，Decca的"Phase Four"技术更以丰沛的音响与璀璨的高频带来极致冲击。  


Hungarian Serenade; 3 Hungarian Sketches; Overture to a Symphony Concert; Tripartita  《匈牙利小夜曲》；《三首匈牙利素描》；《交响音乐会序曲》；《三联画》
Chan. 10488. BBC PO, Gamba

Miklós Rózsa wrote a substantial amount of orchestral music unrelated to his film scores. His style remained as telling in these orchestral scores, however, and this disc appropriately begins with his entertaining Overture to a Symphony Concert. It is an imaginative, optimistic score, with the composer’s Hungarian roots emerging in a work conceived during the hopeful days of the abortive 1956 Hungarian uprising, when the composer was living in exile. The Hungarian Serenade is a delightfully tuneful piece, piquant in its orchestral and harmonic colourings. Tripartita shows the composer experimenting with a more gritty style in 1971/2, with its finale reminiscent of Walton. Nevertheless, it is exciting and accessible music. The earlier Three Hungarian Sketches are each descriptive movements which are vibrant with local colour and melody. Rumon Gamba and the BBC Philharmonic play these scores with brilliance, and the Chandos sound is quite superlative.

米克洛什·罗饶创作了大量与电影无关的管弦乐作品，但其音乐风格在这些作品中同样鲜明。本碟以诙谐生动的《交响音乐会序曲》开场，这部写于1956年匈牙利革命（最终失败）期间的乐观之作，流露出作曲家对故土的眷恋。旋律优美的《匈牙利小夜曲》以辛辣的配器与和声色彩见长，而1971/2年创作的《三联画》则展现了罗饶更具实验性的一面——末乐章甚至令人联想到沃尔顿，但整体仍保持激昂易懂的特质。更早期的《三首匈牙利素描》则是三幅充满地方风情与旋律魅力的音画。指挥家鲁蒙·甘巴与BBC爱乐乐团以精湛技艺呈现这些作品，Chandos的录音更是臻于完美。

https://115cdn.com/s/swwmt5o3hq9?password=3377&#
Rózsa, Miklós - Orchestral Works Vol. 1 - Rumon Gamba, BBC PO [Chandos 24-96]等6个文件(夹)

joseph_li

RUBBRA, Edmund (1901–86)
Symphonies 1–8 (Hommage à Teilhard de Chardin); (i) 9 (Sinfonia Sacra). 10–11
Chan. 9944 (5). BBC Nat. O of Wales, Hickox, with (i) Dawson, D. Jones, Roberts, BBC Nat. Ch. of Wales)

The first movement of Rubbra’s First Symphony is fiercely turbulent; a French dance tune, a Perigourdine, forms the basis of the middle movement; but the pensive, inward-looking finale, which is as long as the first two movements put together, is the most powerful and haunting of the three. Richard Hickox and his fine players do make the score of the Second Symphony more lucid than Handley’s Lyrita recording from the 1970s. The performance is meticulously prepared and yet flows effortlessly, and the slow movement speaks with great eloquence.

The Third Symphony (1939) has a pastoral character and a certain Sibelian feel to it (woodwind in thirds), though Rubbra is always himself. In the final movement there is even a hint of Elgar in the fourth variation. The opening of the Fourth Symphony is of quite exceptional beauty and has a serenity and quietude that silence criticism, and there is a constant elevation of feeling and continuity of musical thought. Rubbra’s music is steeped in English polyphony and it could not come from any time other than our own.

Hickox’s reading of the Fifth Symphony is easily the finest and most penetrating; the slow movement has great depth and, thanks to a magnificent recording, a greater clarity than either of its predecessors. Tempi are unerringly judged and he brings depth and gravitas to the very opening of the work.

The heart of the Sixth Symphony is the serene Canto movement, which is not dissimilar in character to the Missa in honorem Sancti Dominici. It is arguably the finest of the cycle after No. 9, and Hickox and his fine players do it proud. The Seventh Symphony (1956) receives a performance of real power from Hickox and his Welsh orchestra. This is music that speaks of deep and serious things and its opening paragraphs are among the most inspired that Rubbra ever penned.

The Eighth Symphony is a tribute to Teilhard de Chardin, a Jesuit and palaeontologist (1881-1955), who fell out with the Church over his approach to evolution. It has something of the mystical intensity that finds its most visionary outlet in the Ninth Symphony, which is arguably Rubbra’s finest work and an unqualified masterpiece. Subtitled The Resurrection, it was inspired by a painting of Donato Bramante and has something of the character of the Passion, which the three soloists relate in moving fashion. Hickox offered a particularly imaginative account of the Eleventh Symphony, a work in one movement (1979) of which this was the début recording. Like so much of Rubbra’s music, it has an organic continuity and inner logic that are immediately striking and, in common with the Tenth Symphony (also in one movement), its textures are spare and limpid.

鲁布拉《第一交响曲》的首乐章激烈动荡，中乐章以法国佩里戈尔舞曲为基调，而沉思内省的终章（长度等同前两乐章总和）则是全曲最撼人心魄的部分。希科克斯与乐团对《第二交响曲》的演绎比汉德利1970年代的Lyrita录音更为明晰，既严谨精确又自然流畅，慢乐章的演绎尤其雄辩动人。  

1939年创作的《第三交响曲》带有田园特质与西贝柳斯式的木管三度音程，但鲁布拉的个人风格始终鲜明。终乐章第四变奏甚至透出埃尔加的神韵。《第四交响曲》开篇之美堪称绝妙，其宁静超然的境界令人屏息，音乐思维始终保持着崇高的连贯性——根植于英国复调传统的笔触，注定这是只属于我们这个时代的杰作。  

希科克斯对《第五交响曲》的诠释无疑是最深刻透彻的：得益于出色的录音，慢乐章比前两版更显层次丰富，速度把控精准无误，作品开篇即展现出沉郁的庄严感。《第六交响曲》的核心是宁静的"坎托"乐章，其气质与《圣多米尼克弥撒》异曲同工，堪称全集（除第九外）最杰出的篇章，希科克斯与乐团的演绎不负盛名。  

《第七交响曲》（1956）在希科克斯与威尔士乐团棒下迸发出真正的力量，开篇段落堪称鲁布拉最富灵感的创作之一。《第八交响曲》献给与教会因进化论观点决裂的古生物学家德日进（1881-1955），其神秘性与《第九交响曲》的宏大愿景一脉相承——后者副标题《复活》源自布拉曼特画作，三位独唱者以感人至深的方式诠释了近乎受难曲的特质，无疑是鲁布拉毫无争议的巅峰之作。  

希科克斯对单乐章《第十一交响曲》（1979，本辑为世界首录）的诠释充满想象力。与同为单乐章的《第十交响曲》相似，这部作品延续了鲁布拉音乐特有的有机连贯性与内在逻辑，织体清澈剔透，令人过耳难忘。


https://115cdn.com/s/swwmt513hq9?password=3377&#
Rubbra, Edmund -  Complete Symphonies - BBC National Orchestra Of Wales, Richard Hickox [Chandos]

joseph_li

RUBBRA, Edmund (1901–86)
Symphonies 1–8 (Hommage à Teilhard de Chardin); (i) 9 (Sinfonia Sacra). 10–11
Chan. 9944 (5). BBC Nat. O of Wales, Hickox, with (i) Dawson, D. Jones, Roberts, BBC Nat. Ch. of Wales)

The first movement of Rubbra’s First Symphony is fiercely turbulent; a French dance tune, a Perigourdine, forms the basis of the middle movement; but the pensive, inward-looking finale, which is as long as the first two movements put together, is the most powerful and haunting of the three. Richard Hickox and his fine players do make the score of the Second Symphony more lucid than Handley’s Lyrita recording from the 1970s. The performance is meticulously prepared and yet flows effortlessly, and the slow movement speaks with great eloquence.

The Third Symphony (1939) has a pastoral character and a certain Sibelian feel to it (woodwind in thirds), though Rubbra is always himself. In the final movement there is even a hint of Elgar in the fourth variation. The opening of the Fourth Symphony is of quite exceptional beauty and has a serenity and quietude that silence criticism, and there is a constant elevation of feeling and continuity of musical thought. Rubbra’s music is steeped in English polyphony and it could not come from any time other than our own.

Hickox’s reading of the Fifth Symphony is easily the finest and most penetrating; the slow movement has great depth and, thanks to a magnificent recording, a greater clarity than either of its predecessors. Tempi are unerringly judged and he brings depth and gravitas to the very opening of the work.

The heart of the Sixth Symphony is the serene Canto movement, which is not dissimilar in character to the Missa in honorem Sancti Dominici. It is arguably the finest of the cycle after No. 9, and Hickox and his fine players do it proud. The Seventh Symphony (1956) receives a performance of real power from Hickox and his Welsh orchestra. This is music that speaks of deep and serious things and its opening paragraphs are among the most inspired that Rubbra ever penned.

The Eighth Symphony is a tribute to Teilhard de Chardin, a Jesuit and palaeontologist (1881-1955), who fell out with the Church over his approach to evolution. It has something of the mystical intensity that finds its most visionary outlet in the Ninth Symphony, which is arguably Rubbra’s finest work and an unqualified masterpiece. Subtitled The Resurrection, it was inspired by a painting of Donato Bramante and has something of the character of the Passion, which the three soloists relate in moving fashion. Hickox offered a particularly imaginative account of the Eleventh Symphony, a work in one movement (1979) of which this was the début recording. Like so much of Rubbra’s music, it has an organic continuity and inner logic that are immediately striking and, in common with the Tenth Symphony (also in one movement), its textures are spare and limpid.

鲁布拉《第一交响曲》的首乐章激烈动荡，中乐章以法国佩里戈尔舞曲为基调，而沉思内省的终章（长度等同前两乐章总和）则是全曲最撼人心魄的部分。希科克斯与乐团对《第二交响曲》的演绎比汉德利1970年代的Lyrita录音更为明晰，既严谨精确又自然流畅，慢乐章的演绎尤其雄辩动人。  

1939年创作的《第三交响曲》带有田园特质与西贝柳斯式的木管三度音程，但鲁布拉的个人风格始终鲜明。终乐章第四变奏甚至透出埃尔加的神韵。《第四交响曲》开篇之美堪称绝妙，其宁静超然的境界令人屏息，音乐思维始终保持着崇高的连贯性——根植于英国复调传统的笔触，注定这是只属于我们这个时代的杰作。  

希科克斯对《第五交响曲》的诠释无疑是最深刻透彻的：得益于出色的录音，慢乐章比前两版更显层次丰富，速度把控精准无误，作品开篇即展现出沉郁的庄严感。《第六交响曲》的核心是宁静的"坎托"乐章，其气质与《圣多米尼克弥撒》异曲同工，堪称全集（除第九外）最杰出的篇章，希科克斯与乐团的演绎不负盛名。  

《第七交响曲》（1956）在希科克斯与威尔士乐团棒下迸发出真正的力量，开篇段落堪称鲁布拉最富灵感的创作之一。《第八交响曲》献给与教会因进化论观点决裂的古生物学家德日进（1881-1955），其神秘性与《第九交响曲》的宏大愿景一脉相承——后者副标题《复活》源自布拉曼特画作，三位独唱者以感人至深的方式诠释了近乎受难曲的特质，无疑是鲁布拉毫无争议的巅峰之作。  

希科克斯对单乐章《第十一交响曲》（1979，本辑为世界首录）的诠释充满想象力。与同为单乐章的《第十交响曲》相似，这部作品延续了鲁布拉音乐特有的有机连贯性与内在逻辑，织体清澈剔透，令人过耳难忘。


https://115cdn.com/s/swwmt513hq9?password=3377&#
Rubbra, Edmund -  Complete Symphonies - BBC National Orchestra Of Wales, Richard Hickox [Chandos]

joseph_li

(i) Sinfonia concertante. A Tribute; (ii) The Morning Watch; (iii) Ode to the Queen  (i)《交响协奏曲》《致敬》；(ii)《晨祷》；(iii)《女王颂》
Chan. 9966. BBC Nat. O of Wales, Hickox; with (i) Shelley; (ii) BBC Nat. Ch. of Wales; (iii) Bickley

Originally coupled to the Hickox Rubbra symphony cycle (now issued in a mid-price box, see above), these make a valuable supplement to that set. The form in which we know the Sinfonia concertante is the revision Rubbra made in the 1940s. Its beautiful opening almost anticipates the Piano Concerto in G major, but it is the searching and thoughtful finale, a prelude and fugue, composed in memory of his teacher, Gustav Holst, which makes the strongest impression. Howard Shelley is a superb advocate and it is difficult to imagine a better performance. The Morning Watch is Rubbra at his most inspired. The text comes from the seventeenth-century metaphysical poet, Henry Vaughan, and the music matches its profundity and eloquence. It was originally to have formed part of a choral fifth symphony, and it is a score of great nobility which took an amazing half-century to be recorded. A Tribute – a lovely piece – is dedicated to Vaughan Williams, and the Ode to the Queen was commissioned by the BBC to celebrate the Coronation of the present Queen and is Rubbra’s only song-cycle with full orchestra.

Admirers of this composer should also investigate a bargain Chandos release (with the Bournemouth Sinfonietta, conducted by Schönzeler) which includes his charming Improvisations on Virginal Pieces by Giles Farnaby – this pre-war work’s charms are very effectively uncovered, revealing its textures to their best and most piquant advantage (Chan. 6599). It is coupled with a decent version of the Tenth Symphony and A Tribute.

作为希科克斯版鲁布拉交响曲全集（现已发行中价套装）的重要补充，这些作品展现了作曲家不同面向的才华。现存的《交响协奏曲》是鲁布拉1940年代的修订版，其优美的开篇几乎预示了《G大调钢琴协奏曲》的雏形，但最令人难忘的当属终章——为纪念恩师霍尔斯特而作的"前奏曲与赋格"，充满哲思与深情。钢琴家霍华德·谢利堪称完美诠释者，几乎难以想象更出色的演绎。《晨祷》是鲁布拉最具灵性的创作，歌词取自17世纪玄学派诗人亨利·沃恩的诗篇，音乐与文本的深邃相得益彰。这部本应成为《第五交响曲》合唱乐章的作品，历经半个世纪才得录音，其庄严崇高令人动容。《致敬》是献给沃恩·威廉姆斯的动人小品，而《女王颂》则是BBC为现任女王加冕礼委约创作，也是鲁布拉唯一一部全乐队伴奏的声乐套曲。

鲁布拉的拥趸还应关注Chandos的平价专辑（伯恩茅斯小交响乐团/勋泽勒指挥），其中收录了他迷人的《法纳比维吉纳琴曲即兴曲》——这部战前作品以精妙织体与辛辣趣味见长（编号Chan. 6599），搭配《第十交响曲》及《致敬》的合格演绎。


Missa cantuariensis, Op. 59; Missa in honorem Sancti Dominici, Op. 66  《坎特伯雷弥撒》（作品59）；《圣多米尼克弥撒》（作品66）
Chan. 10423. St Margaret’s, Westminster, Singers, Hickox

These Masses were recorded in the presence of the composer and are given with the greatest eloquence and finesse. They were composed in 1946 and 1948 and are among the most beautiful a cappella choral works of the twentieth century. A must for all collectors of choral music, even those who do not normally respond to Rubbra.

这两部弥撒录制于作曲家亲临现场时，以无与伦比的雄辩与精妙呈现。创作于1946与1948年的它们堪称二十世纪最精美的无伴奏合唱作品，不仅是合唱音乐收藏者的必收之作，更能打动那些通常对鲁布拉无感的听众——其纯净的复调线条与灵性光辉具有超越时代的感染力。

https://115cdn.com/s/swwmteh3hq9?password=3377&#
Rubbra, Edmund - Missa Cantuariensis; Missa In Honorem Sancti Dominici - St Margaret's Westminster Singers, Richard Hickox [Chandos]等2个文件(夹)

joseph_li

RUTTER, John (born 1945)
(i–ii) Suite antique (for flute & orchestra); (iii) 5 Childhood Lyrics (for unaccompanied choir); (ii–iii) Fancies; When Icicles Hang (for choir & orchestra)   (i-ii)《古典组曲》（长笛与乐队）；(iii)《五首童年抒情诗》（无伴奏合唱）；(ii-iii)《幻想集》《冰柱垂檐时》（合唱与乐队）
Coll. COLCD 117. (i) Dobing, Marshall; (ii) City of L. Sinfonia; (iii) Soloists, Cambridge Singers; composer

This whole collection is imbued with Rutter’s easy melodic style and the touches of offbeat rhythm which he uses to give a lift to his lively settings. The Antique Suite (for flute, harpsichord and strings) opens with a serene Prelude, but includes a typically catchy Ostinato, a gay Waltz and a chirpy closing Rondeau. Fancies has a delightful Urchins’ Dance, after the fairy style of Mendelssohn, and its Riddle Song has a most appealing lyrical melody. But the mood darkens for the closing Bellman’s Song. Among the Childhood Lyrics, the settings of Edward Lear’s Owl and the Pussy-cat and Sing a Song of Sixpence are particularly endearing. The evocative When Icicles Hang brings characteristically winning scoring for the orchestral woodwind (Rutter loves flutes) and another fine melody in Blow, Blow, Thou Winter Wind. The work ends happily in folksy style. Splendid performances throughout. The performances here are excellent and so is the recording.

这套选集淋漓尽致地展现了鲁特尔标志性的流畅旋律与巧妙节奏——那些非常规的韵律总能为活泼的编曲注入灵动气息。《古典组曲》（长笛、羽管键琴与弦乐）以宁静的"前奏曲"开场，随后是典型的洗脑式"固定低音"、欢快的"圆舞曲"与雀跃的"回旋曲"。《幻想集》中既有门德尔松式仙灵风格的《顽童之舞》，也有旋律极富感染力的《谜语歌》，但终曲《更夫之歌》陡然转入暗色调。《童年抒情诗》里对爱德华·李尔《猫头鹰与猫咪》和《六便士之歌》的谱曲尤为讨喜。意境悠远的《冰柱垂檐时》充分发挥了鲁特尔钟爱的木管配器（尤擅长笛），《狂风啊狂风》的优美旋律同样出彩，全曲终以民俗风格圆满收束。演绎与录音俱臻完美。  


Christmas carols: Angels’ Carol; Candelight Carol; Carol of the Children; Christmas Lullaby; Donkey Carol; Dormi Jesu; Jesus Child; Love Came Down at Christmas; Mary’s Lullaby; Nativity Carol; Sans Day Carol; Second Amen; Shepherd’s Pipe Carol; Star Carol; There is a Flower; The Very Best Time of Year; What Sweeter Music?; Wild Wood Carol. Arrangements: Angel Tidings; Away in a Manger; I Wonder as I Wander; Silent Night  圣诞颂歌精选集包含：《天使颂》《烛光颂》《孩童颂》《圣诞摇篮曲》《驴子颂》《睡吧耶稣》《圣婴》《爱自天降》《玛利亚摇篮曲》《圣诞颂》《圣戴颂》《第二阿们》《牧童笛颂》《星辰颂》《有一朵花》《最美时节》《何乐更甘甜》《野林颂》及改编曲《天使报佳音》《马槽歌》《我漫游奇想》《平安夜》
Hyp. CDA 67245. Polyphony, City of L. Sinfonia, Layton

John Rutter’s delightful carols will always be especially remembered and are treasured by us. ‘They were my calling cards,’ he says. ‘You have to remember that the Christmas carol is one of the very few musical forms which allows classically trained musicians to feel it’s permissible to write tunes!’ And, as is shown again and again here, Rutter never had difficulty in coming up with a memorable melodic line, whether it be the Shepherd’s Pipe Carol, with its characteristic flute writing, which opens the programme, or the deliciously perky Donkey Carol, with its catchy 5/8 syncopated rhythm, which closes it.

The 22 carols included here were composed in a steady stream over a period of three decades, with the charming Dormi Jesu dating from as recently as 1999. Rutter’s writing is notable not only for its tunefulness and winning use of choral textures, but also for his always engaging orchestrations.

约翰·鲁特尔这些迷人的圣诞颂歌注定成为永恒经典，被他笑称为"我的音乐名片"。"要明白，圣诞颂歌是少数允许古典音乐家理直气壮创作旋律的体裁！"此言在此辑中得到反复印证——无论是开篇那支长笛点睛的《牧童笛颂》，还是压轴采用5/8拍切分节奏的俏皮《驴子颂》，他总能信手拈来令人过耳不忘的旋律线。  

收录的22首颂歌横跨三十年创作历程，1999年所作的《睡吧耶稣》仍延续着清新魅力。鲁特尔的创作不仅以旋律性和精妙的合唱织体见长，其管弦乐编配同样充满巧思。剑桥合唱团的演绎兼具澄澈与温暖，作曲家亲自指挥的伦敦交响乐团伴奏更添华彩，录音则完美平衡了声部层次与节日氛围的欢腾感。


https://115cdn.com/s/swwmtgc3hq9?password=3377&#
Rutter, John - Carols - City Of London Sinfonia, Polyphony, Stephen Layton [Hyperion]等2个文件(夹)
Christmas在5盘居然成敏感词，神经质到如此，说好的文化自信呢？

joseph_li

Gloria; (i) Magnificat. Te Deum  《荣耀经》；(i)《尊主颂》与《感恩赞》
Naxos 8.572653. Choirs of St Albans Cathedral; Ensemble DeChorum, Winpenny (organ), Lucas; (i) with Elizabeth Cragg (soprano)

Framed by superb accounts of the Gloria and Te Deum, each with a magnificent brass contribution from members of the Ensemble DeChorum, and given splendidly resonant sound-quality by the ambience of the Cathedral and Abbey Church of St Albans, this is one of the most attractive Rutter collections yet. His religious choral music is the most widely performed of any contemporary English composer, not only in the United Kingdom and the Commonwealth, but in North America too. Listening to the Gloria one can understand why. With its Waltonesque opening and thrilling use of the brass, it communicates immediately, and the central Andante is touchingly elegiac, while the closing Amens are exultant. It makes you feel good.

In the Magnificat Rutter characteristically uses a recognizable four-note motif to fit the word itself, and the lovely second movement, Of a Rose, a lovely Rose, is memorable enough to be extracted for separate performance. Some might feel that for a Magnificat the setting is a little soft-centred, as both the lovely Et Misericordia and the Esurientes are gently lyrical, each featuring a diminutive solo treble, but the closing Gloria Patri et Filio is triumphant.

Rutter tells us that the Te Deum is not easy to set to music because it is not the work of a single author, but a compilation of three separate texts. Yet it has been associated with rejoicing and ceremony for centuries – indeed, Henry V, in Shakespeare’s play, orders it to be sung (in an earlier setting) to celebrate the victory at Agincourt. Rutter’s solution is to make the final section (of a piece which is only eight minutes long) hymn-like, but he then lifts the spirits with scoring for brass, timpani, percussion and organ. The performances here are quite splendid in every respect, with moving solo singing, a dedicated choral contribution, and excellent support from the Ensemble DeChorum and Tom Winpenny (organ) admirably directed by Andrew Lucas.

这张堪称迄今最具吸引力的鲁特尔专辑，以圣奥尔本斯大教堂辉煌的声学环境为基底，由Ensemble DeChorum铜管声部倾力加持的《荣耀经》与《感恩赞》构成框架。作为当代英语世界演出频率最高的宗教合唱作曲家，鲁特尔的魅力在《荣耀经》中展露无遗：沃尔顿式的开篇与铜管迸发的激情直击心灵，中段"行板"哀而不伤，终章"阿们颂"则迸发狂喜——这种情感感染力正是其作品风靡英美与英联邦国家的秘诀。  

《尊主颂》中，鲁特尔用标志性的四音动机呼应"Magnificat"歌词，而可独立成篇的《玫瑰颂》第二乐章令人过耳难忘。虽有人质疑这部圣母赞歌过于柔美（如童声独唱的《祂怜悯》与《祂使饥饿者》），但终曲《荣耀归于圣父与圣子》的凯旋气质一锤定音。谈及《感恩赞》的创作挑战时，鲁特尔坦言其文本由三种文献拼合而成，但他以铜管、定音鼓与管风琴的壮丽编曲，在短短八分钟内重现了莎士比亚笔下亨利五世用此曲庆贺阿金库尔大捷的仪式感。安德鲁·卢卡斯执棒的演绎无懈可击：独唱声部感人至深，合唱团倾情投入，Ensemble DeChorum与管风琴家汤姆·温佩尼的配合更是锦上添花。  


(i–iv) Requiem. Anthems: (i; iv) Arise, shine; (i) Come Down, O Love Divine; (i; v) Musica Dei donum; (i; iv) 2 Blessings for Choir & Organ. Organ Pieces: (iv) Toccata in 7; (iv; vi) Variations on an Easter Theme for Organ Duet  (i-iv)《安魂曲》  附加作品：(i; iv)《兴起发光》；(i)《圣爱降临》；(i; v)《音乐——神的恩赐》；(i; iv)两首《管风琴祝福曲》；(iv)七拍《托卡塔》；(iv; vi)《复活节主题管风琴二重奏变奏曲》
Naxos 8.557130. (i) Clare College, Cambridge, Ch.; (ii) L. Sinfonia; (iii) with Thomas; (iv) Rimmer (organ); (v) Jones; all cond. Brown; (vi) with Collon

John Rutter’s melodic gift, so well illustrated in his carols, is used in the simplest and most direct way to create a small-scale Requiem that is as beautiful and satisfying in its English way as the works of Fauré and Duruflé. The penultimate movement, a ripe setting of The Lord is my Shepherd with a lovely oboe obbligato, sounds almost like an anglicized Song of the Auvergne. This work was used in America at the first anniversary of 9/11, and the Clare College Choir crossed the Atlantic to perform it – a great tribute to the composer.

The newest Naxos recording of the Requiem tends to trump all previous versions, even the composer’s own very fine account. Recorded in the expansive acoustic of Douai Abbey, Berkshire, it is very beautifully sung indeed, joyful in the Sanctus and darkly dramatic in the Agnus Dei with its steady drum beat. Elin Manahan Thomas is an ideal soloist, singing the Pie Jesu with touching simplicity and rising up celestially in the Lux aeterna. Christopher Hooker’s oboe obbligato in The Lord is my Shepherd is comparably sensitive. The extra items are equally successful. The Two Blessings, with their easy melodic flow, are rather like Rutter’s carols, and the pair of thematically linked organ voluntaries, the first immediately rhythmically catchy, the duet Variations, sonorous and unpredictable, round off the programme most satisfyingly. Both are very well played indeed, and the recording is first class.

鲁特尔将圣诞颂歌中锤炼的旋律天赋，以最质朴的方式注入这部小型《安魂曲》，使其与弗雷、迪吕弗莱的杰作比肩而立。第五乐章《主是我的牧者》中双簧管助奏的民谣风旋律，宛如英伦版的《奥弗涅之歌》——这部作品曾在美国9/11周年纪念仪式上由克莱尔学院合唱团跨洋演绎，堪称对作曲家的至高致敬。  

拿索斯新版《安魂曲》甚至超越了作曲家本人的经典录音：伯克郡杜埃修道院宽广的声场中，"圣哉经"的欢欣与"羔羊经"的暗涌（伴随恒定鼓点）形成强烈戏剧张力。女高音埃琳·马纳汉·托马斯在《永光颂》中的天籁之音，与双簧管演奏家克里斯托弗·胡克在《牧者》乐章中的细腻表现相得益彰。加演作品中，两首如颂歌般流畅的《祝福曲》与管风琴作品（包括节奏明快的《托卡塔》和出人意表的《二重奏变奏曲》）同样精彩，一流演奏与录音品质令这套录音成为必藏之作。


‘A Song in Season’: Carol of the Magi; I am with you always; The King of Blis; Look to the day; Look at the world; Lord, thou hast been our refuge; Most glorious Lord of life; O Lord, thou hast searched me out; To every thing there is a season; Veni, Sancte Spiritus; Wells Jubilate; Winchester Te Deum  《时令之歌》包含：《三王颂》《我常与你们同在》《福佑之王》《展望新日》《凝视世界》《主啊，你世世代代作我们的居所》《生命之至高主》《耶和华啊，你已经鉴察我》《凡事都有定期》《圣灵降临》《韦尔斯欢呼颂》《温彻斯特感恩赞》
Coll. COLCD 135. Cambridge Singers, RPO, composer, John Birch (organ)

John Rutter’s melodic gift never deserts him, and it blossoms here as readily as ever. This very appealing programme, the most recent in the Rutter discology, is framed by a pair of resplendent celebratory commissions, the exultant Wells Jubilate and Winchester Te Deum, both written for important celebrations at their respective venues, while the anthem, Lord, thou hast been our refuge, brought another occasion of splendour at St Paul’s Cathedral. The rest of the programme is slightly (but only slightly) less spectacular and includes a characteristic Carol of the Magi with a fine cello obbligato warmly played by Tim Gill, and the endearing O Lord, thou has searched me out with a lovely cor anglas obbligato played by Leila Ward. Lord, thou hast been our refuge has an extended concertante trumpet part, brilliantly played by Brian Thomson. The performances by Rutter’s own choir are full of ardent joy and rich, flowing lyricism, and the recording is first class.

约翰·鲁特尔的旋律天赋从未减退，在此专辑中依然如往常般绚烂绽放。这套极具吸引力的曲目——鲁特尔作品目录中最新发行的录音——以两首辉煌的庆典委约作品为框架：为各自场所重要庆典创作的《韦尔斯欢呼颂》与《温彻斯特感恩赞》皆洋溢着欢庆之情，而赞美诗《主啊，你世世代代作我们的居所》则在圣保罗大教堂创造了另一辉煌时刻。其余曲目虽稍显平淡（仅略微如此），但包括具有鲁特尔特色的《三王颂》（蒂姆·吉尔以温暖演奏呈现精彩大提琴助奏）和动人的《耶和华啊，你已经鉴察我》（莱拉·沃德以优美英国管助奏演绎）。《主作居所》中延伸的小号协奏部分由布莱恩·汤普森精彩呈现。鲁特尔亲自组建的合唱团充满炽热欢欣与丰沛流动的抒情性，录音品质堪称一流。


https://115cdn.com/s/swwmtpr3hq9?password=3377&#
Rutter, John - A Song in Season - RPO etc. [Collegium]等3个文件(夹)

wpx426

joseph_li 发表于 2025-6-3 17:17
Wellington’s Victory (Battle Symphony), Op. 91
Decca (ADD) 475 8508. Cannon & musket fire directed ...

通过百度网盘分享的文件：13-2 Mozart & Beethoven - Quintets ...
链接：https://***.com/s/1hnwVhKNRCinzNBj5f0bbGQ?pwd=m4p0

joseph_li

SÆVERUD, Harald (1897–1992)
Symphony 6 (Sinfonia dolorosa), Op. 19; Galdreslåtten, Op. 20; Kjæmpevise-slåtten, Op. 22; Peer Gynt Suites 1 & 2  第六交响曲《悲痛交响曲》，作品19；《加尔德的旋律》，作品20；《反抗民谣》，作品22；《培尔·金特》组曲第一、二号
BIS CD 762. Stavanger SO, Dmitriev

The Sixth Symphony (Sinfonia dolorosa) is a short but intense piece from the war years, dedicated to a close friend who perished in the resistance, and the Kjæmpevise-slåtten (‘Ballad of Revolt’) comes from the same years. It is an inspiriting work, an outraged, combative reaction to the sight of the Nazi occupation barracks near his Bergen home. The Peer Gynt music, written for a post-war production of Ibsen’s play, could not be further removed from Grieg’s celebrated score. It is earthy and rambunctious and makes Grieg sound positively genteel. So, too, does the delightful, inventive and wholly original Galdreslåtten. Eminently satisfactory performances from the Stavanger orchestra under Alexander Dmitriev, brought vividly to life by the BIS recording team.

这部短小却激烈的《第六交响曲》创作于战争年代，题献给一位在抵抗运动中牺牲的挚友。同期的《反抗民谣》是作曲家目睹纳粹占领军驻扎在卑尔根家附近时，愤慨激昂的对抗宣言。为战后易卜生戏剧所作的《培尔·金特》音乐与格里格著名的配乐截然不同——塞韦鲁德的版本粗犷奔放，甚至让格里格的旋律显得文雅。同样充满原创性的还有精彩绝伦的《加尔德的旋律》。斯塔万格交响乐团在亚历山大·德米特里耶夫指挥下呈现令人满意的演绎，BIS录音团队更赋予其鲜活生命力。  


Symphony 7 (Salme), Op. 27; (i) Bassoon Concerto, Op. 44. Lucretia (suite), Op. 10第七交响曲《诗篇》，作品27；(i)巴松管协奏曲，作品44；《卢克雷齐娅》组曲，作品10*
BIS CD 822 (i) Rønnes; Stavanger SO, Dmitriev

The one-movement Seventh (1945) is a deeply felt work, a hymn of thanksgiving for peace. The Lucretia Suite derives from the incidental music Sæverud wrote in 1936 for André Obey’s play. Much of it is highly imaginative (the evocation of night in the fourth movement, for example), and the charming middle movement, Lucretia Sleeping. The Bassoon Concerto (1965) was revised towards the end of his long life in collaboration with Robert Rønnes, the soloist here. Absolutely first-class performances and recordings.

单乐章《第七交响曲》（1945）是献给和平的深情赞歌。《卢克雷齐娅》组曲源自1936年为安德烈·奥贝戏剧创作的配乐，其中第四乐章对夜色的描绘等段落极富想象力，中乐章《沉睡的卢克雷齐娅》尤为动人。1965年创作的《巴松管协奏曲》由本辑独奏家罗伯特·伦尼斯参与修订于作曲家晚年。演绎与录音皆属顶尖水准。  


https://115cdn.com/s/swwmu023hq9?password=3377&#
Saeverud, Harald - Bassoon Concerto, Symphony No.7 etc. - Robert Ronnes, Stavanger SO, Alexander Dmitriev [BIS]等2个文件(夹)

joseph_li

SAINT-SAËNS, Camille (1835–1921)
Cello Concerto 1 in A min.
DG (ADD) 457 761-2. Fournier, LOP, Martinon – LALO: Cello Concerto 1. BLOCH: Schelomo. BRUCH: Kol Nidrei

Fournier brings his customary nobility to this Concerto, and he is well supported by Martinon, who provides stylish accompaniments with the Lamoureux Orchestra. The Saint-Saëns Concerto is a stronger work than the Lalo on this CD and contains much that is memorable, especially so in the delicious Allegretto con moto middle movement – a piece of the utmost piquancy and deliciousness that it is almost edible! The richly lyrical finale is another highlight, but the whole work is really most enjoyable. The recording, from 1960, has never sounded better than on this new DG Originals transfer, and the collection is excellent in every way.

富尼埃以一贯的高贵气质诠释这部协奏曲，马蒂农指挥拉穆勒乐团为其提供了风格优雅的伴奏。这张CD中，圣桑的协奏曲比拉罗的作品更为出色，充满令人难忘的段落，尤其是第二乐章“稍快的小快板（Allegretto con moto）——其精巧灵动的韵味几乎令人陶醉！抒情浓郁的终章同样精彩，整部作品极具欣赏价值。1960年的录音经过DG Originals系列的全新转制后音质更胜以往，这套专辑各方面均属上乘。


Piano Concertos 1–5; Africa Fantaisie, Op. 89; Allegro appassionato; Op. 70; Rapsodie d’ Auvergne, Op. 73; Wedding Cake Caprice-valse, Op. 76《第一至五号钢琴协奏曲》；《非洲幻想曲》，作品89；《热情的快板》，作品70；《奥弗涅狂想曲》，作品73；《婚礼蛋糕随想圆舞曲》，作品76
Hyp. CDA 67331/2. Hough, CBSO, Oramo

Marvellous performances of these delightful and ever inventive works from Stephen Hough, full of joy, vigour and sparkle, with Oramo and the CBSO accompanying spiritedly and with the lightest touch. This recording is in the demonstration bracket, and this Hyperion set includes no fewer than four engaging encores. An easy first choice for this repertoire. Saint-Saëns was both a very appealing tunesmith and a natural craftsman, and it is difficult to think of a pair of CDs that are more diverting than this set.

斯蒂芬·霍夫对这些充满创意与魅力的作品进行了精彩演绎，洋溢着欢愉、活力与光彩，奥拉莫与伯明翰市立交响乐团的伴奏轻盈灵动且富有生气。这张录音堪称示范级水准，Hyperion的这套合辑还额外收录了四首迷人的加演曲目，无疑是该曲目的首选版本。圣桑既是旋律大师又是天生的巧匠，很难想象还有比这套双CD更令人愉悦的录音。


Violin Concertos 1–3
Hyp. CDA 67074. Graffin, BBC Scottish SO, Brabbins

Though Saint-Saëns’s Third Concerto is relatively well known, with its charming Andantino set between two bravura movements, and the First Concerto, in a single movement, has not been neglected either, the Second Concerto is the earliest and longest, yet arguably the most memorable – full of the youthful exuberance of a 23-year-old. The French violinist Philippe Graffin, with rich, firm tone, gives performances full of temperament, warmly supported by Martin Brabbins and the BBC Scottish Symphony Orchestra, and the recording cannot be faulted.

尽管圣桑的《第三协奏曲》因两个炫技乐章间夹着迷人的小行板而相对知名，《第一协奏曲》（单乐章）亦不乏演绎，但《第二协奏曲》作为最早且篇幅最长的作品，却可能是最令人难忘的——它满载23岁青年的蓬勃朝气。法国小提琴家菲利普·格拉芬以饱满而坚实的音色，展现出充满激情的演奏，在马丁·布拉宾斯与BBC苏格兰交响乐团的温暖烘托下，录音效果无可挑剔。


https://115cdn.com/s/swwmu2w3hq9?password=3377&#
Saint-Saens - Complete Piano Concertos - Stephen Hough, Sakari Oramo, Birmingham City Orchestra [Hyperion]等2个文件(夹)
第1张已经在第182楼发过。