【早间碟讯】

不要超越地平线

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

zeppelin

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。

kevin120477

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

不要超越地平线

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

不要超越地平线

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

不要超越地平线

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.’

不要超越地平线

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

不要超越地平线

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.

GXDFLC

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

zeppelin

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

zeppelin

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，要么是作曲家不满意而未出版，被后人从旧纸堆里找出来的，但可能性不大，如果BRAHMS有两首奏鸣曲被发现，绝对是大事，不会谁也没听说；还有一种可能就是改编的，具体要看唱片说明书

不要超越地平线

今日新出：
Florian Noack / Brahms, Grainger, Grieg, Janacek, Komitas, Ladmirault, Martucci, Nin y Castellanos, Rachmaninov, Schubert, Szymanowski - Album d'un voyageur【24/96】



http://rutracker.org/forum/viewtopic.php?t=5826494

Francesco Piemontesi / Schubert - Last Piano Sonatas, D. 958-960【24/96】


http://rutracker.org/forum/viewtopic.php?t=5826495


Klara Min / Scriabin - Piano Works【24/192】


http://rutracker.org/forum/viewtopic.php?t=5826503

不要超越地平线

kevin120477 发表于 2019-12-27 07:08
Eiji Oue

兄弟早啊。
果然是信人，又放上来这么多，
今天又有的忙了。

kevin120477

Eiji Oue


Eiji Oue, Minnesota Orchestra - 2001 - Rachmaninoff Symphonic Dances
909bb2e40d5a052a64982ab9f12b2066be145969


Respighi - Belkis, Dance Of The Gnomes, The Pines Of Rome (Eiji Oue, Minnesota Orchestra) (2001) [24-88]
d141b3ec51402c45554a7d752ced2d2eaf3154cd


Mephisto & Co. - Eiji Oue, Minnesota Orchestra
27091572b818db3d4acc24526f0e78330330c0b0


Eiji Oue - Stravinsky_The Song Of The Nightingale.. (1996) 24-88.2 hdtracks
0911540dd2d5658e257dbd6a8cc3edc709d34585


Кабалевский - Complete Symphonies (Eiji Oue)
3f27451060fd4aed9fff0fdc9cf513c3b8c625b0


Eiji Oue - Respighi - Belkis, Dance Of The Gnomes, The Pines Of Rome (2001) 24-88 hdtracks
555593192dcca596e1ea7ac739586b27698d3195


Eiji Oue - Respighi - Belkis, Dance Of The Gnomes, The Pines Of Rome (2001) 24-88 hdtracks
73c231959db987590f69b26e128313c0ac5f7659


Eiji Oue - Rachmaninoff Symphonic Dances (2001) 24-96 hdtracks
b854c496b2b637865027b17e53fdd58db40cc5d7


Eiji Oue - Rachmaninoff Symphonic Dances, Vocalise, Etudes-tableaux (24-96k)
d71cc8177bad50657794bede93cf4923dd280dfc


Bolero! - Orchestral Fireworks - Eiji Oue (Reference Recordings, 2000)
e2fb599b0614cfa81cceaf5d3fe92b16010eb8f5


Eiji Oue - Bolero Orchestral Fireworks (2000) [FLAC] {RR-92CD}
95263000ea53555d0d09faa302bd5b7bc97a3485


Eiji Oue - Exotic Dances from the Opera - (24-88, RR, 1996)
8e29c79ca6a6372aa2d75da8f4da61277efe4fae


Copland - Third Symphony, etc - Eiji Oue (Reference Recordings, 2000)
279d0b26f2a8de81b8e82dae7deda3e393188c0a

kevin120477

GXDFLC 发表于 2019-12-27 03:01
感谢分享，既然最新发行的都有了，为何独缺下面这两套？

各BT网都搜不到，不知那位大神能帮个忙呢？

GXDFLC

kevin120477 发表于 2019-12-26 10:47
ESOTERIC 其他

[ESOTERIC ESSD-90201] Martha Argerich, Mischa Maisky - Franz Schubert Arpeggione So ...

感谢分享，既然最新发行的都有了，为何独缺下面这两套？

不要超越地平线

xzy121 发表于 2019-12-26 09:54
这套我见过，没有下，由于磁盘没空间原因，

sony出的，24/44.1，12CD，5.49GB
Claudio Arrau / The Complete RCA Victor and Columbia Album Collection
这套我下了，听了几曲，删了，因为里面有的录音质量不好，底噪挺大（我还是HD600听的），然后我依稀想起以前也下过，因为同样原因删了。

不要超越地平线

还有张新碟被我忽视了，但查了下，貌似对演奏家评价不错。
马其顿钢琴演奏家 西蒙・崔普杰斯基
参见：http://www.sthifi.com/Article/ViewArticle.asp?id=8573

Simon Trpceski / Mussorgsky, Prokofiev, Rimsky Korsakov - Tales from Russia


http://rutracker.org/forum/viewtopic.php?t=5825553

不要超越地平线

xzy121 发表于 2019-12-26 15:09
瑞典BIS唱片公司非常注重录音效果，北欧最大的古典音乐唱片公司之一

谢科普。在百度文库十大唱片公司点评
https://wenku.baidu.com/view/d272dc89d5bbfd0a795673fb.html

名列第十，有意思的是有这么一句话：
“BIS的唱片似乎越来越多，以演奏北欧作品为主，但在许多发烧友中它却以音效出众闻名，许多人心目它就是一张张天碟‘

xzy121

不要超越地平线 发表于 2019-12-26 14:19
又有上新了：我不懂是不是名演，听听还行。

Ulf Wallin, Roland Pontinen / Brahms - Works for Violin  ...

瑞典BIS唱片公司非常注重录音效果，北欧最大的古典音乐唱片公司之一