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

wpx426

joseph_li 发表于 2025-7-11 16:26
HUMPERDINCK, Engelbert (1854–1921)
Hänsel und Gretel (complete, DVD version)
EuroArts DVD 20 ...

看来这张DVD是难补得上了，推荐索二弟大师的电影版，儿子小时看的版本
通过百度网盘分享的文件：1-Alt： Hansel und Gretel - Solti, F...
链接：https://***.com/s/1urOi9JxkxOfbqzCUFk7nYg?pwd=sm7o


另索二弟大师在Decca有CD版，几乎是这个电影版的原版人马，只是用Lucia Popp代替了Edita Gruberova，大牌云集。

wpx426

joseph_li 发表于 2025-7-13 23:11
今天卡了4个要审核

钱多死的Rattle版

通过百度网盘分享的文件：03-1 The Cunning Little Vixen - Sim...
链接：https://***.com/s/1OGGC5Gtuq5pxXXQ5eWnN8w?pwd=5k51

joseph_li

wpx426 发表于 2025-7-14 07:13
钱多死的Rattle版

通过百度网盘分享的文件：03-1 The Cunning Little Vixen - Sim...

感谢补档。
有几位大佬的持续鼎力相助，盖楼的底气足了不少，

joseph_li

补一个第515楼的资源：
https://115cdn.com/s/swwyd9l3hq9?password=3377&#
Janáček, Leo - Jenůfa - Charles Mackerras; Vaughan, Barstow, Watson [Chandos]

joseph_li

JÄRNEFELT, Armas (1869–1958)
(i) Berceuse for violin and orchestra. Serenade; Suite in E flat; Symphonic Fantasy
BISCD 1753. Lahti SO, Kuusisto (conductor or (i) violin)

Armas Järnefelt is best known for his two popular miniatures, the Prelude and Berceuse, the remainder of his output having fallen into complete and total oblivion. He was Sibelius’s brother-in-law, four years his junior, and almost equally long-lived: he died in 1958, a year later than Sibelius. The Järnefelts were a gifted family: the father was a provincial governor, Aino ( who married Sibelius) was a woman of great culture and intelligence; Armas’s brother Arvid was a successful novelist, and Eero, to whom Sibelius was close, was a distinguished painter. Armas’s career as a conductor rather overshadowed his creative work: he served as chief conductor of the Royal Swedish Opera (1907–32) and spent most of his life in Stockholm. He was a champion of Wagner and introduced several operas to Helsinki during his time there (1904–6).

The bulk of his work comes from the 1890s: the Serenade (1893) was written when he was living in Paris and studying with Massenet. This was the period in which, fresh from the success of the Kullervo Symphony, Sibelius had embarked on the Four Legends. The Serenade is a six-movement work lasting half an hour and was his first major opus. The Symphonic Fantasy, written in Berlin, comes from January 1895. Its first performance two months later proved to be its last during the composer’s lifetime. It met with a generally hostile reception.

It is evident from all the works on this record that Armas Järnefelt was a man of the orchestra; his scoring is sure and colourful and his invention, if not strongly individual, is strong enough to hold the listener. Although his Scandinavian nationalism and his admiration for Wagner are plain to see, his ideas are often appealing and always well laid out for the orchestra. The five-movement Suite in E flat from 1897 is probably the most interesting piece here and is well worth getting to know. After the Berceuse for violin and orchestra of 1904, the creative fires burned out and his conducting career came to consume him. Jaakko Kuusisto directs the excellent Lahti orchestra with sensitivity and persuasiveness and, as one expects from this label, the sound is vivid and faithful.

阿尔马斯·耶尔内费尔特最为人熟知的是他的两首流行小曲——《前奏曲》和《摇篮曲》，其余作品则已彻底湮没无闻。作为西贝柳斯的妻舅，他比这位作曲家年轻四岁，却几乎同样长寿：他于1958年去世，比西贝柳斯晚一年。耶尔内费尔特家族人才辈出：父亲是地方总督；妹妹艾诺（后嫁给西贝柳斯）是位极具文化修养的聪慧女性；兄长阿尔维德是成功的小说家；而与西贝柳斯交好的弟弟埃罗则是杰出画家。阿尔马斯的指挥家生涯很大程度上掩盖了他的创作成就——他曾担任瑞典皇家歌剧院首席指挥（1907-1932），一生大部分时光在斯德哥尔摩度过。作为瓦格纳的拥护者，他在赫尔辛基任职期间（1904-1906）为当地引介了多部歌剧作品。
其创作主要集中于1890年代：1893年旅居巴黎师从马斯奈期间创作的《小夜曲》，正值西贝柳斯刚凭《库勒沃交响曲》取得成功并着手创作《四传奇》的时期。这部六乐章、时长半小时的作品是他的首部重要作品。1895年1月在柏林完成的《交响幻想曲》于两个月后首演即遭遇乐评界普遍恶评，成为作曲家生前最后一次演出的作品。
从本唱片收录的所有作品中可见，阿尔马斯·耶尔内费尔特深谙管弦乐之道：配器精准而绚丽，音乐构思虽非极具个性，却足以引人入胜。尽管其斯堪的纳维亚民族主义倾向与对瓦格纳的崇拜显而易见，但他的乐思往往动人且总能为乐团作出精妙编排。1897年创作的《降E大调组曲》（共五个乐章）或许是其中最富趣味的作品，值得深入品味。1904年为小提琴与乐团创作的《摇篮曲》之后，他的创作激情逐渐熄灭，指挥事业占据了全部精力。雅科·库西斯托以细腻而富有说服力的指挥带领出色的拉蒂乐团，而该厂牌一贯的鲜活逼真音质亦得到延续。
（源于DeepSeek翻译）


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Jarnefelt, Armas - Orchestral Works - Jaakko Kuusisto, Lahti SO [BIS]

joseph_li

JOSQUIN DESPREZ (c. 1450–1521)
Ave Maria (for 4 voices); Chanson L’Homme armé; Missa L’Homme armé super voces musicales; Missa L’Homme armé sexti toni; Missa La sol fà re mi; Plainchant: Pange lingua. Missa Pange lingua; Praeter rerum seriem
Gimell CDGIM 206 (2). Tallis Scholars, Phillips

In his notes for this collection Peter Phillips comments that Josquin was as influential in his time as Beethoven was in his. He wrote as marvellously for voices as Beethoven for instruments, and to evoke his name in the same breath as Beethoven’s is the best way to put him where he deserves to be. ‘In fact,’ he said, ‘I have come of think of Josquin’s sixteen or so authenticated Masses as an equivalent achievement to Beethoven’s nine symphonies, each one an intellectual and technical tour de force [see below], each one showing a different side to his personality.’

This two-for-the-price-of-one offer generously combines nearly all the contents of two Josquin CDs, including two of the most familiar settings, both based on the familiar chanson, used by many of his contemporaries, L’Homme armé. The recordings of the Missa Pange lingua and the ingenious Missa La sol fà re mi are also unsurpassed and won a Gramophone Award in 1987. The motet, Ave Maria, makes a beautiful closing item. The recordings are outstanding, as are the perfectly blended flowing lines of the singing.

在这套合集的解说中，彼得·菲利普斯评论道，若斯坎在他所处的时代具有与贝多芬同等的影响力。他为声乐创作的非凡程度，堪比贝多芬为器乐所作的贡献——将若斯坎与贝多芬的名字相提并论，正是对其历史地位最恰当的定位。"事实上，"他说道，"我逐渐认为若斯坎约十六部确证无误的弥撒曲，其成就堪比贝多芬的九部交响曲：每一部都是智慧与技术的杰作（详见后文），每一部都展现其个性的不同侧面。"

这套"买一赠一"的超值合集几乎囊括了两张若斯坎专辑的全部内容，包括两部最耳熟能详的套曲——均基于当时诸多作曲家采用的著名尚松《武装的人》。其中《圣体颂弥撒》与匠心独运的《La sol fa re mi弥撒》的演绎至今无人超越，更于1987年斩获《留声机》大奖。经文歌《圣母颂》作为终曲堪称完美。这些录音品质卓绝，歌者声线如水交融的流动感同样令人叹服。


(i) Messe Ave Maris Stella; Missa de Beata Virgine; Missa Gaudeamus; Missa L’Homme armé sexti toni; Missa L’Homme armé super voces musicales; Missa Pange lingua. Motets à la Vierge; (ii) Missa Hercules dux Ferrariae; Motets: Inviolata, integra, et casta es, Maria; Miserere mei, Deus. Instrumental pieces: Chi à Martello Dio Gu’il Toglia; Deus, in nomine tuo salvum me fac
Naive Astrée Auvidis E 8906 (6). A sei voci; (i) Maîtrise des Pays de Loire (members); (ii) Maîtrise Notre-Dame de Paris, Les Saqueboutiers de Toulouse, Ens. Labyrinthes; all directed Fabre-Garrus

Bernard Fabre-Garrus’s pacing and flexibility of line are masterly. Five of the six discs include a major Mass setting, together with a group of motets, of which the Paris recording is the most spectacular. This CD (E 8601) offers the Mass for Hercules, Duke of Ferrara, which is supported throughout by a brass group, who play an introduction and postlude (for sackbuts and drums), and includes also a specially sung and played tribute to the Duke, plus memorable performances of the Miserere mei, Deus and an invocation to the Virgin, Inviolata, integra, et casta es, Maria. The disc including the beautiful Missa de Beata Virgine (in six parts, richly sung by twelve voices) includes five appropriate linking motets à la Vierge, including a fine Ave Maria and Stabat Mater (E 8560). The Missa Gaudeamus (E 8612) with its soaring soprano line also stands out as among Josquin’s most beautiful Mass settings, while it is fascinating to hear both versions of L’Homme armé, where Josquin draws on his cantus firmus so subtly that one has to listen very hard to spot it. Altogether a superb set, faithfully recorded in a warm but not clouding acoustic, and well documented, if in very small print.

贝尔纳·法布尔-加鲁斯对节奏的掌控与旋律线条的灵活处理堪称大师手笔。六张碟片中，有五张收录了重要弥撒曲并搭配一组经文歌，其中巴黎录音版本最为惊艳。本CD（编号E 8601）呈现的《费拉拉公爵赫拉克勒斯弥撒》全程由铜管乐组伴奏（含萨克布号与鼓器的前奏与终曲），另包含一首特别献唱及演奏的公爵颂诗，以及令人难忘的《上帝怜我》演绎和圣母祷词《无瑕、纯洁、贞净的玛利亚》。收录六声部《圣母弥撒》（由十二人合唱团浓情演绎）的碟片（编号E 8560）则搭配五首衔接自然的圣母主题经文歌，包括精妙的《圣母颂》与《圣母悼歌》。而《欢乐弥撒》（编号E 8612）凭借高亢的女高音线条，同样跻身若斯坎最美弥撒曲之列。聆听《武装的人》两个版本更是绝妙体验——若斯坎对定旋律的运用精妙至极，需凝神细听方能辨识。整套录音堪称瑰宝，温暖而不失清晰的声场忠实记录了演绎，解说资料翔实（尽管字号极小）。
（源于DeepSeek翻译）


https://115cdn.com/s/swwydp33hq9?password=3377&#
Josquin Desprez - Missa - A Sei Voci, Bernard Fabre-Garrus [Naive]等2个文件(夹)

joseph_li

Masses: Missa Fortuna desperata; Missa Malheur me bat
Gimell CDGIM 042. Tallis Scholars, Phillips

The two remarkable Masses offered here are linked by having secular polyphonic songs as their source material. Both were written in three voices, and Josquin paraphrased material from all three vocal parts for his Masses, with Missa Fortuna desperata one of the earliest examples of such complex borrowing. The use of these ‘quotations’ is unpredictable, and not always easy to spot aurally, giving the music extra appeal for the listener interested in discovering its derivations. In the Credo of Missa Fortuna desperata, for instance, Josquin takes the top part of the chanson and quotes it four times in succession with diminishing speeds, giving the music a powerful impetus. But it is the beauty of the flowing forward momentum which is so compelling in Josquin’s writing throughout, and the opening of Missa Malheur me bat is particularly rich in its melodic flow. The closing sections of each Mass are comparable. There are three settings of the Agnus Dei at the end of the Missa Malheur and, even though Missa Fortuna has only two, it reaches a comparably deeply satisfying conclusion, and the listener is held powerfully in the music’s textural grip. So this makes a particularly rewarding coupling, sung with great conviction and comparable flexibility by the Tallis Scholars, and beautifully recorded. Peter Phillips’s notes are exemplary too.

此处呈现的两部非凡弥撒曲，其共同点在于皆以世俗复调歌曲为创作素材。两部作品均采用三声部写法，若斯坎从其源歌曲的三个声部中均汲取素材进行转写——《绝望命运弥撒》堪称此类复杂借用手法的早期典范。这些"引用"的运用方式难以预测，听觉上亦非总能轻易辨识，却为热衷溯源的音乐爱好者增添了别样趣味。例如在《绝望命运弥撒》的《信经》中，若斯坎取尚松的最高声部，以逐次递减的速度连续引用四次，赋予音乐强大的推动力。但最摄人心魄的，始终是若斯坎笔下那流动不息的美感——《厄运临头弥撒》开篇的旋律洪流便尤为丰沛。两部弥撒的终章处理亦堪比拟：《厄运临头弥撒》结尾设置了三段《羔羊经》，而《绝望命运弥撒》虽仅有两段，却同样达到令人深满足的终曲效果，听者全然沉浸于精妙的声部织体中。塔利斯学者合唱团以坚定信念与灵动演绎成就了这张相得益彰的合辑，录音亦精美绝伦。彼得·菲利普斯的解说文字同样堪称范本。


Motetti de Passione … B (1503): Ave verum corpus; Christem ducem/Qui velatus; Domine, non secundum; O Domine Jesu Christe; Tu solus, qui facis mirabilia; Missa Faisant regretz
Gaudeamus CDGAU 302. Clerks’ Group, Wickham

Josquin’s compact but characteristically fluent and appealing four-part Mass setting, Faisant regretz, is based on a four-note motif taken from Walter Frye’s rondeau for three voices, Tout a par moy, which is also included on this CD. This dolorous song must have been very famous in its day, and Josquin ingeniously weaves the very striking motto theme (always easy to recognize) into his vocal texture with great imaginative resource – right through to the Agnus Dei. But even more striking in this outstanding collection is the cycle of five motets largely based on the readings in Petrucci, Motetti de Passione … B of 1503. They are arrestingly chordal in style, the opening declamatory Tu solus, qui facis mirabilia, with its bare harmonies, arrestingly so. The extended Christem ducem/Qui velatus (a setting of Passiontide hymns by St Bonaventure), which Wickham rightly places last, is the most movingly expressive of all. Superb performances, given an uncanny presence in an ideal acoustic.

若斯坎这部结构紧凑却典型流畅迷人的四声部《深怀悲恸弥撒》，取材自沃尔特·弗莱三声部回旋曲《孤身一人》的四音符动机（该曲亦收录于本CD）。这首哀歌在当时想必极负盛名，而若斯坎以惊人想象力将醒目的核心主题（始终易于辨识）精妙编织于声部肌理——直至《羔羊经》仍可闻见。但本杰作选集中更令人瞩目的，是主要基于1503年彼得鲁奇《受难经文歌集B卷》经文编排的五首连缀经文歌。其和弦式风格极具冲击力，开篇《独行奇事的你》以赤裸的和声进行宣告，尤显震撼。威克姆特意压轴的《基督统帅/面纱之主》（圣文德所作受难期赞美诗配乐）是所有曲目中最富表现力的动人篇章。精湛的演绎在理想声学环境中焕发出超凡的存在感。
（源于DeepSeek翻译）


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Josquin Desprez - Masses Malheur me bat, Fortuna desperata - Peter Phillips, The Tallis Scholars [Gimell]等2个文件(夹)

joseph_li

KABALEVSKY, Dmitri (1904–87)
The Comedians: Suite
RCA (ADD) 09026 63302-2. RCA Victor SO, Kondrashin – RIMSKY-KORSAKOV: Capriccio espagnol. KHACHATURIAN: Masquerade Suite. TCHAIKOVSKY: Capriccio italien

On this classic RCA CD the Comedians’ Galop follows on almost immediately after the finale of Khachaturian’s Masquerade, and the impetuous stylistic link is obvious. Kondrashin’s performance is affectionate and colourful as well as lively, and the warm resonance of the recording helps prevent the music from sounding too brash. It is irresistibly tuneful and one smiles at its energetic effervescence – a sort of Russian Offenbachian spirit pervades this suite of generally short but varied numbers, with the orchestral colours ear-tickling in invention. The quirky Gavotte is one of the Suite’s many highlights. The Tchaikovsky and Rimsky-Korsakov couplings are marvellous.

在这张RCA经典唱片中，《假面舞会》终曲甫一结束，《喜剧演员加洛普》便紧随而至，两者奔放风格的关联性不言而喻。康德拉申的演绎既饱含深情又色彩斑斓，更不失灵动活力，录音的温暖余韵有效中和了音乐可能带来的粗粝感。那些令人无法抗拒的优美旋律，配合跃动欢腾的演绎令人会心一笑——这套以短小多变乐章组成的组曲处处洋溢着俄式奥芬巴赫精神，管弦乐配器的奇思妙想更时刻挑动着听觉神经。其中古怪俏皮的《加沃特舞曲》堪称全曲众多亮点之一。搭配的柴可夫斯基与里姆斯基-科萨科夫作品同样精彩绝伦。


(i) Piano Concerto 3 (Dedicated to Soviet Youth); Rhapsody for Piano & Orchestra on a Theme of the Song ‘School Years’; (ii) Poem of Struggle for Orchestra & Chorus
Naxos 8.557794. RPO, Yablonsky; with (i) Liu; (ii) Gnesin Academy Ch. (with RIMSKY-KORSAKOV: Piano Concerto)

The light and cheerful Third Piano Concerto receives a sparkling performance here, and it is very well recorded. The Rhapsody, premièred in 1964, is based on a popular song Kabalevsky wrote in 1957 called School Years. It is unashamedly tuneful and unpretentious and its simple and catchy tunes are irresistible in this lively performance. The Poem of Struggle, written in 1931, is more serious, with the composer intending to portray contemporary modern reality. It is no masterpiece, but the rousing chorus at the end is quite effective. Rimsky-Korsakov’s Piano Concerto, though brief (14 minutes), is a thoroughly entertaining piece with its appealing Russian folksong motif and all the character for which this composer is famous; it makes a fine bonus for the Kabalevsky works.

轻松明快的《第三钢琴协奏曲》在此获得晶莹剔透的演绎，录音效果亦属上乘。1964年首演的《狂想曲》基于卡巴列夫斯基1957年创作的流行歌曲《学生时代》，其毫不矫饰的悦耳旋律与质朴动人的主题在此生动演绎中令人难以抗拒。1931年创作的《斗争诗篇》则更为严肃，作曲家意图描绘当代现实图景。虽非杰作，但结尾激昂的合唱段落颇具感染力。里姆斯基-科萨科夫的钢琴协奏曲虽篇幅精炼（仅14分钟），却凭借迷人的俄罗斯民歌主题与作曲家标志性的个性风格成为极具娱乐性的佳作，为卡巴列夫斯基作品提供了绝佳补充。
（源于DeepSeek翻译）


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Kabalevsky, Dmitri - Comedians & Khachaturian - Masquerade Suite & Tchaikovsky - Kondrashin, RCA Victor SO [RCA SACD]等3个文件(夹)

joseph_li

KARAJAN, Herbert von, conducting Berlin Philharmonic Orchestra
‘In Concert’: BEETHOVEN: Overtures: Coriolan; Egmont. ROSSINI: William Tell. WAGNER: Tannhäuser Overture. WEBER: Der Freischütz Overture. DEBUSSY: La Mer; Prélude à l’après-midi d’un faune. RACHMANINOV: Piano Concerto 2 (with Alexis Weissenberg). RAVEL: Daphnis et Chloé: Suite 2 (with bonus: Karajan Portrait ‘Impressions’).
DG DVD 073 4399

Taken from the 1970s, this DVD brings compelling accounts of the master at work, visually as well as aurally. There is a powerful intensity to the Beethoven overtures and the opening of William Tell is beautifully done, with glorious playing from the Berliners: the storm music is spectacular and the final galop is as dashing as can be. The horns are glorious in Der Freischütz and the famous Berlin brass come into their own in the Wagner Tannhäuser Overture, while the warmth and brilliance of the strings are particularly striking in both. Karajan was always impressive in French repertoire, and this La Mer is very good indeed, if perhaps not quite as intensely compelling as his classic account from the 1960s. The Rachmaninov concerto is a surprisingly intimate account, not a showy one, though one marvels at the quality of the orchestral playing, with Weissenberg, who can be a very fine pianist on his day, the poetic soloist. The central movement is wonderfully intense, and the finale has plenty of sparkle. The opening of the Daphnis Suite is as haunting as the finale is exciting in its virtuosic blaze of colour. The sensitive, unobtrusive camerawork adds much to the enjoyment of these performances. The documentary was made in 1978 (in German, with English subtitles). There is plenty of fascinating archival material to see; and within the maestro’s obviously glamorous, jet-set lifestyle, he emerges as a musical communicator of warmth – and humour too. A most revealing issue.

这张源自1970年代的DVD以视听双重的震撼力，呈现了指挥大师的工作实况。贝多芬序曲的演绎充满雷霆万钧的强度，《威廉·退尔》序曲开篇在柏林爱乐辉煌的演奏下更显壮美——暴风雨乐段气势恢宏，终章加洛普舞曲则迸发出无与伦比的激昂。在《魔弹射手》中圆号声部璀璨夺目，而柏林铜管招牌式的辉煌音色在《唐豪瑟》序曲中尽显无遗，两部作品中弦乐声部兼具温暖质感与炫目技巧的表现尤为惊艳。卡拉扬对法国曲目的诠释向来令人叹服，此版《大海》虽未必超越其1960年代的经典演绎，仍堪称上乘之作。拉赫玛尼诺夫协奏曲的演绎意外地呈现出内省气质而非炫技取向，魏森伯格作为诗意独奏家展现出巅峰状态的钢琴造诣，而乐团演奏的精妙品质更令人叫绝。第二乐章凝聚着惊人的情感张力，终章则闪耀着璀璨光彩。《达夫尼斯与克洛埃》组曲开篇萦绕着魔幻气息，终章则在技巧性音色狂潮中迸发震撼力。细腻而不喧宾夺主的镜头语言为这些演绎增色不少。

1978年拍摄的纪录片（德语原声配英文字幕）包含大量珍贵的档案素材，在展现大师光鲜的环球巨星生活之外，更揭示了他作为音乐传递者温暖幽默的一面。这套影音制品堪称极具启示性的重要文献。
（源于DeepSeek翻译）


https://115cdn.com/s/swwydp23hq9?password=3377&#
Karajan & BPO - In Concert [DG DVD5]

joseph_li

KARAJAN, Herbert von, conducting Berlin Philharmonic Orchestra, Vienna Philharmonic Orchestra or Orchestre de Paris
EMI mono/stereo 516091-2 (8)

A self-recommending eight-CD set which includes many of Karajan’s finest EMI recordings, from 1947 to the early 1980s, including a compellingly intense version of Strauss’s Metamorphosen. Other highlights include the predictably fine account of Don Quixote with Rostropovitch, the 1975 recording sounding excellent in this transfer. In the Symphonia domestica the sumptuous Berlin strings produce tone of great magnificence (recorded in 1973). The Wagner items (recorded in 1974) remain among the most recommendable on CD: the body of tone produced by the BPO gives breathtaking amplitude at climaxes and the electricity the conductor generates throughout the programme is unforgettable. Karajan was a fine Sibelian, and while his accounts of the Fourth and Fifth Symphonies (recorded in 1976) did not surpass his earlier, classic, DG accounts, they are very impressive indeed: the variety of tone-colour and, above all, the weight of sonority that the Berlin Philharmonic have at their command are astonishing. This was his third recording of Tapiola but his first of En Saga, where he is a brisk story-teller, more concerned with narrative than with atmosphere at the beginning; but the lento assai section and the coda are quite magical. Finlandia is superbly played and realistically recorded. This Tapiola is broader and more spacious than his DG account. And at the storm section, Karajan’s spacious tempo is vindicated; the effect is altogether more electrifying. Karajan’s 1977 La Mer may not have quite the supreme refinement of his earlier, DG version, but it has comparable concentration and with the structure persuasively and inevitably built. The Prélude has appropriate languor and there is a persuasive warmth about this performance, which is beautifully moulded. The Paris Ravel recordings were taped in 1974 and are outstanding, as is the Berlin Boléro which has fine presence and splendid forward impetus. The star-studded cast for the Beethoven Triple Concerto (recorded in 1969) makes a breathtaking line-up. This is warm, expansive music-making that confirms even more clearly than before the strength of the piece. The resonant recording suffers from a loss of focus in some climaxes but this is not too serious. The Bruckner Symphony No. 7, recorded in 1970–71, is really outstanding and Karajan shows a superb feeling for the work’s architecture. The recording has striking resonance and amplitude; this EMI release has a sense of mystery which is really rather special. The Brahms Second Symphony was recorded in 1949 and has compelling intensity and warmth, with an intense Adagio and an exceptionally fresh and lively finale.


这套八碟装精选集堪称不证自明的典藏之选，收录了卡拉扬1947至1980年代初为EMI录制的众多杰作，其中包括张力惊人的《变形》演绎。罗斯特罗波维奇联袂献演的《堂吉诃德》自然不负众望，1975年的录音经技术转制后音效尤为出色。1973年录制的《家庭交响曲》中，柏林爱乐弦乐声部铺陈出的华美音色堪称恢宏绝伦。1974年灌录的瓦格纳选段至今仍是CD时代最值得推荐的版本：柏林爱乐构筑的声浪在高潮处展现出摄人心魄的磅礴气势，指挥家全程营造的电流般感染力令人难忘。

作为西贝柳斯作品的杰出诠释者，卡拉扬1976年录制的《第四》《第五交响曲》虽未超越其早年为DG打造的经典版本，仍以惊人的音色变化——尤其是柏林爱乐驾驭的厚重音响层次——留下深刻印象。这是他第三次录制《塔皮奥拉》，却是首次涉足《传奇》，开篇以明快的叙事性取代氛围营造，但"极缓板"段落与尾声却魔幻至极。《芬兰颂》的演绎与录音俱臻化境。此版《塔皮奥拉》较DG版本更显宽广从容，风暴乐段因舒展的速度处理而更具雷霆万钧之效。

1977年版《大海》或许稍逊于DG时期的极致精炼，但结构把控同样严谨自洽：前奏曲透着恰到好处的慵懒，整体演绎在精心雕琢中流淌着动人的暖意。1974年巴黎录制的拉威尔作品堪称典范，柏林版《波莱罗》更以卓越的临场感与推进力见长。1969年录制的贝多芬《三重协奏曲》全明星阵容令人屏息，温暖而宏大的演绎比以往更鲜明地印证了这部作品的力量。录音在部分高潮处略有模糊，但无伤大雅。1970-71年录制的布鲁克纳《第七交响曲》真正堪称不朽，卡拉扬对作品结构的把控臻于化境，EMI此版特有的神秘感更添异彩。1949年录制的勃拉姆斯《第二交响曲》兼具灼人烈度与深沉温暖，柔板乐章情感浓烈，终章则焕发罕见的清新活力。
（源于DeepSeek翻译）


颇令我意外也很郁闷的是，这套碟我居然没有，而且还找不到。

joseph_li

KARAJAN, Herbert von, conducting Berlin Philharmonic Orchestra, Vienna Philharmonic Orchestra or Orchestre de Paris
EMI mono/stereo 516091-2 (8)

A self-recommending eight-CD set which includes many of Karajan’s finest EMI recordings, from 1947 to the early 1980s, including a compellingly intense version of Strauss’s Metamorphosen. Other highlights include the predictably fine account of Don Quixote with Rostropovitch, the 1975 recording sounding excellent in this transfer. In the Symphonia domestica the sumptuous Berlin strings produce tone of great magnificence (recorded in 1973). The Wagner items (recorded in 1974) remain among the most recommendable on CD: the body of tone produced by the BPO gives breathtaking amplitude at climaxes and the electricity the conductor generates throughout the programme is unforgettable. Karajan was a fine Sibelian, and while his accounts of the Fourth and Fifth Symphonies (recorded in 1976) did not surpass his earlier, classic, DG accounts, they are very impressive indeed: the variety of tone-colour and, above all, the weight of sonority that the Berlin Philharmonic have at their command are astonishing. This was his third recording of Tapiola but his first of En Saga, where he is a brisk story-teller, more concerned with narrative than with atmosphere at the beginning; but the lento assai section and the coda are quite magical. Finlandia is superbly played and realistically recorded. This Tapiola is broader and more spacious than his DG account. And at the storm section, Karajan’s spacious tempo is vindicated; the effect is altogether more electrifying. Karajan’s 1977 La Mer may not have quite the supreme refinement of his earlier, DG version, but it has comparable concentration and with the structure persuasively and inevitably built. The Prélude has appropriate languor and there is a persuasive warmth about this performance, which is beautifully moulded. The Paris Ravel recordings were taped in 1974 and are outstanding, as is the Berlin Boléro which has fine presence and splendid forward impetus. The star-studded cast for the Beethoven Triple Concerto (recorded in 1969) makes a breathtaking line-up. This is warm, expansive music-making that confirms even more clearly than before the strength of the piece. The resonant recording suffers from a loss of focus in some climaxes but this is not too serious. The Bruckner Symphony No. 7, recorded in 1970–71, is really outstanding and Karajan shows a superb feeling for the work’s architecture. The recording has striking resonance and amplitude; this EMI release has a sense of mystery which is really rather special. The Brahms Second Symphony was recorded in 1949 and has compelling intensity and warmth, with an intense Adagio and an exceptionally fresh and lively finale.


这套八碟装精选集堪称不证自明的典藏之选，收录了卡拉扬1947至1980年代初为EMI录制的众多杰作，其中包括张力惊人的《变形》演绎。罗斯特罗波维奇联袂献演的《堂吉诃德》自然不负众望，1975年的录音经技术转制后音效尤为出色。1973年录制的《家庭交响曲》中，柏林爱乐弦乐声部铺陈出的华美音色堪称恢宏绝伦。1974年灌录的瓦格纳选段至今仍是CD时代最值得推荐的版本：柏林爱乐构筑的声浪在高潮处展现出摄人心魄的磅礴气势，指挥家全程营造的电流般感染力令人难忘。

作为西贝柳斯作品的杰出诠释者，卡拉扬1976年录制的《第四》《第五交响曲》虽未超越其早年为DG打造的经典版本，仍以惊人的音色变化——尤其是柏林爱乐驾驭的厚重音响层次——留下深刻印象。这是他第三次录制《塔皮奥拉》，却是首次涉足《传奇》，开篇以明快的叙事性取代氛围营造，但"极缓板"段落与尾声却魔幻至极。《芬兰颂》的演绎与录音俱臻化境。此版《塔皮奥拉》较DG版本更显宽广从容，风暴乐段因舒展的速度处理而更具雷霆万钧之效。

1977年版《大海》或许稍逊于DG时期的极致精炼，但结构把控同样严谨自洽：前奏曲透着恰到好处的慵懒，整体演绎在精心雕琢中流淌着动人的暖意。1974年巴黎录制的拉威尔作品堪称典范，柏林版《波莱罗》更以卓越的临场感与推进力见长。1969年录制的贝多芬《三重协奏曲》全明星阵容令人屏息，温暖而宏大的演绎比以往更鲜明地印证了这部作品的力量。录音在部分高潮处略有模糊，但无伤大雅。1970-71年录制的布鲁克纳《第七交响曲》真正堪称不朽，卡拉扬对作品结构的把控臻于化境，EMI此版特有的神秘感更添异彩。1949年录制的勃拉姆斯《第二交响曲》兼具灼人烈度与深沉温暖，柔板乐章情感浓烈，终章则焕发罕见的清新活力。
（源于DeepSeek翻译）


蛮意外也郁闷的是这套碟我居然没有，而且还找不到。

joseph_li

KARAJAN, Herbert von, conducting Vienna Philharmonic Orchestra
‘The Legendary Decca Recordings’
Decca (ADD) 478 0155 (9)

Karajan’s short spell with Decca produced some of his finest recordings with the VPO. In that category here are the Richard Strauss tone-poems, performances full of character and sharply detailed. One marvels at the wide dynamic range of Also sprach Zarathustra (1959) as much for the recordings as for the thrilling orchestral virtuosity. Till is irrepressibly cheeky and full of wit, and Salome’s Dance is decadently sensuous. Don Juan brings a similar, richly voluptuous response from the Vienna strings. Again, the playing is superb, as beguiling in the love music as it is exhilarating in the chase. The Johann Strauss items also come off magnificently, with an instinctive Viennese lilt in the waltzes and playing of warmth as well as vivaciousness. The rarely heard ballet music to Die Fledermaus is especially enjoyable, and his 1961 version of The Planets is extraordinarily magnetic and powerful. Tchaikovsky’s Romeo and Juliet is one of the great performances of the analogue stereo era: the moonlight music is as magical as the fight scenes are dramatic, and the Decca sound captures both beautifully. Of the two Haydn symphonies here, No. 104 comes off better, with Karajan’s direct approach, with plenty of earthy vigour in the outer movements and a beautifully shaped slow movement. In Mozart’s No. 40, Karajan is articulate and suave, and the performance has genuine dramatic power, even though one feels it moves within carefully regulated emotional limits. Although it is short on repeats, the reading of the Jupiter is a strong one, direct and with breadth as well as warmth. Of the performances of the Brahms Symphonies, the Third is the more successful – the First lacks a certain amount of adrenalin, though is not without character and is extremely vividly recorded, while the Third, certainly expansive (especially the third movement), is a degree more compelling. The Dvořák Eighth is a rich, expansive performance of the first rank. It gets off to a very good start with an especially warm treatment of the lovely opening theme, and it is only later, when an occasional mannerism tends to hold up the flow of the slow movement, that a degree of spontaneity is taken from this otherwise excellent reading. The Beethoven Seventh is a straight, matter-of-fact account, reasonably effective, but without the usual compulsion we expect from this conductor. However, Karajan’s recording of Giselle is lovingly played, a reading of beauty and elegance. The glowing Decca recording is first rate and, as the legend of the Wilis on which Giselle is based is a German one, has the distinct impression of Austrian peasantry, and the hunting music will seem to many very appropriate. The Grieg Peer Gynt Suites are delightfully and effectively done. Finally, the Tchaikovsky ballet suites are very impressive indeed; tuttis are well focused and the glowing ambience of the Sofiensaal flatters the strings and adds to the woodwind colourings, particularly in the Nutcracker Suite, which is less bland here than in Karajan’s later re-recording with the BPO. Overall, this disc offers very fine playing from the Vienna Philharmonic and, although the atmosphere is generally relaxed (especially in Sleeping Beauty), there is persuasive warmth. The (1959–65) transfers throughout this set are of Decca’s best.

卡拉扬与DECCA的短暂合作催生了他与维也纳爱乐最杰出的录音瑰宝。此辑中的理查·施特劳斯音诗演绎个性鲜明、细节精妙：1959年版《查拉图斯特拉如是说》令人惊叹的不仅是乐团炫技般的动态范围，更有录音本身惊人的频响跨度。《蒂尔恶作剧》充满狡黠机智，《莎乐美之舞》则弥漫着颓废的感官诱惑。《唐璜》中维也纳弦乐声部同样迸发出丰沛的感官张力，无论是爱情主题的缠绵悱恻还是追逐场景的酣畅淋漓，皆展现出超凡技艺。

小约翰·施特劳斯作品同样光彩夺目，圆舞曲中天然的维也纳韵律摇曳生姿，演奏兼具温暖质感与鲜活律动。罕闻的《蝙蝠》芭蕾音乐尤具趣味，而1961年版《行星组曲》则迸发出异乎寻常的磁性力量。柴可夫斯基《罗密欧与朱丽叶》堪称模拟立体声时代的伟大演绎：月夜场景恍若魔境，械斗段落戏剧张力十足，DECCA录音将二者皆完美捕捉。两首海顿交响曲中，第104号更显成功——卡拉扬直截了当的处理方式为外乐章注入泥土般的活力，慢乐章则造型优美。莫扎特第40号交响曲的演绎辞令雅致，虽情感尺度有所节制，仍具真实的戏剧力量。《朱庇特》虽省略部分反复段落，但演绎雄浑直接，兼具宽广格局与温暖特质。

勃拉姆斯交响曲中，以《第三号》成就最高——《第一号》虽录音鲜活且不乏个性，却稍欠激情；而《第三号》的宏大处理（尤其第三乐章）更具感染力。德沃夏克《第八交响曲》作为顶级演绎丰沛而开阔，开篇主题的温暖呈现堪称绝妙，仅慢乐章偶现的矫饰笔触略损流畅性。贝多芬《第七交响曲》的演绎平实直叙，虽有效果却未达预期。然《吉赛尔》全剧录音则充满爱意，尽显优雅之美。DECCA辉煌的录音将基于德国民间传说的"维丽丝精灵"传说赋予奥地利乡村色彩，狩猎音乐更显贴切。《培尔·金特》组曲演绎妙趣横生。柴可夫斯基芭蕾组曲尤其令人印象深刻：索芬大厅的声学环境令弦乐群奏轮廓分明，木管色彩愈加绚烂，《胡桃夹子》组曲较之卡拉扬后期柏林爱乐版更富棱角。整体而言，维也纳爱乐的精湛演奏贯穿始终，虽氛围总体松弛（尤以《睡美人》为甚），却洋溢着令人信服的温暖。本套装所有录音（1959-65年）均经DECCA最精良技术转制。
（源于DeepSeek翻译）


https://115cdn.com/s/swwydtm3hq9?password=3377&#
Karajan - The Legendary Decca Recordings - VPO [Decca]
分享几个卡神常见的大包子，大多应该都有了。
Karajan - Complete EMI Recordings Vol.1 Orchestral 88CD (APE)等8个文件
链接: https://***.com/s/1vhcC1vv9tTtCySlYL-A2dQ?pwd=3377 提取码: 3377

joseph_li

KERN, Jerome (1885–1945)
Show Boat 《演艺船》(complete recording of original score)
EMI 3 61543-2 [3 61554-2] (3). Von Stade, Hadley, Hubbard, O’Hara, Garrison, Burns, Stratas, Amb. Ch., L. Sinf., McGlinn

In faithfully following the original score, this superb set at last does justice to a musical of the 1920s which is both a landmark in the history of Broadway and musically a work of strength and imagination hardly less significant than Gershwin’s Porgy and Bess of a decade later. The original, extended versions of important scenes are included, as well as various numbers written for later productions. As the heroine, Magnolia, Frederica von Stade gives a meltingly beautiful performance, totally in style, bringing out the beauty and imagination of Kern’s melodies, regularly heightened by wide intervals to make those of most of his Broadway rivals seem flat. The London Sinfonietta play with tremendous zest and feeling for the idiom; the Ambrosian Chorus sings with joyful brightness and some impeccable American accents. Opposite von Stade, Jerry Hadley makes a winning Ravenal, and Teresa Stratas is charming as Julie, giving a heartfelt performance of the haunting number, ‘Bill’ (words by P. G. Wodehouse). Above all, the magnificent black bass, Bruce Hubbard, sings ‘Ol’ man river’ and its many reprises with a firm resonance to have you recalling the wonderful example of Paul Robeson, but for once without hankering after the past. Beautifully recorded to bring out the piece’s dramatic as well as its musical qualities, this is a heart-warming issue.

这套杰作专辑通过严谨遵循原始乐谱，终使这部1920年代的音乐剧获得应有的艺术呈现——它既是百老汇历史上的里程碑，其音乐力量与想象力更堪比十年后格什温《波吉与贝丝》的划时代意义。专辑不仅收录重要场景的原始加长版本，更囊括为后续制作增补的诸多曲目。

饰演女主角木兰的弗雷德里卡·冯·施塔德奉献了令人心醉的演绎，完美契合时代风格，将科恩旋律中通过大跨度音程升华的美感与想象力展现得淋漓尽致——这些创作令同期多数百老汇作品相形见绌。伦敦小交响乐团以澎湃激情与地道的语感演奏，安布罗西亚合唱团则用清亮的欢愉声线与精准的美式发音增色。与冯·施塔德对戏的杰瑞·哈德利将拉文纳尔一角诠释得魅力十足，特蕾莎·斯特拉塔斯饰演的朱莉则以动人心魄的《比尔》（P·G·沃德豪斯作词）唱段尽显角色光彩。尤其当卓越的黑人男低音布鲁斯·哈伯德用浑厚嗓音唱响《老人河》及其多次变奏时，虽令人忆起保罗·罗伯逊的传世经典，却首次使人不再沉湎于往昔。

这套录音完美捕捉了作品戏剧性与音乐性的双重特质，堪称令人心潮澎湃的珍贵典藏。
（源于DeepSeek翻译）


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Kern, Jerome - Show Boat - John McGlinn; Von Stade, Stratas, Burns [EMI]

joseph_li

KHACHATURIAN, Aram (1903–78)
Violin Concerto in D min.
Pentatone SACD Surround Sound PTC 5186 059. Julia Fischer, Russian Nat. O, Kreizberg – GLAZUNOV: Violin Concerto. PROKOFIEV: Violin Concerto 1

Khachaturian’s Violin Concerto has fair claim to be his most rewarding work, and is certainly preferable to his more inflated Piano Concerto. It was written for David Oistrakh, who made a fine mono recording of it, but Julia Fischer has the advantage of first-class surround sound with its vividness and presence. The clarity and freshness of her performance are what immediately strike home in the chattering figuration at the start, with a rare tenderness developing in the lyrical second subject. The yearning lyricism of the slow movement confirms that this was one of the composer’s most inspired works in a performance of high contrasts, while the biting clarity of Fischer’s performance in the finale brings lightness and sparkle.

作为作曲家最具艺术价值的作品，这部为大卫·奥伊斯特拉赫创作的小提琴协奏曲无疑优于其更为浮夸的钢琴协奏曲。朱莉娅·费舍尔的演绎凭借一流环绕声技术呈现出鲜活临场感，开场絮语般的音型处理以惊人的清澈与清新感直击心灵，而抒情第二主题更展现出罕见的柔美气质。慢乐章中如泣如诉的旋律印证了这是哈恰图良最具灵感的创作，费舍尔通过强烈对比的演绎将其升华；终章则以锐利的清晰度赋予音乐灵动闪耀的特质。


Gayaneh (ballet: excerpts); Spartacus (ballet; excerpts) 《加雅涅》（芭蕾选段）；《斯巴达克斯》（芭蕾选段）
Onyx 4063. Bournemouth SO, Kirill Karabits
Decca (ADD) 460 315-2. VPO, composer (with GLAZUNOV: The Seasons

Khachaturian came to Vienna in 1962 to record these impressively idiomatic performances of the most popular numbers from his two ballets, and this Decca record is totally authentic. It is superbly remastered to restore and even improve on the demonstration quality of the original LP, recorded in the Sofiensaal. The performances of these flamboyantly colourful scores are very fresh indeed, and the coupling of The Seasons, with Ansermet conducting, is very good too.

However, much more recently, in July 2010, Kirill Karabits virtually upstaged the composer’s coupling by carefully selecting the best numbers from each ballet, offering nearly 73 minutes of music (eleven items from Gayaneh and six from Spartacus). He shows a natural feeling for the Armenian flavour of the composer’s lyrical writing and produces great gusto for the exciting numbers, like the Sabre Dance. The climax of the masterly Adagio of Spartacus and Phrygia could not be more gloriously passionate. The Bournemouth orchestra plays splendidly and the recording (apparently made in the Poole Lighthouse!) is expansive and wide-ranging.

1962年哈恰图良亲赴维也纳指挥这两部芭蕾最著名选段，DECCA这张录音堪称原汁原味的权威版本。经精湛重制后，索芬大厅录制的原始黑胶试音品质不仅得以恢复更获提升。这些绚丽多彩的演绎至今仍充满新鲜活力，搭配安塞美指挥的《四季》同样精彩。  

而2010年7月，基里尔·卡拉比茨通过精选两部芭蕾最佳选段（《加雅涅》11曲、《斯巴达克斯》6曲，总长73分钟）几乎超越了作曲家的原版组合。他对哈恰图良亚美尼亚风格抒情段落的本能把握，以及对《马刀舞曲》等激昂篇章的热情诠释令人振奋。《斯巴达克斯与芙里吉亚的柔板》高潮处迸发出无与伦比的炽烈激情。伯恩茅斯交响乐团演奏辉煌，在普尔灯塔音乐厅录制的音效更显宽广深邃。


Masquerade Suite《假面舞会组曲》
RCA (ADD) 09026 63302-2. RCA Victor SO, Kondrashin – RIMSKY-KORSAKOV: Capriccio espagnol. KABALEVSKY: The Comedians: Suite. TCHAIKOVSKY: Capriccio italien

Kondrashin certainly knows how to play this music, with warmth as well as sparkle, and even a touch of romantic elegance when Oscar Shumsky plays the violin solo in the Nocturne. It is hard not to be all but swept off your feet by the deliciously melancholic Waltz which opens this CD, while the Mazurka has all the bright energy and colourful orchestration we know from the ballet, Gayaneh. The final Galop is as boisterous as one could wish and as a whole this is a thoroughly entertaining sub-20 minutes’ listening. The resonant recording gives the orchestra a pleasing ambience.

康德拉申深谙此曲演绎之道，既能展现温暖光泽，又在奥斯卡·舒姆斯基的小提琴独奏《夜曲》中透出一丝浪漫优雅。CD开篇那甘美忧郁的《圆舞曲》令人难以抗拒地沉醉，《玛祖卡》则延续了《加雅涅》芭蕾中标志性的明亮活力与绚丽配器。终曲《加洛普》的喧腾欢跃堪称完美，整张专辑不足20分钟的聆听体验充满娱乐性。丰润的录音为乐团营造出怡人的声学氛围。
（源于DeepSeek翻译）


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Khachaturian, Aram - Spartacus, Gayaneh & Glazunov - The Seasons - VPO [DECCA]等2个文件(夹)
第一个在第422楼已经发过，第三个见楼上KABALEVSKY。

joseph_li

又卡了两个审核，其中卡神EMI的小包我居然没有而且没找到。

joseph_li

KODÁLY, Zoltán (1882–1967)
(i–ii) Ballet Music; Concerto for Orchestra; Dances of Galánta; Dances of Marosszék; Háry János: Suite. Hungarian Rondo; Minuetto serio; (iii) Variations on a Hungarian Folk Song (The Peacock); Summer Evening; Symphony in C; Theatre Overture. (iii–v) Háry János (Singspiel: complete). (vi) The Peacock (folksong for unaccompanied chorus); (vii; v; iii) Psalmus hungaricus, Op. 13.
Decca 478 2303 (4). (i) Dorati; (ii) Philharmonia Hungarica; (iii) LSO, Kertész; (iv) Ustinov (nar.), Komlóssy, Palócz, Melis, Bende, Szőnyi, László, Edinburgh Festival Ch.; (v) Wandsworth School Boys’ Ch.; (vi) L. Symphony Ch.; (vii) Kozma, Brighton Festival Ch.

Kodály has been lucky on disc. His vibrantly colourful music has inspired many great conductors to give of their best, as well as giving recording engineers a chance to show their prowess. Following his monumental complete Haydn Symphonies survey, Dorati and his orchestra turned to the music of their compatriot, and performed it with the same sense of commitment. He included all the composer’s most famous orchestral works, as well as his less well-known works, and this is the first time they have been issued complete. His reading of the popular Háry János Suite can stand comparison with the finest, both as a performance and technically as a recording. The Dances of Galánta and Marosszék have real flair and virtuosity, and while the Minuetto serio is a slight piece, it has some charm. If the late Concerto for Orchestra never quite fulfils its promise, it contains many attractive ideas, but the equally rare Theatre Overture (intended to precede Háry János) is thoroughly entertaining throughout its fourteen minutes’ duration. Similarly, also intended for Háry János is the short Ballet Music and very vivid and colourful it is too. The Peacock Variations, it has to be admitted, is not the most polished performance the work has ever received, but it is still most enjoyable, and makes one wonder at its relative neglect. The same might also be said of the Hungarian Rondo, a delightful eight-minute work, full of catchy tunes, in richly coloured orchestral dress. Only the Symphony disappoints in terms of richness of ideas, but it too is worth exploring. Kertész takes over for the choral items, and he directs a superb version of the Psalmus hungaricus – the composer’s most vital choral work. Kertész’s energy takes one compellingly through all the straight homophonic writing, which in a lesser performance can diminish the work’s stature. Here, with the chorus trained by another Hungarian musician, the results are electrifying, and the recording is outstandingly brilliant to match. The light tenor tone of Lajos Kozma is not ideal for the solo part, but again the authentic Hungarian touch helps. Also included in this set is the complete Háry János play with music. It was an attempt to re-create in recording terms for English-speaking listeners the curious humour of the original Hungarian play. All of Kodály’s music is included, and all the links are provided by Peter Ustinov in many guises. Though perhaps the humour will not be to all tastes, Peter Ustinov – a master raconteur – is a superb and compelling narrator and one cannot imagine a more authentic performance. There are a number of pieces as attractive as those in the well-known suite, and vocal versions of some that many will know already. Superb recording from the late 1960s.

柯达伊的唱片运气一直不错。他那充满活力的绚丽音乐不仅激发了许多伟大指挥家献上最佳演绎，也为录音工程师提供了展示技艺的机会。在完成浩大的海顿交响曲全集录音后，多拉蒂与他的乐团将目光转向了这位同胞的作品，以同样的专注投入演绎。这套录音囊括了作曲家所有著名管弦乐作品及冷门之作，系其作品首次完整发行。他诠释的经典《哈利·亚诺什组曲》无论是演绎水准还是录音技术，都足以与最优秀的版本比肩。《加兰塔舞曲》与《马罗采克舞曲》展现出真正的神韵与精湛技艺，而《严肃小步舞曲》虽是小品，却别具魅力。尽管晚期的《乐队协奏曲》未能完全兑现其潜力，但其中不乏动人乐思；同样罕见的《剧院序曲》（原为《哈利·亚诺什》前奏）则在十四分钟时长里始终妙趣横生。同为《哈利·亚诺什》而作的简短《芭蕾音乐》同样生动绚烂。必须承认，《孔雀变奏曲》并非该作品最精雕细琢的演绎，但仍极具欣赏价值，令人不禁感叹其遭受的相对冷遇。《匈牙利回旋曲》亦是如此——这部八分钟的欢快作品充满朗朗上口的旋律，配以浓墨重彩的管弦乐编曲。唯有《交响曲》在乐思丰富性上稍显逊色，但仍值得探索。

克尔提斯接棒指挥合唱作品，他执棒的《匈牙利诗篇》堪称典范——这是作曲家最具生命力的合唱作品。克尔提斯的澎湃能量将那些原本在平庸演绎中会削弱作品分量的朴素主调段落演绎得极具说服力。在另一位匈牙利音乐家训练的合唱团加持下，演出效果震撼人心，录音也以非凡的清晰度与之匹配。男高音拉约什·科兹玛清亮的音色虽非独唱部分的理想选择，但纯正的匈牙利风味仍为之增色。此套装还收录了带音乐的完整《哈利·亚诺什》戏剧录音，旨在通过英语录音重现原版匈牙利戏剧的奇特幽默感。所有柯达伊的音乐段落均予保留，彼得·乌斯蒂诺夫以多变声线串联全场。尽管其幽默风格未必符合所有人口味，但这位大师级演说家的叙述令人沉醉，堪称最地道的演绎。其中不乏与知名组曲同样迷人的段落，更有为人熟知的旋律人声版本。这套上世纪60年代末的录音堪称瑰宝。


Psalmus hungaricus, Op. 13《匈牙利诗篇》
Chan. 9310. Svensson, Copenhagen Boys’ Ch., Danish Nat. R. Ch. & SO, Mackerras – JANÁČEK: Glagolitic Mass

As the unusual but refreshing coupling for the Janáček Mass, the Psalmus hungaricus is infected by Mackerras with an element of wildness that sweeps away any idea of Kodály as a bland composer. As in the Janáček, the tenor Peter Svensson is an excellent, clear-toned and incisive soloist, if here rather more backwardly balanced. The glory of the performance lies most of all in the superb choral singing, full, bright and superbly disciplined, with the hushed pianissimos as telling as the great fortissimo outbursts. It is a mark of Mackerras’s understanding of the music that the many sudden changes of mood sound both dramatic and natural. Full, warm and atmospheric recording, with plenty of detail.

作为雅纳切克《弥撒曲》别致而令人耳目一新的搭配曲目，马克拉斯为《匈牙利诗篇》注入了一股狂野气息，彻底打破了柯达伊作为温吞作曲家的刻板印象。与雅纳切克作品中的表现一样，男高音彼得·斯文森仍是出色、音色清亮且富有穿透力的独唱家，尽管此处的声乐平衡稍显靠后。这场演出的精髓首先在于无与伦比的合唱表现：饱满、明亮且纪律严明，弱音时的私语感与强奏时的爆发力同样震撼人心。马克拉斯对音乐的深刻理解，使得诸多突如其来的情绪转换既充满戏剧性又浑然天成。录音饱满、温暖且富有氛围感，细节纤毫毕现。
（源于DeepSeek翻译）


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Kodaly, Zoltán - Orchestral Works - Kertész & LSO, Doráti & Hungarica PO [DECCA]

第二张已经在第514楼发过。

joseph_li

KOECHLIN, Charles (1867–1950)
The Jungle Book (Le Livre de la jungle) 《丛林之书》
Marco Polo 8.223484. Reinland-Pfalz PO, Segerstam

Koechlin’s lifelong fascination with Kipling’s Jungle Book is reflected in this four-movement tone-poem whose composition extended over several decades. La Course de printemps, Op. 95, the longest of them, is extraordinarily imaginative and pregnant with atmosphere: you can feel the heat and humidity of the rainforest and sense the presence of strange and menacing creatures. La Loi de la jungle is the most static and the least interesting. Leif Segerstam is excellent in this repertoire and, with his refined ear for texture, distils a heady atmosphere; and he is beautifully recorded. Anyone with a feeling for the exotic will respond to this original and fascinating music.

凯什兰对吉卜林《丛林之书》的终生痴迷，在这部跨越数十年创作的四乐章音诗中得以体现。其中篇幅最长的《春之奔涌》（Op. 95）展现出非凡的想象力与浓郁的氛围张力——你能感受到热带雨林的闷热潮湿，也能察觉到奇异而危险的生物在暗处蛰伏。《丛林法则》则最为静态，也最缺乏趣味。莱夫·塞格斯坦姆对此类曲目驾轻就熟，凭借对音质纹理的敏锐把控，他酿造出令人沉醉的意境；录音效果亦堪称精美。任何对异域风情有所共鸣的听者，都会为这独特而迷人的音乐所倾倒。
（源于DeepSeek翻译）


这张碟没找到。

joseph_li

KORNGOLD, Erich (1897–1957)
(i) Cello Concerto in C, Op. 37; (ii) Piano Concerto in C sharp for the Left Hand, Op. 17; Symphonic Serenade for Strings, Op. 39; Military March in B flat
Chan. 10433X. BBC PO, Bamert, with (i) Dixon; (ii) Shelley

The Cello Concerto is an adaptation of a short piece Korngold composed in 1946 for the film Deception starring Bette Davis and Claude Rains. The Concerto in C sharp for Piano Left Hand (1924) is altogether a different matter. Composed, like Ravel’s Concerto, for the one-armed pianist, Paul Wittgenstein, who had lost his right arm during the First World War, it is an extraordinarily imaginative and resourceful work. Although it springs from a post-Straussian world, it is full of individual touches. Howard Shelley gives a radiant performance and is given splendid support. To complaints that the Military March (1917) was rather fast, Korngold is said to have replied that it was intended to be played for the retreat! The Symphonic Serenade for Strings is very beautiful (as well as beautifully crafted) with a highly inventive Scherzo and an eloquent, rather Mahlerian slow movement. First-rate playing and opulent, well-balanced recording.

《大提琴协奏曲》实为科恩戈尔德1946年为贝蒂·戴维斯与克劳德·雷恩斯主演的电影《欺骗》所作短曲的改编版。而《升C小调左手钢琴协奏曲》（1924）则截然不同——这部与拉威尔协奏曲同为独臂钢琴家保罗·维特根斯坦（一战中失去右臂）创作的作品，展现出惊人的想象力与艺术巧思。虽脱胎于后施特劳斯时代，却充满个性笔触。霍华德·雪莱以光彩夺目的演绎赋予其生命力，并获卓越的协奏支持。对于《军队进行曲》（1917）速度过快的质疑，据传科恩戈尔德曾回应此曲本为"撤退场景"而作！《弦乐交响小夜曲》堪称绝美（结构亦精妙绝伦），其谐谑乐章极富创意，慢乐章则如马勒般深情款款。一流演奏配合丰润平衡的录音，相得益彰。


Violin Concerto in D, Op. 35
Onyx 4016. Ehnes, Vancouver SO, Tovey – BARBER; WALTON: Violin Concertos

In this inspired and generous coupling, James Ehnes gives one of the finest performances of the Concerto, bringing out its full emotional thrust without vulgarity or exaggeration. His playing has always been impressive on disc but here he excels himself in the expressive range as well as the tonal beauty of his performance, with expressive rubato perfectly controlled and some ecstatic playing of the many stratospheric melodies above the stave. The opening oboe solo of the slow movement is radiantly played, and later Ehnes takes it up with ravishing warmth, as does the orchestra. The finale is dazzling, and this unsurpassed, spectacular recording is made the more indispensable by its Barber and Walton couplings.

詹姆斯·埃内斯在这张灵感迸发且曲目丰厚的专辑中，奉献了该协奏曲最杰出的演绎之一——他将作品的情感冲击力全然释放，却不流于庸俗或夸张。其唱片演绎素来令人叹服，而此次更以宽广的表现力与音色之美超越自我：弹性速度控制精准，高音谱号上方那些令人心醉的炫丽旋律更被演绎得荡气回肠。慢乐章起始的双簧管独奏如晨曦初绽，随后埃内斯以令人迷醉的温暖音色接续，乐团亦交相辉映。终章璀璨夺目，加之搭配巴伯与沃尔顿作品的绝佳录音，使此碟成为不可或缺的典藏。


Symphony in F sharp, Op. 40; (i) Abschiedslieder, Op. 14
Chan. 10431X. BBC PO, Downes, (i) with Finnie

The Symphony is a work of real imaginative power. It is scored for large forces – a big percussion section, including piano, celeste, marimba, etc. – and the orchestra is used with resource and flair. The BBC Philharmonic play with enthusiasm and sensitivity for Sir Edward Downes. The Abschiedslieder are much earlier and were completed in 1920; there is a great deal of Strauss, Mahler and Zemlinsky here. Linda Finnie is a persuasive soloist, and the balance is eminently well judged. The Chandos sound is wide-ranging and lifelike.

《交响曲》是一部真正彰显想象力的杰作。其配器规模宏大——庞大的打击乐组包含钢琴、钢片琴、马林巴等——乐团运用既匠心独运又挥洒自如。BBC爱乐乐团在爱德华·唐斯爵士指挥下，以饱满热情与敏锐感知倾情呈现。**《离别之歌》**创作年代早得多，完成于1920年，其中可见施特劳斯、马勒与策姆林斯基的深刻影响。琳达·芬妮作为独唱家极具说服力，声部平衡亦把控精当。Chandos录音宽广逼真，栩栩如生。
（源于DeepSeek翻译）


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Korngold, Erich - Cello Concerto, Piano Concerto, Symphonic Serenade - Dixon, Shelley; BBC PO, Matthias Bamert [Chandos]等2个文件(夹)

第2张小协在第84楼已发。

joseph_li

String Quartets 1 in A, Op. 16; 2 in E flat, Op. 26; 3 in D, Op. 34
Chan. 10611 Doric Qt

Korngold’s String Quartets are of the highest quality. They were written at ten-year intervals; the first (extraordinarily mature) dates from 1920–23, just after the success of his opera, Die tote Stadt, and was received with much praise. The first movement is full of energy but immediately introduces a beautiful second subject, while the central Adagio is similarly richly lyrical. Indeed, each of the quartets has a beautiful slow movement, the Second a Larghetto marked Con molto sentimento, and the Third (dedicated to Bruno Walter) is entitled Like a Folk Tune. Each also has a contrasting lighter movement, an engaging Intermezzo in Nos. 1, and 2 and a lilting Scherzo in No. 3 (drawing on the score for the film, Between Two Worlds). The finales are equally enticing: No. 1 introduces a jaunty march, No. 2 a heady waltz theme, and the lively No. 3 borrows its second subject from the film score for Devotion (about the Brontë sisters). These quartets, spontaneously structured, show Korngold at his most melodically memorable and rewarding. They are played most sympathically here, and are given top-quality Chandos recording.

科恩戈尔德《弦乐四重奏》堪称顶级之作。三部作品以十年为间隔创作：第一部（展现出惊人成熟度）写于1920-23年，紧随其歌剧《死城》大获成功之后，问世时备受赞誉。第一乐章充满活力，同时立即引入优美的第二主题，而中间的柔板同样富含抒情性。实际上每部四重奏都拥有精美的慢乐章——第二号以标注"极富情感"的广板呈现，第三号（题献给布鲁诺·瓦尔特）则直接命名为《如民歌般》。各作品还包含对比鲜明的轻快乐章：第一、二号采用迷人的间奏曲，第三号则运用源自电影《两个世界之间》配乐的摇曳谐谑曲。终章同样引人入胜：第一号引入轻快的进行曲，第二号呈现令人陶醉的圆舞曲主题，活泼的第三号则从《倾情》（关于勃朗特姐妹）电影配乐中借用了第二主题。这些结构自然的四重奏展现了科恩戈尔德最令人难忘的旋律天赋。本版演绎极具默契，搭配Chandos顶级录音品质。


Die tote Stadt《死城》 (complete, CD version)
RCA 8869746602 (2). Neblett, Kollo, Prey, Luxon, Bav. R. Ch., Munich R. O, Leinsdorf

At the age of 23 Korngold had his opera Die tote Stadt presented in simultaneous world premières in Hamburg and Cologne, some feat. The fantasy story of a bereaved husband meeting a girl exactly like his newly dead wife ventures into dream worlds. The writing might have been sick and morbid but for Korngold’s youthfully exuberant score. Many echoes include obvious cribbing from Puccini and Strauss, who similarly knew how to manoeuvre excitingly near cliff edges of vulgarity. Die tote Stadt may not be a great opera, but in a performance like this, superbly recorded, it is one to revel in on CD. René Kollo is powerful if occasionally coarse of tone, Carol Neblett sings sweetly in the equivocal roles of the wife’s apparition and the newcomer. Hermann Prey, Benjamin Luxon and Rose Wagemann make up an impressive cast.

23岁时，科恩戈尔德的歌剧《死城》在汉堡与科隆两地同时举行全球首演，堪称壮举。这个关于丧妻丈夫遇见与亡妻相貌酷似女子的奇幻故事，深入梦境世界。若非科恩戈尔德青春洋溢的配乐，剧本本可能显得病态阴郁。作品中诸多回响明显借鉴了普契尼与施特劳斯——这些前辈同样擅长在庸俗悬崖边缘惊险游走。《死城》或许算不上伟大歌剧，但如此精湛的演绎配合出色录音，足以令人在唱片中沉醉。雷内·科洛嗓音雄浑虽偶显粗糙，卡罗尔·内布莱特在亡妻幻影与新恋人双重角色中演绎得甜美动人。赫尔曼·普雷、本杰明·勒克森与罗丝·瓦格曼组成的阵容令人印象深刻。
（源于DeepSeek翻译）


https://115cdn.com/s/swwyecg3hq9?password=3377&#
Korngold, Erich - Die Tote Stadt - Erich Leinsdorf, Munchner Rundfunkorchester； Kollo, Neblett, Luxon [RCA]等4个文件(夹)

joseph_li

LALO, Edouard (1823–92)
Andantino; Namouna (excerpts); Rhapsodie norvégienne; Le Roi d’Ys: Overture. Scherzo; (i) Symphonie espagnole, Op. 21
Australian Decca Eloquence (ADD) 480 0049 (2). SRO, Ansermet, (i) with Ricci – CHABRIER: España, etc.

This Lalo compilation shows the composer at his tuneful best. The rare Namouna items are most enjoyable, with the composer’s ear for felicitous orchestral detail at its most beguiling. The Sérénade is very catchy with its piquant use of pizzicato strings, while the rustic-sounding Fête foraine is most effective. The Valse de la cigarette captivates, while the Parade de foire shows the composer creating a wonderfully lolloping melody for the trumpet, among other delights. The orchestral Scherzo (adapted by the composer from his Third Piano Trio) is another find – an ideal encore. In both the Rhapsodie norvégienne and the well-known Symphonie espagnole, the composer’s flair for providing local colour comes to the fore; the former features a lively Presto section, where the fanfares almost suggest a medieval tournament. The popular Symphonie espagnole receives a very earthy performance in Ansermet’s hands, with Ricci providing much brilliance in the solo part. The rare Andantino offers much Gallic charm, while the dramatic overture to Le Roi d’Ys has seldom sounded more brilliant than in Ansermet’s hands. Indeed, one forgives the minor blemishes of the orchestral playing with such vivid music-making – projected with the warm and detailed sound one takes for granted from this source. The Chabrier items are equally enjoyable.

这张拉罗作品集展现了作曲家旋律创作的最高水准。罕见的《纳穆纳》选段尤为动人，其中精妙的管弦乐细节处理尽显迷人魅力。《小夜曲》运用拨弦营造辛辣趣味，令人过耳难忘；《市集欢庆》则以其田园风味格外生动传神。《香烟圆舞曲》摄人心魄，《市集游行》中作曲家为小号谱写的摇摆旋律更堪称神来之笔。改编自第三钢琴三重奏的管弦乐《谐谑曲》是又一惊喜发现——堪称完美的返场曲目。无论是《挪威狂想曲》还是著名的《西班牙交响曲》，拉罗渲染地方特色的天赋都尤为突出：前者活泼的急板段落中，号角齐鸣恍若中世纪竞技场。在安塞美执棒下，《西班牙交响曲》呈现出粗犷质朴的演绎，里奇在独奏部分闪耀夺目。稀见曲目《小行板》洋溢着法兰西风情，而《伊斯国王》序曲的戏剧性在安塞美手中更显辉煌。尽管乐队演奏偶有瑕疵，但如此鲜活的音乐呈现——配合人们习以为常的温暖细腻音质——足以令人释怀。同辑收录的夏布里埃作品同样精彩。


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

Lalo’s Cello Concerto in D minor is not perhaps the most inspired cello concerto in the repertoire but the music is appealing and Fournier’s elegant approach makes the most of the attractive themes. The slow movement has a certain eloquent charm and the Allegro vivace finale is enjoyable. Excellent sound from the early 1960s and part of a very attractive collection.

拉罗的《D小调大提琴协奏曲》或许并非曲库中最富灵感的作品，但其旋律颇具吸引力，富尼埃优雅的演绎将这些动人主题发挥到极致。慢乐章充满如歌的魅力，活泼的快板终章亦赏心悦耳。1960年代初的录音品质出色，这套精选集整体极具吸引力。
（源于DeepSeek翻译）


https://115cdn.com/s/swwye2o3hq9?password=3377&#
Lalo, Edouard & Saint-Saens - Cello Concertos etc. - Fournier, LOP, Martinon [DG]

第1张没找到。