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

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881
 楼主| 发表于 2025-8-16 00:08 | 只看该作者 来自 中国
The Nutcracker; Sleeping Beauty; Swan Lake (ballets: complete)
Decca (ADD) 460 411-2 (6). Nat. PO, Bonynge

Tchaikovsky’s three great ballets are undisputed masterpieces of the genre – the only question for debate is, which of the three is the greatest. The answer, one is tempted to say, is whichever one is listening to at the time, for each is imbued with more inspiration and magic than most composers achieve in a lifetime. Richard Bonynge conducted all three in the 1970s and they remain firm recommendations, especially as they are now all available in an attractive bargain box set. In The Nutcracker, Bonynge’s approach is highly sympathetic and he secures brilliant playing from the National Philharmonic. Though it might be said that the opening is a little literal and lacking in a bit of atmosphere, from the Transformation Scene onwards the playing catches fire, and the latter part of the ballet finds the conductor on top form, with all the Characteristic Dances performed with style and brilliance. Swan Lake receives a strong and vigorous performance with the forward impulse of the music-making immediately striking. Decca have matched the interpretation with a somewhat dry acoustic, producing a leonine string-tone, though the remastering has increased the feeling of sumptuousness. The brightly lit sound-picture provides robust detail in place of glamour, but that goes with Bonynge’s theatrical interpretation. The brass sounds are open and vibrant, and the ‘fairy castle’ fanfares have here more of the atmosphere of a medieval tournament. There is a consistent freshness in this performance and many of the spectacular moments are thrilling. Again, in The Sleeping Beauty one is struck by Bonynge’s rhythmical pointing, which is always characterful. If the upper strings still lack sumptuousness, the overall sound is excellent by any standards. Bonynge is especially good at the close of Act II when, after the magical Panorama, the Princess is awakened. There is a frisson of tension here and the atmosphere is most evocative. As at the end of Swan Lake, the finale of Sleeping Beauty and the ‘Apothéose’ are almost overwhelming in impact.

柴可夫斯基的三大芭蕾舞剧无疑是该体裁的巅峰之作——唯一可争议的是三者中孰为最伟大。答案或许是:当下聆听的那部便是最佳,因为每部作品蕴含的灵感与魔力,已超越多数作曲家毕生所能企及。理查德·博宁吉在1970年代指挥的这三个版本始终是权威推荐,尤其如今它们已集结为超值套装发行。  

在《胡桃夹子》中,博宁吉以高度共情的处理方式,激发国家爱乐乐团呈现出璀璨演奏。尽管开场略显平实缺乏氛围,但从"变身场景"开始便渐入佳境,后半部的"特性舞曲"更是以无懈可击的风格与光彩展现指挥家的巅峰状态。《天鹅湖》的演绎强劲有力,音乐的推进感令人印象深刻。DECCA录音采用略干燥的声场,塑造出雄狮般的弦乐音色(经重制后奢华感有所提升)。明亮的音响虽牺牲了些许光泽感,却与博宁吉戏剧化的诠释相得益彰:铜管声部开阔激昂,"仙堡号角"更似中世纪比武大会的氛围。演绎始终保持着新鲜感,诸多华彩段落震撼人心。《睡美人》同样彰显博宁吉对节奏的精准把控,若说高音弦乐仍欠丰润,整体音效仍属顶尖水准。第二幕尾声处,随着"全景"魔幻场景后公主苏醒的段落,博宁吉营造出令人战栗的紧张感;终场的"终曲与神化"场景,其冲击力与《天鹅湖》结局同样排山倒海。  


Orchestral Suite 3 in G, Op. 55  《G大调第三管弦乐组曲》Op.55
Pentatone SACD PTC 5186 061. Russian Nat. O, Jurowski – STRAVINSKY: Le Baiser de la fée

Tchaikovsky’s Third Orchestral Suite is the most inspired of the four, and Vladimir Jurowski brings out the surging lyricism of all four movements. So the touching Elégie is warmly moulded, with phrasing that seems totally idiomatic. The rhythmic lightness of the second movement’s Waltz leads into a dazzling account of the third-movement Scherzo, taken at a genuine presto, yet with no feeling of breathlessness. But the work’s climax is the closing set of variations on a particularly attractive theme. When Tchaikovsky was in England to receive his honorary degree at Cambridge University (where he met and befriended Grieg) his skill with variations was singled out among his many talents. The attractive breadth of structural, yet derived, ideas, and the felicitous changes of orchestral colour show him at his most inspired, leading to a thrilling build-up to the polacca climax at the conclusion. Exceptionally vivid sound, recorded by Pentatone’s Dutch engineers in Moscow, spectacular in surround sound.

柴可夫斯基四部组曲中以第三部最具灵感,尤洛夫斯基完美展现了四个乐章中奔涌的抒情性。动人的"悲歌"乐章以地道的句法温暖铺陈;第二乐章圆舞曲的轻盈节奏导向真正"急板"速度的谐谑曲,却毫无急促感。但全曲巅峰当属末乐章变奏曲——柴氏在剑桥大学接受荣誉学位期间(与格里格结识),其变奏技巧就被特别赞誉。结构宏阔的主题发展配以精妙的配器色彩变化,最终在波罗乃兹舞曲的高潮中达到震撼效果。Pentatone荷兰工程师在莫斯科录制的环绕声效果异常鲜活。  


Swan Lake (highlights)
Australian Decca Eloquence (ADD) 442 9032. Concg. O, Fistoulari

This is a key recording, much admired in the early stereo era. Fistoulari was a great conductor of ballet music, and we have long admired this 1960 collection of highlights from Swan Lake which at the time of its first issue was revelatory. It is a real collector’s item and this is its CD début. It is essentially a relaxed reading, but the Concertgebouw Orchestra plays superbly and there is a wonderful sense of the theatre, combined with spontaneous music-making. For its date the recording is outstanding, too. At a little over 46 minutes’ playing time, this is very much a case of quality over quantity.

作为早期立体声时代的典范录音,费斯托拉里1960年指挥皇家音乐厅管弦乐团演绎的《天鹅湖》选段至今仍令人赞叹。这张首次CD化的珍品本质上是松弛的解读,但乐团演奏堪称超凡,兼具剧场感与即兴火花。以当时标准而言,录音效果同样出众。虽然仅46分钟时长,却完美诠释了"质重于量"的真谛。  


https://115cdn.com/s/swwvt4s3hq9?password=3377&#
Tchaikovsky - Ballet Music, Serenade - Anatole Fistoulari, RCO & LSO [DECCA]等4个文件(夹)
第2张在斯特拉文斯基词条下发过。第4张雄辩系列没找到,但是碟号4836366 应该已经包含了该曲目。

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882
 楼主| 发表于 2025-8-16 00:09 | 只看该作者 来自 中国
Symphonies 1–6; Capriccio italien; Manfred Symphony
Chan. 10392 (6). Oslo PO, Jansons

Jansons’s Tchaikovsky series, which includes Manfred, is self-recommending. The full romantic power of the music is consistently conveyed and, above all, the music-making is urgently spontaneous throughout, with the Oslo Philharmonic Orchestra always committed and fresh, helped by the richly atmospheric sound. If you want all six symphonies, this is a supreme bargain. Of course the complete Karajan set, made in the 1970s, displays the same superlative qualities we expect from this combination and is hardly less illuminating (DG 429 679-2). But Karajan does not include Manfred and the Jansons set is not displaced.

杨松斯指挥奥斯陆爱乐乐团演绎的柴可夫斯基交响曲全集(含《曼弗雷德》)堪称不证自明的经典。这套录音始终传递着音乐中饱满的浪漫力量,更重要的是其演奏充满即兴的鲜活感,配合富有氛围的录音效果,堪称全集版本中的性价比之王。当然,卡拉扬1970年代指挥柏林爱乐的DG全集(429 679-2)同样展现出顶级水准,但因未收录《曼弗雷德》,杨松斯版仍不可替代。  


Symphonies 4–6 (DVD version)
DG Unitel DVD 073 4384. BPO, Karajan
Symphonies 4–5 (DVD version)
Sony DVD 888579849. VPO, Karajan

The Fourth and Fifth were recorded by Sony in 1984 at the Grossesaal of the Musikverein with the Vienna Philharmonic at a time when Karajan’s relationship with the Berlin Philharmonic was under some strain. The Fourth is one of the most commanding and compelling accounts of this great work we have heard, and one’s attention is riveted throughout. Karajan’s famous 1950s account of the Fourth with the Philharmonia Orchestra bore witness to his special relationship with this music, and this makes an equally strong impression. Excellent video presentation enhances its impact.

The alternative performances on DG were made in 1973 and show this extraordinary partnership at their most characteristic. None of Karajan’s Tchaikovsky performances was routine; and these recordings, made at the Philharmonie, have exemplary power and feeling. The Sony versions have marginally more focused camerawork, but these earlier versions, which Karajan himself oversaw in production, are hardly less satisfying.

1984年索尼在维也纳金色大厅录制的这两部交响曲,正值卡拉扬与柏林爱乐关系紧张时期。《第四交响曲》的演绎堪称我们听过最具统御力的版本,从头至尾扣人心弦。相比指挥家1950年代与爱乐乐团的经典录音,这个视频版同样震撼,出色的影像呈现更强化了艺术冲击力。DG的替代版本录制于1973年,虽摄影略逊于索尼版,但由卡拉扬亲自监制,情感张力与音响力量堪称典范。  


Symphonies (i) 4; (ii) 5; (iii) 6 (Pathétique) (CD versions); (i) Serenade for Strings (Waltz and Finale only)
Andromeda ANDRCD 9107 (2). (i) VPO; (ii) O Sinfonica di Torino della RAI; (iii) BPO; all cond. Furtwängler

The recordings made between 1950 and 1952, this fascinating historic Furtwängler box is a curiosity well worth investigating. The Sackville-West/Desmond Shawe-Taylor Record Guide thought that in No. 4 Furtwängler’s conducting ‘lacks the fire he once brought to Tchaikovsky’s symphonies’, although they thought the strings ‘remarkably fine’. Certainly we find the climax of the first movement very impressive, although the finale, brilliantly played, lacks the last degree of free-flowing adrenalin.

The Fifth, however (deriving from acetates), is fully acceptable, with a superbly passionate slow movement. It was recorded live in Turin in 1951 and the inexperienced Italian audience provide unwanted clapping in the brief silence before the work’s final peroration. (This reminds us of a true story related in Sir Henry Wood’s autobiography, when at a Prom performance, at that same moment in the last movement he heard two ladies in the front row share the comment ‘We always fry ours in dripping’!)

The Berlin Philharmonic are on top form in the Pathétique (of which Furtwängler was a master) and this is comparable with his 1938 performance included in the conductor’s 21-disc EMI anthology (see above), although the present recording does not quite match the earlier one.

The excerpts from the String Serenade used to be available on a single HMV 78 disc, once treasured by I.M., and here, as in the other works, the transfers are generally well managed, although the violin timbre is inclined to be shrill. But for the conductor’s admirers this will be an indispensable set.

这套录制于1950-1952年间的福特文格勒历史录音宝盒,堪称值得深入探究的珍品。《萨克维尔-韦斯特/肖恩-泰勒唱片指南》曾评价其第4号交响曲的演绎"缺乏指挥家早年诠释柴氏交响曲的炽烈激情",但称赞其弦乐声部"异常精妙"。确实,我们虽对第一乐章高潮段的震撼力印象深刻,但终曲的演奏虽精湛,却稍欠行云流水般的澎湃张力。  

第5号交响曲(源自醋酸母带)则堪称完美,尤其慢乐章的演绎饱含灼热情感。1951年都灵现场录音中,经验不足的意大利观众在终乐章庄严尾声前的静默段落不合时宜的掌声(这令人想起亨利·伍德爵士自传中的趣闻:某次逍遥音乐会上,他恰在相同乐段听见前排女士议论"我们煎东西都用油渣")。  

柏林爱乐在福特文格勒的拿手曲目——"悲怆"交响曲中展现出巅峰状态,虽略逊于指挥家1938年EMI全集版(前文所述21碟套装),仍属杰作。《弦乐小夜曲》选段转录自I.M.曾珍藏的HMV78转唱片,小提琴音色偶显尖锐,但无损其作为福特文格勒乐迷必备藏品的价值。  


Variations on a Rococo Theme for Cello & Orchestra, Op. 33《洛可可主题变奏曲》Op.33
DG (ADD) 447 413-2. Rostropovich, BPO, Karajan – DVOÁK: Cello Concerto

Rostropovich uses the published score rather than the original version which more accurately reflects the composer’s intentions. But this account, with Karajan’s glowing support, is so superbly structured in its control of emotional light and shade that one is readily convinced that this is the work Tchaikovsky conceived. The recording (made in the Jesus-Christus Kirche) is beautifully balanced and is surely one of the most perfect examples of DG’s analogue techniques.
尽管罗斯特罗波维奇采用出版版本而非更符合作曲家原意的初稿,但与卡拉扬合作的这个演绎通过对情感明暗的精妙掌控,令人信服地再现了柴氏构想。录制于柏林耶稣基督教堂的此版,堪称DG模拟录音时代最完美的典范之一——大提琴与乐队的平衡如天鹅绒般柔滑,每个变奏都化作闪耀的珠宝,终曲回旋曲更迸发出令人窒息的辉煌。  

DVD:
https://115cdn.com/s/swwvt7a3hq9?password=3377&#
Tchaikovsky - Symphonies Nos. 4–6 1973 - Karajan, BPO [MKV 720p]等2个文件(夹)

CD:
https://115cdn.com/s/swwvt7q3hq9?password=3377&#
Tchaikovsky - Complete Symphonies - Mariss Jansons, Olso PO [Chandos]等10个文件(夹)
富老的曲目在之前发过的大包里也可以找到。《洛可可主题变奏曲》在德沃夏克词条发过。
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883
 楼主| 发表于 2025-8-16 00:09 | 只看该作者 来自 中国
Eugene Onegin (complete) 《叶甫盖尼·奥涅金》
Decca (ADD) 417 413-2 (2). Kubiak, Weikl, Burrows, Reynolds, Ghiaurov, Hamari, Sénéchal, Alldis Ch., ROHCG O, Solti

Solti, characteristically crisp in attack, has plainly warmed to the score of Tchaikovsky’s colourful opera, allowing his singers free rein in rallentando and rubato to a degree one may not expect of him. The Tatiana of Teresa Kubiak is most moving – rather mature sounding for the ingénue of Act I, but with her golden, vibrant voice rising most impressively to the final confrontation of Act III. The Onegin of Bernd Weikl may have too little variety of tone, but again this is firm singing that yet has authentic Slavonic tinges. The rest of the cast is excellent, with Stuart Burrows as Lensky giving one of his finest performances on record. Here, for the first time, the full range of expression in this most atmospheric of operas is superbly caught, with the Decca CDs vividly capturing every subtlety, including the off-stage effects. For those wishing to see this opera on DVD, there is Graham Vick’s much-acclaimed Glyndebourne production from 1994. Not only is the production convincing, but the cast is too. However, it is Elena Prokina’s magnificent portrayal of Tatiana that is the crowning glory of this release. The video direction is admirably discreet, with no intrusive camerawork and with the eye being directed where one feels it ought to be (Warner DVD 0630 14014-2).

索尔蒂以标志性的精准起奏诠释这部色彩绚烂的歌剧,出人意料地展现出对总谱的深刻理解,给予歌手在渐慢(rallentando)和弹性速度(rubato)处理上前所未有的自由度。特蕾莎·库比亚克塑造的塔季扬娜尤为动人——虽第一幕的少女形象稍显成熟,但她那金子般灿烂的嗓音在第三幕最终对决中爆发出惊人的戏剧张力。贝恩德·魏克尔演绎的奥涅金虽音色变化有限,但其扎实的演唱仍带有纯正的斯拉夫韵味。其他演员同样出色,斯图尔特·伯罗斯饰演的连斯基堪称其录音生涯最佳表现之一。DECCA的录音首次完美捕捉了这部极具氛围的歌剧的全部表现力,连幕后音效都纤毫毕现。
格雷厄姆·维克1994年格林德伯恩剧院制作的DVD版(华纳DVD 0630 14014-2)不仅制作精良,演员阵容同样强大。叶莲娜·普罗金娜对塔季扬娜的精彩演绎堪称此版的皇冠明珠。影片导演手法含蓄内敛,镜头调度恰到好处,始终将观众视线自然引导至戏剧核心。  


Iolanta (complete, CD version)
Melodiya MEL CD 10 01697 (2). Sorokina, Atlantov, Nesterenko, Mazurok, Bolshoi Theatre Ch. & SO, Ermler

About two years before this book went to print we had the good fortune to see a first-rate production of this opera at the London Guildhall School of Music and discovered that it is a small-scale masterpiece. It tells of Iolanta, daughter of King René, who is blind from birth but who, by her father’s orders, lives in ignorance of her affliction. Her doctor says a cure is possible, but only if she is told of her blindness and is eager to be cured. But the King refuses to take this course. Two knights arrive at the palace, Robert and Vaudémont. Robert was betrothed to Iolanta during his childhood, but he has not seen her and does not know that she is blind. In any case he wants to marry the Countess of Lotharingia. Because of some confusion over a red-and-white rose, Vaudémont then discovers Iolanta’s secret and, deeply touched, professes his love for her. The king is furious at his discovery, but the path is set for Iolanta, with the help of the doctor, and through her own determination to regain her sight, to join her new lover and husband. All ends happily.

Tchaikovsky was captivated by the story; his brother, Modest, wrote the libretto and the opera was first performed in 1892. Tchaikovsky’s music is delightful, full of melody and even with a reminder of Tatiana in the early music for the heroine. The performance here is understandably very Russian, with Tamara Sorokina a characterful Iolanta, if somewhat shrill in her upper range. However, Vladimir Atlantov is a strong, passionate Vaudémont with a fine tenor voice, and Evgeny Nesterenko a commanding King René. The choral and orchestral support under Mark Ermler is excellent, and the opera’s closing scene, when Iolanta first sees light, is truly memorable, for Tchaikovsky, as always, identified with his heroine’s plight. The 1976 recording is faithful and this is a delightful surprise that will give much pleasure. It is well worth seeking out as a Russian import. The set is attractively packaged, although, alas, without a translation.

在本书付梓前两年,我们有幸在伦敦市政厅音乐戏剧学院观赏了这部歌剧的一流制作,发现它实为一部精妙的袖珍杰作。故事讲述天生失明的公主约兰塔在父亲雷内国王的命令下,始终不知自己的缺陷。医生表示唯有让她知晓病情并渴望治愈,才可能重见光明,但国王拒绝这样做。随着骑士罗伯特(约兰塔的童年订婚对象)与瓦德蒙的到来,因红白玫瑰的误会,瓦德蒙发现公主的秘密并坠入爱河。在医生的协助与自身意志驱动下,约兰塔最终复明并与爱人喜结连理。
柴可夫斯基为其弟莫德斯特改编的剧本谱写了充满旋律美感的音乐,女主角早期的唱段甚至令人联想到《叶甫盖尼·奥涅金》中的塔季扬娜。这个1976年的俄版录音具有鲜明的民族特色:索罗金娜塑造的约兰塔性格鲜明(虽高音区稍显尖锐);阿特兰托夫以辉煌的男高音诠释热情似火的瓦德蒙;涅斯特连科则展现出帝王般的威严气场。埃尔姆勒指挥下的合唱与乐团表现卓越,尤其当约兰塔初见光明的终场场景,柴氏对女主角命运的共情创造了令人难忘的音乐瞬间。
尽管这套俄版进口唱片未附译文,其精美的包装与忠实的录音品质仍使其成为值得珍藏的惊喜之作。那些渴望探索柴可夫斯基歌剧世界的乐迷,定能从中获得无上愉悦。


Queen of Spades (Pique Dame) (complete, DVD version)  《黑桃皇后》
Decca DVD 070 434-9. Grigorian, Gulegina, Leiferkus, Gergalov, Filatova, Borodina, Kirov Op. Ch. & O, Gergiev (Producer: Yuri Temirkanov; V/D: Brian Large)

Pushkin’s dark story of a gambler’s growing obsession with discovering the secret that will bring him riches is taut and concentrated. It unfolds with gripping psychological intensity, all the more powerful for its understatement, Though Modest Tchaikovsky’s libretto differs in many respects from Pushkin’s story.

Dating from 1992, the Philips DVD, with the conductor Valery Gergiev looking very young, is a live recording of the Kirov Company’s grandly traditional production. It is handsome to look at and is very well staged. Yuri Temirkanov (Gergiev’s predecessor at the Kirov) produces and does not lose sight of the Rococo component in this wonderful opera. Yet it is a straightforward and clean-cut presentation, deftly using massive choruses to match the opulent costumes and scenery, and nearly all the cast is first rate. The cast differs slightly from the CD performance, though that too is thoroughly recommendable (Ph. 438 141-2 (3)).

普希金原著中那个关于赌徒痴迷追寻致富秘密的暗黑故事,在歌剧中以紧凑浓缩的戏剧张力呈现。虽然莫德斯特·柴可夫斯基的剧本与原著多有出入,但那种扣人心弦的心理强度却因含蓄克制的表达而更显震撼力。

1992年飞利浦出品的这版DVD,记录了当时还显年轻的指挥家瓦列里·捷吉耶夫与基洛夫歌剧院(现马林斯基剧院)合作的经典传统制作。舞台视觉效果华丽壮观,制作精良。由捷吉耶夫的前任尤里·特米尔卡诺夫担任制作人,在保持歌剧中华丽的洛可可元素的同时,呈现出一个干净利落、直击核心的舞台版本。制作团队巧妙运用庞大的合唱阵容,与奢华的服装布景相得益彰,演员阵容几乎无可挑剔。需要注意的是,这个版本的演员与CD版(Philips 438 141-2)略有不同,但CD版本同样值得强烈推荐。

DVD:
https://115cdn.com/s/swwvtio3hq9?password=3377&#
Tchaikovsky - Pique Dame - Valery Gergiev, Kirov Opera; Grigorian, Gulegina, Leiferkus [Philips DVD]
《叶甫盖尼·奥涅金》这张没找到

CD:
https://115cdn.com/s/swwvtit3hq9?password=3377&#
Tchaikovsky - Eugene Onegin - Solti, the Opera House, Covent Garden; Kubiak, Hamari, Reynolds [DECCA]等3个文件(夹)
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884
 楼主| 发表于 2025-8-16 00:10 | 只看该作者 来自 中国
每层楼内容过多的结果就是,大部分都被卡住审核。
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885
发表于 2025-8-16 01:08 | 只看该作者 来自 云南昆明
langong2004 发表于 2025-8-14 22:02
819楼 Sibelius-Symphonies (Ashkenazy) Exton iso 5

1zd0Vnsx3caAWUqW62Ig0QQ?pwd=ihxk

感谢分享
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886
发表于 2025-8-16 09:41 | 只看该作者 来自 四川乐山
joseph_li 发表于 2025-8-16 00:10
每层楼内容过多的结果就是,大部分都被卡住审核。

按照自己原来的节奏,不必受他人影响。
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887
 楼主| 发表于 2025-8-16 12:05 | 只看该作者 来自 中国
TELEMANN, Georg (1681–1767)
Concertos: for 2 Corni da caccia in F, TWV 52:F3; for Violin & 3 Corni di caccia in D, TWV 54:D2. Overtures: for 2 Corni di caccia in D, TWV 55:D17; for 2 Corni di caccia & 2 Oboes in F, TWV 55:F3  协奏曲:F大调为两支狩猎圆号而作,TWV 52:F3;D大调为小提琴与三支狩猎圆号而作,TWV 54:D2。序曲:D大调为两支狩猎圆号而作,TWV 55:D17;F大调为两支狩猎圆号与双簧管而作,TWV 55:F3
MDG 605 1045-2. Deutsch Natural Horn Soloists, New Düsseldorf Hofmusik

The Deutsch Natural Horn Soloists are a superb group. They play here expertly, using hand horns without valves and demonstrating the most thrilling bravura, whether in partnership with oboes, where the interplay of the Réjouissance in the F major Overture (or Suite) is a real hit number, or in the Concerto in F, which reminds one a little of Handel’s Water Music. In the Concerto scored for three horns, the solo violin in the Grave slow movement gives expressive contrast before sharing the exuberant finale. With excellent recording, this is outstanding in every way, but not to be played all in one go!

德意志自然圆号独奏家乐团是一支杰出的团体。他们以精湛技艺演绎这些作品,使用无阀键的手控圆号,展现出令人振奋的华丽技巧——无论是与双簧管合作的F大调序曲(或组曲)中《欢庆》乐章的精彩互动,还是那首令人联想到亨德尔《水上音乐》的F大调协奏曲。在为三支圆号谱写的协奏曲中,庄板乐章的小提琴独奏以富有表现力的对比铺垫,随后与乐器组共同奔向欢腾的终曲。出色的录音品质使这张唱片各方面都堪称典范,但建议不要一次性连续聆听!


Concertos, Overtures: (i) 5 Concertos for 2 Flutes, with Lute, Bassoon & Strings (Cap. 10 284); (ii) Chamber Concerto for Alto Recorder in G min., TWV 43:G3; (iii) Double Concerto in E min. for Recorder & Flute; (iv) Concerto for 3 Trumpets & 2 Oboes in D; (ii) Sonata in A for Recorder, 2 Scordato Violins & Continuo, TWV 43:A7; (v) Tafelmusik II: Trio in E min. for Recorder, Oboe & Continuo (Cap. 49 431); (vi) Overtures (Suites): in C, TWV 55:C3 (Hamburg Ebb and Flow) & C6; Overture in E min., TWV 55:C5 (Cap. 10 625); Overtures: in D (connected with a Tragicomical Suite); in F (Alster Echo), TWV 55:F11; in D, TWV 55:D15 (Cap. 49 428); (vii) Overtures (Suites): in D, TWV D18; TWV 55:D6 & D7; in F (Cap. 49 429) 协奏曲与序曲:(i) 为两支长笛、琉特琴、巴松管及弦乐创作的五首协奏曲(Cap. 10 284);(ii) G小调高音竖笛室内协奏曲,TWV 43:G3;(iii) E小调竖笛与长笛双协奏曲;(iv) D大调为三支小号与双簧管创作的协奏曲;(ii) A大调竖笛、两把变格定弦小提琴与通奏低音奏鸣曲,TWV 43:A7;(v) 《餐桌音乐II》:E小调竖笛、双簧管与通奏低音三重奏(Cap. 49 431);(vi) 序曲(组曲):C大调《汉堡潮汐》,TWV 55:C3与C6;E小调序曲,TWV 55:C5(Cap. 10 625);D大调序曲(关联悲喜剧组曲);F大调《阿尔斯特回声》,TWV 55:F11;D大调序曲,TWV 55:D15(Cap. 49 428);(vii) 序曲(组曲):D大调TWV D18、TWV 55:D6与D7;F大调序曲(Cap. 49 429)
Cap. 49 426 (5). (i) Dresden Bar. Soloists, Haupt; (ii) Huntgeburth, Berlin Bar. Company; (iii) Höller, Hünteler, Capella Colonsiensis, G. Fischer; (iv) Friedrich & soloists, Budapest Strings; (v) Passin, Gütz, Leipzig Bach Coll.; (vi) Capella Colonsiensis, Linde; (vii) Deutsch Bach Soloists, Winschermann

If you want a representative collection of Telemann at his best, this Capriccio box (with the five CDs in a slip case) is hard to better. The Concertos for a pair of flutes are continually inventive, and the two compilations of miscellaneous concertos and chamber music offer plenty of variety, not only in the music but also in the performances, although all are authentic in the best possible way. The Suites (Overtures) are all among the composer’s best, including the two most famous, both pictorial or progammatic, the Alster Echo and the Hamburg Water Music. The performances and recordings are excellent, as is the documentation. As far as we know, the discs are not currently available separately.

若想收藏泰勒曼精华作品,这套Capriccio厂牌的五碟装合辑(附带插页盒)堪称不二之选。双长笛协奏曲充满层出不穷的创意,而杂锦协奏曲与室内乐选集不仅呈现音乐多样性,更以最纯正的方式展现演绎水准。所有组曲(序曲)皆属作曲家代表作,包括两首最著名的描绘性/标题性作品《阿尔斯特回声》与《汉堡水上音乐》。演奏与录音俱佳,文献资料亦属上乘。据我们所知,目前这些唱片暂无单碟发售。


Flute Concertos in D, TWV:51:D2; in G, TWV:51:G2; Concerto for 2 Flutes, Violone in A min., TWV:53:a; Concerto for Flute, Oboe d’amore & Viola d’amore in E, TWV:53:E; Tafelmusik: Concerto for Flute & Violin in A, TWV:53:A2   长笛协奏曲:D大调TWV:51:D2;G大调TWV:51:G2;A小调为双长笛与低音提琴而作,TWV:53:a;E大调为长笛、柔音双簧管与柔音中提琴而作,TWV:53:E;《餐桌音乐》:A大调长笛与小提琴协奏曲,TWV:53:A2
EMI 5 03435-2. Pahud, Berlin Bar. Soloists, Kussmaul

An enchanting disc. Everything Emmanuel Pahud plays seems to turn to gold, and he has admirable support from his solo colleagues (including Albrecht Meyer (oboe d’amore) and Wolfram Christ (viola d’amore)). Throughout allegros are wonderfully nimble and light-hearted. The Berlin Baroque Soloists, directed by Rainer Kussmaul, accompany with wonderful finesse and warmth, and the recording is in the demonstration bracket.

令人沉醉的唱片。埃马纽埃尔·帕胡德的演奏总能点石成金,其独奏搭档们(包括阿尔布雷希特·迈耶[柔音双簧管]与沃尔夫拉姆·克里斯[柔音中提琴])亦贡献了出色配合。快板乐章始终洋溢着灵巧轻盈的欢愉气质。赖纳·库斯毛尔指挥的柏林巴洛克独奏家乐团以精妙细腻且温暖的伴奏相衬,录音效果更达示范级水准。


https://115cdn.com/s/swwvj3f3hq9?password=3377&#
Telemann - Flötenkonzerte - Emmanuel Pahud [EMI]等3个文件(夹)
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888
 楼主| 发表于 2025-8-16 12:07 | 只看该作者 来自 中国
Alster (Overture) Suite; La Bouffonne Suite; Triple Horn Concerto in D; Grillen-Symphonie  《阿尔斯特序曲》组曲;《滑稽》组曲;D大调三圆号协奏曲;《蟋蟀交响曲》
Chan. 0547. Coll. Mus. 90, Standage

The Triple Horn Concerto opens the programme with the hand-horns rasping boisterously. Then comes La Bouffonne Suite, with its elegant Loure and the extremely fetching Rigaudon, while the work ends with a touchingly delicate Pastourelle, beautifully played here. The Grillen-Symphonie (‘cricket symphony’) brings a piquant dialogue between upper wind and double-basses in the first movement, while the second has unexpected accents and lives up to its name Tändelnd (‘flirtatious’). The horns (four of them) re-enter ambitiously at the colourful Overture of the Alster Suite, add to the fun in the Echo movement and help to simulate the Hamburg glockenspiel that follows. The entry of the Alster Shepherds brings a piquant drone effect, but best of all is the wailing Concerto of Frogs and Crows, with drooping bleats from the oboe and then the principal horn. Standage and his group make the very most of Telemann’s remarkable orchestral palette and play with great vitality as well as finesse.

节目以三圆号协奏曲拉开序幕,手控圆号发出粗犷的咆哮声。随后是《滑稽》组曲,其优雅的卢尔舞曲和极具魅力的里戈东舞曲,终曲则以一段细腻动人的田园曲作结,此处演绎得尤为精美。《蟋蟀交响曲》第一乐章中,高音木管与低音提琴形成辛辣对话,而第二乐章以出人意料的切分音生动诠释了"调情"(Tändelnd)的标题。四支圆号在《阿尔斯特组曲》绚丽的序曲中强势回归,既为《回声》乐章增添趣味,又巧妙模拟了随后的汉堡钟琴音效。《阿尔斯特牧羊人》段落运用辛辣的持续音效果,但最精彩的莫过于《青蛙与乌鸦协奏曲》——双簧管先发出哀鸣般的下滑音,继而主奏圆号加入呼应。斯坦迪奇与乐团极尽展现泰勒曼非凡的管弦乐调色板,演奏兼具蓬勃活力与精妙细节。


(i) Viola Concerto in G; (ii) Suite in A min. for Recorder & Strings; Tafelmusik, Part 2: (iii) Triple Violin Concerto in F; Part 3: (iv) Double Horn Concerto in E flat  (i) G大调中提琴协奏曲;(ii) A小调竖笛与弦乐组曲;《餐桌音乐》第二部分:(iii) F大调三小提琴协奏曲;第三部分:(iv) 降E大调双圆号协奏曲
Naxos 8.550156. (i) Kyselak; (ii) Stivín; (iii) Hoelblingova, Hoelbling, Jablokov; (iv) Z. & B. Tylšar; Capella Istropolitana, Edlinger

It is difficult to conceive of a better Telemann programme for anyone encountering this versatile composer for the first time and coming fresh to this repertoire, having bought the inexpensive Naxos CD on impulse. Ladislav Kyselak is a fine violist and is thoroughly at home in Telemann’s splendid four-movement Concerto; Ji i Stivín is an equally personable recorder soloist in the masterly Suite in A minor; his decoration is a special joy. The Triple Violin Concerto with its memorable Vivace finale and the Double Horn Concerto also show the finesse which these musicians readily display. Richard Edlinger provides polished and alert accompaniments throughout. The digital sound is first class.

对于初次接触这位多才多艺的作曲家,或因一时冲动购买这张低价拿索斯唱片而初涉此曲目的听众而言,很难构想出更精妙的泰勒曼入门企划。拉迪斯拉夫·基塞拉克是位出色的中提琴家,在泰勒曼辉煌的四乐章协奏曲中游刃有余;吉日·斯蒂文在权威性的A小调组曲中展现出同样迷人的竖笛独奏,其装饰音处理尤为赏心悦目。拥有难忘活泼终章的三小提琴协奏曲,以及双圆号协奏曲,同样彰显了音乐家们与生俱来的细腻诠释。理查德·埃德林格全程提供精练而敏锐的协奏。数码录音品质堪称一流。


https://115cdn.com/s/swwvj3i3hq9?password=3377&#
Telemann - La Bouffonne - Simon Standage, Collegium Musicum 90 [Chandos]等2个文件(夹)
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889
 楼主| 发表于 2025-8-16 12:07 | 只看该作者 来自 中国
Tafelmusik (Productions 1–3; complete) 《餐桌音乐》
DG 477 8714 (4). Col. Mus. Ant., Goebel

This is one of the most rewarding of all Telemann recordings. The playing of the Cologne Musica Antiqua is distinguished by dazzling virtuosity and unanimity of ensemble and musical thinking. They also have the advantage of very vivid and fresh recording quality; the balance is close and present without being too forward, and there is a pleasing acoustic ambience. At its bargain price this is very enticing indeed.

这是泰勒曼所有录音中最值得收藏的版本之一。科隆古乐团的演奏以炫目的技巧、浑然一体的合奏默契与音乐思维著称。鲜活通透的录音品质更添优势:声部平衡既贴近真实又不过分突前,空间残响也恰到好处。以如此优惠的价格,这套唱片实在令人难以抗拒。


Kapitänsmusik, 1724  《船长音乐》
CPO SACD 777 176-2. Podkoscielna, Post, Vieweg, Abele, Telemannisches Coll. Michaelstein, Rémy

In Hamburg, Telemann often had to compose celebratory occasional pieces called Kapitänsmusik, consisting of an oratorio and serenata. The one on this CD was first performed in 1724 and this is the first time it has been performed complete since that time. The oratorio part has sacred texts, while the serenata part has secular texts, but both find the composer providing some extraordinarily good music. This music shows Telemann at his most flamboyantly creative, with some brilliantly florid, virtuosic writing, performed with comparable vigour by the soloists and the orchestra. The lively arias in both the oratorio and serenata are very exciting, and the opening of the serenata with its minor-keyed woodwinds is deliciously piquant and memorable, as is the aria which follows. One marvels time and time again at Telemann’s inventive orchestration, especially in his use of woodwind colouring, and this whole CD is one of flamboyant invigoration. Superbly recorded in SACD surround sound, warm yet sharply vivid. Full texts and translations are provided.

在汉堡期间,泰勒曼常需创作名为《船长音乐》的庆典应景作品,包含一部清唱剧与一部小夜曲。本辑收录的1724年首演版本,是时隔三百年后首次完整重现。清唱剧采用宗教文本,小夜曲则选用世俗歌词,但两者都展现了作曲家超凡的创作水准。这些极尽华美的乐章将泰勒曼的创造力推向巅峰,大量华丽炫技的段落由独唱家与乐团以同等澎湃的激情演绎。清唱剧与小夜曲中那些跃动的咏叹调令人振奋——小夜曲开头木管组在小调上的交织既辛辣诱人又过耳难忘,紧随其后的咏叹调同样精彩。泰勒曼极具创造力的配器手法(尤其是木管音色的运用)令人屡屡称奇,整张唱片洋溢着华丽的生机。采用SACD环绕声技术录制的音效既温暖又纤毫毕现,附赠完整歌词及译文。


https://115cdn.com/s/swwvj3a3hq9?password=3377&#
Telemann - Kapitansmusik 1724 - Ludger Rémy, Telemannisches Collegium Michaelstein [CPO]等2个文件(夹)
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890
 楼主| 发表于 2025-8-16 12:08 | 只看该作者 来自 中国
THOMAS, Ambroise (1811–96)
Mignon (complete)  《迷娘》
Sony (ADD) SM3K 34590 (3). Horne, Vanzo, Welting, Zaccaria, Von Stade, Méloni, Battedou, Hudson, Ambrosian Op. Ch., Philh. O, Almeida

Thomas’s once-popular adaptation of Goethe has many vocal plums, and here a very full account of the score is given, with virtually all the alternatives that the composer devised for productions after the first, not least one at Drury Lane in London, where recitatives were used (as here) instead of spoken dialogue; an extra aria was given to the soubrette Philine and other arias were expanded. The role of Frédéric was given to a mezzo-soprano instead of a tenor, and here the appropriately named Frederica von Stade is superb in that role, making one rather regret that she was not chosen as the heroine. However, Marilyn Horne is in fine voice and sings with great character and flair, even if she hardly sounds the frail figure of the ideal Mignon. Nonetheless, with Alain Vanzo a sensitive Wilhelm, Ruth Welting a charming Philine and colourful conducting from Almeida, this is an essential set for lovers of French opera. The 1977 recording has a pleasingly warm ambience and the voices are naturally caught in the present transfer.

托马斯这部改编自歌德作品的歌剧曾风靡一时,剧中包含大量精彩的唱段。本录音呈现了近乎完整的乐谱,几乎囊括了作曲家首演后为不同制作版本所作的所有修订——尤其是伦敦德鲁里巷剧院版本(如本录音所示)以宣叙调替代了对白,并为花腔女高音角色菲琳新增了一首咏叹调,同时扩充了其他咏叹调。弗雷德里克一角由女中音而非男高音饰演,而弗雷德丽卡·冯·施塔德在此角色中的演绎堪称绝妙,甚至令人惋惜她未被选为女主角。尽管如此,玛丽莲·霍恩的嗓音状态极佳,演唱充满个性与神采,尽管她的声线未必符合理想中脆弱迷娘的形象。此外,阿兰·万佐饰演的威廉细腻动人,露丝·韦尔廷诠释的菲琳娇俏迷人,加上阿尔梅达色彩绚烂的指挥,这套录音堪称法语歌剧爱好者的必藏之作。1977年的录音拥有令人愉悦的温暖氛围,此次转制中人声捕捉自然。  


https://115cdn.com/s/swwvj3j3hq9?password=3377&#
Thomas, Ambroise - Mignon - Antonio De Almeida, PO; Horne, Vanzo, Welting [Sony]
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891
 楼主| 发表于 2025-8-16 12:09 | 只看该作者 来自 中国
TIPPETT, Michael (1905 98)
(i) Concerto for Double String Orchestra; (ii) Fanfare for Brass; (i) Fantasia Concertante on a Theme of Corelli; Little Music for String Orchestra; (iii) Suite in D for the Birthday of Prince Charles  (i) 双弦乐团协奏曲;(ii) 铜管乐号角曲;(i) 科雷利主题幻想协奏曲;弦乐团小音乐;(iii) D大调查尔斯王子诞辰组曲
Australian Decca Eloquence (ADD) 476 7960. (i) ASMF, Marriner; (ii) Philip Jones Brass Ens.; (iii) LSO, Colin Davis

A splendid Tippett anthology and an ideal introduction to this composer. Beginning with the striking Fanfare for Brass, it moves on to the charming Suite for the Birthday of Prince Charles, full of attractive ideas and a distinct ‘Robin Hood’ atmosphere – the subject of the composer’s early folksong opera, parts of which were used in the score. Next comes Marriner’s classic Argo recording, featuring some of Tippett’s most inspired and approachable music. On any count, the Concerto for Double String Orchestra is one of the most beautiful works for strings written in the twentieth century. The Corelli Fantasia is a similarly sumptuous work, and the Little Music is very appealing too. Superb 1970s recordings and altogether an outstanding compilation.

这套精彩的蒂皮特选集是了解这位作曲家的理想入门。从引人注目的《铜管乐号角曲》开始,随后是充满魅力的《查尔斯王子诞辰组曲》——作品中洋溢着动人的乐思和鲜明的"罗宾汉"氛围(源自作曲家早期民歌歌剧的主题,部分旋律被融入此曲)。接下来是马里纳经典的Argo录音,收录了蒂皮特最具灵性与亲和力的作品。无论以何种标准衡量,《双弦乐团协奏曲》都是二十世纪最美丽的弦乐作品之一。《科雷利主题幻想协奏曲》同样华丽恢弘,《弦乐团小音乐》也极具吸引力。1970年代的卓越录音成就了这份杰出的合集。


‘Tippett Collection’: (i) Concerto for Orchestra; (ii) Concerto for Double String Orchestra; (ii–iii) Triple Concerto for Violin, Viola, Cello & Orchestra; (i) Fantasia Concertante on a Theme of Corelli; (iv) Fanfare for Brass; (i) Little Music for Strings; (v) Suite for the Birthday of Prince Charles; Symphonies: (i) 1–2; (i; vi) 3; (v) 4; (vii) Sonata for 4 Horns; (viii) String Quartets 1–3; (ix) Piano Sonatas 1–3; (x) Midsummer Marriage: Ritual Dances  (i) 管弦乐协奏曲;(ii) 双弦乐团协奏曲;(ii–iii) 小提琴、中提琴、大提琴与乐团三重协奏曲;(i) 科雷利主题幻想协奏曲;(iv) 铜管乐号角曲;(i) 弦乐团小音乐;(v) 查尔斯王子诞辰组曲;交响曲:(i) 第1–2号;(i; vi) 第3号;(v) 第4号;(vii) 四圆号奏鸣曲;(viii) 弦乐四重奏第1–3号;(ix) 钢琴奏鸣曲第1–3号;(x) 《仲夏婚姻》:仪式舞曲  
Decca 475 6750 (6). (i) LSO, C. Davis; (ii) ASMF, Marriner; (iii) with Pauk, Imai, Kirshbaum; (iv) Philip Jones Brass Ens.; (v) Chicago SO, Solti; (vi) with Harper; (vii) Tuckwell Horn Qt; (viii) Lindsay Qt; (ix) Crossley; (x) ROHCG O, Pritchard

For those wanting to explore Tippett’s music in depth, for the centenary of his birth Decca provided an even more extensive collection, which includes the four Symphonies, the first three conducted by Sir Colin Davis with the LSO fully committed, and the Fourth by Sir Georg Solti, who also offers the agreeable if less substantial Suite for the Birthday of Prince Charles. Tippett himself described the Third as a hybrid symphony; he consciously follows the example of Beethoven’s Ninth in the transition to the final, vocal section, in which the soprano sings three blues numbers, and Heather Harper almost manages to mute the relative crudities of Tippett’s text. Solti’s brilliantly played account of the Fourth Symphony is comparably powerful, although there are depths and tenderness in this score yet to be uncovered. Certainly these recordings and performances have a special place in the catalogue, although (as Hickox has since shown) there are other dimensions to these scores which are not uncovered here.

为纪念蒂皮特诞辰百年,DECCA推出的这套更全面的合集适合深度探索其音乐世界。科林·戴维斯爵士指挥伦敦交响乐团倾力演绎的前三部交响曲,与乔治·索尔蒂爵士执棒的第四交响曲交相辉映——后者还录制了轻盈悦耳的《查尔斯王子诞辰组曲》。蒂皮特自述第三交响曲是"混合体",在末乐章人声部分刻意效仿贝多芬《第九交响曲》的过渡手法:女高音演唱的三段布鲁斯歌曲中,希瑟·哈珀几乎淡化了歌词文本的粗粝感。索尔蒂对第四交响曲的辉煌演绎同样震撼,但作品中仍有未被挖掘的深邃与柔情。尽管这些录音在目录中占有特殊地位(正如希考克斯后来证明的),但作品中某些维度仍有待揭示。  


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892
 楼主| 发表于 2025-8-16 12:10 | 只看该作者 来自 中国
TIPPETT, Michael (1905 98)
(i) Concerto for Double String Orchestra; (ii) Fanfare for Brass; (i) Fantasia Concertante on a Theme of Corelli; Little Music for String Orchestra; (iii) Suite in D for the Birthday of Prince Charles  (i) 双弦乐团协奏曲;(ii) 铜管乐号角曲;(i) 科雷利主题幻想协奏曲;弦乐团小音乐;(iii) D大调查尔斯王子诞辰组曲
Australian Decca Eloquence (ADD) 476 7960. (i) ASMF, Marriner; (ii) Philip Jones Brass Ens.; (iii) LSO, Colin Davis

A splendid Tippett anthology and an ideal introduction to this composer. Beginning with the striking Fanfare for Brass, it moves on to the charming Suite for the Birthday of Prince Charles, full of attractive ideas and a distinct ‘Robin Hood’ atmosphere – the subject of the composer’s early folksong opera, parts of which were used in the score. Next comes Marriner’s classic Argo recording, featuring some of Tippett’s most inspired and approachable music. On any count, the Concerto for Double String Orchestra is one of the most beautiful works for strings written in the twentieth century. The Corelli Fantasia is a similarly sumptuous work, and the Little Music is very appealing too. Superb 1970s recordings and altogether an outstanding compilation.

这套精彩的蒂皮特选集是了解这位作曲家的理想入门。从引人注目的《铜管乐号角曲》开始,随后是充满魅力的《查尔斯王子诞辰组曲》——作品中洋溢着动人的乐思和鲜明的"罗宾汉"氛围(源自作曲家早期民歌歌剧的主题,部分旋律被融入此曲)。接下来是马里纳经典的Argo录音,收录了蒂皮特最具灵性与亲和力的作品。无论以何种标准衡量,《双弦乐团协奏曲》都是二十世纪最美丽的弦乐作品之一。《科雷利主题幻想协奏曲》同样华丽恢弘,《弦乐团小音乐》也极具吸引力。1970年代的卓越录音成就了这份杰出的合集。


‘Tippett Collection’: (i) Concerto for Orchestra; (ii) Concerto for Double String Orchestra; (ii–iii) Triple Concerto for Violin, Viola, Cello & Orchestra; (i) Fantasia Concertante on a Theme of Corelli; (iv) Fanfare for Brass; (i) Little Music for Strings; (v) Suite for the Birthday of Prince Charles; Symphonies: (i) 1–2; (i; vi) 3; (v) 4; (vii) Sonata for 4 Horns; (viii) String Quartets 1–3; (ix) Piano Sonatas 1–3; (x) Midsummer Marriage: Ritual Dances  (i) 管弦乐协奏曲;(ii) 双弦乐团协奏曲;(ii–iii) 小提琴、中提琴、大提琴与乐团三重协奏曲;(i) 科雷利主题幻想协奏曲;(iv) 铜管乐号角曲;(i) 弦乐团小音乐;(v) 查尔斯王子诞辰组曲;交响曲:(i) 第1–2号;(i; vi) 第3号;(v) 第4号;(vii) 四圆号奏鸣曲;(viii) 弦乐四重奏第1–3号;(ix) 钢琴奏鸣曲第1–3号;(x) 《仲夏婚姻》:仪式舞曲  
Decca 475 6750 (6). (i) LSO, C. Davis; (ii) ASMF, Marriner; (iii) with Pauk, Imai, Kirshbaum; (iv) Philip Jones Brass Ens.; (v) Chicago SO, Solti; (vi) with Harper; (vii) Tuckwell Horn Qt; (viii) Lindsay Qt; (ix) Crossley; (x) ROHCG O, Pritchard

For those wanting to explore Tippett’s music in depth, for the centenary of his birth Decca provided an even more extensive collection, which includes the four Symphonies, the first three conducted by Sir Colin Davis with the LSO fully committed, and the Fourth by Sir Georg Solti, who also offers the agreeable if less substantial Suite for the Birthday of Prince Charles. Tippett himself described the Third as a hybrid symphony; he consciously follows the example of Beethoven’s Ninth in the transition to the final, vocal section, in which the soprano sings three blues numbers, and Heather Harper almost manages to mute the relative crudities of Tippett’s text. Solti’s brilliantly played account of the Fourth Symphony is comparably powerful, although there are depths and tenderness in this score yet to be uncovered. Certainly these recordings and performances have a special place in the catalogue, although (as Hickox has since shown) there are other dimensions to these scores which are not uncovered here.

为纪念蒂皮特诞辰百年,DECCA推出的这套更全面的合集适合深度探索其音乐世界。科林·戴维斯爵士指挥伦敦交响乐团倾力演绎的前三部交响曲,与乔治·索尔蒂爵士执棒的第四交响曲交相辉映——后者还录制了轻盈悦耳的《查尔斯王子诞辰组曲》。蒂皮特自述第三交响曲是"混合体",在末乐章人声部分刻意效仿贝多芬《第九交响曲》的过渡手法:女高音演唱的三段布鲁斯歌曲中,希瑟·哈珀几乎淡化了歌词文本的粗粝感。索尔蒂对第四交响曲的辉煌演绎同样震撼,但作品中仍有未被挖掘的深邃与柔情。尽管这些录音在目录中占有特殊地位(正如希考克斯后来证明的),但作品中某些维度仍有待揭示。  


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893
 楼主| 发表于 2025-8-16 12:10 | 只看该作者 来自 中国
本帖最后由 joseph_li 于 2025-8-16 13:15 编辑

TOMKINS, Thomas (1572–1656)
Music for viols: Almain in F (for 4 viols); Fantasias 1, 12 & 14 (for 3 viols); Fantasia (for 6 viols); Galliard: Thomas Simpson (5 viols & organ); In Nomine II (for 3 viols); Pavane in A min. (for 5 viols & organ); Pavane in F; Ut re mi (Hexachord fantasia) (both for 4 viols). (Keyboard:) (i) Fancy for two to play. Pavan & Galliard: Earl Strafford. (Organ:) In nomine; Miserere; Voluntary. Verse anthems: Above the stars; O Lord, let me know mine end; Thou art my King  维奥尔琴音乐:F大调阿勒曼德舞曲(四把维奥尔琴);幻想曲第1、12、14号(三把维奥尔琴);六把维奥尔琴幻想曲;加利亚德舞曲《托马斯·辛普森》(五把维奥尔琴与管风琴);《In Nomine II》(三把维奥尔琴);A小调帕凡舞曲(五把维奥尔琴与管风琴);F大调帕凡舞曲;《Ut re mi》(六音幻想曲)(后两首为四把维奥尔琴)。(键盘乐:)(i)双人幻想曲;《斯特拉福德伯爵》帕凡与加利亚德舞曲。(管风琴:)《In nomine》;《Miserere》;即兴曲。经文歌:《Above the stars》;《O Lord, let me know mine end》;《Thou art my King》
Naxos 8.550602. Rose Consort of Viols, Red Byrd; Roberts; (i) with Bryan

This well-planned Naxos programme is carefully laid out in two parts, each of viol music interspersed with harpsichord and organ pieces and ending with an anthem. It gives collectors an admirable opportunity to sample very inexpensively the wider output of Thomas Tomkins, an outstandingly fine Elizabethan musician whose music is still too little known. Perhaps the most remarkable piece here is the Hexachord fantasia, where the scurrying part-writing ornaments a rising and falling six-note scale (hexachord). The two five-part verse anthems and Above the stars, which is in six parts, are accompanied by five viols, with a fine counter-tenor in Above the stars and a bass in Thou art my King.

这套拿索斯唱片策划精良,分为两个部分——每部分维奥尔琴乐曲间穿插羽管键琴与管风琴作品,并以一首经文歌作结。这为乐迷提供了以极低成本领略汤姆金斯广阔创作的机会,这位伊丽莎白时代的杰出音乐家至今仍被严重低估。其中最引人瞩目的当属《六音幻想曲》,疾速流动的声部写作缠绕着上下起伏的六音音阶(hexachord)。两首五声部经文歌与六声部《Above the stars》由五把维奥尔琴伴奏,前者由优秀假声男高音演绎,《Thou art my King》则由男低音担纲。


Music for harpsichord and virginals: Barafostus Dreame; 2 Fancies; Fancy for 2 to Play; Fortune my Foe; Galliard of 3 Parts; Galliard Earl Strafford; 2 Grounds; In nomine; Lady Folliott’s Galliard; Miserere; Pavan; Pavan Earl Strafford with its devision; Pavane of 3 Parts; A Sad Pavane for these Distracted Times; Toy made at Poole Court; What if a Day; Worcester Brawls  羽管键琴与维吉那琴音乐:《Barafostus之梦》;两首幻想曲;双人幻想曲;《命运我的敌人》;三声部加利亚德;《斯特拉福德伯爵加利亚德》;两首格劳德;《In nomine》;《弗利奥特夫人加利亚德》;《Miserere》;帕凡;带变奏的《斯特拉福德伯爵帕凡》;三声部帕凡;《动荡时代的悲伤帕凡》;《普尔宫廷嬉游曲》;《What if a Day》;《伍斯特喧舞》
Metronome METCD 1049. Cerasi (virginals and harpsichord)

Carole Cerasi offers here the finest available collection of the keyboard music of the last of the great English virginalists, Thomas Tomkins. Indeed, it is the repertoire played on the virginals that stands out, especially her exquisitely spontaneous performance of A Sad Pavane for these Distracted Times, and her equally sensitive response to the dolorous Fortune my Foe (the two most extended pieces here). In contrast, the charmingly good-humoured Toy made at Poole Court is given the lightest rhythmic lift. She uses a modern copy of an early 17th-century Ruckers and it could hardly be more realistically recorded. The harpsichord pieces (using a copy of an instrument by Bartolomeo Stephanini) are more robust and often have exuberant decoration, as in the disc’s title-piece, Barafostus Dreame. Earl Strafford’s Galliard is another splendid example of her exciting bravura on the latter instrument, and the closing Ground with extended variations is a tour de force. The recording venue has a pleasing ambience and the balance is ideal if you set the volume level carefully.

卡洛尔·切拉西在此呈现了英国最后一位维吉那琴大师汤姆金斯的键盘乐精品集。维吉那琴曲目尤为出彩——她演绎《动荡时代的悲伤帕凡》时展现的精妙即兴感,以及对哀婉的《命运我的敌人》的细腻处理(本辑篇幅最长的两首)令人难忘。与之形成鲜明对比的是《普尔宫廷嬉游曲》中轻盈的韵律跃动。演奏使用的17世纪早期鲁克斯琴复刻版,录音极具真实感。羽管键琴曲目(采用巴托洛梅奥·斯特凡尼尼琴复刻版)更为刚健,常带有华丽装饰音,如标题曲《Barafostus之梦》。《斯特拉福德伯爵加利亚德》再次展现了她在这件乐器上的炫技才华,结尾带扩展变奏的格劳德更堪称绝技。录音场地声学环境宜人,音量调节得当时平衡度堪称完美。


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894
 楼主| 发表于 2025-8-16 12:11 | 只看该作者 来自 中国
TORELLI, Giuseppe (1658–1709)
Concerti musicali, Op. 6/1–12; Sonata a 4 in A min.  《音乐协奏曲》Op.6(全12首);A小调四声部奏鸣曲
Signum SIGCD 157. Charivari Agréable, Kah-Ming Ng

This set is given the sobriquet ‘the original Brandenburg concertos’. Up to a point that is acceptable, but Bach’s Margrave of Brandenburg was a different person from Torelli’s employer, the Margrave of Brandenburg-Ansbach. However, Torelli did dedicate his Concerti musicali to Sophie Charlotte, Electress of Brandenburg, although nothing came of the dedication. But the Concerti musicali are a real discovery and they are most attractively presented here. Originally intended for strings alone, the Charivari have included oboes, recorders and bassoon and a continuo featuring chamber organ as well as theorbo and harpsichord. The result is most enjoyable: allegros are jolly and slow movements expressive and appealing, and Kah-Ming Ng brings the music to life vividly and spontaneously, helped by lively, truthful recording.

这套作品集被冠以"原始勃兰登堡协奏曲"的别称。此说法在一定程度成立,但需注意巴赫题献的勃兰登堡侯爵与托雷利的雇主安斯巴赫侯爵并非同一人。托雷利确实将《音乐协奏曲》题献给勃兰登堡选帝侯夫人索菲·夏洛特(尽管未获回应)。这些协奏曲堪称真正的发现,本辑演绎极具魅力——原作为纯弦乐编制,但夏里瓦利合奏团加入了双簧管、竖笛、巴松管,并以室内管风琴、西奥伯琴与羽管键琴构建通奏低音。最终呈现令人愉悦:快板乐章欢腾活泼,慢板乐章深情动人,指挥家吴家明以鲜活自然的处理赋予音乐生命力,生动逼真的录音更添光彩。  


(i) Violin Concertos, Op. 8/8, 9 & 11; (i–ii) Double Violin Concertos, Op. 8/2, 4, 5, 6; (iii) Sinfonias for Trumpet in D (G 8); (iii–iv) for 2 Trumpets in D (G 23); Concerto for 2 Trumpets in D  (i) 小提琴协奏曲Op.8/8,9,11;(i-ii) 双小提琴协奏曲Op.8/2,4,5,6;(iii) D大调小号交响曲(G8);(iii-iv) D大调双小号交响曲(G23);D大调双小号协奏曲
Chan. 0716. (i) Standage; (ii) Weiss; (iii) Steele-Perkins; (iv) Blackadder; Col. Mus. 90

While Torelli’s earlier Concertos remain in the world of the concerto grosso, by the time he came to write Op. 8 (published in 1709) he had moved away to give his soloists independence. The lustrous, busy opening of Op. 8/2 is immediately enticing, but these are all attractive works, particularly No. 4 (where the pointed theme of the finale reminds one of ‘All we like sheep’) and No. 11, with its Largo e staccato central movement anticipating Vivaldi. The solo Concerto in E minor, Op. 8/9, is also a particularly fine work. Not surprisingly, the period performances here are first class. The rather more conventional Trumpet Concertos are also in confident hands, and the accompaniments throughout are characteristically stylish and the Chandos recording first rate.

托雷利早期协奏曲仍属大协奏曲范畴,但1709年出版的Op.8已转向独奏独立性。Op.8/2华丽繁复的开篇即刻抓耳,全套作品皆具吸引力——尤以第四号(终乐章尖锐主题令人联想《我们都如羊走迷》)和第十一号为甚,其中"断奏广板"乐章更预示了维瓦尔第风格。E小调独奏协奏曲Op.8/9亦是精品。本辑古乐演绎水准一流自不待言,相对传统的小号协奏曲同样呈现稳健,伴奏始终保持着典型优雅风格,Chandos厂牌录音品质卓绝。  


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895
 楼主| 发表于 2025-8-16 12:12 | 只看该作者 来自 中国
TOSCANINI, Arturo, with NBC Symphony Orchestra
BIZET: La Jolie Fille de Perth: Suite. COPLAND: El salón México. GOLDMARK: Rustic Wedding Symphony (2 movts only). KALINNIKOV: Symphony 1. MASSENET: Scènes alsaciennes (Suite 7). MEYERBEER: Dinorah Overture. SOUSA: El Capitán; Semper fidelis. SMITH: Star-Spangled Banner. MOZART: Sinfonia Concertante, K.364 (with Mischakoff, Cooley)  比才:《珀斯丽姝》组曲;科普兰:《墨西哥沙龙》;戈德马克:《乡村婚礼交响曲》(仅2乐章);卡林尼科夫:第一交响曲;马斯内:《阿尔萨斯场景》(第七组曲);迈耶贝尔:《迪诺拉序曲》;苏萨:《艾尔船长》《永远忠诚》;史密斯:《星条旗永不落》;莫扎特:交响协奏曲K.364(米沙科夫、库利独奏)
Testament mono SBT 1404 (2)

Most of these live radio recordings were made by Toscanini at the height of the Second World War, and the fervour of the playing plainly reflects that, most strikingly in the patriotic marches by Sousa and the American National Anthem. What is striking is that Toscanini in these recordings demonstrates little of the rigidity that marred so many of his NBC recordings for RCA. The ebb and flow of rhythm and phrasing in the rare Kalinnikov Symphony could not be more winning, and Toscanini’s timing in the Spanish-American rhythms of El salón México is perfect, with just the right degree of hesitation. Nor is the Mozart Sinfonia concertante rigid, with two of his NBC principals as soloists. With such colourfully tuneful rarities as the Dinorah Overture and the Scènes alsaciennes, along with the delightful Jolie Fille de Perth Suite, this makes a very winning collection. The sound too is full-bodied and generally less dry than in his commercial NBC recordings of the period, here very well transferred.

这些广播现场录音大多录制于二战白热化时期,托斯卡尼尼棒下的炽热演绎鲜明折射出时代精神——尤以苏萨的爱国进行曲与美国国歌演绎最为震撼。令人惊叹的是,这些录音全然不见其NBC-RCA商业录音中常见的刻板痕迹。卡林尼科夫冷门交响曲中流动的韵律与乐句处理极具感染力,而《墨西哥沙龙》里西班牙-美洲节奏的微妙弹性把控堪称典范,恰到好处的迟疑感尽显大师手笔。莫扎特交响协奏曲同样灵动自如,由NBC乐团两位首席担纲独奏。加上《迪诺拉序曲》《阿尔萨斯场景》等色彩斑斓的冷门佳作,以及妙趣横生的《珀斯丽姝》组曲,构成极具吸引力的合集。音质饱满丰润,较同期NBC商业录音少了许多干涩感,此次转制效果极佳。  


这张碟没找到。对于Testament厂牌,除通过俄网以及电驴时代一点点存货,我暂时没啥好办法。

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896
 楼主| 发表于 2025-8-16 12:13 | 只看该作者 来自 中国
TREDICI, David Del (born 1937)
Final Alice  《爱丽丝终章》
Australian Decca Eloquence 442 9955. Hendricks, Chicago SO, Solti

How rare it is to be able to recommend a late-twentieth-century work that is so immediately appealing. Commissioned to celebrate the Bicentennial of the United States in 1976, this instalment of Del Tredici’s sequence of Lewis Carroll settings has much to fascinate the ear, particularly in a virtuoso performance like this. Familiar texts are neatly assembled, with a minimum of violence to the original, to present a dramatic cantata for just one voice and orchestra. Barbara Hendricks proves a characterful and urgent guide, a vibrant narrator as well as a fine singer. Solti and his superb orchestra plainly enjoy the fun from first to last: it is good to welcome an extended work which sustains its length without pomposity and with immediate warmth of communication. The recording is outstandingly brilliant and its première release on CD is enormously welcomed.

能推荐一部如此引人入胜的二十世纪晚期作品实属难得。这部为庆祝美国建国二百周年(1976年)委约创作的作品,是德尔·特雷迪奇"刘易斯·卡罗尔系列"中的重要篇章,其听觉魅力令人着迷——尤其在如此精湛的演绎下。熟悉的文本被巧妙编排(最大限度保留原著神韵),形成一部仅需单人声与乐团的戏剧性康塔塔。芭芭拉·亨德里克斯既是充满个性的急迫讲述者,亦是出色的歌者,展现出双重魅力。索尔蒂与顶尖乐团自始至终沉浸于音乐游戏的欢愉中:这部篇幅宏大的作品难得地兼具了结构张力与直击人心的温暖,毫无浮夸之嫌。录音效果璀璨夺目,此次CD首发行更令人欣喜若狂。  


https://115cdn.com/s/swwvj6u3hq9?password=3377&#
Tredici, Del - Final Alice - Barbara Hendricks, Chicago SO, Georg Solti [DECCA]
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897
 楼主| 发表于 2025-8-16 12:13 | 只看该作者 来自 中国
TUBIN, Eduard (1905–82)
Symphonies: (i) 1 in C min.; 2 (The Legendary); 3 in D min.; (ii) 4 in A (Sinfonia lirica); (iii) 5 in B min.; (ii) 6; (iv) 7; (ii) 8; (iv) 9 (Sinfonia semplice); 10. (ii) Suite from the ballet, Kratt; (iv) Toccata for Orchestra
BIS CD 1402/06 (5). (i) Swedish RSO; (ii) Bergen PO; (iii) Bamberg SO; (iv) Gothenburg SO; Järvi

Neeme Järvi’s survey of the Tubin Symphonies is here packaged, shorn of some of its couplings and presented in an attractive and competitive format (five CDs for the price of three). These are marvellous works, rich in invention and with the real breadth of the symphonist about them. Anyone who is attuned to the symphonies of Sibelius or Prokofiev will find themselves at home in this world. The opening of the Second Symphony is magical: there are soft, luminous string chords that evoke a strong atmosphere of wide vistas and white summer nights, but the music soon gathers power and reveals a genuine feeling for proportion and of organic growth. If there is a Sibelian strength in the Second Symphony, the Sixth, written after Tubin had settled in Sweden, has obvious resonances of Prokofiev – even down to instrumentation – and yet Tubin’s rhythmic vitality and melodic invention are quietly distinctive. The first two movements of the wartime Third Symphony are vintage Tubin, but the heroic finale approaches bombast. The Eighth is his masterpiece; its opening movement has a sense of vision and mystery, and the atmosphere stays with you. This is the darkest of the symphonies and the most intense in feeling, music of great substance. The Fourth is a highly attractive piece, immediately accessible, the music well argued and expertly crafted. The opening has a Sibelian feel to it, but the closer one comes to it, the more individual it seems. The Ninth Symphony is in two movements: its mood is elegiac and a restrained melancholy permeates the slower sections. Its musical language is direct, tonal and, once one gets to grips with it, quite personal. If its spiritual world is clearly Nordic, the textures are transparent and luminous, and its argument unfolds naturally and cogently. The Fifth makes as good a starting point as any to investigate the Tubin canon. Written after he had settled in Sweden, it finds him at his most neoclassical; the music is finely paced and full of energy and invention. The Seventh is a marvellous work and it receives a concentrated and impressive reading. As always with Tubin, you are never in doubt that this is a real symphony which sets out purposefully and reaches its goal. The ideas could not be by anyone else and the music unfolds with a powerful logic and inevitability. The Tenth Symphony is a one-movement piece that begins with a sombre string idea, which is soon interrupted by a periodically recurring horn call – and which resonates in the mind long afterwards. The recordings are absolutely first class.

尼姆·雅尔维执棒演绎的图宾交响曲全集经过重新包装(剔除部分附加曲目),以五碟套装形式超值发行(三张正价碟的价格)。这些杰作充满丰沛的创造力,展现出交响乐作曲家真正的格局。西贝柳斯或普罗科菲耶夫交响曲的爱好者会在此找到熟悉的语境——第二号交响曲开篇便具魔力:莹润柔和的弦乐和弦勾勒出辽阔地平线与白夜的强烈意境,随后音乐逐渐积蓄力量,展现出对比例与有机生长的天然感知。若说第二号交响曲带有西贝柳斯式的雄浑,定居瑞典后创作的第六号则明显回荡着普罗科菲耶夫的余响(甚至具体到配器法),但图宾独特的节奏活力与旋律创意仍悄然可辨。  

战时创作的第三号交响曲前两个乐章是典型的图宾风格,但英雄主义的终章稍显浮夸。第八号堪称其巅峰之作:首乐章充满预见性与神秘感,这种氛围将长久萦绕听者心间。这是图宾最黑暗、情感最浓烈的交响曲,具有厚重的精神内核。第四号交响曲极具吸引力,其直接可感的音乐语言经过精妙论证与打磨——开篇虽有西贝柳斯痕迹,但愈深入聆听愈显个性。第九号采用双乐章结构,哀歌式的气质贯穿始终,慢板段落渗透着克制的忧郁。其音乐语言直率、调性明确,细品之下颇具个人特色。虽精神世界显然属于北欧,但织体透明澄澈,乐思展开自然而有说服力。  

第五号交响曲是进入图宾音乐世界的理想起点。定居瑞典后创作的本作展现其新古典主义巅峰状态,节奏精妙把控,充满能量与创意。第七号交响曲是部非凡之作,本辑演绎专注而深刻。如图宾所有作品一样,你绝不会怀疑这部交响曲自始至终的完整性与目的性——乐思具有无可替代的独创性,音乐以强大的逻辑性与必然性层层推进。第十号交响曲采用单乐章形式,以阴郁的弦乐动机开场,不时被圆号召唤声打断,其回声将在脑海中久久回荡。录音品质绝对一流。  


https://115cdn.com/s/swwvjzn3hq9?password=3377&#
Tubin, Eduard - Symphonies - Neeme Jarvi [BIS]
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898
 楼主| 发表于 2025-8-16 12:14 | 只看该作者 来自 中国
TURINA, Joaquin (1882–1949)
(i) Danzas fantásticas; (ii) La oración del torero, Op. 34; La procesión del Rocio, Op. 9; (i; iii) Rapsodia sinfónica; (i) Sinfonia sevillana  (i)《幻想舞曲集》;(ii)《斗牛士的祈祷》Op.34;《罗西奥游行》Op.9;(i; iii)《交响狂想曲》;(i)《塞维利亚交响曲》
Regis RRC 1299. Bátiz, with (i) LPO; (ii) Mexico City PO; (iii) Wibaut

The three LPO items were recorded in 1983 and originally released on HMV. The three Danzas fantásticas are understandably better known than the other two works included on the original LP. The Sinfonia is a programmatic triptych with an attractive nocturnal slow movement; the scoring of the outer movements (as in the Danzas) is gaudy but effective. The Rapsodia is a pleasant if not especially memorable piece for piano and orchestra. Bátiz is a sympathetic exponent of this repertoire and, with the LPO, he brings out the Latin colours and atmosphere. Two further colourful pieces have been added to this bargain release, with the Mexico City Philharmonic, also conducted by Bátiz. They are similarly well played and well recorded. An undoubted bargain.

伦敦爱乐乐团演绎的三部作品录制于1983年,最初由HMV厂牌发行。其中《幻想舞曲集》的知名度自然高于原LP收录的另两部作品。《塞维利亚交响曲》是部标题性三联曲,其迷人的夜曲风慢乐章尤为出彩;首尾乐章(如同《幻想舞曲集》)的配器虽显炫丽却效果卓著。《交响狂想曲》作为钢琴与乐队作品虽不算令人过耳难忘,但依然悦耳动听。指挥家巴蒂兹对此套曲目有着深刻共情,他率领伦敦爱乐乐团充分展现了拉丁色彩与氛围。

此超值版本新增了两部色彩绚烂的作品,由巴蒂兹指挥墨西哥城爱乐乐团演绎。这些演绎同样技艺精湛且录音出色,无疑是张物超所值的唱片。


https://115cdn.com/s/swwvjhz3hq9?password=3377&#
Turina, Joaquin - Danzas Fantásticas, Sinfonia Sevillana, Rapsodia Sinfonica etc. - Enrique Batiz [IMG]
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899
 楼主| 发表于 2025-8-16 12:15 | 只看该作者 来自 中国
TURNAGE, Mark-Anthony (born 1960)
Blood on the Floor (DVD version)  《血溅地板》
Arthaus DVD 100 430. Ens. Modern, Rundel (Director: Doris Götzl; V/D: Barrie Gavin)

With Peter Rundel conducting a group of German musicians, Blood on the Floor is a powerful piece, inspired by a painting of Francis Bacon. A complete performance is here introduced by a feature film. Characteristically, the idiom is abrasive with a jazz element important, making it attractive despite the unpleasantness of the subject with its element of drug addiction. It would be hard to imagine a better performance, very well played and recorded.

在彼得·伦德尔指挥德国音乐家团队的演绎下,《血溅地板》成为一部震撼人心的作品,其灵感源自弗朗西斯·培根的画作。本次完整演出前配有专题影片介绍。这部作品延续特纳吉标志性的粗砺语汇,爵士元素占据重要地位——尽管涉及吸毒等阴暗主题,音乐本身仍具吸引力。很难想象能有比这更出色的演绎,演奏与录音俱佳。  


An Invention on ‘Solitude’ Cortège for Chris; 2 Elegies Framing a Shout; 3 Farewells; 2 Memorials; Sleep On; True Life Stories: Tune for Toru  《"孤独"创意曲》《克里斯挽歌》《两首悲歌夹一声呐喊》《三首告别曲》《两首纪念曲》《安眠》《真实人生故事:为武满彻而作的旋律》
Black Box BBM 1065. Nash Ens. (members)

Anyone coming new to Turnage could not do better than start here, for all this music is intensely expressive and instantly communicative. Its overriding character is thoughtful and contemplative, although An Invention on ‘Solitude’ is the exception for, while inspired by the Brahms Clarinet Quintet, the writing, for the same combination, ‘fluctuates between stillness and violence’. The Cortège for Chris (Christopher Van Kempen, the Nash Ensemble’s cellist who died in 1998) features both cello and clarinet, as well as a ruminative piano, while the Two Memorials are commemorated with haunting soliloquizing from the solo saxophone.

The Three Farewells are strangely obsessive: each has a hidden text, the second, Music to Hear for viola and muted cello, a Shakespeare sonnet. The finale, All will be well, was written as a wedding piece, and the composer observes ironically ‘the marriage didn’t last’. Not surprisingly, some of the most peaceful and serene writing comes in Sleep On, for cello and piano, a triptych framed by a lovely Berceuse and a restful Lullaby. The solo saxophone returns for the first of the Two Elegies and, after being exuberantly interrupted by the Shout – a spiky and restlessly energetic boogie – the piano (with the saxophone) ‘searches for and finds repose’.

The reflective closing Tune for Toru (a gentle piano piece) was written in response to the death of the Japanese composer Toru Takemitsu and readily finds the stillness the composer was searching for in his Invention on ‘Solitude’. Superbly responsive performances throughout and vividly real recording, within an attractively spacious acoustic.

初识特纳吉的乐迷不妨以此专辑入门,这些作品无不饱含强烈表现力与直击人心的感染力。整体气质沉静冥思,唯《"孤独"创意曲》例外——虽受勃拉姆斯单簧管五重奏启发,但相同编制的写作"在静谧与暴力间摇摆"。《克里斯挽歌》(纪念1998年逝世的纳什合奏团大提琴手克里斯托弗·范肯彭)融合大提琴、单簧管与沉思性的钢琴,《两首纪念曲》则以萨克斯独奏的萦绕独白寄托哀思。  

《三首告别曲》带有奇特的执念:每首都隐含文本,第二首为中提琴与弱音大提琴而作的《可听的音乐》暗藏莎士比亚十四行诗。终曲《一切都会好》本为婚礼创作,作曲家却讽刺地备注"婚姻未能持久"。最宁静的篇章当属大提琴与钢琴《安眠》——以优美《摇篮曲》开场、安宁《催眠曲》收尾的三联曲。萨克斯独奏在《两首悲歌》首章回归,随后被《呐喊》(尖锐躁动的布吉舞曲)激烈打断,最终钢琴与萨克斯"寻得并抵达宁静"。  

压轴的《为武满彻而作的旋律》(钢琴小品)回应日本作曲家武满彻之死,完美捕捉了作曲家于《"孤独"创意曲》中追寻的静默。全辑演奏极富默契,录音鲜活逼真,空间感迷人的声学环境更添光彩。  


DVD:
没找到,油管上也一无所获。

CD:
https://115cdn.com/s/swwvjsv3hq9?password=3377&#
Turnage, Mark-Anthony - Music to Hear - Nash Ensemble [black box]

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900
 楼主| 发表于 2025-8-16 12:15 | 只看该作者 来自 中国
VAŇHAL, Jan (1739–1813)
Symphonies: in C min., Bryan Cm2; in D, Bryan D4; in G min., Bryan Gm2
Chan. 9607. LMP, Bamert

The G minor Symphony, the second of Vaňhal’s symphonies in that key, is an absolute delight, full of good ideas and comparable with the Sturm und Drang of Haydn’s No. 39 or Mozart’s No. 25 in the same key. The C minor Symphony (1770) is also a work of originality, with an occasional foreshadowing of Beethoven. Matthias Bamert and the London Mozart Players give an excellent account of themselves, and are recorded with clarity and warmth.

这部G小调交响曲(瓦尼尔同调性作品中的第二部)堪称绝妙之作,充满精彩乐思,与海顿第39号或莫扎特第25号交响曲的"狂飙突进"风格相比亦不逊色。创作于1770年的C小调交响曲同样彰显独创性,某些段落甚至预示了贝多芬的风格。马蒂亚斯·巴默特指挥伦敦莫扎特乐团的演绎堪称典范,录音既清晰又温暖。  


https://115cdn.com/s/swwvjlt3hq9?password=3377&#
Vanhal, Jan - Symphonies - Matthias Bamert, London Mozart Players [Chandos]
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