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

joseph_li

Tannhäuser (complete (Dresden) DVD version, plus Paris Bacchanale) 《唐豪瑟》（德累斯顿版DVD，含巴黎版酒神节）
DG DVD 073 4446 (2). Wenkoff, G. Jones, Weikl, Sotin, Bayreuth Festival Ch. & O, C. Davis (Stage Director: Götz Friedrich; V/D: Thomas Olofsson)

This 1978 Tannhäuser was the first time a production had been filmed complete at Bayreuth; considering that, the visual balance and the sound are remarkably impressive. Obviously the artists were aware that history was being made, and the concentration and tension of the performance are unmistakable. The sets are not opulent but are faithful to the composer’s intentions, and Sir Colin Davis’s conducting is full of inspiration and vitality. The star performance is Dame Gwyneth Jones’s gloriously sung Elisabeth and Venus, but Spas Wenkoff is strong in the title-role and Bernd Weikl is a superb Wolfram. The production offers the original Dresden version, plus the Paris Bacchanale, handled with effective eroticism. All in all, a remarkable achievement.

1978年拜罗伊特制作的《唐豪瑟》成为首部完整录制的瓦格纳歌剧影片，其画面平衡与音效之精良令人惊叹。艺术家们显然意识到正在创造历史，演出中凝聚的专注力与张力扑面而来。布景虽不奢华却忠实于作曲家本意，科林·戴维斯爵士的指挥充满灵性与活力。格温妮丝·琼斯女爵同时饰演伊丽莎白与维纳斯，堪称璀璨演绎；斯帕斯·文科夫的唐豪瑟强而有力，贝恩德·魏克尔的沃尔夫兰超凡脱俗。本制作采用德累斯顿原版，辅以巴黎版酒神节段落，情色氛围处理恰到好处。整体而言，这是非凡的艺术成就。  


Tannhäuser (complete (Paris) CD version) 《唐豪瑟》（全剧，巴黎版CD）  
DG 427 625-2 (3). Domingo, Studer, Baltsa, Salminen, Schmidt, Ch. & Philh. O, Sinopoli

Plácido Domingo as Tannhäuser for Sinopoli brings balm to the ears, producing sounds of much power as well as beauty. Sinopoli here makes one of his most passionately committed opera recordings, warmer and more flexible than Decca’s Solti version, always individual, with fine detail brought out, always persuasive and never wilful. Agnes Baltsa is not ideally opulent of tone as Venus, but she is the complete seductress. Cheryl Studer – who sang the role of Elisabeth for Sinopoli at Bayreuth – gives a most sensitive performance, not always even of tone but creating a movingly intense portrait of the heroine, vulnerable and very feminine. Matti Salminen in one of his last recordings makes a superb Landgrave and Andreas Schmidt a noble Wolfram, even though his legato could be smoother in O Star of Eve.

西诺波利麾下的普拉西多·多明戈以兼具力量与美感的嗓音诠释唐豪瑟，堪称听觉盛宴。西诺波利在此呈现了其歌剧录音生涯中最富激情的演绎，比Decca索尔蒂版更温暖灵活且个性鲜明——细节精妙、始终具有说服力而不显乖张。阿格妮丝·巴尔莎的维纳斯音色虽非极致丰润，却将诱惑特质展现无遗。谢丽尔·斯图德（曾为西诺波利在拜罗伊特演唱伊丽莎白）塑造出敏感动人的女主角形象，嗓音虽偶有不均但脆弱柔美的气质令人动容。马蒂·萨尔米宁在生涯后期贡献了卓越的领主演绎，安德烈亚斯·施密特饰演高贵的沃尔夫兰（唯《晚星颂》连音可更流畅）。  


Tristan und Isolde (complete, DVD version) 《特里斯坦与伊索尔德》
DG DVD 073 4439 (2). Jerusalem, Meier, Hölle, Struckmann, Bayreuth Festival Ch. & O, Barenboim
Tristan und Isolde (complete, CD version)
EMI 9 6686402(3) (3). Stemme, Domingo, Fujimura, Pape, Bär, ROHCG Ch. & O, Pappano

Barenboim’s DVD is not a recording of a live performance but was made over a seven-day period, without an audience, in 1995. The result is very successful indeed, having the best of both worlds and offering an inherent spontaneity. The production is plain and the performance not voluptuous either, but with a splendid partnership of Siegfried Jerusalem at his finest and the rich-voiced Waltraud Meier also at her freshest, and the casting topped by Matthias Hölle’s resonant bass as King Mark. Barenboim is in his element and the Bayreuth Festival Orchestra provide a richly intense backing

When Plácido Domingo suggested to EMI that as a culmination to his unique career he would like to record Tristan und Isolde, the record company boldly took up the challenge and with luxury casting produced what is instantly recognizable as a classic recording, worthy successor to the great Furtwängler version of 1952 with Flagstad as Isolde. The glory of this set is not only the radiant singing of Domingo, still in glorious, full-throated voice in his sixties, but the warmly understanding conducting of Antonio Pappano with the Covent Garden Orchestra, more volatile than that of Furtwängler but just as concentrated. Domingo, at once heroic and lyrical, not only offers the most beautiful assumption on disc since Windgassen for Boehm at Bayreuth in 1966, but he sings with a passion beyond that of most Heldentenoren, and he is matched by the tenderly girlish Isolde of Nina Stemme. Hers may not be a big, noble soprano like those of Flagstad or Birgit Nilsson, and in Act II she comes to sound a little stressed, but with fine projection and subtle shading her portrait is the more passionate and more feminine. Mihoko Fujimura as Brangäne is clear and tender too – her warnings in the love duet creep exquisitely on the ear – and René Pape as King Mark is unmatched by any contemporary. Olaf Bär with his lieder-like command of detail is a fine Kurwenal, with such stars as Ian Bostridge as the Shepherd and Rolando Villazón as the Young Sailor filling in smaller parts. The set includes a bonus CD-ROM with libretto and synopsis.

巴伦博伊姆的DVD并非现场录制，而是1995年历时七天无观众拍摄的成果，兼具自发性与精雕细琢。制作风格朴素，演绎亦非浓艳路线——齐格弗里德·耶路撒冷（巅峰状态）与嗓音丰厚的瓦尔特劳德·迈尔（最佳音质时期）组成黄金搭档，马蒂亚斯·赫勒饰唱的马克王低沉浑厚。巴伦博伊姆如鱼得水，拜罗伊特节日乐团提供浓烈厚重的伴奏。  

当多明戈向EMI提出以《特里斯坦》为其传奇生涯加冕时，唱片公司大胆应允并集结顶级阵容，成就了堪比1952年富特文格勒/弗拉格斯塔德经典版的杰作。本套装的荣耀不仅在于六旬的多明戈仍保持辉煌嗓音，更在于安东尼奥·帕帕诺与科文特花园乐团充满理解力的温暖演绎——比富特文格勒更具波动性却同样凝练。多明戈兼具英雄气概与抒情特质，其演唱超越绝大多数英雄男高音的激情，妮娜·斯特姆以少女般柔美的伊索尔德与之辉映。她的嗓音虽非弗拉格斯塔德或尼尔森式的宏大类型（第二幕稍显紧绷），但凭借出色的投射与细腻层次塑造出更富激情与女性特质的形象。藤村实穗子的布兰甘特清澈温柔（爱情二重唱中的警告宛如耳畔絮语），勒内·帕佩的马克王无出其右。奥拉夫·巴尔以艺术歌曲般的细节把控诠释库文纳尔，伊恩·博斯特里奇（牧羊人）与罗兰多·维拉宗（年轻水手）等明星甘当绿叶。套装附赠含剧本与 Synopsis 的CD-ROM。


DVD：
Tristan und Isolde：https://115cdn.com/s/swwrs5r3hq9?password=3377&#
Wagner - Tristan und Isolde - Daniel Barenboim, Bayreuth Festival; Jerusalem, Meier, Hölle, Struckmann [DVD9]
Tannhäuser没找到
磁链：magnet:?xt=urn:btih:4E88333D1FE2FABBFB8BFA2E5A94B9487D08F536

CD：
https://115cdn.com/s/swwrs4k3hq9?password=3377&#
Wagner - Tannhauser - Giuseppe Sinopoli, PO; Domingo, Studer, Baltsa, Salminen [DG]等5个文件(夹)

joseph_li

WARLOCK, Peter (1894-1930)
Capriol Suite (for strings) 《卡普里奥尔组曲》（弦乐版）
Naxos 8.550823. Bournemouth Sinf., Richard Studt (with Concert: English String Music)

This is just about the finest available performance of Warlock’s masterly Capriol Suite. There is a memorable account conducted by Vernon Handley on Chandos (CHAN 8808), but that uses the full orchestral score, whereas the Naxos version sounds just as the composer conceived it. The rest of the programme is a splendid collection of English string works which includes Britten’s Frank Bridge Variations, Holst’s St Paul’s Suite and Vaughan Williams’s Dives and Lazarus. Demonstration sound.

这可能是沃洛克杰作《卡普里奥尔组曲》现有最出色的演绎。钱多斯唱片（CHAN 8808）由弗农·汉德利指挥的版本固然令人难忘，但该版采用全管弦乐配器，而拿索斯版则完全遵循作曲家原初的弦乐构思。专辑其余曲目同样精彩，汇集了英国弦乐经典：布里顿《弗兰克·布里奇主题变奏曲》、霍尔斯特《圣保罗组曲》以及沃恩·威廉斯《财主与拉撒路》。音质堪称示范级。


https://115cdn.com/s/swwrlmy3hq9?password=3377&#

Warlock - Capriol Suite, Serenade & Moeran - Serenade in G, Nocturne - Vernon Handley, Ulster Orchestra [Chandos]等2个文件(夹)

joseph_li

WAXMAN, Franz (1906–67)
Rebecca (complete film score)  《蝴蝶梦》（完整电影配乐）  
Naxos 8.557549. Slovak RSO, Adriano

Rebecca (1940) is regarded as Waxman’s finest score and it is easy to hear why. Waxman sweeps you immediately into the world of Daphne du Maurier’s bestseller. The score is an integral part of Hitchcock’s film, with the Rebecca theme used to portray the ghostly presence of Max de Winter’s dead first wife. Throughout, the music brilliantly portrays the often haunting and creepy atmosphere of this gothic fantasy. It is not all gloomy though, with numbers such as the Lobby Waltz providing a haunting piece of nostalgia. Adriano (and others) have made a splendid job of assembling this score, some of which had to be reconstructed from the soundtrack, while other music, not used in the final film, is also restored here. Both the performance and recording are very good and, at super-bargain price, this is an obvious acquisition for all film-music aficionados.

1940年的《蝴蝶梦》被视为瓦克斯曼的巅峰配乐之作，其卓越之处不言而喻。瓦克斯曼以音乐瞬间将听众带入达芙妮·杜穆里埃的畅销小说世界。这套配乐是希区柯克电影不可分割的部分，主题旋律《丽贝卡》如幽灵般萦绕，刻画了德温特先生亡妻的阴魂不散。音乐贯穿始终地呈现哥特式幻想的诡谲氛围——从幽闭的曼德雷庄园到琼·芳登饰演的羞涩新娘的内心惶惑。忧郁中亦不乏《大厅圆舞曲》等怀旧段落点缀。阿德里亚诺团队出色地整合了这份配乐（部分需从音轨重建），并收录了未用于成片的删减段落。演绎与录音俱佳，超值价位更使其成为影乐爱好者的必藏之选。


https://115cdn.com/s/swwrsk43hq9?password=3377&#
Waxman, Franz - Rebecca - Viktor Šimčisko, Slovak RSO [Naxos]

joseph_li

WEBER, Carl Maria von (1786–1826)
Clarinet Concertos 1, Op. 73; 2, Op. 74; Clarinet Quintet, Op. 34 (version for clarinet and strings)  单簧管协奏曲第1号（Op.73）、第2号（Op.74）；单簧管五重奏（Op.34，单簧管与弦乐改编版）
Sony SACD 88697 37632-2. Fabio di Càsola, Russian Chamber Philharmonic, St Petersburg, Juri Gilbo

It was a celebrated contemporary clarinettist, Heinrich Baermann, who attracted Weber to the instrument. He had a special clarinet made with ten keys to extend the instrument’s range, and Weber wrote a total of ten pieces for him to play on it, all of them delightfully tuneful, and with roulades galore to test the virtuosity of the player, who here comes up trumps. Such enticing works, admirable show-pieces too, have received many recordings, notably scintillating accounts of the two Concertos from our own Emma Johnson (on ASV), but Martin Fröst on BIS (SACD) is hardly less seductive, and he, like the light-hearted Sabine Meyer (on HMV), also offers the arrangement of the Quintet. However, Fabio di Càsola’s performances are dazzling and Juri Gilbo’s persuasive partnership in slow movements is romantic in the best Weberian operatic style. The twirly-whirly Menuetto capriccio of the arranged Quintet is deliciously done, and the closing giocoso is also wonderfully infectious. Then the performances are capped by the bravura scales in the final jaunty Allegro polacca of No. 2. The SACD sound is splendidly atmospheric, so this can be strongly recommended.

韦伯因单簧管演奏家海因里希·贝尔曼而钟情于这种乐器，甚至为其特制十键单簧管以拓展音域，并为之创作了十部作品。这些旋律优美的杰作充满考验技巧的华丽乐段，而本辑演奏者完美驾驭。虽然同类录音众多——如艾玛·约翰逊（ASV版）璀璨的协奏曲演绎，或马丁·弗罗斯特（BIS的SACD版）与萨宾·梅耶（HMV版）的迷人诠释——但法比奥·迪·卡索拉的演奏依然耀眼夺目。尤里·吉尔博在慢乐章的协奏充满韦伯式歌剧浪漫风格，改编版五重奏中《随想小步舞曲》的螺旋音型处理精妙，终章《嬉游曲》亦极具感染力，尤以第二协奏曲末乐章《波兰风格快板》的炫技音阶最为精彩。SACD录音氛围绝佳，强烈推荐。  


Symphonies 1 in C; 2 in C. Die drei Pintos: Entr’acte. Silvana: Dance of the Young Nobles; Torch Dance. Turandot: Overture; Act II: March; Act V: Funeral March  C大调第1、第2交响曲；《三个平托斯》：间奏曲；《西尔瓦娜》：青年贵族之舞、火炬舞；《图兰朵》：序曲；第二幕进行曲；第五幕葬礼进行曲
Naxos 8.550928. Queensland PO, Georgiadis

Weber wrote his two Symphonies in the same year (1807) and, though both are in C major, each has its own individuality. The witty orchestration and operatic character of the writing are splendidly caught in these sparkling Queensland performances, while in the slow movements the orchestral soloists relish their solos, for all the world like vocal cantilenas. The recording is in the demonstration class, and the disc is made the more attractive for the inclusion of orchestral excerpts from two little-known operas and incidental music from Turandot. The Entr’acte from the incomplete Die drei Pintos was put together by Mahler from Weber’s sketches.

韦伯两部同调性（C大调）交响曲均作于1807年，却各具特色。昆士兰交响乐团以闪耀的演奏捕捉到作品中机智的配器与歌剧化特质，慢乐章中的独奏段落如歌咏般动人。录音堪称示范级，搭配冷门歌剧选段及《图兰朵》戏剧配乐更显超值。其中《三个平托斯》间奏曲由马勒根据韦伯手稿补遗完成。  


Overtures: Abu Hassan; Der Beherrscher der Geister (Ruler of the Spirits); Euryanthe; Der Freischütz; Jubel; Oberon; Preciosa  序曲集：《阿布·哈桑》《精灵之王》《欧丽安特》《自由射手》《庆典》《奥伯龙》《普雷西奥莎》
EMI Encore (ADD) 5 75644-2. Philh. O, Sawallisch

Weber overtures represent some of the most attractive and memorable overtures in the classical repertoire, yet choosing just one collection is not easy. None is ideal. There is Karajan’s DG collection which includes some of the most beautifully played examples of this repertoire – the masterful Oberon and Der Freischütz are peerless – yet it may be said that Karajan lacks some of the romantic excitement found in these vibrant works. Sawallisch’s 1958 selection has the advantage of the Philharmonia at their peak. The orchestral playing is superb and the excitement of Der Freischütz, the Turkish colourings of Abu Hassan and the contrasts of Euryanthe (the timpanist notably) are presented with a strong sense of the individual character of each piece. There is real orchestral virtuosity in The Ruler of the Spirits and the spectacular appearance of God Save the Queen as the apotheosis of Jubel will cheer anyone up. The snag is the over-bright, sharply focused recording, with a very light bass. Another collection worth considering is Ansermet’s, on a newly released Australian Decca Eloquence CD (480 0123). What the performances lack in polish they more than make up for in lusty spirit and are presented in vintage Decca sound. The CD also includes the delightful Weber Bassoon Concerto in F.

韦伯序曲是古典曲目中最富魅力的存在，但选集版本难以尽善尽美。卡拉扬DG版（含《奥伯龙》《自由射手》的至尊演绎）虽演奏精美，却稍欠浪漫激情；萨瓦利施1958年与巅峰时期的爱乐乐团合作，以超凡技艺呈现《自由射手》的激昂、《阿布·哈桑》的土耳其色彩及《欧丽安特》的对比张力（定音鼓尤为突出），但录音高音过亮、低频偏薄。安塞美新近发行的澳大利亚Decca版（480 0123）虽精细度稍逊，但勃发的活力与古董级Decca音效相得益彰，另附赠精彩的韦伯《F大调巴松管协奏曲》。


https://115cdn.com/s/swwrsdw3hq9?password=3377&#
Weber, Carl Maria von - 2 Clarinet Concertos; Concertino; Grand Duo Concertant - Emma Johnson [ASV]等6个文件(夹)
雄辩系列 4800123 这张没找到。

joseph_li

Clarinet Quintet (Grand Quintetto) in B flat, Op. 34  降B大调单簧管五重奏
Australian Decca Eloquence (ADD) 476 2447. De Peyer, Melos Ens. – HUMMEL: Piano Quintet; Piano Septet

Weber’s Clarinet Quintet was written at a time when the clarinet was still fighting for acceptance as a solo instrument; even though Mozart, Beethoven and Schubert had used its novel colours with the utmost felicity, there remained plenty of scope for more virtuosic treatment. This Weber undertook in his concertos and in the Quintet, which is delightful music as well as being a willing vehicle for the soloist’s display of pyrotechnics. Gervase de Peyer is in his element, immaculate and brilliant, and given superb support from the Melos Ensemble. The 1959 recording is unbelievably warm and vivid.

韦伯创作这部五重奏时，单簧管尚未完全确立独奏乐器地位——尽管莫扎特、贝多芬与舒伯特已极尽精妙地运用其新颖音色，但仍有炫技空间亟待开发。韦伯通过协奏曲与这部五重奏实现了这种可能，作品既是令人愉悦的乐章，又为独奏家提供了施展火力的舞台。杰尔维斯·德·佩耶的演绎堪称完美，技艺无瑕且光彩夺目，梅洛斯合奏团的协奏亦属顶级水准。1959年的录音有着难以置信的温暖与鲜活感。  


Der Freischütz (complete, DVD version)  《自由射手》
Arthaus mono DVD 01 271. Kozub, Frick, Saunders, Mathis, Grundheber, Blankenheim, Minetti, Sotin, Krause, Hamburg State Op. Ch. & PO, Ludwig (Director: Rolf Liebermann; V/D: Joachim Hess)

A fascinating early example of filmed opera in remarkably vivid colour, dating from 1968. The cast pre-recorded the music in mono within an attractive acoustic, then acted and sang the opera on stage, miming very successfully to the pre-recording. The production and sets are traditional, very much so. But the principals are excellent singers every one, with Gottlob Frick’s melodramatic portrayal of Kaspar almost stealing the show. If, as Kilian, Franz Grundheber’s Act I aria is a bit too self-satisfied, the main problem is that Max, the hero (Ernst Kozub), although he sings ardently, looks so morose throughout the opera that one wonders what Agathe can see in him. However, both she (the sweet-voiced Arlene Saunders) and the delightful Ännchen (a young Edith Mathis), are charmers in their central scenes, which contain the heroine’s two most famous arias, very well sung. The Wolf’s Glen scene, dominated by a sinister Samiel (Bernhard Minetti), is staged quite spectacularly, with an impressive storm, even if it is not as rivetingly scary as the famous Keilberth audio recording. However, the opera’s closing scene, with Hans Sotin magnificently commanding as the Hermit who intervenes to provide the happy ending, is very successful. In all – allowances being made for the dated production – this is most enjoyable and a considerable achievement when one realizes it is over 40 years old! There is, for once, a good accompanying booklet, with synopsis and full documentation.

这部1968年摄制的歌剧电影以惊人的鲜艳色彩成为早期影像化歌剧的典范。演员们先在优质声场中预录单声道音频，再通过精准对口型完成舞台表演。传统风格的制作与布景中，主演阵容堪称豪华：戈特洛布·弗里克以戏剧性演绎将卡斯帕尔塑造成抢戏反派，阿尔琳·桑德斯（阿加特）与年轻的艾迪特·马蒂斯（安琴）分别以甜润嗓音完美呈现女主角的两首著名咏叹调。尽管男主角马克斯（恩斯特·科祖布）始终愁容满面，但"狼谷"场景中阴森的萨米尔（伯恩哈德·米内蒂）与震撼的暴风雨效果仍具冲击力，汉斯·索汀饰演的隐士则以威严嗓音成就圆满结局。考虑到年代局限，这套附赠完整解说册的制作仍堪称非凡成就。  


Der Freischütz (complete, CD version)  《自由射手》
Teldec 4509 97758-2 (2). Orgonasova, Schäfer, Wottrich, Salminen, Berlin R. Ch., BPO, Harnoncourt

Harnoncourt’s electrifying and refreshing version of this operatic warhorse was recorded live at concert performances in the Philharmonie in Berlin in 1995, and the engineers have worked wonders in conveying the atmosphere of a stage performance rather than a concert one, not least in the Wolf’s Glen scene, helped by recording of a very wide dynamic range. Harnoncourt clarifies textures and paces the drama well, making it sound fresh and new. The cast is first rate, with Orgonasova singing radiantly as Agathe, not just pure but sensuous of tone, floating high pianissimos ravishingly. Christine Schäfer, sweet and expressive, makes Ännchen into far more than just a soubrette character, and Erich Wottrich as Max is aptly heroic and unstrained, if hardly beautiful. The line-up of baritones and basses is impressive too, all firm and clear, contrasting sharply with one another, a team unlikely to be bettered today. A clear first choice among modern, digital recordings.

哈农库特1995年柏林爱乐大厅音乐会现场录音为这部歌剧经典注入令人振奋的新鲜感。工程师奇迹般还原了舞台演出的氛围（尤其动态范围惊人的"狼谷"场景），哈农库特通过清晰的织体处理与精准节奏把控赋予作品新生。奥尔加诺索娃的阿加特音色既纯净又性感，弱音高音宛如天籁；克里斯蒂娜·谢弗将安琴提升超越轻浮女仆形象；埃里希·沃特里希的马克斯虽音质欠美但英雄气概十足。男中低音阵容同样坚若磐石，彼此音色对比鲜明，堪称当代难以超越的演绎，是现代数字录音的首选版本。


DVD：
https://115cdn.com/s/swwrsm53hq9?password=3377&#
Weber - Der Freischütz - Leopold Ludwig, Philharmonic State Orchestra Hamburg; Kozub, Frick, Saunders [DVD5]

CD：
https://115cdn.com/s/swwrsm63hq9?password=3377&#
Weber, Carl Maria von - Clarinet Quintet, Op. 34 & Mozart - Clarinet Trio, K. 498 - Melos Ensemble, de Peyer, Aronowitz [BnF 24-96]等3个文件(夹)
第一张单簧管五重奏雄辩系列没找到，找到Alto厂牌，版本没问题，BnF不太确定。

joseph_li

sickworm119 发表于 2025-8-19 07:50
早上起来突然发现多了5楼，往前翻了2页又没感觉出来多了啥，强迫症患者总觉得心里哪哪都不太得劲儿。。。 ...

大概率是被卡住审核的内容通过了造成的，不着急的话，可以等两天再转存，网管有时没那么及时处理，这个帖子里的资源是长期有效的。

joseph_li

joseph_li 发表于 2025-8-8 18:14
Rosamunde Overture (Die Zauberharfe), D.644, & Incidental Music, D.797 (complete) 《罗莎蒙德》序曲（ ...

补海顿的《创世记》，很好听。

https://115cdn.com/s/swwrqmh3hq9?password=3377&#
Haydn - Die Schopfung, etc - Karl Munchinger, VPO [DECCA]

zzxjiao

感谢楼主建造如此浩大的工程

joseph_li

WEBERN, Anton (1883–1945)
Collected works: Disc 1: (i) Im Sommerwind; 5 Movements for String Quartet (orchestral version), Op. 5; Passacaglia, Op. 1; 6 Pieces for Large Orchestra, Op. 6. Arrangements of: Bach: Musical Offering: Fugue; Schubert: 6 German Dances, D.820
Disc 2: (i) 5 Pieces for Orchestra (1913); Symphony, Op. 21; Variations for Orchestra, Op. 30; (i; v) Das Augenlicht, Op. 26; Cantatas (i; iii; v) 1, Op. 29; (i; iii–v) 2, Op. 31; (i; iii) 3 Orchesterlieder (1913–24)
Disc 3: (ii; vi) Concerto for 9 Instruments, Op. 24; (ii) 5 Pieces for Orchestra, Op. 10; (ii; vi) Piano Quintet; Op. posth. Quartet, Op. 22 (for piano, violin, clarinet & saxophone); (ii–iii; v; vii) 5 Canons on Latin Texts, Op. 15; (ii; v) Entflieht auf leichten Kähnen, Op. 2; (ii; vii) 2 Lieder, Op. 8; 4 Lieder, Op. 13; 6 Lieder, Op. 14; (ii–iii) 5 Geistliche Lieder, Op. 15; 5 Canons, Op. 16; 3 Lieder, Op. 18; (ii; v) 2 Lieder, Op. 19; (ii–iii) 3 Volkstexte, Op. 17
Disc 4: (iii; viii) 3 Gedichte (1899–1903); 8 frühe Lieder (1901–4); 3 Avenarius Lieder (1903–4); 5 Dehmel Lieder (1906–8); 5 George Lieder, Op. 3; 5 George Lieder, Op. 4; 4 George Lieder (1908–9); 4 Lieder, Op. 12; 3 Jone Gesänge, Op. 23; 3 Jone Lieder, Op. 25
Disc 5: (ix) 6 Bagatelles for String Quartet, Op. 9; (Langsamer) Slow Movement for String Quartet (1905); 5 Movements for String Quartet, Op. 5; (ix–x) 3 Pieces for String Quartet (1913); (ix) Rondo for String Quartet (1906); String Quartet (1905); String Quartet, Op. 28; String Trio, Op. 20; Movement for String Trio, Op. posth. (1925)
Disc 6: (xi–xii) Cello Sonata (1914); 2 Pieces for Cello & Piano (1899); 3 Small Pieces for Cello & Piano, Op. 11; (xiii–xii) 4 Pieces for Violin & Piano, Op. 7; Piano: (xiv) Kinderstück (1924 & 1925); (xv) Movement (1906); (xiv) Piece (1925); (xv) Sonata Movement (Rondo) (1906); (xiv) Variations, Op. 27
全集：第1碟：(i)《夏日微风》；弦乐四重奏五乐章（管弦乐版），作品5；《帕萨卡利亚》，作品1；大型管弦乐六首，作品6。改编作品：巴赫《音乐的奉献》：赋格；舒伯特：六首德国舞曲，D.820  
第2碟：(i) 管弦乐五首（1913）；《交响曲》，作品21；《管弦乐变奏曲》，作品30；(i; v)《目光》，作品26；康塔塔：(i; iii; v) 第一号，作品29；(i; iii–v) 第二号，作品31；(i; iii) 三首管弦乐艺术歌曲（1913–24）  
第3碟：(ii; vi) 九件乐器协奏曲，作品24；(ii) 管弦乐五首，作品10；(ii; vi) 钢琴五重奏；遗作：四重奏，作品22（钢琴、小提琴、单簧管与萨克斯管）；(ii–iii; v; vii) 拉丁文本五首卡农，作品15；(ii; v)《乘轻舟逃离》，作品2；(ii; vii) 艺术歌曲两首，作品8；艺术歌曲四首，作品13；艺术歌曲六首，作品14；(ii–iii) 宗教歌曲五首，作品15；卡农五首，作品16；艺术歌曲三首，作品18；(ii; v) 艺术歌曲两首，作品19；(ii–iii) 民间文本三首，作品17  
第4碟：(iii; viii) 诗歌三首（1899–1903）；早期艺术歌曲八首（1901–4）；阿韦纳里斯诗歌三首（1903–4）；德默尔艺术歌曲五首（1906–8）；乔治诗歌艺术歌曲五首，作品3；乔治诗歌艺术歌曲五首，作品4；乔治艺术歌曲四首（1908–9）；艺术歌曲四首，作品12；约讷颂歌三首，作品23；约讷艺术歌曲三首，作品25  
第5碟：(ix) 弦乐四重奏小品六首，作品9；弦乐四重奏《慢板》（1905）；弦乐四重奏五乐章，作品5；(ix–x) 弦乐四重奏三首（1913）；弦乐四重奏《回旋曲》（1906）；弦乐四重奏（1905）；弦乐四重奏，作品28；弦乐三重奏，作品20；弦乐三重奏乐章，遗作（1925）  
第6碟：(xi–xii) 大提琴奏鸣曲（1914）；大提琴与钢琴小品两首（1899）；大提琴与钢琴小曲三首，作品11；(xiii–xii) 小提琴与钢琴小品四首，作品7；钢琴：(xiv)《儿童小品》（1924 & 1925）；(xv) 乐章（1906）；(xiv) 小品（1925）；(xv) 奏鸣曲乐章（回旋曲）（1906）；(xiv) 变奏曲，作品27  
DG 457 637-2 (6). (i) BPO; (ii) Ens. Intercontemporain; (i-ii) cond. Boulez; (iii) Oelze; (iv) Finley; (v) BBC Singers; (vi) Aimard; (vii) Pollet; (viii) Schneider; (ix) Emerson Qt; (x) McCormick; (xi) Hagen; (xii) Maisenberg; (xiii) Kremer; (xiv) Zimerman; (xv) Cascioli

This monumental DG set goes far further than the earlier Sony collection in its illumination of Webern as one of the great musical pioneers of the twentieth century. The first point is that where the earlier set limited itself to the numbered works, this one covers so much more (on six discs instead of three) with a far fuller portrait presented in the early works. Both sets include such offerings as the arrangements of Bach (the Ricercar from the Musical Offering) and Schubert (a collection of waltzes). Boulez’s interpretations of the numbered works have developed too, with the Berlin Philharmonic exceptionally responsive, bringing out often unsuspected warmth and beauty. The point and purposefulness of these performances is particularly helpful in making such thorny late inspirations as the two Cantatas so much more readily approachable. The vocal soloists have been chosen ideally, with the fresh-toned Christiane Oelze taking on the majority of songs, but with Françoise Pollet and Gerald Finley equally assured. Nor could the starry list of instrumental contributors be bettered, including as it does such luminaries as the Emerson Quartet and Krystian Zimerman; and the recordings, made over a period of years, are uniformly excellent.

这套DG的鸿篇巨制比早先索尼的合集更进一步，展现了韦伯恩作为二十世纪伟大音乐先驱的全貌。首要区别在于：索尼版仅收录编号作品，而此版以六碟容量涵盖更广（包括大量早期作品），呈现更完整的创作肖像。两版均收录巴赫（《音乐的奉献》赋格）与舒伯特（圆舞曲集）改编曲目。布列兹对编号作品的诠释亦有所发展，柏林爱乐展现出非凡的默契，常能挖掘出意想不到的温暖与美感。这些演绎的精准与目的性尤其有助于降低《两首康塔塔》等艰涩晚期作品的接受门槛。人声独唱阵容堪称理想——清亮的克里斯蒂安·厄尔泽担纲多数艺术歌曲，而弗朗索瓦兹·波莱与杰拉尔德·芬利同样出色。器乐演奏者名单更是群星璀璨，包括埃默森四重奏与克里斯蒂安·齐默尔曼等名家；历年录制的音质亦始终保持着卓越水准。


https://115cdn.com/s/swwrqow3hq9?password=3377&#
Webern, Anton - Complete Webern - Pierre Boulez [DG]等2个文件(夹)

joseph_li

WEILL, Kurt (1900–1950)
Die Dreigroschenoper (The Threepenny Opera) (complete) 《三便士歌剧》
Decca 430 075-2. Kollo, Lemper, Milva, Adorf, Dernesch, Berlin RIAS Chamber Ch. & Sinf., Mauceri

On Decca there are obvious discrepancies between the opera-singers, René Kollo and Helga Dernesch, and those in the cabaret tradition, notably the vibrant and provocative Ute Lemper (Polly Peachum) and the gloriously dark-voiced and characterful Milva ( Jenny). That entails downward modulation in various numbers, as it did with Lotte Lenya, but the changes from the original are far less extreme. Kollo is good, but Dernesch is even more compelling. The co-ordination of music and presentation makes for a vividly enjoyable experience, even if committed Weill enthusiasts will inevitably disagree with some of the controversial textual and interpretative decisions.

在Decca的版本中，歌剧演唱家（如勒内·科洛和海嘉·德内施）与卡巴莱传统歌手（尤其是充满活力且极具挑衅性的乌特·兰佩尔饰演的波莉·皮丘姆，以及嗓音深沉、个性鲜明的米尔瓦饰演的珍妮）之间存在明显差异。这导致部分曲目需降调处理，正如当年洛特·莲娅的版本一样，但相较原版改动幅度小得多。科洛表现不俗，而德内施更为出彩。音乐与演绎的协调配合营造出鲜活生动的观赏体验——尽管忠实的魏尔乐迷难免会对某些颇具争议的文本处理和艺术抉择持有异议。


https://115cdn.com/s/swwrqob3hq9?password=3377&#
Weill, Kurt - Die Dreigroschenoper - John Mauceri, RSO Berlin; Lemper, Kollo, Milva [DECCA]

joseph_li

WIDOR, Charles-Marie (1844–1937)
Organ Symphonies: 1 in C min.: Méditation (only); 2 in D; 3 in E min.: Prélude, Adagio & Finale; 4 in F min., Op. 13/1–4; 5 in F min.; 6 in G min., Op. 42/1–2; 9 in C min. (Gothique), Op. 70  管风琴交响曲**：第1号C小调（仅《沉思曲》）；第2号D大调；第3号E小调（前奏曲、慢板与终曲）；第4号F小调，作品13/1–4；第5号F小调；第6号G小调，作品42/1–2；第9号C小调（《哥特式》），作品70
Warner Apex 2564 62297-2 (2). Marie-Claire Alain (Cavaillé-Coll organs, Saint-Étienne de Caen & Église de Saint-Germain-en-Laye)

For this Apex reissue Warner have combined two sets of recordings, from 1970 and 1977, which jointly offer an impressive overall coverage of this repertoire. Marie-Claire Alain contents herself with playing just the Méditation from the uneven First Symphony, and only three movements from the Third. Here the Saint-Germain organ sounds very orchestral and the colouring of the gentle Adagio (a perpetual canon) is very effective. The later Symphonies are more impressive works than the earlier group of Op. 13. The Fifth is justly the most famous. These are classic, authoritative performances, given spacious analogue sound with just a touch of harshness to add a little edge in fortissimos.

华纳此次的Apex再版将1970年与1977年的两组录音合并，完整呈现了这套曲目的精华。玛丽-克莱尔·阿兰仅选录了水准参差的《第一交响曲》中的《沉思曲》，以及《第三交响曲》的三个乐章。圣日耳曼教堂管风琴在此展现出极富交响性的音色，而柔板乐章（一段永续卡农）的层次渲染尤为动人。较之早期的作品13组曲，后期交响曲更具震撼力，其中《第五交响曲》的盛名实至名归。这些演绎堪称经典权威，模拟录音的宏大空间感中略带一丝粗粝，恰为强奏段落增添锋芒。


https://115cdn.com/s/swwrqo73hq9?password=3377&#
Widor, Charles-Marie - Organ Symphonies - Marie-Claire Alain [Warner]

joseph_li

WIENIAWSKI, Henryk (1835–80)
(i) Violin Concertos 1–2; (ii) Caprice in A min. (arr. Kreisler); Obertass-Mazurka, Op. 19/1; Polonaise de concert 1 in D, Op. 4; Polonaise brillante 2, Op. 21; Scherzo-tarantelle, Op. 16  (i) 第一、二小提琴协奏曲；(ii) A小调随想曲（克莱斯勒改编）；《奥贝塔斯玛祖卡》，作品19/1；《音乐会波兰舞曲第一号》D大调，作品4；《华丽波兰舞曲第二号》，作品21；《谐谑塔兰泰拉》，作品16
EMI (ADD) 5 66059-2. Perlman, with (i) LPO, Ozawa; (ii) Sanders

Perlman gives scintillating performances, full of flair, and is excellently accompanied. The recording, from 1973, is warm, vivid and well balanced. It is preferable to Perlman’s digital remake of the Second Concerto. The mid-priced reissue includes a mini-recital of shorter pieces, often dazzling, but losing some of their appeal from Perlman’s insistence on a microphone spotlight. Samuel Sanders comes more into the picture in the introductions for the two Polonaises, although the violin still remains far too near the microphone. Even so, brilliant all the same.

帕尔曼的演绎闪耀着灵动的才情，协奏部分亦精彩绝伦。这张1973年的录音温暖鲜活，声部平衡极佳，比他后来数码重录的《第二协奏曲》更胜一筹。中价再版专辑还收录了多首短篇小品集锦，虽常现炫技华彩，但因帕尔曼执意突出麦克风近场效果，部分曲目魅力稍减。两首波兰舞曲的引子部分让钢琴家塞缪尔·桑德斯有了更多表现空间，不过小提琴仍过分贴近麦克风。即便如此，整体演绎依然光彩夺目。


https://115cdn.com/s/swwrqok3hq9?password=3377&#
Wieniawski, Henryk - Works for Violin - Itzhak Perlman, LPO, Seiji Ozawa, Samuel [Warner]

joseph_li

WILLIAMS, Grace (1906–77)
(i) Carillons for Oboe & Orchestra; (ii) Trumpet Concerto. Fantasia on Welsh Nursery Tunes; (iii) Penillion; (iv) Sea Sketches (for string orchestra) (i) 双簧管与乐队《钟琴》；(ii) 小号协奏曲；《威尔士童谣幻想曲》；(iii) 《佩尼林》；(iv) 弦乐队《海景素描》
Lyrita (ADD) SRCD 323. (i) Camden; (ii) Snell; both with LSO; (iii) RPO; all cond. Groves; (iv) ECO, Atherton

It is good to have this attractive programme of works restored to the catalogue, all by a woman composer who (rarely among twentieth-century female musicians) glowingly shows that she believes in pleasing the listener’s ear. No barbed wire here, and no lack of imaginative resource either, particularly in the memorably individual Sea Sketches, a masterly suite of five contrasted movements which catch the sea’s unpredictability as well as its formidable energy. Grace Williams focuses her scene-painting more acutely than is common, while the two slow sections, the seductive Channel sirens and the Calm sea in summer, are balmily, sensuously impressionistic, the former taking a somewhat unpromising idea and turning it into true poetry. The other works here range attractively from the simple – and at one time quite well-known – Welsh Tunes Fantasia (which is a good deal more than a colourfully orchestrated potpourri) through two crisply conceived concertante pieces, to Penillion, written for the National Youth Orchestra of Wales. ‘Penillion’ is the Welsh word for stanza, and this is a set of four colourful, resourceful pieces, easy on the ear but full of individual touches; although Williams does not use any folk material, she retains the idea of a central melodic line (on the trumpet in the first two pieces) in stanza form. The trumpet and oboe concertante pieces – superbly played by soloists from the LSO of the early 1970s – both show the affection and understanding of individual instrumental timbre which mark the composer’s work. Excellent performances throughout (especially the vivid sea music) and very good analogue sound. This CD is surely an ideal representation of the composer at her most appealing.

这套迷人作品集的重现令人欣喜——出自一位坚信音乐应取悦听众的女作曲家之手（在二十世纪女性音乐家中实属罕见）。这里既无刺耳的噪音实验，亦不乏想象力：尤以个性鲜明的《海景素描》为甚，这部由五个对比乐章组成的精湛组曲，既捕捉了海洋的变幻莫测，又展现了其磅礴能量。格蕾丝·威廉姆斯的音画描绘比寻常更锐利，而两个慢板乐章——诱惑的《海峡塞壬》与《夏日平静的海》——既带着朦胧的印象派感官美，前者更将看似平淡的动机化为真正的诗篇。其余作品同样引人入胜：从质朴（曾颇负盛名）却远非简单管弦拼贴的《威尔士童谣幻想曲》，到两部构思精炼的协奏风格小品，再到为威尔士国家青年乐团创作的《佩尼林》。“佩尼林”在威尔士语中意为诗节，这组由四首色彩斑斓、技法丰富的短曲构成的作品，虽未直接引用民谣素材，却以诗节形式保留了核心旋律线（前两曲由小号呈现）。由1970年代初伦敦交响乐团独奏家精彩演绎的小号与双簧管协奏曲，均展现出作曲家对乐器音色的细腻把控。全辑演奏出色（尤以生动的海洋音乐为甚），模拟录音效果上佳，堪称这位作曲家最具魅力风格的完美诠释。


这张碟没找到

joseph_li

WILLIAMSON, Malcolm (1931–2003)
Concerto grosso; Our Man in Havana: Suite. Santiago de Espada Overture; Sinfonietta  大协奏曲；《哈瓦那特派员》组曲；《圣地亚哥·德·埃斯帕达》序曲；小交响曲
Chan. 10359. Iceland SO, Gamba

Our Man in Havana, based on Graham Greene’s novel, is among the most colourful of post-war British operas, with its catchy Cuban rhythms and its tunes first cousin to those in Broadway musicals. Until this excellent disc, the first of a projected Williamson series, not a note of it had been recorded, and this suite of four substantial movements makes one long for a full-scale stage revival. The Concerto grosso and Sinfonietta are both exercises in Williamson’s attractive brand of neoclassicism, and the Overture, Santiago de Espada, written in 1956, well before the rest, is even more approachable, one of Williamson’s first essays in tonality after his early experiments with serialism. Rumon Gamba conducts fresh, crisp performances with the Iceland Symphony Orchestra, very well recorded.

根据格雷厄姆·格林小说创作的《哈瓦那特派员》堪称战后英国歌剧中最富色彩的一部，其朗朗上口的古巴节奏与百老汇音乐剧式的旋律相映成趣。在这张优秀的唱片问世前（计划中威廉姆森系列的首辑），该作从未被录音，而这套四乐章组曲令人热切期待全剧的舞台复排。《大协奏曲》与《小交响曲》均展现了作曲家迷人的新古典主义风格，而早在1956年创作的《圣地亚哥·德·埃斯帕达》序曲（远早于其他作品）更显平易近人——这是威廉姆森早期序列实验后回归调性的首次尝试。鲁蒙·甘巴指挥冰岛交响乐团的演绎清新利落，录音效果极佳。  


(i) Organ Concerto; (ii) Piano Concerto 3; (iii) Sonata for 2 Pianos  (i) 管风琴协奏曲；(ii) 第三钢琴协奏曲；(iii) 双钢琴奏鸣曲
Lyrita (ADD) SRCD 280. Composer (piano or organ), with (i–ii) LPO; (i) Boult; (ii) Dommett; (iii) Richard Rodney Bennett

There are few more immediately rewarding couplings of post-war keyboard concertos than this (and one could wish the Piano Concerto was better accompanied). Williamson composed them both in the early 1960s, and they represent two clearly contrasted sides of his creative character. The Organ Concerto, written in tribute to Sir Adrian Boult, uses the conductor’s initials, ACB, as a dominating motive, and though some of the writing – for the orchestra as well as the organ – is spectacular, it is essentially a tough and ambitious piece, with the two powerful outer movements framing a beautiful and lyrical Largo for strings and organ alone. Piano Concerto No. 3 in four movements has immediate attractions in the catchy melodies and snappy rhythms, which ought to make it a popular success in the line of the Rachmaninov Concertos. Unfortunately, the performance has an accompaniment that is less than punchy, and the red-bloodedness of the writing is not fully realized. The performance of the Organ Concerto is quite different in every way. Excellent recording. The remarkable Sonata for Two Pianos, inspired by the composer’s stay in Sweden, encapsulates in six continuous sections (and just seven and a half minutes of music) a Swedish winter and the arrival of spring ‘with the serenity of a great release into a world of warmth and light’. The performance is definitive.

鲜有战后键盘协奏曲合集能如本辑般令人即刻沉醉（尽管钢琴协奏曲的协奏部分本可更富冲击力）。两首协奏曲均创作于1960年代初，鲜明对比了威廉姆森创作性格的两面：《管风琴协奏曲》以阿德里安·布尔特爵士姓名首字母ACB为核心动机，虽不乏管风琴与乐队的炫技段落，本质仍是部刚劲宏大的作品——两个强有力的外乐章包裹着仅为弦乐与管风琴而作的抒情广板；而四乐章的《第三钢琴协奏曲》凭借抓耳的旋律与利落节奏，本应如拉赫玛尼诺夫协奏曲般广受欢迎，可惜伴奏未能充分展现谱面的热血气质。管风琴协奏曲的演绎则全面胜出，录音精湛。灵感源自瑞典旅居的《双钢琴奏鸣曲》堪称非凡，六段连续章节（仅七分半钟时长）浓缩了瑞典寒冬与"如释重负般迎向温暖光明的春日降临"，此番演绎堪称终极诠释。


https://115cdn.com/s/swwrqyv3hq9?password=3377&#
Williamson, Malcolm - Orchestral Works Vol.2 - Rumon Gamba, Iceland SO [Chandos 24-96]等3个文件(夹)

joseph_li

WIRÉN, Dag (1905–86)
(i–ii) Miniature Suite (for cello & piano), Op. 8b; (ii) (Piano) Improvisations; Little Suite; Sonatina, Op. 25; Theme & Variations, Op. 5; (iii) 3 Sea Poems; (iv; ii) 2 Songs from Hösthorn, Op. 13  (i–ii) 小套曲（大提琴与钢琴），作品8b；(ii) 钢琴《即兴曲》；《小套曲》；《小奏鸣曲》，作品25；《主题与变奏》，作品5；(iii) 《三首海之诗》；(iv; ii) 《秋之角》两首歌曲，作品13
BIS CD 797. (i) Thedéen; (ii) Bojsten; (iii) Jubilate Ch., Riska; (iv) Högman

Dag Wirén was a miniaturist par excellence and few of the individual movements recorded here detain the listener for more than two or three minutes. The early (and inventive) Theme and Variations, Op. 5, is the longest work. Although it is slight, the Sonatina for Piano often touches a deeper vein of feeling than one might expect to encounter. Good performances from all concerned, and the usual truthful BIS recording.

达格·维伦是当之无愧的微型曲大师，本辑收录的单个乐章大多仅两三分钟时长。早期作品《主题与变奏》（作品5）虽构思精巧，却是其中最长的篇章。看似轻巧的《钢琴小奏鸣曲》却常流露出超乎预期的深沉情感。全体演奏者表现上乘，BIS厂牌一贯的真实录音品质得以延续。


https://115cdn.com/s/swwrqye3hq9?password=3377&#
Wiren, Dag - Chamber Music, Vol. 1 - Stockholm Arts Trio [BIS]等2个文件(夹)

joseph_li

WOLF, Hugo (1860–1903)
Italian Serenade; Penthesilea (symphonic poem); Scherzo and Finale; Der Corregidor (opera): Prelude and Intermezzo  《意大利小夜曲》；《彭忒西勒亚》（交响诗）；《谐谑曲与终曲》；歌剧《总督》：序曲与间奏曲*
Warner Apex 0927 49582-2. O de Paris, Barenboim

For those who know only Wolf’s Italian Serenade and enjoy the subtle word-painting of the Lieder, this orchestral collection will come as something of a shock. The early three-part symphonic poem, Penthesilea (1883–5), is turbulently and voluptuously romantic in a style of post-Lisztian hyperbole, while the Prelude to Der Corregidor is Wagnerian in its expansive opulence. Barenboim plays both with uninhibited exuberance and almost convinces the listener that Penthesilea is worthy of standing alongside the music of Strauss. The Intermezzo, however, is almost in the style of French ballet music, and the well-known Serenade, of course, is similarly lightweight and sunny. The Scherzo and Finale of 1876–7 shows the precocious skill of an 18-year-old: it is music of more than a little substance and is felicitously scored, although Wagner briefly raises his head again in the Finale. Barenboim makes the very most of all these pieces, and they are played with much conviction. The recording is rather resonant but otherwise acceptable.

仅熟悉沃尔夫《意大利小夜曲》及其艺术歌曲精妙绘词法的乐迷，或将为这套管弦乐选集感到震撼。早期三联交响诗《彭忒西勒亚》（1883-85）以李斯特式的夸张手法，展现狂暴而艳丽的浪漫风格；而《总督》序曲则呈现瓦格纳式的恢弘华彩。巴伦博伊姆以毫无拘束的激情演绎这两部作品，几乎令人信服《彭忒西勒亚》足以与施特劳斯比肩。然而间奏曲却近乎法国芭蕾风格，著名的《小夜曲》同样轻盈明媚。1876-77年的《谐谑曲与终曲》展现了18岁天才的早熟技艺：虽终曲偶现瓦格纳身影，但音乐实质丰厚，配器精巧。巴伦博伊姆极尽挖掘这些作品的潜力，演绎充满说服力。录音虽回声过重，尚可接受。  


Spanisches Liederbuch (complete)  《西班牙歌曲集》
DG (ADD) 457 726-2 (2). Schwarzkopf, Fischer-Dieskau, Moore

In this superb DG reissue, the sacred songs provide a dark, intense prelude, with Fischer-Dieskau at his very finest, sustaining slow tempi impeccably. Schwarzkopf’s dedication comes out in the three songs suitable for a woman’s voice; but it is in the secular songs, particularly those which contain laughter in the music, where she is at her most memorable. Gerald Moore is balanced rather too backwardly – something the transfer cannot correct – but gives superb support.

在这张卓越的DG再版中，宗教歌曲以菲舍尔-迪斯考巅峰状态的演绎构成深沉而强烈的序幕，其慢速处理无可挑剔。施瓦茨科普夫在适合女声的三首歌曲中尽显专注力，但真正令人难忘的是世俗歌曲——尤其是那些蕴含笑意的乐章。杰拉尔德·摩尔的钢琴伴奏虽因平衡略偏靠后（转录技术无法修正），仍提供了绝妙支撑。


https://115cdn.com/s/swwrqkn3hq9?password=3377&#
Wolf, Hugo - Penthesilea, Der Corregidor, Scherzo, Finale etc. - Daniel Barenboim, Orchestre de Paris [Warner]等2个文件(夹)

joseph_li

WOLFF, Albert, with the Paris Conservatoire Orchestra
Overtures: SAINT-SAËNS: La Princesse Jaune. BERLIOZ: Benvenuto Cellini; Le Carnaval romain; Le Corsaire; Les Francsjuges; Le Roi Lear. ADAM: Si j’étais roi. HÉROLD: Zampa. REZNICEK: Donna Diana. SUPPÉ: Pique Dame. NICOLAI: The Merry Wives of Windsor  序曲集：圣桑《黄衣公主》；柏辽兹《本韦努托·切利尼》《罗马狂欢节》《海盗》《法兰克法官》《李尔王》；亚当《若我为王》；埃罗尔德《赞帕》；雷兹尼切克《狄安娜夫人》；苏佩《黑桃皇后》；尼古拉《温莎的风流娘们》
Australian Decca Eloquence (ADD) 480 2385 (2) – AUBER: Overtures

These recordings from the 1950s readily demonstrate a Gallic style of orchestral playing which now has all but disappeared, with performances of much character and personality. Five of the overtures, those by Adam, Hérold, Reznicek, Suppé and Nicolai, were originally released in 1958 under the title ‘Overtures in Hi-Fi’, and they have never sounded better, with only a certain tubbiness betraying their age. Just listen to the way Wolff points the strings in Si j’étais roi, and the genial vitality which pervades the music-making throughout. Even the obvious fluff in the brass in Zampa (at 3 minutes 25 seconds) seems acceptable under the circumstances. The rest of the items are in (good) mono sound. Both Le Roi Lear and Les Francs-juges Overtures were (and remain) comparative rarities, yet both are excellent works, while the latter contains one of the best tunes Berlioz ever wrote. Even more rare is the delightful La Princesse Jaune Overture of Saint-Saëns, which certainly tickles the ear. They are coupled with Wolff’s classic recordings of Auber overtures, making this collection very valuable.

这套1950年代的录音鲜活展现了如今几近绝迹的法式管弦乐风格，每首都充满独特个性。亚当、埃罗尔德、雷兹尼切克、苏佩与尼古拉的五首序曲最初以《高保真序曲集》为名于1958年发行，此次重制堪称最佳音质版本——仅低频略显浑浊暴露出年代痕迹。聆听沃尔夫在《若我为王》中对弦乐声部的精妙调度，以及贯穿始终的盎然生机，就连《赞帕》铜管声部明显的失误（3分25秒处）在如此演绎中也显得情有可原。其余单声道录音（音质上佳）中，《李尔王》与《法兰克法官》序曲至今仍属稀见曲目，却皆为杰作，后者更包含柏辽兹笔下最动人的旋律之一。圣桑玲珑剔透的《黄衣公主》序曲更是稀世珍品，必令听者会心一笑。此辑另收录沃尔夫经典的奥柏序曲录音，收藏价值极高。


https://115cdn.com/s/swwrqks3hq9?password=3377&#
Overtures In Hi-Fi - Wolff, Albert [DECCA]

这张碟Qinyanyi 兄在第54楼也发过，现在发的这个是从Qobuz上抓过来的。

joseph_li

WOLF-FERRARI, Ermanno (1876–1948)
La dama boba: Overture. I gioielli della Madonna: Suite. Overtures & Intermezzi from: L’amore medico; Il campiello; I quattro rusteghi; Il segreto di Susanna. (i) Suite-Concertino in F, for Bassoon and Orchestra, Op. 16  歌剧《愚妇》序曲；《圣母的珠宝》组曲；序曲与间奏曲（选自《爱情医生》《小广场》《四个鲁莽汉子》《苏珊娜的秘密》）；(i) F大调《巴松管与乐队小协奏组曲》，作品16
Chan. 10511. BBC PO, Noseda, (i) with Geoghegan

A warm welcome to a superb collection of Wolf-Ferrari’s sparkling orchestral music. Beginning with the dramatic Festa popolare from The Jewels of the Madonna, Wolf-Ferrari provides an endless succession of sweetly tuneful music with ear-tickling orchestrations, lively dances contrasting with beautiful intermezzi, such as the delicately delicious one from I quattro rusteghi. The Suite-Concertino in F is a great rarity – and what a charmer it is, with Chandos’s recent find, the superb bassoonist Karen Geoghegan, bringing out all the colour of this score. The second movement, Strimpellata, is especially catchy, but this CD abounds with catchy melodies. The overture to Il segreto di Susanna sparkles brightly, and the scurrying string-writing in the overture to the opera, L’amore medico, is exhilarating. The Chandos recording is first class, with the deep, resonant bass-drum in L’amore medico marvellously captured.

这套精彩绝伦的沃尔夫-费拉雷管弦乐作品集值得热烈喝彩。从《圣母的珠宝》中戏剧性的《民间节庆》开始，作曲家以层出不穷的甜美旋律与俏皮配器征服听觉——活泼舞曲与精美间奏曲（如《四个鲁莽汉子》中那支精致可人的段落）交相辉映。F大调《小协奏组曲》实属稀世珍品，而Chandos新发掘的杰出巴松管演奏家凯伦·乔根更将这部作品的所有色彩完美呈现。第二乐章《斯特林佩拉塔》尤其令人过耳难忘，但整张CD处处洋溢着这样的抓耳旋律。《苏珊娜的秘密》序曲闪耀着明亮光彩，《爱情医生》序曲中疾驰的弦乐写作更令人振奋。Chandos的录音堪称一流，《爱情医生》中深沉回荡的低音大鼓效果尤为惊艳。


https://115cdn.com/s/swwrqkb3hq9?password=3377&#
Wolf-Ferrari, Ermanno - Orchestral Works - Karen Geoghegan, Gianandrea Noseda [Chandos 24-96]等2个文件(夹)

joseph_li

WOOD, Haydn (1882–1959)
Apollo Overture; A Brown Bird Singing (paraphrase for orchestra); London Cameos (suite): Miniature Overture: The City; St James’s Park in the Spring; A State Ball at Buckingham Palace. Mannin Veen (Manx tone-poem); Moods (suite): Joyousness (concert waltz). Mylecharane (rhapsody); The Seafarer (A Nautical Rhapsody); Serenade to Youth; Sketch of a Dandy  《阿波罗序曲》；《棕鸟啼鸣》（管弦乐释义曲）；《伦敦剪影》组曲：微型序曲《都市》《春日圣詹姆斯公园》《白金汉宫国宴舞会》；《曼宁威尼斯》（马恩岛音诗）；《心境》组曲：《欢愉》（音乐会圆舞曲）；《迈尔查理恩》（狂想曲）；《航海者》（航海狂想曲）；《致青春小夜曲》；《纨绔子弟素描》
Marco Polo 8.223402. Czech-Slovak RSO (Bratislava), Leaper

Haydn Wood, an almost exact contemporary of Eric Coates and nearly as talented, spent his childhood on the Isle of Man, and much of his best music is permeated with Manx folk-themes (original or simulated). Mannin Veen (‘Dear Isle of Man’) is a splendid piece, based on four such folksongs. The companion rhapsody, Mylecharane, also uses folk material, if less memorably, and The Seafarer is a wittily scored selection of famous shanties, neatly stitched together. The only failure here is Apollo, which uses less interesting material and is over-ambitious and inflated. But the English waltzes are enchanting confections and Sketch of a Dandy is frothy and elegant. Adrian Leaper is clearly much in sympathy with this repertoire and knows just how to pace it; his Czech players obviously relish the easy tunefulness and the sheer craft of the writing. With excellent recording in what is surely an ideal acoustic, this is very highly recommendable.

海顿·伍德与埃里克·科茨几乎完全同时代且才华相当，其童年于马恩岛度过，因而最佳作品多渗透着马恩岛民谣主题（原创或模拟）。《曼宁威尼斯》（意为"亲爱的马恩岛"）是基于四首此类民谣的杰作；姊妹篇《迈尔查理恩》狂想曲同样采用民谣素材（虽记忆点稍逊）；《航海者》则是巧妙编织经典船歌的诙谐之作。唯《阿波罗》稍显逊色——素材平淡且野心过甚。但英式圆舞曲令人沉醉，《纨绔子弟素描》尽显浮华优雅。阿德里安·利珀深谙此道，精准掌控节奏；捷克演奏家们显然陶醉于这些易记的旋律与精妙笔法。顶级录音与理想声学环境相得益彰，强烈推荐。


https://115cdn.com/s/swwrqk73hq9?password=3377&#
Wood, Haydn - Sketch of A Dandy, London Cameos etc. - Adrian Leaper, Slovak RSO [Marco Polo]

joseph_li

WUNDERLICH, Fritz (tenor)
‘The Magic of Wunderlich’, arias from: HANDEL: Serse (with Bav. RSO, Kubelik). MOZART: Don Giovanni (with Munich PO, Rieger); Die Entfürung aus dem Serail (with Bav. State Op. O, Jochum); Die Zauberflöte (with BPO, Boehm). LORTZING: Zar und Zimmermann (with Bamberg SO, Gierster). BIZET: Les Pêcheurs de perles (Munich RSO, Stein). TCHAIKOVSKY: Eugene Onegin (with Bav. State Op. O, Gerdes). VERDI: Rigoletto. BELLINI: La sonnambula (with Munich RSO, Eichhorn); La traviata (with Bav. RSO, Bartoletti). PUCCINI: Tosca (with Baden-Baden SW R.O, Smola). KÁLMÁN: Gräfin Mariza. STOLZ: Frühjahrsparade (with V. Volksoper, Stolz). HAYDN: The Creation (with BPO, Karajan). GLUCK: Iphigénie en Tauride (with Bav. RSO, Kubelik). MAILLART: Les Dragons de Villars (with Munich RSO, Moltkau). R. STRAUSS: Der Rosenkavalier (with Bav. State Op. O, Kempe). Songs: SPOLIANSKY: Heute nacht oder nie. MAY: Ein Lied geht um die Welt. BRODSZKY: Be my love. LARA: Granada (with Graunke SO, Carste). KREUTZER: Das Nachtlager von Granada (Munich RSO, Eichhorn). R. STRAUSS: Heimliche Aufforderung; Ich trage meine Minne; Morgen; Ständchen; Zueignung (with Bav. RSO, Koetsier). Bonus DVD: Arias from: ROSSINI: Il barbiere di Siviglia. TCHAIKOVSKY: Eugene Onegin (with Bav. State Op. O, Keilberth)
「翁德里希的魔力」咏叹调选段：亨德尔《塞尔斯》（巴伐利亚广播交响乐团，库贝利克指挥）；莫扎特《唐璜》（慕尼黑爱乐乐团，里格指挥）、《后宫诱逃》（巴伐利亚国立歌剧院乐团，约胡姆指挥）、《魔笛》（柏林爱乐乐团，伯姆指挥）；洛尔青《沙皇与木匠》（班贝格交响乐团，吉尔斯特指挥）；比才《采珠人》（慕尼黑广播交响乐团，斯坦因指挥）；柴可夫斯基《叶甫盖尼·奥涅金》（巴伐利亚国立歌剧院乐团，格德斯指挥）；威尔第《弄臣》；贝利尼《梦游女》（慕尼黑广播交响乐团，艾希霍恩指挥）、《茶花女》（巴伐利亚广播交响乐团，巴托莱蒂指挥）；普契尼《托斯卡》（巴登巴登西南广播乐团，斯莫拉指挥）；卡尔曼《马丽莎伯爵夫人》；斯托尔兹《春季阅兵》（维也纳人民歌剧院乐团，斯托尔兹指挥）；海顿《创世纪》（柏林爱乐乐团，卡拉扬指挥）；格鲁克《陶里德的伊菲姬尼》（巴伐利亚广播交响乐团，库贝利克指挥）；马亚尔《维拉尔的龙骑兵》（慕尼黑广播交响乐团，莫尔特考指挥）；R.施特劳斯《玫瑰骑士》（巴伐利亚国立歌剧院乐团，肯佩指挥）。艺术歌曲：斯波利亚斯基《今夜或永不》；梅《一曲绕寰宇》；布罗德斯基《做我的爱人》；拉拉《格拉纳达》（格劳恩克交响乐团，卡斯特指挥）；克罗伊策《格拉纳达的宿营地》（慕尼黑广播交响乐团，艾希霍恩指挥）；R.施特劳斯《秘密的邀请》《我怀着爱慕》《明天》《小夜曲》《奉献》（巴伐利亚广播交响乐团，科奇尔指挥）。附赠DVD：罗西尼《塞维利亚的理发师》；柴可夫斯基《叶甫盖尼·奥涅金》（巴伐利亚国立歌剧院乐团，凯尔伯特指挥）咏叹调
DG mono/stereo 477 5575 (2) with bonus DVD

For those not wishing to buy the seven-CD set of Wunderlich in DG’s Originals series, this carefully compiled two-CD set is the answer. Many of his most famous recordings are here, with stylish examples of his Tchaikovsky and Verdi, and very lively excerpts from Serse and, of course, some delicious Mozart. He is no less sophisticated in the lighter numbers, of which a good selection have been included (the Kálmán number is most winning) and the popular numbers like Lara’s Granada sound fresh and un-hackneyed. There’s the odd rarity too, such as the little-known aria from Maillart’s Les Dragons de Villars which makes one long to hear the whole work. It is Wunderlich’s consistent artistry and golden voice which permeate this set and he never lets you down in either beauty or style. The bonus DVD gives us a chance to see him working in the opera house, and again one laments his death at the incredibly early age of 36. There are no texts included, but the booklet notes are very good and there is a fair sprinkling of photographs. Excellent transfers.

对于不愿购买DG「原典系列」七碟装翁德里希全集的乐迷，这张精心编排的双CD集堪称完美替代。收录了他诸多著名录音：风格典雅的柴可夫斯基与威尔第选段、生机勃勃的《塞尔斯》选段，当然还有醇美的莫扎特唱段。他在轻歌剧领域同样游刃有余（卡尔曼选段尤为动人），而《格拉纳达》等流行曲目在他演绎下清新脱俗。更不乏冷门珍品，如马亚尔《维拉尔的龙骑兵》中鲜为人知的咏叹调，令人渴望聆听全剧。翁德里希始终如一的艺术造诣与黄金嗓音贯穿全辑，从未在美声与风格上令人失望。附赠DVD让我们得以窥见他在歌剧院的艺术风采，更令人为其36岁早逝扼腕。虽未附歌词本，但解说册资料翔实并配有大量照片，转录效果极佳。


https://115cdn.com/s/swwrqke3hq9?password=3377&#
Wunderlich, Fritz - The Art of Fritz Wunderlich [DG]等2个文件(夹)