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发表于 2019-12-27 22:10 | 显示全部楼层 来自 北京市朝阳区
kevin120477 发表于 2019-12-27 06:41
各BT网都搜不到,不知那位大神能帮个忙呢?

GIULINI的布9,编号多少
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发表于 2019-12-27 23:07 | 显示全部楼层 来自 广西柳州市
zeppelin 发表于 2019-12-27 22:10
GIULINI的布9,编号多少

90186-187 威尔第 奥特罗 卡拉扬 VPO 2SACD,ESSG-90195 朱里尼指挥维也纳爱乐 布鲁克纳第九交响曲
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 楼主| 发表于 2019-12-27 23:15 | 显示全部楼层 来自 北京市
zeppelin 发表于 2019-12-27 21:52
BIS这2张brahms小提琴奏鸣曲,算不上名版,但特殊之处 在于BRAHMS实际只写了3首,估计多出来的两首,要么是 ...

How many violin sonatas did Johannes Brahms compose? Superficially this seems like an easy question. Saying that there are three – in G major, A major and D minor, written between 1878–79 and 1886–88 – tells us only how many works Brahms published with the customary title ‘Sonata for Pianoforte and Violin’. It does not address the real question of how many sonatas Brahms wrote for this duo combination – and how many he envisaged being playedby these two instruments.
The answer must, therefore, be more precise – and we must start no later than 1853. In April of that year, Brahms left his home town of Hamburg and set off on a concert tour with the Hungarian violinist Eduard Reményi. In Hanover he became friends with the violinist and composer Joseph Joachim, two years his senior. After a visit to Franz Liszt in Weimar, a summer stay with Joachim in Göttingen and a trip along the Rhine, at the end of September he introduced himself to Robert and Clara Schumann in Düsseldorf. Both of them were much taken with Brahms both as an artist and as a person. In his legendary essay ‘Neue Bahnen’, Robert Schumann drew attention to the young genius; he also helped with the publication of Brahms’s first works by championing them with Leipzig publishers.
It was from this very time that the first written evidence of music by Brahms for violin and piano dates. When Brahms and Schumann were considering which of Brahms’s works should be published, they discussed a violin sonata in A minor (which may not have been his first foray into this genre). As the publisher they had in mind did not wish to issue any violin music, however, it remained unpublished, went missing for a while and was ultimately destroyed by the self-critical Brahms.
As well as this lost violin sonata in A minor, there is another sonata movement from October of the same year. The 43-year-old Schumann had suggested to the 20-year-old Brahms and 24-year-old Albert Dietrich that they should collaborate on a sonata for their mutual friend Joseph Joachim, based on the notes correspond-
ing to Joachim’s life motto ‘Frei, aber einsam’ (‘Free but alone’; F-A-E). The scherzo that Brahms contributed is thus his earliest surviving violin sonata move- ment (although it was published only posthumously, in 1906).
A quarter of a century after that movement, in 1878–79, he wrote the first of his three ‘official’ violin sonatas (No. 1 in G major, published in November 1879). This was followed by two further compositions: Sonata No. 2 in A major, Op. 100, was written in the summer of 1886 and came out in April 1887, and No. 3 in D minor, Op. 108, started in 1886 and completed in 1888 at the latest, appeared in April 1889.








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 楼主| 发表于 2019-12-27 23:18 | 显示全部楼层 来自 北京市
zeppelin 发表于 2019-12-27 21:52
BIS这2张brahms小提琴奏鸣曲,算不上名版,但特殊之处 在于BRAHMS实际只写了3首,估计多出来的两首,要么是 ...

But this does not conclude the list of Brahms’s compositions for these two instru- ments. In 1895 he published alternative versions for viola and for violin of the two sonatas for clarinet and piano, Op. 120, that he had written the previous summer. As the range of the B flat clarinet extends down as far as (sounding) D, whereas the violin goes down only as far as G, Brahms had to make considerable revisions to the clarinet part – which, in a kind of domino effect, also entailed changes in the piano part, and consequently the printing of a new piano score. The title of the violin edition shows that the sonatas in F minor and E flat major are not original violin sonatas but can be played that way: Two Sonatas for Clarinet (or Viola) and Pianoforte, with the addendum Edition for Violin and Piano.
The question posed at the outset can therefore be answered as follows: Brahms composed four genuine violin sonatas – or perhaps more – of which three were published and (at least) one is lost. To these we can add the violin versions of the two clarinet sonatas and the scherzo from the ‘FAE Sonata’. These are the five- and-a-quarter works included on Ulf Wallin and Roland Pöntinen’s complete recording on two discs.
The Violin Sonatas in A major, Op. 100, and D minor, Op. 108, were composed in the summer of 1886 in Thun in Switzerland, and are thus contemporary with two other chamber works, the Second Cello Sonata and Third Piano Trio (although the D minor Sonata may not have been finished until 1888). Bearing in mind the dif- ferent expressive worlds of the two violin sonatas, one could paraphrase Brahms himself comparing the Tragic Overture and Academic Festival Overture (‘one cries, the other laughs’), and sweepingly describe them: ‘one is serious, the other charm- ing’. The tempo markings already suggest this: whereas in the four-movement D minor Sonata these range from the succinct (Allegro and Adagio) to the subtle Un poco presto e con sentimento




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 楼主| 发表于 2019-12-27 23:18 | 显示全部楼层 来自 北京市
zeppelin 发表于 2019-12-27 21:52
BIS这2张brahms小提琴奏鸣曲,算不上名版,但特殊之处 在于BRAHMS实际只写了3首,估计多出来的两首,要么是 ...

(‘slightly fast and with feeling’) and finally the emphatic Presto agitato (‘fast, agitated’), the title headings in the three-movement A major Sonata transport us to quite different expressive regions: Allegro amabile(‘lovable Allegro’), Andante tranquillo – Vivace (‘tranquil Andante – lively’) andAllegretto grazioso (quasi Andante) (‘graceful Allegretto, almost like Andante’). Nonetheless, the two works could almost be twins, albeit unequal ones. Some themes in the seven movements seem to derive from the same motivic and inter- vallic roots: a rising or falling fourth, and the interval of a second in the opposite direction. Compare for example the first notes of the opening theme of the A major Sonata (C sharp'' – G sharp' – A'), which colour the melodies and harmonies of the entire movement, with the beginning of the middle movement (C'' – F '' – E'') or with the first notes of the D minor Sonata’s first movement (A'' – D''' – C'''), the piano accompaniment’s upper notes in the following Adagio (F sharp' – C sharp' – C sharp' – D') and the striking beginning of the finale’s main theme (A'' – E'' – F ''). Whilst Brahms scholars like to see such relationships as a masterly, typically Brahmsian combination of motivic economy and formal richness, Brahms himself was more sceptical. To a friend who suggested that Ein deutsches Requiem could be traced back to a few core motifs, he wrote that such hidden similarities were not
compositional merits, but rather an indication ‘that when I am working, my thoughts do not fly far enough away, and thus unintentionally come back, often with the same ideas’. If he wanted ‘to retain the same idea, then it should be clearly recognized in each transformation, augmentation, inversion. The other way would be a trivial game and always a sign of the most impoverished invention.’





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 楼主| 发表于 2019-12-27 23:19 | 显示全部楼层 来自 北京市
zeppelin 发表于 2019-12-27 21:52
BIS这2张brahms小提琴奏鸣曲,算不上名版,但特殊之处 在于BRAHMS实际只写了3首,估计多出来的两首,要么是 ...

Well, a ‘most impoverished invention’ is certainly something that cannot be discerned in Violin Sonatas Nos 2 and 3. What Brahms makes of the basic idea of a fourth and a second in the opposite direction in the main theme and development of the Allegro amabile is admirable and, in the energetic and melancholy parts of the movement, takes the listener far beyond its essentially amiable mood. The close melodic and harmonic relationship between the second subject and the song Wie Melodien zieht es, Op. 105 No. 1, is often mentioned in literature about Brahms; its importance in the course of the movement is, however, limited. The middle movement combines the characters of a slow movement (Andante tranquillo) and scherzo (Vivace sections). Both sections recur in varied form twice; the Andantestarting in D major instead of F major, whilst the D minor Vivace is ultimately trans- planted to F major. In the final bars the Vivace scherzo character retains the upper hand – in the key of the Andante. The Allegretto grazioso (quasi Andante) is set aglow by the mellow, sonorous songfulness of the main theme, presented by the violin and piano in alternation. The movement proceeds as a sonata rondo, with a more sombre second-subject domain and a couplet-like middle section that also serves as a development section.
In the Allegro of the D minor Sonata, the shadowy and expressive opening theme soon releases more energetic forces. Of special interest are two extended passages with pedal points: one (above the dominant, A) covers the entire development, the other (above the tonic, D) covers most of the coda. One is inevitably reminded of the legendary ‘pedal point fugue’ in the third movement of Ein deutsches Requiem
although, in the sonata, Brahms demonstrates even greater harmonic subtlety. In the Adagio pleasant melodies are combined with sophisticated construction; the melodies of the middle section are derived from the piano accompaniment at the opening. One would almost think that this D major movement might originally have belonged to the A major Sonata. The Un poco presto e con sentimento has an inimitably Brahmsian intermezzo character, playing melancholically with its motifs of thirds and striking opening rhythm. The Presto agitato combines sombre scherzo-like




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 楼主| 发表于 2019-12-27 23:19 | 显示全部楼层 来自 北京市
zeppelin 发表于 2019-12-27 21:52
BIS这2张brahms小提琴奏鸣曲,算不上名版,但特殊之处 在于BRAHMS实际只写了3首,估计多出来的两首,要么是 ...

storminess with the relentless final surge. The songful counter-theme also indirectly colours the beginning of the development, but soon gives way to the urgent material of the main theme.
The violin version of the Sonata in E flat major, Op. 120 Nr. 2, saw the light of day after the original clarinet version and the alternative for viola and piano. According to its opus number, this is the last instrumental composition published by Brahms himself. As in the Violin Sonata in A major, the first movement has the tempo marking Allegro amabile, which was rather unusual for Brahms. It is exactly right for the character of the main theme, and holds true also for the second subject, which begins almost like a canon in contrary motion from the two instruments – even if both themes also have energetic moments. The more peaceful coda, with its expressive sequences of fifths, sounds like a written-out farewell. The way that immediate, songful intensity and calculated construction are fused together here testifies to a mastery of compositional process that comes with age – and is just as well suited to the violin as to the clarinet. We can agree with Brahms’s biographer Max Kalbeck, who wrote that we can only properly appreciate this sonata if we ‘have acquired the necessary previous knowledge of Brahms’s violin sonatas’. TheAllegro appassionato is a songful scherzo that alternates between the parallel keys of E flat minor and G sharp major. The wonderfully sonorous B major middle sec- tion seems to return to the hymn-like music of the young Brahms, but in a more
refined way: comparable, for example, with the B major trio section in the scherzo of the Op. 8 Piano Trio. In the concluding Andante con moto Brahms returned once again to the variation genre that had fascinated him throughout his career. The song- like, 14-bar theme has six or seven variations (depending on how they are counted) and is treated in a manner that the composer had once described as his ideal: ‘with a theme for variations, it is in fact almost exclusively the bass [i.e. the bass line and harmonic sequence] that means something to me. But that is sacrosanct for me; it is the firm ground on which I build my stories. Anything I do with the melody is just playing around... above the existing bass I invent something really new, I invent new melodies for it, I am a creator.’ In this case Brahms succeeded master- fully. Towards the end of the movement, on two occasions, there are ingenious little metrical disruptions, in which the music seems briefly to stumble, before it ends powerfully and confidently.
© Michael Struck 2018




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发表于 2019-12-28 10:32 | 显示全部楼层 来自 浙江省嘉兴市
Stabat Mater


Pergolesi Scarlatti: Stabat Mater - Rinaldo Alessandrini
dbcb786f1ccbdcebd6243ee7f1a969cb6a9d0e7c


Harnoncourt Dvorak Stabat Mater SACD ISO
29cd49f8975c390a956615d07f178be9cfe12d7f


Kracht - Stabat Mater Stabat Pater - Egon Kracht & The Troupe (2014) [DSD128]
d011bd7f1f1d3829fc2c405499515ec7677b0a94


Pergolesi - Stabat Mater, Laudate pueri & Confitebor (Lezhneva, Jaroussky, I Barocchisti) (2013 Erato, Studio Master 24bit 44.1kHz)
5a73b4cf25e8491424baa37f2e5a163e737015c4


Boccherini - Stabat Mater - Sarasa Ensemble, Dominique Labelle (2019) [24-88]
ccb6f9c8e6318da722719b068ee15902b76a0541


Steffani - Stabat Mater (Diego Fasolis) [2013, FLAC 24]
2ced1e3ee3675cc857b578e4662a4bd27e687891


Pergolesi - Stabat mater - Muti
ac361beef0edefbd483f68cbdbe4b6856ff988c3


Florilegium - Pergolesi - Stabat Mater
3cd94609a0856b4d4876e66b8f4848664d25e5bb


Scholl Vivaldi Stabat Mater 2003 (SACD ISO)

6e79d67b9f58b078aa267b7b42e92180b40b9216





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发表于 2019-12-28 12:06 | 显示全部楼层 来自 北京市怀柔区
不要超越地平线 发表于 2019-12-27 23:15
How many violin sonatas did Johannes Brahms compose? Superficially this seems like an easy questio ...

非常感谢提供这么详细的资料。粗看了一遍,知道了F-A-E的来历。我猜有两首是改编,自认也蒙对了。有意思的是,查了一下DG的46CD大全集目录,只有3+F-A-E的一个乐章,没有OP120的小提琴版,PHILIPS的11CD室内乐也同样没有,而两者都注明了“COMPLETE”。难道小提琴版是新发现么?为什么作曲家自己改编的,没有被放入呢?在学术界这可以算是严重的考证错误。



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 楼主| 发表于 2019-12-28 14:17 | 显示全部楼层 来自 北京市
zeppelin 发表于 2019-12-28 12:06
非常感谢提供这么详细的资料。粗看了一遍,知道了F-A-E的来历。我猜有两首是改编,自认也蒙对了。有意思 ...

哈哈,厉害
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 楼主| 发表于 2019-12-28 14:23 | 显示全部楼层 来自 北京市
今日新出:(我看封面都喜欢,不懂好坏全放上来吧,行家应该知道值不值得)
Risto Joost, Estonian National Symphony Orchestra - Tonu Korvits / Hymns to the Nordic Lights & Other Works【24/48】
a7hpa3ixzpmyc_600.jpg

http://rutracker.org/forum/viewtopic.php?t=5826910

Pacific Lutheran University Choir of the West, Richard Nance / There Will Come Soft Rains【24/48】
nd73eci31eh8a_600.jpg

http://rutracker.org/forum/viewtopic.php?t=5826907

Edward Gardner, BBC Philharmonic Orchestra, Louis Lortie / Saint-Saens - Piano Concertos Nos. 3, 5 & Other Works【24/96】
tonqd46ivfdlb_600.jpg

http://rutracker.org/forum/viewtopic.php?t=5826909

Leila Schayegh, La Cetra Barockorchester Basel /
Leclair - Violin Concertos, Vol. 2【24/96】
olfwcnznxwgnc_600.jpg


http://rutracker.org/forum/viewtopic.php?t=5826906

Clara Andrada, Frankfurt Radio Symphony Orchestra, Jaime Martín / Nielsen, Ibert & Arnold - Flute Concertos【24/48】
fauq0so7m6y7a_600.jpg

http://rutracker.org/forum/viewtopic.php?t=5826905


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发表于 2019-12-28 17:10 | 显示全部楼层 来自 广东省深圳市宝安区
kevin120477 发表于 2019-12-28 17:03
ESSG-90195 朱里尼指挥维也纳爱乐 布鲁克纳第九交响曲

这个需要解压密码!!! ...

好象文件上面的sz517解压密码
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发表于 2019-12-28 17:12 | 显示全部楼层 来自 上海市
kevin120477 发表于 2019-12-28 17:03
ESSG-90195 朱里尼指挥维也纳爱乐 布鲁克纳第九交响曲

这个需要解压密码!!! ...

文件名中就有
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发表于 2019-12-28 20:07 | 显示全部楼层 来自 上海市

收到,谢谢
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 楼主| 发表于 2019-12-28 20:17 | 显示全部楼层 来自 北京市
本帖最后由 不要超越地平线 于 2019-12-28 20:19 编辑

今天找理查德・施特劳斯的作品,无意间找到了一张切利比达克的,虽然不是新资源,也不知道算不算珍稀,放上来吧。

Brigitte Fassbaender, Münchner Philharmoniker, Sergiu Celibidache / Mahler, Gustav: Kindertotenlieder, Strauss, Richard: Tod und Verklärung【24/96】
cover.jpg

http://rutracker.org/forum/viewtopic.php?t=5729365
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 楼主| 发表于 2019-12-28 21:39 | 显示全部楼层 来自 北京市
这也不是新资源,但是是相对少见的MQA,所以看到了就放上来了,就是在支持的播放前端下,可以扩展到24/352.8
TrondheimSolistene / REFLECTIONS
51MemEvjQ6L.jpg

http://rutracker.org/forum/viewtopic.php?t=5621812






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 楼主| 发表于 2019-12-28 22:10 | 显示全部楼层 来自 北京市
又找到一张MQA,支持到多高采样率不详。

Emmanuel Pahud, Christian Rivet / Around the World【24/48】
cover.jpg

http://rutracker.org/forum/viewtopic.php?t=5790731
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发表于 2019-12-29 08:09 | 显示全部楼层 来自 浙江省嘉兴市
Samson François


Samson Francois
25535a1fe8108da36425c70b1648e351b739c61d

Chopin - Piano works (Samson Francois)
8d67ea432f78436b2f827fc352e1c65d4553c86a

Chopin - Nocturnes 1-19 - Samson Francois [EMI Classics 24-96]
818ba3517abd6c0d194c2a1aeea1057bf2c0bfca

Samson Francois edition integrale (!!!)
b00e4622c46c89a1b3aa53074073d680261364a5

Chopin Piano Concertos - Samson Francois (24-96)
bef23e23e8068163cc8fd1d67cbd778de787a6f7

Chopin - 2001 - Piano Works [Francois, S. piano] (10-CD)
105d380b35fc237a53fc6542043153258447d7c6

Frederic Chopin - Piano works (Samson Francois)
ef96bc133c5a9dcc5a195533f395139839d4e6fe

Samson Francois - Chopin Piano Works - (Parlophone, 2017)
15f8e3737eb326c4d70505b79d856d199d0f8f04

Samson Francois - Chopin 고음질(24-96) 모음
3a137a5d9ca57e852b1ca10c8c1427eb42aa0cdf

Samson Francois - Chopin - Preludes & Impromptus - (EMI Remastered, 2012)
f0a927854ad158b631c70ac43c8cb0e7985c98f1

Samson Francois - Complete EMI Edition 2010
186f6a48bf7b53b181a9898c4abb74541e75c005

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 楼主| 发表于 2019-12-29 12:14 | 显示全部楼层 来自 北京市
非新,是少见的MQA


Terje Winge / Organism[MOA]
cover.jpg

http://rutracker.org/forum/viewtopic.php?t=5742921
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 楼主| 发表于 2019-12-29 12:28 | 显示全部楼层 来自 北京市
真的新的来了:
Arturo Benedetti Michelangeli, Vienna Symphony Orchestra, Carlo Maria Giulini / Beethoven - Piano Concerto Nos. 1, 3 & 5【sacd】
4988031228432.jpg

http://rutracker.org/forum/viewtopic.php?t=5827340

Simon Phipps, Swedish Chamber Choir, Jennifer Pike, Maria Forsstrom / Alfven, Bingham, Gjeilo, Mahler, Stanford, Stenhammar, Vaughan Williams, Wikander - Like to the Lark【24/96】
gn8tirm8o5fkc_600.jpg

http://rutracker.org/forum/viewtopic.php?t=5827350

Emil Gilels, Cleveland Orchestra, George Szell / Beethoven - 5 Piano Concertos
【sacd】
81S78TXnrIL._SX522_.jpg

http://rutracker.org/forum/viewtopic.php?t=5827344

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