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

joseph_li

SIMPSON, Robert (1921–97)
Symphonies (i) 1; (ii) 2; (i) 3; (ii) 4; (i) 5; (iii) 6–7; (i) 8; (ii) 9; (iii) 10; (iv) 11; Variations on a Theme by Nielsen
Hyp. CDS 44191/7 (7). (i) RPO; (ii) Bournemouth SO; (iii) RLPO; (i–iii) cond. Vernon Handley; (iv) City of L. Sinfonia, Matthew Taylor

Born in Leamington Spa, Robert Simpson read medicine in London for two years before embarking on a musical career. He studied with Herbert Howells from 1942 to 1946, and championed such composers as Nielsen and Reger. In 1951 he obtained a doctorate in music from Durham University, presenting his First Symphony as his ‘thesis’. The same year he joined the BBC Music Division, thus beginning a 30-year association with the Corporation, during which time he worked with various musical luminaries of his generation, notably Deryck Cooke and Hans Keller (and, for an equal length of time, with R.L.). In 1980 he resigned his position in protest at the BBC’s reduction of its orchestras and his disillusionment with its policies. After many years of living in rural Buckinghamshire, Simpson moved to the west coast of Ireland in 1986 but his last years were affected by a severe stroke.

Simpson is one of the few twentieth-century composers to have responded creatively to late Beethoven (Michael Tippett is another) so that, although the world of feeling his music encompasses may be complex, his language retains a basic simplicity of utterance. His is not music in which beauty of incident is cultivated as a desirable end, but rather it is the continuity of the musical argument that is crucial; and beauty comes as a by-product. The 11 Symphonies (and the 15 String Quartets, all recorded by Hyperion) have a power and integrity that is almost unique among his contemporaries (perhaps the Dane, Vagn Holmboe, whom he much admired, is a similar master). Vernon Handley is a masterly interpreter; and the composer Matthew Taylor, for whom the Eleventh and the Nielsen Variations were written, is an equally impressive advocate. For anyone interested in the progress of the symphony in England in the twentieth century, this is a self-recommending set. All these recordings are available separately, and should prove an admirable investment.

罗伯特·辛普森生于利明顿温泉镇，最初在伦敦攻读医学两年，后转向音乐事业。1942至1946年间师从赫伯特·豪威尔斯，并积极推崇尼尔森、雷格等作曲家。1951年，他以《第一交响曲》作为"论文"获得杜伦大学音乐博士学位，同年加入BBC音乐部，开启与BBC长达三十年的合作，期间与德里克·库克、汉斯·凯勒等同代音乐名家共事（亦与R.L.共事多年）。1980年，因抗议BBC削减乐团编制及对其政策失望，他毅然辞职。在白金汉郡乡间居住多年后，辛普森于1986年移居爱尔兰西海岸，晚年因严重中风饱受困扰。

作为少数能创造性回应贝多芬晚期风格的20世纪作曲家（迈克尔·蒂皮特是另一位），辛普森的音乐虽情感层次复杂，却始终保持着质朴的表述内核。他的作品不追求局部美感的雕琢，而是以音乐逻辑的连贯性为要义，美感自然而生。其11部交响曲（与15部弦乐四重奏，均由Hyperion录制）在同时代作曲家中展现出近乎独树一帜的力量与完整性（或许唯有他极为推崇的丹麦作曲家瓦格恩·霍尔姆波尔可堪比拟）。弗农·汉德利堪称其作品诠释大师，而为其创作《第十一交响曲》与《尼尔森主题变奏曲》的作曲家马修·泰勒亦是同样出色的演绎者。对关注20世纪英国交响曲发展的乐迷而言，这套唱片自证其价值——所有录音皆可单独购买，实为值得珍藏的艺术投资。


https://115cdn.com/s/swwv3dy3hq9?password=3377&#
Simpson, Robert - Complete Symphonies - Vernon Handley etc. [Hyperion]等2个文件(夹)
弦乐四重奏少了第10。

joseph_li

SMETANA, Bedrřch (1824–84)
Der Fischer, Rybár; Hakon Jarl; Jubel Overture; March for the Shakespeare Festival; Prague Carnival; Richard III; Venkovanka, the Peasant Woman; Wallenstein’s Camp (symphonic poems)《渔夫》《哈康·亚尔》《庆典序曲》《莎士比亚节进行曲》《布拉格狂欢节》《理查三世》《乡村姑娘》《华伦斯坦的营地》
Chan. 10413. BBC PO, Noseda

This is simply the finest compilation of Smetana’s colourful symphonic poems ever put on disc. We have previously had a fine collection of the key works by the Bavarian Radio Orchestra under Kubelik, but that has now been reissued as a double set, paired with a less attractive version of Má Vlast (DG 459 418-2). In any case, apart from Gianandrea Noseda’s splendidly vivid and imaginative performances (especially the darkly atmospheric Richard III, the highly dramatic Hakon Jarl and the spectacularly military evocations of Wallenstein’s Camp), the Chandos disc triumphs by its demonstration-quality, state-of-the-art recording. Not to be missed.

这是迄今最出色的斯美塔那交响诗合集录音。库贝利克指挥巴伐利亚广播交响乐团虽曾有过优秀选集（DG 459 418-2），但新版双碟套装搭配的《我的祖国》演绎较逊色。诺塞达的诠释尤为出彩——阴郁氛围的《理查三世》、戏剧张力十足的《哈康·亚尔》和气势恢宏的《华伦斯坦的营地》均展现出惊人的想象力。更值得称道的是，Chandos唱片凭借示范级录音技术，将这部作品推向了音效艺术的巅峰。不容错过。


Má Vlast《我的祖国》
Sup. 11 1208-2. Czech PO, Kubelik

In 1990, Rafael Kubelik returned to his homeland after an enforced absence of 41 years, to open the Prague Spring Festival with this vibrant performance of Má Vlast. He had recorded the work twice before in stereo, but this Czech version is special, imbued with passionate national feeling, yet never letting the emotion boil over. As in the bold opening of Vyšehrad, with the harp strongly profiled, the intensity of the music-making is immediately projected, and the trickling streams, which are the source of Vltava, have a delicacy almost of fantasy. Sárka, with its bloodthirsty tale of revenge and slaughter, is immensely dramatic, contrasting with the pastoral evocations of the following piece; the Slavonic lilt of the music’s lighter moments brings the necessary contrast and release. The recording is vivid and full, but not sumptuous; yet this suits the powerful impulse of Kubelik’s overall view, with the build-up to the exultant close of Blaník producing a dénouement of great majesty.

1990年，阔别祖国41年的库贝利克重返布拉格之春音乐节，以这场激情澎湃的《我的祖国》揭幕演出震撼乐坛。此前他虽有两版立体声录音，但这次捷克本土演绎因浸透炽热民族情感却始终克制而弥足珍贵。《维谢赫拉德》开篇竖琴铿锵有力的宣叙瞬间点燃音乐张力，《伏尔塔瓦河》源头溪流的描绘如幻想曲般精妙。《莎尔卡》血腥复仇的戏剧性与后续田园诗篇形成强烈反差，斯拉夫舞曲的轻盈韵律则适时带来情绪转换。录音虽非华美型，却恰契合库贝利克宏大的整体构思，《布兰尼克山》凯旋终曲的层层推进更显王者气象。


The Bartered Bride: Overture; Polka; Furiant. Má vlast: Vltava《被出卖的新嫁娘》：序曲、波尔卡、富里安特舞曲；《我的祖国》：伏尔塔瓦河
Decca (ADD) 475 7730. Israel PO, Kertész – DVORÁK: Slavonic Dances, etc.

Kertész’s performance of the Bartered Bride Overture is one of the most exhilarating on CD. It has enormous freshness and exuberance, and the separate entries in the overture are beautifully positioned in the very vivid sound. The dances are exceptionally lively too, and Vltava flows with equal spontaneity, generating quite a surge of electricity in the climaxes.

克尔特斯诠释的《被出卖的新嫁娘》序曲堪称唱片史上最振奋人心的版本，充满原始生命力的欢腾气息，各声部进入点在鲜活音场中定位绝佳。舞曲章节同样活力四射，《伏尔塔瓦河》的自然流淌在高潮处迸发出惊人的电流感。


https://115cdn.com/s/swwv3aq3hq9?password=3377&#
Smetana - Ma Vlast - Rafael Kubelik, Boston SO [DG]等6个文件(夹)
第3张 langong2004 兄在第743楼已经发过

joseph_li

Piano Trio in G min., Op. 15
Hyp. CDA 67730. Florestan Trio (with Petr EBEN: Piano Trio. MARTINŮ: Piano Trio 1: 5 pièces brèves)

The Florestan give exemplary accounts of the two classic Czech trios after Dvořák by Smetana and Martinů and, despite the masterly Suk Trio, it is difficult to imagine them surpassed. Petr Eben (1929–2007) was the doyen of the generation after Martinů. He was sent to Buchenwald during the Nazi occupation but survived and, after studies in Prague, taught in the music history department at Charles University, then briefly taught in Manchester (1978–9). His Trio of 1986 pits the two string players against the piano, and is full of vitality and intelligence: at times one is reminded of a blend of Martinů and Lutoslawski, though Robert Philip’s excellent note suggests Ives.

弗洛雷斯坦三重奏对斯美塔那与马尔蒂努这两部德沃夏克之后的捷克经典三重奏的演绎堪称典范——即便与大师级的苏克三重奏相比，亦难想象能有更胜一筹的版本。佩特尔·埃本（1929–2007）作为马尔蒂努后一代的泰斗，曾遭纳粹囚禁于布痕瓦尔德集中营，幸存后于布拉格深造，任教于查理大学音乐史系，并短期在曼彻斯特讲学（1978–79）。他1986年创作的三重奏巧妙构建弦乐与钢琴的对抗关系，充满智性活力：时而令人联想到马尔蒂努与卢托斯瓦夫斯基的融合（尽管罗伯特·菲利普的精彩解说词提及艾夫斯的影响）。


The Bartered Bride (complete; in English) 《被出卖的新嫁娘》
Chan. 3128 (2). Gritton, Clarke, Robinson, Rose, Davies, Howard, Montague, Moses, Bonner, Leggate, Hesketh-Harvey, ROHCG Ch., Philh. O, Mackerras

What makes this translated version so successful is not just the brilliant conducting of Sir Charles Mackerras and the scintillating playing of the Philharmonia Orchestra, with an exceptionally strong team of soloists working well together, but also the extra impact of the comedy made by a performance in the vernacular. The echoes of G&S, with double-rhymes given a jolly, Gilbertian ring, distracting in many operas, for once seem entirely appropriate, adding to the joy of the piece. Kecal the marriage broker has many patter numbers, in which Peter Rose is wonderfully agile, characterfully establishing himself as the key figure in the story. Even the chorus has rapid tongue-twisters to cope with, crisply performed by the Covent Garden Chorus. Susan Gritton is a radiant heroine, producing golden tone and rising superbly to the challenge of the poignant numbers when it seems that Jeník has betrayed her. Paul Charles Clarke as Jeník is less successful when his tenor grows uneven under pressure, though his characterization is first rate. The other two tenor roles are both superbly taken by Timothy Robinson as the stuttering simpleton, Vašek, and Robin Leggate as the ringmaster in Act III. Strong casting too for Mařenka’s parents, Neal Davies as Kru ina and Yvonne Howard as Ludmila, clearly establishing their contrasted responses to the proposed marriage of Mařenka and Vašek.

此译制版成功的秘诀不仅在于马克拉斯爵士闪耀的指挥、爱乐乐团精湛的演奏与实力超群的演唱阵容的默契配合，更在于母语演绎对喜剧效果的加成。吉尔伯特式俏皮双押韵句与萨利文风格的呼应（通常在其他歌剧中会显得突兀）在此竟浑然天成，为作品增添欢乐色彩。饰演媒人克查尔的彼得·罗斯以惊人的敏捷度驾驭连珠炮式的唱段，活现这个关键角色；科文特花园合唱团对拗口唱词的清晰处理亦是一绝。苏珊·格里顿饰演的女主角玛仁卡音色如金子般灿烂，尤其在疑似遭叶尼克背叛的悲情唱段中迸发惊人感染力。保罗·查尔斯·克拉克饰演的叶尼克虽角色塑造一流，但男高音在高压段落稍显不稳。蒂莫西·罗宾逊（口吃傻子瓦谢克）与罗宾·莱格特（第三幕马戏班主）的男高音演绎同样精彩。尼尔·戴维斯（克鲁西纳）与伊冯娜·霍华德（鲁德米拉）对女儿婚事的迥异态度，通过精准的角色刻画形成戏剧张力。


https://115cdn.com/s/swwv3gm3hq9?password=3377&#
Smetana & Eben & Martinu - Piano Trio - Florestan Trio [Hyperion]等6个文件(夹)

joseph_li

SMITH, Alice Mary (1839–84)
Symphonies in A min.; in C min.; (i) Andante for Clarinet & Orchestra
Chan. 10283. LMP, Shelley; (i) with Malsbury

Alice Mary Smith was the first British woman to have composed a symphony and have it performed. And what a fine work the C minor Symphony is, attractively tuneful throughout and with a fine grasp of orchestration and form. It has a particularly delightful second-movement Allegretto amorevole, with a folksy principal melody of real memorability. The Scherzo opens with rollicking horns, and even the Victorian maestoso finale lightens up after a while.

The A minor Symphony is immediately Mendelssohnian in its richly lyrical forward impetus, and the romantic Andante opens with the horns and then offers a flowing cantilena. The third movement is a little like a Laendler, while the finale is boisterous and confident.

Her Andante for Clarinet and Orchestra, delicately scored and persuasively played here by Angela Malsbury, again demonstrates Smith’s easy melodic gifts, very song-like and pleasing. Howard Shelley and the London Mozart Players are admirable advocates throughout, and this CD is most enjoyable.

作为首位创作并公演交响曲的英国女性作曲家，爱丽丝·玛丽·史密斯的《C小调交响曲》展现出非凡的才华。全曲旋律优美动人，配器精湛且结构严谨——第二乐章"深情的稍快板"以令人难忘的民谣风主题尤为出彩，谐谑曲乐章以圆号的欢快宣言开场，即便维多利亚时代风格的庄严终章也在发展中渐显轻盈。

《A小调交响曲》开篇即显门德尔松式的抒情推进力：浪漫的"行板"乐章由圆号引导出如歌的绵长旋律，第三乐章近似连德勒舞曲的节奏，终章则洋溢着蓬勃自信。

单簧管与乐队《行板》再次印证史密斯天赋的旋律创造力，安吉拉·莫尔斯伯里细腻的演绎将精巧编曲中如歌的愉悦感完美呈现。霍华德·雪莱指挥伦敦莫扎特乐团的诠释极具说服力，这张唱片堪称听觉盛宴。


https://115cdn.com/s/swwv3g13hq9?password=3377&#
Smith, Alice Mary - Symphonies - Howard Shelley, London Mozart Players [CHANDOS]

joseph_li

SMYTH, Ethel (1858–1944)
(i) Concerto for Violin, Horn & Orchestra. Serenade in D(i) 小提琴、圆号与乐队协奏曲；D大调小夜曲
Chan. 9449. (i) Langdon, Watkins; BBC PO, De la Martinez

The Concerto for Violin, Horn and Orchestra is a highly successful piece in every respect. The first movement begins with an ambitious string melody, then the soloists enter alternately with the endearing secondary idea (one of the composer’s very best tunes) which is imaginatively developed in a free fantasia of flowing and dancing melody and varying moods; only at the recapitulation do the soloists share the opening theme. The romantic central Elegy brings a touchingly beautiful and nostalgic exchange between the two soloists.

The Serenade in D major might well be Brahms’s. Not only does the rich string-writing of the first movement have a glorious sweep, but the harmonic thinking and progressions are echt-Brahms. Yet Smyth’s invention is of high quality, for all its eclecticism. With superb performances and warm, sumptuous recording, both these colourful and tuneful works will give great pleasure. This is easily the most impressive Smyth offering yet to have appeared on CD, and it is conducted with understanding and commitment.

这部小提琴、圆号与乐队协奏曲堪称全方位的杰作。首乐章以宏大的弦乐旋律开篇，两位独奏家交替呈现令人倾心的副部主题（作曲家最出色的旋律之一），在自由幻想的乐思发展中，流动的舞曲旋律与多变情绪交织出丰富想象力——直到再现部独奏家们才共享开篇主题。浪漫的《悲歌》乐章中，两件独奏乐器如泣如诉的对话充满动人美感与怀旧情愫。

《D大调小夜曲》的厚重弦乐写作与辉煌气势，连同其和声思维与进行方式，几乎令人误认是勃拉姆斯手笔。然而史密斯虽兼收并蓄，其创作仍展现出极高品质。顶级的演绎配合温暖华丽的录音，这两部色彩斑斓的旋律佳作将带来极大听觉享受——这无疑是迄今唱片中最令人印象深刻的史密斯作品集，指挥家以深刻理解与艺术投入赋予了作品鲜活生命。


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Smyth, Ethel - Orchestral Works - de la Martinez, BBC PO, Sophie Langdon, Watkins [Chandos]

joseph_li

SOLER, Antonio (1729–83)
Sonatas for Harpsichord (complete)羽管键琴奏鸣曲全集
Naxos 8.553462/3/4/5 (Vols. 1–4); 8.554434 (Vol. 5); 8.554565/6 (Vols. 6–7); 8.555031/2 (Vols. 8–9); 8.557137 (Vol. 10); 8.557640 (Vol. 11); 8.557937 (Vol. 12); 8.570292 (Vol. 13). Rowland (harpsichord)

The Catalan composer Padre Antonio Soler was a monk who spent most of his life at the Escorial, a famous monastery near Madrid. There his duties included that of choir master, the provision of choral music for services and the writing of secular music for the royal family ( who often visited the monastery). Yet he found time to compose 150 keyboard Sonatas (he apparently managed to survive on four hours’ sleep each night, rising in time for early morning Mass). Between 1752 and 1757 he is reputed to have studied with Domenico Scarlatti, and most of his own sonatas show this influence. They are single-movement works in binary form (two sections), often exuberant, bravura pieces, some with dance rhythms; others are slow movements (some of these extended and marked cantabile and espressivo). But he also wrote more ambitious sonatas. 63 in F and 67 in D (in Volume 12) are three-movement works, each beginning with a slow movement, and are part of a group of six Sonatas dating from 1777, while 97–9 are part of a group of three Sonatas in four movements (Op. 8), written in 1783. The variety of Soler’s invention is remarkable, sometimes drawing on local folk themes. The outstanding Scottish keyboard player Gilbert Rowland has recorded this repertoire over a long period, beginning in the late 1990s and concluding in 2005, playing with great vitality and variety of characterization, bringing every sonata fully to life. He is truthfully recorded, in a perfect acoustic, and you can dip into any one of these 13 discs (all available separately) and be sure of receiving musical refreshment.

加泰罗尼亚作曲家安东尼奥·索勒神父是一位终生服务于马德里近郊埃斯科里亚尔修道院的僧侣。作为唱诗班指挥，他不仅需为宗教仪式创作圣乐，还需为常到访的皇室家族谱写世俗音乐。然而这位仅需四小时睡眠（每日黎明即起参加晨祷）的奇人，竟完成了150首键盘奏鸣曲的创作。据传1752至1757年间他曾师从多梅尼科·斯卡拉蒂，其多数单乐章二部式奏鸣曲明显承袭了这一渊源——既有炫技型的欢快舞曲，也有标有"如歌地""富有表情地"的绵长慢板。

索勒也不乏更宏大的尝试：第63号F大调与第67号D大调（第12卷收录）作为1777年创作的六首三乐章奏鸣曲组，均以慢板乐章开篇；而1783年作品第8号中的97-99号则属四乐章结构。其创作多样性令人惊叹，部分作品甚至融入了民间音乐主题。苏格兰键盘演奏家吉尔伯特·罗兰自1990年代末至2005年历时多年完成的这套录音，以充沛的活力与细腻的性格刻画完美复活了每首奏鸣曲。在理想声学环境中捕捉的真实琴声，使这13张（可单张购买）唱片任意选听皆能获得纯粹的音乐享受。


https://115cdn.com/s/swwv3pa3hq9?password=3377&#
Soler, Antonio - Complete Sonatas for Harpsichord - Gilbert Rowland [NAXOS]

joseph_li

SPOHR, Ludwig (1784–1859)
Octet in E, Op. 32E大调八重奏
Decca (ADD) 466 580-2. V. Octet – SCHUBERT: Octet in F, D.803

Spohr’s Octet is a particularly charming work, and the variations on Handel’s Harmonious Blacksmith, which form one of the central movements, offer that kind of naïvety which, when done as stylishly as here, makes for delicious listening. The playing is expert throughout, with the five strings blending perfectly with the two horns and clarinet, and altogether this is a winning performance. The 1960 recording is fresh and open and leaves little to be desired.

施波尔的这首八重奏堪称其最富魅力的作品之一。以亨德尔《快乐的铁匠》为主题的变奏乐章，在纯真质朴的趣味中透出精妙的艺术格调，令人回味无穷。本版演绎中，五件弦乐器与两支圆号、单簧管的音色水乳交融，尽显演奏家的深厚功力。1960年的录音鲜活通透，几近完美。

https://115cdn.com/s/swwv3tf3hq9?password=3377&#
Spohr, Ludwig - Octet & Beethoven Quintet - Vienna Octet, Walter Panhoffer [DECCA 24-48]
这张在第803楼已经发过，再补一个版本。

joseph_li

STAINER, John (1840–1901)
The Crucifixion《十字架受难》
Naxos 8.557624. Gilchrist, Bailey, Clare College, Cambridge, Ch., T. Brown; S. Farr (organ)

It is good to have an outstanding digital recording of The Crucifixion, with excellent soloists (the tenor, James Gilchrist, outstandingly eloquent); and Clare College Choir, directed by Timothy Brown, sings very beautifully, catching the music’s devotional simplicity movingly, without sentimentality. Stephen Farr’s organ contribution is supportive but not intrusive. The recording, made in Guildford Cathedral, is first class. With the congregational hymns included, this must now take pride of place, although we still have a soft spot for the old St John’s version with Owen Brannigan and Richard Lewis.

这部杰出的数字录音版《十字架受难》拥有两大亮点：男高音詹姆斯·吉尔克里斯特感人至深的咏唱，以及蒂莫西·布朗指挥克莱尔学院合唱团对音乐虔诚本质的精准把握——既不失宗教肃穆，又规避多愁善感。斯蒂芬·法尔的管风琴伴奏恰如其分，吉尔福德大教堂的录音效果堪称典范。尽管我们仍怀念欧文·布拉尼根与理查德·刘易斯的圣约翰学院旧版，但包含会众赞美诗的本版无疑已成为新标杆。


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Stainer, John - The Crucifixion - Tim Brown, Clare College Choir [Naxos]等2个文件(夹)

joseph_li

STANFORD, Charles (1852–1924)
(i) Piano Concerto 2 in C min., Op. 126; (ii) Becket, Op. 48: The Martyrdom (Funeral March); (iii) The Fisherman of Lough Neagh and What He Saw (Irish Rhapsody 4), Op. 141（i）《C小调第二钢琴协奏曲》，作品126；（ii）《贝克特》，作品48：殉道（葬礼进行曲）；（iii）《内湖的渔夫和他的见闻》（爱尔兰狂想曲第4号），作品141
Lyrita SRCD 219. (i) Binns, LSO; (ii–iii) LPO; (i; iii) Braithwaite; (ii) Boult

Stanford’s Second Piano Concerto, although in three rather than four movements, is a work on the largest scale, recalling the Brahms B flat Concerto. Yet Stanford asserts his own melodic individuality and provides a really memorable secondary theme for the first movement. The piece is enjoyable and uninflated, especially when played with such spontaneous freshness. The recording is surely a demonstration of just how a piano concerto should be balanced. The Funeral March comes from incidental music commissioned at the request of Tennyson for Irving’s production of his tragedy, Becket. It has an arresting opening but is otherwise a fairly straightforward piece, strongly melodic in a Stanfordian manner. Like the more familiar Irish Rhapsody, it is splendidly played and recorded.

斯坦福的《第二钢琴协奏曲》虽然只有三个乐章而非四个，但规模宏大，令人联想到勃拉姆斯的《降B大调协奏曲》。然而，斯坦福展现了他独特的旋律个性，并为第一乐章提供了一个真正令人难忘的次要主题。这首作品既令人愉悦又不浮夸，尤其是在如此自然清新的演奏下。录音无疑是钢琴协奏曲平衡效果的典范。葬礼进行曲来自受丁尼生委托为欧文制作的悲剧《贝克特》所创作的配乐。开头引人注目，但其余部分则是一首相当直白的作品，带有强烈的斯坦福式旋律风格。与更广为人知的《爱尔兰狂想曲》一样，它的演奏和录音都非常出色。


(i) Piano Concerto 2, Op. 126; Down Among the Dead Men. Irish Rhapsodies: 1 in D min., Op. 78; 2 in F min. (Lament for the Son of Ossian), Op. 84; (ii) 3 for Cello & Orchestra, Op. 137. 4 in A min. (The Fisherman of Lough Neagh and What He Saw), Op. 141; 5 in G min., Op. 147; (iii) 6 for Violin & Orchestra, Op. 191（i）《第二钢琴协奏曲》，作品126；《逝者之中》。爱尔兰狂想曲：第1号，D小调，作品78；第2号，F小调（《奥西恩之子的哀歌》），作品84；（ii）第3号（大提琴与乐队），作品137；第4号，A小调（《内湖的渔夫和他的见闻》），作品141；第5号，G小调，作品147；（iii）第6号（小提琴与乐队），作品191
Chan. 10116 (2). Ulster O, Handley, with (i) Fingerhut; (ii) Raphael Wallfisch; (iii) Mordkovitch

Stanford’s set of Irish Rhapsodies (two of them, concertante pieces with highly responsive soloists) are the more impressive when heard as a set. They originally appeared with the symphonies but sometimes seemed stronger and more concentrated than these more ambitious works. They are splendidly played and recorded. The Rhapsody No. 1 features and makes rather effective use of one of the loveliest of all Irish tunes, the Londonderry Air. The Second has a melodramatic flair which is most enjoyable. The Third is very Irish indeed and makes use of several good tunes, beautifully played by both the orchestra and the cellist, Raphael Wallfisch. The Fourth, the most famous, is also the most distinctive and individual work by the composer, bringing together sharply contrasted, colourful and atmospheric Irish ideas under the title The Fisherman of Loch Neagh and What He Saw. The Fifth dates from 1917, reflecting perhaps in its martial vigour that wartime date. Even more characteristic, though, are the warmly lyrical passages, performed passionately by Handley and his Ulster Orchestra, played with splendid thrust and commitment. The Sixth is a concertante work, with its nostalgia nicely caught by the soloist here, Lydia Mordkovitch, who is obviously involved. All the Rhapsodies are superbly played and recorded. Margaret Fingerhut is a first-rate soloist, both in the Second Piano Concerto and in her apt and entertaining account of the Down Among the Dead Men Variations, for Stanford was a dab hand at this format. Again, superb performances and recording.

斯坦福的《爱尔兰狂想曲》系列（其中两首为协奏曲风格，独奏部分反应极为灵敏）在完整聆听时更显震撼。它们最初与交响曲一同发行，但有时似乎比这些更宏大的作品更集中有力。演奏和录音都非常出色。《第一狂想曲》以最动人的爱尔兰曲调之一《伦敦德里小调》为主题，并巧妙地加以运用。《第二狂想曲》具有戏剧性的感染力，非常令人愉悦。《第三狂想曲》极具爱尔兰特色，运用了几段优美的旋律，由乐队和大提琴家拉斐尔·瓦尔费什精彩演绎。《第四狂想曲》最为著名，也是作曲家最具独特性和个性的作品，以《内湖的渔夫和他的见闻》为题，将鲜明对比、色彩丰富且富有氛围的爱尔兰主题融合在一起。《第五狂想曲》创作于1917年，或许反映了当时的战争背景，带有尚武的活力。然而，更典型的是那些温暖的抒情段落，由汉德利和阿尔斯特乐团充满激情地演绎，演奏极具冲击力和投入感。《第六狂想曲》是一首协奏曲风格的作品，独奏家莉迪亚·莫德科维奇巧妙地捕捉了其中的怀旧情绪，显然全身心投入其中。所有狂想曲的演奏和录音都极为出色。玛格丽特·芬格赫特是一位一流的独奏家，无论是在《第二钢琴协奏曲》中，还是在《逝者之中》变奏曲中，她都表现得恰到好处且富有娱乐性，因为斯坦福对这种形式非常擅长。再次强调，演奏和录音都非常出色。


https://115cdn.com/s/swwvzjx3hq9?password=3377&#
British Piano Concertos [Lyrita]等3个文件(夹)
第1张没找到，找到Lyrita出版的英国作曲家钢琴曲合集，里面只有第二协奏曲。

joseph_li

Symphonies 1–7
Chan. 9279/82 (4). Ulster O, Handley

Now available in a box of four CDs, with the fill-ups which accompanied the original CDs now issued on two separate CDs, this is obviously the most attractive way to approach this generally impressive if uneven symphonic canon. Handley and his Ulster Orchestra are completely at home in this repertoire, and the vintage Chandos recording is consistently of this company’s best quality. Like Parry’s symphonies, this is mandatory listening for anyone interested in British music.

Stanford’s mature musical studies had been in Berlin and Hamburg, and he came back to England, profoundly influenced by the German symphonic style (the Scherzo of the First Symphony (1876) even has the character of a Laendler). His work was duly performed and then, like the Second, put in a cupboard. Now we can discover for ourselves that, although he could assemble a convincing structure, his melodic invention was not yet strong enough to achieve real memorability.

The Second Symphony, until this recording, had lain neglected for over a century. The influences of the German masters are strong but the work still has its own individuality, for the most part in the scoring. The Third and most celebrated of the seven symphonies of Stanford is a rich and attractive work, none the worse for its obvious debts to Brahms. The ideas are best when directly echoing Irish folk music, as in the middle two movements, a skippy jig of a Scherzo and a glowing slow movement framed by harp cadenzas.

The Fourth Symphony, like the Third, is a highly confident piece and an effective symphony, even if it runs out of steam before the close of the finale despite attractive invention. The Fifth is colourfully orchestrated and full of easy tunes, illustrating passages from Milton’s L’Allegro and Il Penseroso. The last two movements readily live up to Stanford’s reputation as a Brahmsian, representing the Penseroso half of the work, and the slow epilogue brings reminders of Brahms’s Third.

The Sixth Symphony is not the strongest of the set, but it has a rather lovely slow movement, with a pervading air of gentle melancholy. The first movement has some good ideas, but the finale is too long in the way that Glazunov symphonies tend to overuse their material. Nevertheless Vernon Handley makes quite a persuasive case for this work.

The Seventh Symphony sums up its composer as a symphonist – structurally sound, yet now not so heavily indebted to Germany, and with the orchestration often ear-catching. It is not a masterpiece, but it could surely not be presented with more conviction than here by Handley and his excellent orchestra.

这套四张CD的合辑现已上市，原版CD的补白曲目则单独收录于两张CD中，显然是欣赏斯坦福这部整体出色（尽管水平参差）交响曲全集的最佳选择。汉德利（Handley）与他的阿尔斯特乐团（Ulster Orchestra）对这些作品驾轻就熟，而Chandos的经典录音也一如既往地保持了该厂牌的最高水准。与帕里（Parry）的交响曲一样，这套作品是所有对英国音乐感兴趣的人的必听之作。

斯坦福成熟的音乐学习经历在柏林和汉堡完成，因此他回到英国时深受德国交响风格的影响（《第一交响曲》（1876年）的谐谑曲甚至带有兰德勒舞曲的风格）。他的作品当时得到了演出，但随后和《第二交响曲》一样被束之高阁。如今我们可以发现，尽管他能构建出令人信服的结构，但他的旋律创作尚未达到真正令人难忘的高度。

在本录音之前，《第二交响曲》已被忽视了一个多世纪。德国大师的影响显而易见，但这部作品仍具有自己的个性，主要体现在配器上。《第三交响曲》是斯坦福七部交响曲中最著名的一部，是一部丰富而迷人的作品，尽管明显借鉴了勃拉姆斯，但丝毫不减其魅力。当作品直接呼应爱尔兰民间音乐时（如中间两个乐章——轻快的谐谑曲和由竖琴华彩段落包裹的温暖慢板），其乐思最为出色。

《第四交响曲》和《第三交响曲》一样，是一部非常自信且有效的交响曲，尽管在终乐章接近尾声时略显乏力，但其创作依然充满吸引力。《第五交响曲》的配器色彩丰富，旋律流畅，灵感来自弥尔顿的《欢乐的人》与《幽思的人》。后两个乐章充分展现了斯坦福作为勃拉姆斯风格继承者的声誉，代表了作品中“幽思”的部分，而缓慢的尾声让人联想到勃拉姆斯的《第三交响曲》。

《第六交响曲》并非本套合辑中最强的一部，但它有一个相当优美的慢板乐章，弥漫着温柔的忧郁气息。第一乐章包含一些不错的乐思，但终乐章过长，类似于格拉祖诺夫交响曲中常有的素材过度使用的问题。尽管如此，弗农·汉德利仍为这部作品提供了相当有说服力的演绎。

《第七交响曲》总结了斯坦福作为交响曲作曲家的特点——结构扎实，如今已不再那么依赖德国风格，且配器常常令人耳目一新。它并非杰作，但汉德利与他出色的乐团无疑以最大的信念呈现了这部作品。


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Stanford, Charles - Symphonies - Vernon Handley, Ulster Orchestra [Chandos]

joseph_li

STANLEY, John (1712–86)
6 Concertos in 7 Parts, Op. 2 (1742) 《六首七声部协奏曲》，作品2
Hyp. Helios CDH 55361. Parley of Instruments, Roy Goodman

London born, at the age of two John Stanley was supposedly blinded in a domestic accident with a broken china basin. But it seems likely that he remained partially sighted, for he gained a reputation as an organist (playing at the Temple Church) and established himself as a successful composer. Later in his life he followed Handel as director of oratorios at Covent Garden, and in 1779 he succeeded William Boyce as Master of the King’s Musick. His six Concertos of seven parts appeared in 1742. They owe much to Handel and are clearly modelled on the latter’s Opus 6, while two of the set (Nos. 3 and 6) have keyboard figuration suitable for the organ. They are played as organ concertos here by Peter Holman (following the example of Handel’s Op. 4). All are works of quality and well worth having on disc – like Handel, Stanley writes jolly fugues. As might be expected, the performances here are first rate and they are excellently recorded.

约翰·斯坦利出生于伦敦，据传两岁时因家中瓷器盆破碎的事故失明。但似乎他仍保留了一定视力，因为他后来以管风琴家（曾在圣殿教堂演奏）的身份闻名，并成为一位成功的作曲家。晚年，他接替亨德尔担任科文特花园清唱剧的指挥，并于1779年接替威廉·博伊斯（William Boyce）成为“国王御前音乐大师”。他的六首七声部协奏曲出版于1742年，深受亨德尔影响，明显模仿了后者的《六首大协奏曲》（Op. 6），其中两首（第3号和第6号）的键盘部分适合管风琴演奏。在此，彼得·霍尔曼（Peter Holman）将它们作为管风琴协奏曲演奏（遵循亨德尔《Op. 4》的先例）。这些作品质量上乘，值得收录于唱片中——和亨德尔一样，斯坦利创作了欢快的赋格曲。不出所料，本录音的演奏水准一流，录音效果亦极为出色。


https://115cdn.com/s/swwvz9n3hq9?password=3377&#
Stanley, John - 6 Concertos in 7 Parts - Roy Goodman, Parley Of Instruments [Hyperion]

joseph_li

STENHAMMAR, Wilhelm (1871–1927)
(i) Symphonies 1 in F; 2 in G min., Op. 34; Serenade for Orchestra, Op. 31 (with Reverenza movement); Excelsior Overture, Op. 13; The Song (Sången): Interlude, Op. 44; Lodolezzi Sings (Lodolezzi sjunger): Suite; Piano Concertos (ii) 1; (iii) 2 in D min., Op. 23; (iv) Ballad: Florez och Blanzeflor; (v) 2 Sentimental Romances; (vi) Midwinter, Op. 24; Snöfrid, Op. 5(i) 《F大调第一交响曲》；《G小调第二交响曲》，作品34；管弦乐《小夜曲》，作品31（含“Reverenza”乐章）；《Excelsior序曲》，作品13；《歌》（Sången）：间奏曲，作品44；《洛多莱齐之歌》（Lodolezzi sjunger）：组曲；(ii) 《第一钢琴协奏曲》； (iii) 《D小调第二钢琴协奏曲》，作品23； (iv) 叙事曲《Florez och Blanzeflor》； (v) 《2首感伤浪漫曲》； (vi) 《仲冬》，作品24；《雪之和平》，作品5
BIS (DDD/ADD) CD 714/716. (i) Gothenburg SO, Järvi; (ii) Derwinger; (iii) Ortiz; (iv) Matthei; (v) Wallin; (vi) Gothenburg Ch.; (ii v) Malmö SO, P. Järvi

Paavo Järvi’s performances are now repackaged at a distinctly advantageous price. The First Piano Concerto makes use of Stenhammar’s own orchestration, which came to light only recently in America; and this is the most comprehensive compilation of Stenhammar’s orchestral music now on the market. All the performances and recordings are of high quality, and the only serious criticism to make affects the first movement of the Second Symphony, which Järvi takes rather too briskly. In the Second Piano Concerto Cristina Ortiz is a good soloist.

帕沃·雅尔维（Paavo Järvi）的演绎现以极具吸引力的价格重新发行。《第一钢琴协奏曲》采用了斯坦哈马尔本人的配器版本，该版本直到最近才在美国被发现；这是目前市场上最全面的斯坦哈马尔管弦乐作品合集。所有演奏和录音均属上乘，唯一值得商榷的是雅尔维对《第二交响曲》第一乐章的处理稍显急促。而在《第二钢琴协奏曲》中，克里斯蒂娜·奥尔蒂斯（Cristina Ortiz）是一位出色的独奏家。


Piano Sonatas: in G min.; in A flat, Op. 12; 3 Fantasies; Nights of Late Summer, Op. 33钢琴奏鸣曲：G小调；降A大调，作品12；3首幻想曲；《夏末之夜》，作品33
Hyp. CDA 67689. Sturfält

Stenhammar’s G minor Sonata is an ambitious, romantic work with an unforgettable main theme dominating its first movement, and in many ways it is an equivalent in its youthful ardour of the Brahms F minor work. The Three Fantasies, Op. 11, of 1895 are Brahms-influenced, the first again boldly passionate; but the composer’s own personality comes through, and notably so in the charming Dolce scherzando and the closing Molto espressivo. But the A flat major Sonata (composed in the same year) is a highly individual work, balancing serious lyricism with drama, and closing with a vibrant, unpredictable finale. Martin Sturfält suggests it has an affinity with Beethoven. The five pieces which make up the Nights of Late Summer are not overtly descriptive: their feeling is personal, although the exception is the closing, charming, Poco allegretto, which has almost a tang of Grieg. Sturf ält plays all this music with much feeling and understanding, and great spontaneity, as at a live recital, and the recording (produced by Andrew Keener) is very real indeed. This is a disc well worth exploring.

斯坦哈马尔的《G小调奏鸣曲》是一部充满野心的浪漫主义作品，其第一乐章以一个令人难忘的主题为主导，其青春激情在许多方面可与勃拉姆斯的《F小调奏鸣曲》相媲美。1895年创作的《三首幻想曲》（作品11）深受勃拉姆斯影响，第一首同样充满 bold 的激情；但作曲家自身的个性仍然清晰可辨，尤其在迷人的《Dolce scherzando》和结尾的《Molto espressivo》中。而同一年创作的《降A大调奏鸣曲》则是一部极具个性的作品，将严肃的抒情性与戏剧性相平衡，并以一个活力四射、出人意料的终章作结。马丁·斯特菲尔特（Martin Sturfält）认为它与贝多芬有某种亲缘关系。

组成《夏末之夜》的五首小品并非纯粹的描绘性音乐，其情感更偏向个人化，唯一的例外是结尾的《Poco allegretto》，带有几分格里格的韵味。斯特菲尔特以丰富的感情、深刻的理解和极大的自发性演绎了这些作品，宛如现场独奏会。由安德鲁·基纳（Andrew Keener）制作的录音极其真实。这张唱片值得细细品味。


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Stenhammar, Wilhelm - Piano Music - Martin Sturfält [Hyperion]等2个文件(夹)

joseph_li

STERNDALE BENNETT, William (1816–75)
Piano Concertos 1 in D min., Op. 1; 2 in E flat, Op. 4; 3 in C min., Op. 9; 5 in F min.; Adagio; Caprice
Lyrita SRCD 204 (Nos. 1 & 3; Caprice); SRCD 205 (Nos. 2 & 5; Adagio). Binns, LPO or Philh.O, Braithwaite

Perhaps it was hearing Mendelssohn play his G minor Concerto in 1832 that prompted the sixteen-year-old Sterndale Bennett to write his Opus 1, a Concerto in D minor and a work of extraordinary fluency and accomplishment. The Second Concerto proves to be another work of great facility and charm. It takes as its model the concertos of Mozart and Mendelssohn, and the brilliance and delicacy of the keyboard writing make one understand why the composer was so highly regarded by his contemporaries. David Byers, who has edited the concertos, speaks of Bennett’s ‘gentle lyricism, the strength and energy of the orchestral tuttis’; and they are in ample evidence, both here and in the Third Piano Concerto, composed when he was eighteen. The F minor Concerto of 1836 is eminently civilized music with lots of charm; the Adagio, which completes the disc, is thought to be an alternative slow movement for Bennett’s Third Concerto (1837). Whether or not this is the case, it is certainly a lovely piece. No praise can be too high for the playing of Malcolm Binns, whose fleetness of finger and poetic sensibility are a constant source of delight, and for the admirable support he receives from Nicholas Braithwaite and the LPO. The engineers produce sound of the highest quality. A most enjoyable pair of discs, available separately.

或许是1832年聆听门德尔松演奏其《G小调协奏曲》的经历，促使16岁的斯特恩代尔·贝内特创作了他的《D小调协奏曲》（作品1）——一部技巧娴熟、成就非凡的作品。《第二协奏曲》同样展现了极高的流畅性与魅力，其灵感源自莫扎特与门德尔松的协奏曲风格。键盘写作的华丽与精妙令人理解为何这位作曲家在当时备受推崇。负责编订这些协奏曲的大卫·拜尔斯（David Byers）提到贝内特作品中“温柔的抒情性”以及“乐队齐奏的力量与活力”，这些特质在《第三钢琴协奏曲》（创作于他18岁时）中同样显著。1836年的《F小调协奏曲》是极富教养且充满魅力的音乐；而作为唱片收尾的《柔板》被认为可能是《第三协奏曲》（1837年）的替代慢板乐章。无论是否如此，这无疑是一首优美的作品。

马尔科姆·宾斯（Malcolm Binns）的演奏令人叹服——他手指的敏捷与诗意的敏感始终带来愉悦，而尼古拉斯·布雷斯韦特（Nicholas Braithwaite）与伦敦爱乐乐团（LPO）的协奏同样出色。录音工程亦达到最高水准。这套令人愉悦的双CD可分开购买。


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Sterndale Bennett, William - Piano Concertos No.1, 3 etc. - Malcolm Binns, Braithwaite, LPO [Lyrita]等2个文件(夹)

joseph_li

STOKOWSKI, Leopold (conductor)
‘Decca Recordings 1965–1972’:
Decca (ADD) 475 145-2 (5)

Leopold Stokowski was undoubtedly one of the very greatest conductors of the twentieth century. Like many of the maestros of the era – Karajan, Munch, Klemperer, Barbirolli – he created an orchestral sound that was uniquely his own; and all self-respecting record collectors should sample the Stokowski experience. The complete set of which this was only the first volume comprises the majority of the conductor’s Decca recordings made for their hi-fi-conscious Phase 4 system which, by close microphoning and the use of a 20-channel mixer, created exceptionally vivid projection and detail, though often at the expense of a natural acoustic. In this set, none was more spectacular than the 1968 Kingsway Hall Symphonie fantastique, with the New Philharmonia Orchestra, in which the brass have satanic impact in the Marche au supplice and the finale. The performance is as idiosyncratic as it is charismatic, and is thrilling in every way. Stokowski’s warmth of phrasing is aptly romantic, but generally the most surprising feature is his meticulous concern for the composer’s markings. The Ballet des sylphes makes a ravishing encore.

Elgar’s Enigma Variations also shows Stokowski at his most persuasive, richly phrased by the Czech players and completely spontaneous-sounding. Equally, the Czech account of Scriabin’s Poème de l’extase (edited from more than one performance) has all the passionate commitment of the live concert hall, with the ebb and flow of tension and the flexibility of the phrasing again captured compellingly.

Among the LSO recordings, La Mer has surprisingly slow basic tempi, but the effect is breathtaking in its vividness and impact, and the Prélude à l’aprèsmidi d’un faune is richly languorous, yet has wonderful intensity. The account of the second Daphnis et Chloé Suite is comparably glowing, with sumptuous playing, and the multi-channel technique is used here to produce exactly the proper disembodied, ethereal effect for the off-stage chorus. Stokowski takes the choral parts from the complete ballet and adds a fortissimo chord at the very end; but after such involving music-making (the end is electrifying), few will begrudge him that idiosyncrasy.

The Firebird Suite is similarly sumptuous, and the gentler music shows the wonderful luminosity Stokowski could command from a first-class orchestra. Rich-textured violins dominate the beginning of the final climax, which reaches white-hot intensity. Messiaen’s L’Ascension is tonally hardly less opulent, yet Stokowski is characteristically persuasive in developing the smooth flow of the music. Some may feel that the final sweet meditation for strings alone, Prayer of Christ Ascending to the Father, lacks true spirituality, but it is played very beautifully.

The most controversial performance here is of Tchaikovsky’s Fifth Symphony. Although there is no doubting the electricity of the music-making, Stokowski tends to languish rather than press forward. Yet he also creates some thrilling climaxes and he certainly holds the listener throughout. However, he makes a number of small cuts in the outer movements and (astonishingly) dispenses with the pause before the finale. In the César Franck Symphony, the Hilversum orchestra plays with tremendous energy. The problem – and an endearing quality of this performance – is that Stokowski’s reading, though moulded with conviction, underlines vulgarities in the score that most conductors try to minimize.

The transcriptions – for which Stokowski was famous and without which no anthology would be complete – range from thrilling Technicolor Bach to the extraordinarily imaginative arrangement of Debussy’s La cathédrale engloutie, which has a wholly different sound-world from the original, piano version. The sheer force of Stokowski’s orchestral personality makes all this music very much his own.

利奥波德·斯托科夫斯基无疑是二十世纪最伟大的指挥家之一。与卡拉扬、明希、克伦佩勒、巴比罗利等同时代大师一样，他塑造了独树一帜的管弦乐音响——任何有品位的唱片收藏者都应体验“斯托科夫斯基之声”。这套全集（本卷仅为首辑）收录了他为Decca旗下注重高保真的“Phase 4”系统录制的大部分作品。该技术通过近距离麦克风与20轨混音创造了异常鲜活的音场与细节，但常以牺牲自然声学为代价。其中，1968年与新爱乐乐团在金斯威音乐厅录制的《幻想交响曲》最为震撼：铜管在《赴刑进行曲》与终章中迸发出恶魔般的冲击力。演绎既充满个人魅力又独具一格，全程令人血脉偾张。斯托科夫斯基的乐句处理浪漫而温暖，但最令人惊讶的是他对作曲家标记的一丝不苟。《精灵之舞》作为加演曲目更添华彩。

埃尔加的《谜语变奏曲》同样展现了斯托科夫斯基极富说服力的诠释，捷克乐手饱满的演绎充满即兴感。而斯克里亚宾的《狂喜之诗》（由多场演出剪辑而成）同样迸发出音乐厅现场般的澎湃激情，张力的起伏与乐句的弹性被淋漓尽致地捕捉。

在伦敦交响乐团录音中，《大海》的基础速度出人意料地缓慢，但鲜明的层次与震撼力令人屏息；《牧神午后前奏曲》则浓稠慵懒却暗藏炽烈。《达夫尼斯与克洛埃》第二组曲同样绚烂，奢华演奏下，多声道技术精准还原了幕后合唱团的空灵效果。斯托科夫斯基从全剧合唱段落中取材，并在尾声强奏和弦——但如此摄人心魄的演绎（终章如电流般激荡）令这一“任性”之举无可指摘。

《火鸟组曲》同样富丽堂皇，柔板段落彰显了斯托科夫斯基对一流乐团音色的超凡掌控。弦乐洪流主导的终曲高潮炽烈如火。梅西安的《升天》在音色丰厚度上毫不逊色，斯托科夫斯基以标志性的说服力铺陈音乐的流动感。或许有人会觉得纯弦乐的终章《基督升天祷文》缺乏灵性，但其演绎依然美不胜收。

最具争议的当属柴可夫斯基《第五交响曲》。尽管演奏火花四溅，斯托科夫斯基倾向于沉溺而非推进，但他仍营造出惊心动魄的高潮并始终紧扣听众心弦。不过，他在首尾乐章作了少量删节，甚至（惊人地）取消了终章前的停顿。在塞萨尔·弗兰克《交响曲》中，希尔弗瑟姆乐团能量爆棚，但斯托科夫斯基的解读——尽管充满信念——放大了总谱中多数指挥试图弱化的俗艳段落，反而成了演绎的可爱特质。

作为斯托科夫斯基的招牌，改编曲目是合辑不可或缺的部分：从炫目的“巴赫Technicolor”到德彪西《沉没的教堂》——其管弦化想象彻底重构了原版钢琴曲的音响世界。斯托科夫斯基以强烈的管弦人格将所有作品烙上自己的印记。


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Stokowski, Leopold - Decca Recordings Vol.1 1965-1972 [DECCA]等2个文件(夹)

joseph_li

STRAUSS Family
STRAUSS, Johann Sr (1804–49)
STRAUSS, Johann Jr (1825–99)
STRAUSS, Josef (1827–70)
STRAUSS, Eduard (1835–1916)

Boskovsky Decca Strauss Edition
Decca (ADD) 455 254-2 (6). VPO, Boskovsky

So popular was and is the music of the Strauss family, it is easy to forget how remarkable it is. Not only did the family provide a seemingly limitless fund of memorable tunes, they crafted them into works of perfection, and wrapped them up in supremely effective orchestrations. Willi Boskovsky’s Decca recordings stand out as supreme achievements, both for him and for the Decca Record Company. Following a sequence begun in the days of mono LPs by Clemens Krauss, Boskovsky showed a unique feeling for the Straussian lilt, while the playing he drew from the VPO was consistently persuasive.

Boskovsky had the ability, like Johann Strauss himself, to lead the orchestra from the violin, and the results here could hardly be more idiomatic, with both conductor and orchestra fully steeped in the tradition of playing this repertoire. Not only do these performances glow with atmosphere, they are tingling with life and energy, with all the many details in both the melodic line and harmonic invention vividly brought out. All the popular waltzes are supremely done, but there are so many delightful rarities here as to make one wonder at their relative neglect. The engaging Die Libelle is a magical portrayal of a dragonfly, while the polka, Elijen a Magyar!, is exhilarating in its high-spirited effervescence. Only the earliest recordings betray their age but they are still fine by any standards. Indeed, the Decca engineers fully rose to the occasion throughout these sessions (notably so when special effects were required, as in the Explosion and Thunder and Lightning Polkas, while the gunshot in Auf der Jagd is startling) with the Sofiensaal providing the ideal ambience, with plenty of warmth and bloom. These six vintage CDs (offering 86 titles) span Willi Boskovsky’s long recording career, from the late 1950s to the late 1970s. In 1979, he directed the first of the now famous VPO New Year Concerts (recorded digitally by Decca, and available on 448 572-2 (2)) and that recording tradition continues to the present day. Boskovsky’s achievement in this repertoire remains unique for the unfailing sparkle of the performances.

As a supplement to the above set – and for those, like us, who can’t resist this repertoire – readers will almost certainly enjoy Antal Dorati’s arrangement of the lesser-known Strauss items he used to form the ballet, The Graduation Ball. This delightfully inventive score is now available in Dorati’s sparkling (1976) Decca recording with the Vienna Philharmonic Orchestra on Australian Decca Eloquence (476 752-2), coupled with Bonynge’s equally enjoyable National Philharmonic version of Le Beau Danube, another Strauss confection ( with an especially exhilarating finale), this time arranged by Désormière.

施特劳斯家族的音乐如此广受欢迎，以至于人们常常忘记其非凡之处。这个家族不仅贡献了无数令人难忘的旋律，更将它们打磨成完美之作，并以极富效果的配器呈现。威利·博斯科夫斯基（Willi Boskovsky）为Decca录制的这一系列唱片，无论对他本人还是对Decca唱片公司而言，都是巅峰成就。继克莱门斯·克劳斯（Clemens Krauss）在单声道LP时代开启的传统后，博斯科夫斯基展现出对施特劳斯式韵律的独特感悟，而他指挥维也纳爱乐乐团（VPO）的演奏始终充满说服力。

与约翰·施特劳斯本人一样，博斯科夫斯基能够以小提琴首席的身份引领乐团，因此这些录音堪称最地道的演绎——指挥与乐团皆深谙这一曲目的传统。这些演出不仅洋溢着浓郁的氛围，更充满跃动的生命力，旋律线与和声细节被生动呈现。所有热门圆舞曲的演绎都堪称典范，但其中还有许多令人惊喜的冷门佳作，令人不解为何它们曾被忽视。例如《蜻蜓》（Die Libelle）以魔法般的笔触描绘昆虫的翩跹，而波尔卡《匈牙利万岁！》（Eljen a Magyar!）则以其高昂的活力令人振奋。最早的录音虽略显年代感，但依然水准不俗。Decca的工程师在这些录音中表现出色（尤其在需要特效时，如《爆炸波尔卡》和《雷电波尔卡》，而《狩猎波尔卡》中的枪声更是逼真），索菲恩大厅（Sofiensaal）的温暖音效为此增色不少。

这六张经典CD（收录86首作品）横跨博斯科夫斯基从1950年代末至1970年代末的录音生涯。1979年，他指挥了维也纳爱乐新年音乐会的首场数字录音（Decca发行，编号448 572-2），这一传统延续至今。博斯科夫斯基在此曲目上的成就，因其演绎中始终闪耀的活力而独树一帜。

补充推荐：对于像我们一样无法抗拒这一曲目的乐迷，安塔尔·多拉蒂（Antal Dorati）将冷门施特劳斯作品改编的芭蕾舞剧《毕业舞会》（The Graduation Ball）同样值得一听。这部充满创意的作品现收录于多拉蒂1976年与维也纳爱乐的Decca录音（澳大利亚Eloquence系列，编号476 752-2），搭配博宁吉（Bonynge）指挥国家爱乐乐团演绎的《美丽的多瑙河》（Le Beau Danube，由德索尔米埃尔改编），其酣畅淋漓的终章尤为精彩。


Polka: Unter Donner und Blitz. Waltzes: An der schönen, blauen Donau; Kaiser; Morgenblätter; Rosen aus dem Süden; Treasure; Wiener blut. Josef STRAUSS: Dorfschwalben aus Osterreich. R. STRAUSS: Der Rosenkavalier Waltzes (with WEBER: Invitation to the Waltz)波尔卡：《雷电波尔卡》；圆舞曲：《蓝色多瑙河》《皇帝圆舞曲》《晨报》《南国玫瑰》《珍宝》《维也纳气质》；约瑟夫·施特劳斯：《奥地利村燕》；理查·施特劳斯：《玫瑰骑士圆舞曲》（搭配韦伯《邀舞》）
RCA 82876 671615-2. Chicago SO, Reiner

Reiner’s collection was recorded in 1957 and 1960, but the new SACD transfer restores the voluptuousness to the sound. Although the Thunder and Lighning Polka has an unforgettable explosive exuberance (and the sound is startlingly vivid and full), these performances are memorable for their Viennese lilt, especially the Emperor Waltz and Josef’s Village Swallows. Reiner is especially persuasive in the introductory interchanges of Weber’s Invitation to the Waltz, while the Der Rosenkavalier Waltz sequence brings a passionate surge of adrenalin.

莱纳（Reiner）的这套录音制作于1957年和1960年，但经过SACD技术转制后，音效更显丰润。《雷电波尔卡》的爆发力令人难忘（音效惊人地鲜活饱满），但更打动人心的是其维也纳式的摇曳韵律，尤其是《皇帝圆舞曲》和约瑟夫的《奥地利村燕》。莱纳对韦伯《邀舞》序奏段的处理极具说服力，而《玫瑰骑士圆舞曲》组曲则激情澎湃，肾上腺素飙升。


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Fritz Reiner - Vienna - Fritz Reiner, Chicago SO [RCA SACD]等5个文件(夹)

joseph_li

Die Fledermaus (with gala performance)《蝙蝠》（含庆典演出）
Decca (ADD) 475 8319 (2). Gueden, Köth, Kmentt, Wächter, Berry, Zampieri, Resnik, V. State Op. Ch., VPO, Karajan (with guests: Tebaldi, Corena, Nilsson, Del Monaco, Berganza, Sutherland, Björling, L. Price, Simionato, Bastianini, Welitsch)

Karajan’s 1960 Decca set was originally issued – very handsomely presented and with much blazing of publicity trumpets – as a so-called ‘Gala performance’ – with various artists from the Decca roster appearing to do their turn at the ‘cabaret‘ included in the Orlofsky ball sequence. This was a famous tradition of performances of Die Fledermaus at the New York Met. in the early years of the last century. The party pieces now have a vintage appeal, and even Tebaldi’s Viljalied (rather heavy in style) sets off nostalgia for an earlier era. There is a breathtaking display of coloratura from Joan Sutherland in Il Bacio, a Basque folksong sung with delicious simplicity by Teresa Berganza, and Leontyne Price is wonderfully at home in Gershwin’s Summertime. But the most famous item is Simionato and Bastianini’s Anything you can do I can do better, sung with more punch than sophistication, but endearingly memorable, half a century after it was recorded.

The performance of the opera itself has all the sparkle one could ask for. If anything, Karajan is even more brilliant than he was on the old EMI mono issue, and the Decca recording is scintillating in its clarity. Hilde Gueden is deliciously vivacious as Rosalinde, a beautifully projected interpretation. She and others do fall short in the singing, with her confidence a drawback in showing how tentative Erika Köth is as Adèle, with her wavering vibrato (her Mein Herr Marquiss is well below the standard of the best recorded performances) and Waldemar Kmentt (Eisenstein) a tight, German-sounding tenor, and Giuseppe Zampieri as Alfred no more than adequate, it does take some of the gilt off the gingerbread. But the rest of the cast are very good, and this recording oozes a charm and glamour from a bygone era. The reissue, as one of Decca’s ‘Originals’, handsomely reproduces the original frontispiece on the CD box and includes full text and translation (though not of the gala items).

卡拉扬（Karajan）1960年为Decca录制的这套《蝙蝠》最初以“庆典演出”名义高调发行，豪华包装中穿插了Decca旗下多位艺术家在“奥尔洛夫斯基舞会”环节的“卡巴莱”表演。这一传统源自上世纪初期纽约大都会歌剧院《蝙蝠》演出的著名惯例。如今这些助兴节目自带复古魅力——即便是泰巴尔迪（Tebaldi）风格略显厚重的《维利亚之歌》（Viljalied）也唤起对旧时代的怀念。琼·萨瑟兰（Joan Sutherland）在《吻之咏叹调》（Il Bacio）中展示了令人屏息的花腔，特蕾莎·贝尔甘扎（Teresa Berganza）以质朴动人的嗓音演绎巴斯克民谣，而利昂泰恩·普莱斯（Leontyne Price）则在格什温《夏日时光》中如鱼得水。最著名的片段当属西米奥纳托（Simionato）与巴斯蒂亚尼尼（Bastianini）的《你能做的我都能做得更好》（Anything You Can Do I Can Do Better），虽演唱更胜在活力而非精致，但半个世纪后仍令人难忘。

歌剧本体演绎则尽显璀璨光彩。卡拉扬的指挥比早年EMI单声道版本更为耀眼，Decca录音的清晰度亦如钻石般夺目。希尔德·居登（Hilde Gueden）饰演的罗莎琳德活泼俏丽，角色塑造极为出色。不过部分演唱略显瑕疵：居登的游刃有余反衬出埃丽卡·科特（Erika Köth）的阿黛尔（Adèle）怯场，颤音不稳（《侯爵请听》[Mein Herr Marquiss]远未达到最佳录音水准）；瓦尔德马尔·克门特（Waldemar Kmentt）的埃森斯坦（Eisenstein）是典型的德式紧绷男高音，朱塞佩·赞皮耶里（Giuseppe Zampieri）的阿尔弗雷德（Alfred）也仅算合格。但其余卡司表现上乘，整张录音渗透着旧时代的魅力与风情。此次再版作为Decca“原典系列”之一，精美复刻了原版封面，并附完整剧本及译文（但未收录庆典曲目文本）。


Der Zigeunerbaron (original version; complete) 《吉普赛男爵》（原始版；全剧）
Naxos mono 8.11329/30. Schwarzkopf, Gedda, Kunz, Köth, Prey, Philh. Ch. & O, Ackermann ( with excerpts from earlier recordings of Der Zigeunerbaron by Elisabeth Rethberg (1930); Lotte Lehmann, Richard Tauber (1928); Schatz-Walzen: Berlin State Op. Ch. & O, Leo Blech (1929))

This superb Philharmonia version of The Gypsy Baron from the mid-1950s, now reappearing on Naxos, has never been matched in its rich stylishness and polish. Schwarzkopf as the gipsy princess sings radiantly, not least in the heavenly Bullfinch Duet (to the melody made famous by MGM as ‘One day when we were young’). Gedda, still youthful, produces heady tone, and Erich Kunz as the rough pig-breeder gives a vintage, echt-Viennese performance of the irresistible Ja, das schreiben und das lesen. Mark Obert-Thorn’s transfer is immaculate, and the bonus items are a pleasure in themselves.

这套1950年代中期由爱乐乐团（Philharmonia）演绎的《吉普赛男爵》（现由Naxos再版）以其丰润的风格与精炼的质感至今无出其右。施瓦茨科普夫（Schwarzkopf）饰演的吉普赛公主嗓音璀璨，尤其在《红腹灰雀二重唱》（Bullfinch Duet，旋律后因米高梅电影《翠堤春晓》中的《当我们年轻时》[One Day When We Were Young]而闻名）中宛若天籁。年轻的格达（Gedda）音色令人陶醉，而埃里希·昆茨（Erich Kunz）饰演的粗犷养猪户则以地道维也纳风范演绎了《读写学问大》（Ja, das Schreiben und das Lesen），令人无法抗拒。马克·奥伯特-索恩（Mark Obert-Thorn）的转录完美无瑕，附加曲目本身亦是惊喜。


https://115cdn.com/s/swwvz1y3hq9?password=3377&#
Strauss, Johann II -  Der Zigeunerbaron - Elisabeth Schwarzkopf, Otto Ackermann [EMI]等6个文件(夹)

langong2004

langong2004

发表于：2025-7-4 00::48 417楼 消失了吗 这个时间有两层楼：416楼 417楼  造成后面418楼以后编楼错位  难到发表过的楼层可编辑吗？麻烦joseph_li兄看看

wpx426

langong2004 发表于 2025-8-12 11:22
发表于：2025-7-4 00::48 417楼 消失了吗 这个时间有两层楼：416楼 417楼  造成后面418楼以后编楼错位  难 ...

这里常发生高楼楼层被删，所以楼层号是个随机数，非常数，楼主也找不回来的

wpx426

joseph_li 发表于 2025-8-11 00:39
The Bard, Op. 64; En Saga, Op. 9; The Oceanides, Op. 73; Pohjola’s Daughter, Op. 49; Tapiola, Op. 1 ...

第一张的碟号未必有误，只是我们都没找到。仔细对照就知楼主所发的和书中列出的曲目不完全一致。这里有该指挥和乐团在BIS的全集版，其中CD4 + Saga就包含了书中所提到的所有曲目

通过百度网盘分享的文件：03 BIS Sibelius Edition：Tone Poems ...
链接：https://***.com/s/11hMIw096bb5q--h2RR6jlw?pwd=rsfz