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

joseph_li

今天开个帖，将根据 《The Penguin Guide to the 1000 Finest Classical Recordings - The Must-Have CDs and DVDs》，分享相应的资源。

本人是搬砖一族，发帖前需要点时间处理，只能不定期更新。如果着急的话，各位可以自己根据书籍找资源，俄网加磁链搜索引擎并用，大多数资源都不难找。
（俄网链接：rutracker.me 或 rutracker.net;   搜索引擎：https://xiongmaoyx.top ，需要留意的是，搜索引擎有儿童不宜不良广告）

对于古典音乐企鹅指南的三（四）星带花评鉴，众乐友毁誉不一，比较诟病的有几点：一、过于推崇英国本土的艺术家；二、过多推荐历史录音，特别是单声道时代录音；第三，小厂牌占比较高，不易获得。而这个版本的推荐，这几个问题都不突出，选曲无论从时间还是地域跨度都更为平衡，推荐的资源也相对容易获得。

关于评论，吝于我个人水平实在太有限，所以先贴出原文，再用谷歌或DeepSeek 翻译成中文，保持原汁原味。

由于有大量的视频和SACD，而我的度盘空间严重不足，所以只提供5盘链接。欢迎热心乐友搬运到度盘后积极分享。

先分享几本音乐的电子书吧。手里有旧版的企鹅古典音乐指南纸质书，电子版的一直没找到。如果哪位有的话，欢迎分享。谢谢！

音乐书籍
链接: https://***.com/s/18dKCgCjTz4FkJeXbogwBfQ?pwd=3377

wpx426

joseph_li 发表于 2025-8-16 00:08
The Nutcracker; Sleeping Beauty; Swan Lake (ballets: complete)
Decca (ADD) 460 411-2 (6). Nat. PO,  ...

雄辩里没找到，二嫂里有SACD

huzuoan

楼主一口气发了这么多内容，废寝忘食啊！可要注意身体、注意休息哦！

joseph_li

Symphony 6; Fantasia on a Theme of Thomas Tallis 第六交响曲；《托马斯·塔利斯主题幻想曲》
BBC Legends (ADD) BBCL 4256-2. L New, Boult (with BAX: Mediterranean. BERG: Lyric Suite. HADLEY: One Morning in Spring)

Sir Adrian made the first recording of the Sixth Symphony in the days of 78s, but this performance comes from the 1972 Cheltenham Festival and its companions from the late 1960s, so the recordings are in stereo. As is well known, he conducted the British première of Wozzeck which was much admired by the composer, and the Three Pieces from the Lyric Suite come from the Maida Vale Studios and the BBC Symphony Orchestra. A most desirable issue which collectors should seek out.

阿德里安爵士曾在78转唱片时代首录第六交响曲，而本版演绎来自1972年切尔滕纳姆音乐节，搭配1960年代末的录音，均为立体声版本。这位指挥家以英国首演贝尔格《沃采克》闻名（深受作曲家赞赏），《抒情组曲》三乐章选段则录自BBC交响乐团在梅达谷工作室的演出。这份珍贵录音值得藏家寻觅。


(i) Dona nobis pacem; (ii) Sancta Civitas  (i)《赐我平安》；(ii)《圣城》
Naxos 8.572424. Bach Ch., Bournemouth SO, Hill, with (i) Pier; (ii) Staples; (i–ii) Brook; (ii) Winchester Cathedral Choristers, Winchester College Quiristers

Naxos here offers an ideal coupling of two parallel Vaughan Williams masterpieces, each seriously neglected. Both date from the inter-war period, when the composer was expressing disillusion after his experiences in the First World War. Both with Latin titles, they mark a departure from the composer’s earlier pastoral style towards expression far more abrasive, a style which also erupted in the ballet-score Job and the Fourth Symphony.

In vivid, atmospheric sound, David Hill directs his forces in performances which bring out all the savagery of the writing, not least in the violent use of timpani. Though Dona nobis pacem, written in 1936, is described as a cantata and Sancta Civitas of 1923 5 an oratorio, they both last just over half an hour, and are among RVW’s most atmospheric works, with a distant chorus evocatively used in Sancta Civitas. Dona nobis foretells the horror of the Second World War in its six movements with texts from the Bible as well as from Walt Whitman and John Bright, while Sancta Civitas depicts the battle between good and evil as expressed in the Book of Revelation. Not just the choruses but also the three soloists are outstanding: the American soprano Christina Pier in Dona nobis pacem, the tenor Andrew Staples in Sancta Civitas, and baritone Matthew Brook in both. A first-rate disc, made the more attractive at super-bargain price.

拿索斯将两部被严重忽视的沃恩·威廉斯杰作完美组合。这两部创作于两次世界大战间的作品，均以拉丁文标题标志着作曲家从早期田园风格转向更具冲击力的表达——这种风格同样爆发于芭蕾《约伯》与第四交响曲。  

大卫·希尔指挥的演绎在生动的录音氛围中，充分展现了作品的凌厉锋芒（尤其是定音鼓的狂暴运用）。1936年创作的《赐我平安》虽被称作康塔塔，1925年的《圣城》虽标为清唱剧，但两部约半小时的作品同属沃恩·威廉斯最具氛围感的创作：《圣城》中遥远处传来的合唱效果尤为动人。《赐我平安》通过六个乐章（文本选自圣经、惠特曼及约翰·布莱特）预言二战的恐怖，《圣城》则描绘《启示录》中的善恶之战。除合唱团外，三位独唱家同样出色：女高音克里斯蒂娜·皮尔（《赐我平安》）、男高音安德鲁·斯台普斯（《圣城》）以及横跨两作的男中音马修·布鲁克。这张超值的一流唱片更显超值。  


(i) On Wenlock Edge (song-cycle from A. E. Housman’s A Shropshire Lad); (ii) 10 Blake Songs for voice & oboe; (i) 4 Hymns. (iii) Songs: Merciless Beauty; The New Ghost; The Water Mill  (i)《温洛克边缘》（霍斯曼《什罗普郡少年》组曲）；(ii) 十首布莱克诗歌曲（人声与双簧管）；(i) 四首赞美诗。(iii) 歌曲：《无情美人》《新幽灵》《水车》
EMI 9 68939-2 (2). Ian Partridge, with (i) Music Group of London; (ii) Janet Craxton; (iii) Jennifer Partridge – WARLOCK: Capriol Suite; The Curlew; Songs

This is an outstandingly beautiful record, with Ian Partridge’s intense artistry and lovely, individual tone-colour used with compelling success in Vaughan Williams songs, both early and late. The Housman cycle has an accompaniment for piano and string quartet which can sound ungainly but which here, with playing from the Music Group of London, matches the soloist’s sensitivity; the result is both atmospheric and moving. The Ten Blake Songs come from just before the composer’s death: bald, direct settings that with the artistry of Partridge and Craxton are darkly moving. The tenor’s sister accompanies with fine understanding in two favourite songs as a welcome extra. The other (much rarer) items make an attractive bonus, with the Four Hymns distinctively accompanied by viola and piano. The Warlock anthology, provided as coupling, is hardly less desirable.

这张堪称绝美的唱片中，伊恩·帕特里奇以强烈的艺术个性与迷人的音色，成功诠释了沃恩·威廉斯早晚期歌曲。为钢琴与弦乐四重奏配器的霍斯曼组曲常显笨拙，但伦敦音乐集团的演奏与歌唱家的敏感度完美契合，营造出既富氛围又动人的效果。作曲家临终前创作的《十首布莱克诗歌》以质朴直接的风格，在帕特里奇与克拉克斯顿的演绎下透出深邃感染力。女高音姐姐的默契伴奏为两首经典歌曲增色，而中提琴与钢琴伴奏的《四首赞美诗》等稀有曲目更添吸引力。搭配的沃洛克歌曲集同样精彩。  


https://115cdn.com/s/swwvjyz3hq9?password=3377&#
Vaughan Williams - Dona Nobis Pacem, Sancta Civitas - David Hill [Naxos 24-44.1]等2个文件(夹)
蛮意外居然没找到第一张。

joseph_li

(i) A Sea Symphony; (ii) Fantasia on Christmas Carols; Hodie (A Christmas Cantata) (i)  《大海交响曲》；(ii)《圣诞颂歌幻想曲》；《今日》（圣诞康塔塔）
EMI 9 68934-2 (2). (i) Marshall, Philh. O; (i–ii) Roberts, L. Symphony Ch.; (iii) Gale, Tear, Choristers of St Paul’s; (ii–iii) LSO; all cond. Hickox

Richard Hickox has recorded the Sea Symphony twice; the second version with Susan Gritton and Gerald Finley as soloists and with the advantage of SACD surround sound may be preferred by some readers (Chan. CHSA 5047). But this earlier (1990) EMI version is hardly less impressive and the two-disc set includes also the Christmas Carol Fantasia and the rare Hodie. Hickox directs a strong, warmly expressive reading of the Symphony. His relatively brisk speeds and his ability to mould melodic lines with an affectionate rubato – notably with the bright-toned, finely drilled London Symphony Chorus – never sounds breathless, and he relishes the sea-sounds that Vaughan Williams gives to the orchestra. The different sections in the longer outer movements are given strong cohesion, and the finale, ‘The Explorers’, ends in warmth rather than mystery on O my brave soul! Margaret Marshall is a bright, fresh soprano, and if Stephen Roberts is a little lacking in weight in the baritone solos, his singing is thoughtful and well detailed. Hickox also directs an urgent, freely expressive reading of the big Christmas cantata, Hodie, helped by refined and incisive choral singing from the combined choirs; and the Christmas Carol Fantasia proves an ideal bonus coupling, also warmly done.

理查德·希考克斯曾两度录制《大海交响曲》——部分乐迷或更青睐其第二版（Chandos CHSA 5047，SACD环绕声技术，苏珊·格里顿与杰拉尔德·芬利担任独唱）。但这份1990年为EMI录制的早期版本同样出色，双CD套装还收录了《圣诞颂歌幻想曲》及罕见的《今日》。希考克斯对交响曲的诠释强劲而深情，相对迅捷的速度与对旋律线条的弹性处理（尤其体现在音色明亮的伦敦交响合唱团）毫无急促感，并充分挖掘了沃恩·威廉斯笔下的海洋音效。长大乐章中各段落衔接紧密，终章《探索者》在"啊，我勇敢的灵魂！"处以温暖而非神秘收束。女高音玛格丽特·马歇尔音色清亮，男中音斯蒂芬·罗伯茨虽声量稍欠，但演唱细腻考究。  

希考克斯对大型圣诞康塔塔《今日》的演绎兼具紧迫感与自由表现力，联合合唱团精准锐利的演唱更添光彩；《圣诞颂歌幻想曲》作为附加曲目温暖动人，堪称完美搭配。  


A London Symphony (original, 1913 version) 《伦敦交响曲》
Chan. 9902. LSO, Hickox (with BUTTERWORTH: The Banks of Green Willow)

A London Symphony was Vaughan Williams’s own favourite among his symphonies (and I.M.’s too). It was the one he had revised most often, first between 1918 and 1920, and later even more radically in the 1930s, with the definitive score finally published in 1936. What this revelatory recording demonstrates is that the 20 minutes or so of music that was excised included many passages that represent the composer at his most magically poetic. There is even a case for saying that in an age which now thrives on expansive symphonies – the examples of Bruckner, Mahler and Shostakovich always before us – the original offers the richer experience. Vaughan Williams undoubtedly made the work structurally tauter, but discursiveness in a symphony is no longer regarded as a necessary fault.

No one could make the case for this 1913 version more persuasively than Hickox. He draws ravishing sounds throughout from the LSO, with an unerring feeling for idiomatic rubato and a powerful control of massive dynamic contrasts. In this original version the first movement is no different, but each of the other movements here includes substantial sections completely eliminated later, some of them echoing Ravel of Daphnis and Chloé, including an extended one in the Scherzo. The sumptuous Chandos sound, with an extraordinarily wide dynamic range, adds to the impact of the performance, which comes with a short but valuable and beautifully played fill-up.

《伦敦交响曲》是沃恩·威廉斯最钟爱的交响曲（亦为乐评人I.M.心头好）。作曲家曾于1918-1920年间首次修订，1930年代更彻底改写，最终版总谱于1936年出版。此版录音揭示：被删减的约20分钟音乐包含大量极具诗意的段落。在布鲁克纳、马勒与肖斯塔科维奇宏篇交响曲已成典范的当代，原始版或许提供更丰盈的体验——尽管修订版结构更紧凑，但交响乐的"散文化"如今已非缺陷。  

希考克斯对此1913年版本的诠释极具说服力：他精准把握弹性速度，强力驾驭动态对比，令LSO奏出摄人心魄的音响。原始版首乐章虽无改动，但其余乐章均含后期删减的大段音乐——谐谑曲中延伸段落明显带有《达夫尼斯与克洛埃》式拉威尔印记。Chandos录音极宽的动态范围强化了演出冲击力，搭配的短小附加曲目同样演绎精美。  


https://115cdn.com/s/swwvjqo3hq9?password=3377&#
Vaughan Williams - A London Symphony & Butterworth - Banks of Green WIllow - Richard Hickox, LSO [Chandos 24-96]等5个文件(夹)

joseph_li

VAUGHAN WILLIAMS, Ralph (1872–1958)
Fantasia on Greensleeves; (i) Fantasia on a Theme of Thomas Tallis  《绿袖幻想曲》；(i)《托马斯·塔利斯主题幻想曲》
EMI Masters (ADD) 6 31788-2. Sinfonia of London; (i) with Allegri Qt, Barbirolli (with DELIUS: Brigg Fair) – ELGAR: Introduction and Allegro for Strings, etc.

Barbirolli’s inspirational performance of the Tallis Fantasia now rightly takes its place among EMI’s ‘Great Recordings of the Century’. For many of us it is the composer’s supreme masterpiece, and Barbirolli’s ardour, combined with the magically quiet playing of the second orchestra, is unforgettable. The recording (made in the dead of night to ensure background silence) has magnificent definition and sonority, achieving dramatic contrasts between the main orchestra and the distanced solo group, which sound wonderfully ethereal. For the reissue EMI have added Delius’s Brigg Fair to the original Elgar couplings, making this Masters reissue an unbeatable bargain.

巴比罗利演绎的《塔利斯主题幻想曲》现已被EMI列入"世纪伟大录音"系列，实至名归。这部被许多人视为作曲家至高杰作的作品，在巴比罗利炽热的诠释下，配合第二乐团魔幻般的弱奏，成就了令人难忘的经典。录音（为确保背景静谧而于深夜录制）具有恢弘的层次感与音效，主乐团与远距离独奏组之间形成戏剧性对比，营造出绝妙的空灵意境。此次再版额外加入戴留斯《布里格集市》，与原版的埃尔加作品搭配，使这套"大师系列"再版成为无可匹敌的超值之选。  


The Lark Ascending  《云雀高飞》
EMI 5 62813-2. Kennedy, CBSO, Rattle – WALTON: Viola Concerto; Violin Concerto

Vaughan Williams’s Lark Ascending is of a modest length but, like the Tallis Fantasia, it is one of his most moving works. The millions of listeners to Classic FM picked the work as their first choice from the whole classical repertoire. Nigel Kennedy’s spacious and evocative account of this inspirational piece is beautifully recorded, and it makes an ideal coupling for the two Walton Concertos.

沃恩·威廉斯的《云雀高飞》篇幅虽短，却与《塔利斯主题幻想曲》并列为最动人的作品。该作被Classic FM数百万听众票选为古典曲目首选。奈吉尔·肯尼迪对这首灵感之作的演绎既舒展又充满画面感，录音精美，与两部沃尔顿协奏曲的搭配堪称完美。  


Symphonies: (i) A Sea Symphony (1). A London Symphony (2); (ii) A Pastoral Symphony (3). 4 in F min.; 5 in D; 6 in E min.; (iii) Sinfonia antartica (7). 8 in D min.; 9 in E min. (iv) Concerto accademico in D min. (v) Tuba Concerto. 3 Portraits from ‘The England of Elizabeth’; The Wasps Overture.  交响曲全集：(i)《大海交响曲》（第1）；《伦敦交响曲》（第2）；(ii)《田园交响曲》（第3）；F小调第4；D大调第5；E小调第6；(iii)《南极交响曲》（第7）；D小调第8；E小调第9。(iv)D小调《学院协奏曲》；《大号协奏曲》；《伊丽莎白时代的英格兰》三幅肖像；《黄蜂》序曲
RCA (ADD) 82876 55708-2 (6). LSO, Previn, with (i–iii) Harper, (i) Shirley-Quirk, L. Symphony Ch; (iii) Amb. S., R. Richardson (speaker); (iv) Buswell; (v) Fletcher

Previn recorded the Vaughan Williams Symphonies over a five-year span from 1968 to 1972, and his achievement in this repertoire represented a peak in his recording career at that time. Here the nine symphonies plus their original fill-ups have been neatly compressed on to six CDs. The most striking performances are those which were recorded last, Nos. 2, 3 and 5; for these Previn achieves an extra depth of understanding, an extra intensity, whether in the purity of pianissimo or the outpouring of emotional resolution. For the rest there is only one performance that can be counted as disappointing, and that is of the symphony one might have expected Previn to interpret best, the taut and dramatic Fourth. Even that is an impressive account, if less intense than the rest. Otherwise, the great landscape of the whole cycle is presented with richness and detail in totally refreshing interpretations, brilliantly recorded and impressively transferred to CD. The extra items are worth having too, notably the two Concertos with responsive soloists.

普列文于1968至1972年间历时五年完成沃恩·威廉斯交响曲全集的录制，这一成就标志着其当时录音生涯的巅峰。此次将九部交响曲及原始附加曲目精炼压缩为六张CD。最杰出的演绎当属最后录制的第2、3、5号交响曲——普列文展现出更深层的理解与更强烈的表现力，无论是纯净的极弱音还是情感宣泄的强奏都令人震撼。全集仅有一处稍显遗憾：本该是普列文最擅长的、结构紧凑戏剧性强的第4号交响曲，虽仍属优秀演绎，但强度略逊其他作品。整套录音以丰富的细节与全新的诠释呈现了沃恩·威廉斯的音乐画卷，录音效果辉煌，CD转制精良。附加曲目同样值得收藏，尤其是两位独奏家倾情演绎的两部协奏曲。  


https://115cdn.com/s/swwvjqz3hq9?password=3377&#
Vaughan Williams, Elgar, Delius - English String Music - John Barbirolli [Warner]等3个文件(夹)
沃恩·威廉斯的推荐版本与三四星带花重合度比较高。

joseph_li

VARÈSE, Edgar (1883–1965)
Tuning Up; Amériques (original version); Arcana; Dance for Burgess; (i) Density 21.5. Déserts; (ii) Ecuatorial; (iii–iv) Un grand sommeil noir (original & orch. Beaumont versions). Hyperprism; Intégrales; Ionisation; (v–vi) Nocturna. Octandre; (v) Offrandes. Poème électronique  《调音》《美洲》（原始版本）；《奥秘》《为伯吉斯而作的舞曲》；(i)《密度21.5》；《沙漠》；(ii)《赤道》；(iii-iv)《深沉的黑夜》（原始钢琴版与博蒙特管弦乐改编版）；《超棱镜》；《积分》；《电离》；(v-vi)《夜曲》；《八棱镜》；(v)《祭品》；《电子音诗》
Decca 460 208-2 (2). Concg. O or Asko Ens.; Chailly; with (i) Zoon (ii) Deas (iii) Delunsch; (iv) Kardoncuf; (v) Leonard; (vi) Prague Philharmonic Male Ch.

This comprehensive coverage of the music of Varèse was given a 1999 Gramophone Award for Twentieth-Century Music. He first came to public notice in the 1930s when Percy Scholes chose him to represent the last word in zany modernity in his ‘Columbia History of Music’, but this mockery backfired. Octandre (one movement then recorded) sounds quirkily original now as it did then (it is played marvellously here). The witty opening Tuning Up sets the mood for writing which is ever ready to take its own course, regardless of tradition, and set new musical paths. Amériques, which follows, is heard in its original (1921) version, lavishly scored, with reminiscences of music by others, not least the Stravinsky of The Rite of Spring. It makes fascinating listening. Ionisation, less ear-catching, stands as a historic pointer towards developments in percussion writing. Poème électronique originated at the 1958 Brussels World Fair, where it was played through more than 400 loudspeakers inside the Philips pavilion. The montage of familiar and electronic sounds (machine noises, sonorous bells, etc.) comes from the composer’s original four-track tape. But all the works here are sharply distinctive and show the composer as a true revolutionary, usually decades ahead of his time. The vocal pieces are among the most fascinating aurally, not least Ecuatorial, a setting in Spanish, with bass soloist, of a Mayan prayer, brightly coloured and sharp, with brass, percussion, organ, piano and ondes martenot. Un grand sommeil noir is a rare surviving early song, lyrically Ravelian in feeling, heard here in both the original version with piano, and in an orchestration by Antony Beaumont. Nocturnal, Varèse’s haunting last piece, was left unfinished. Completed by Professor Chou, it is as extravagant and uninhibited as ever, featuring male chorus and a solo soprano voice, used melodically to evoke a mysterious dream-world. All the performances here are superbly definitive and this set would be hard to surpass. The recording acoustic, too, is open, yet everything is clear.

这套瓦雷兹作品全集荣获1999年《留声机》杂志"二十世纪音乐大奖"。作曲家最初进入公众视野是在1930年代——珀西·斯科尔斯在其《哥伦比亚音乐史》中将瓦雷兹作为荒诞现代主义的终极代表，但这种嘲讽适得其反。《八棱镜》（当时仅录制单乐章）如今听来仍如当年般古怪而独创（本版演绎堪称绝妙）。诙谐的开场曲《调音》为整张专辑定下基调：这些作品始终无视传统，开辟着新音乐路径。随后呈现的《美洲》采用1921年原始版本，配器奢华，隐约可辨他人音乐痕迹（尤其是斯特拉文斯基《春之祭》的印记），聆听体验令人着迷。相对而言，《电离》虽不够抓耳，却是打击乐写作发展的历史性标杆。  

《电子音诗》源自1958年布鲁塞尔世博会，当时通过菲利浦展馆内400余个扬声器播放。由机器噪音、洪亮钟声等熟悉音效与电子声组成的蒙太奇，源自作曲家原始四轨磁带。但所有作品都极具辨识度，展现出这位超前时代数十载的真正革命者风貌。声乐作品尤其具有听觉魅力：《赤道》以西班牙语演绎玛雅祷词，男低音独唱与铜管、打击乐、管风琴、钢琴及马特诺琴交织出锐利鲜明的色彩；《深沉的黑夜》是罕见的早期艺术歌曲遗存，带有拉威尔式的抒情气质，本辑同时收录钢琴原版与安东尼·博蒙特改编的管弦乐版；未完成的绝笔之作《夜曲》由周文中教授续写，延续了瓦雷兹一贯的狂放不羁——男声合唱与女高音独唱以旋律构筑神秘梦境。  

所有演绎都具有权威性，这套录音几乎难以超越。开阔的录音声场中，每个细节都清晰可辨。  


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Varese, , Edgar - Complete Works - Riccardo Chailly, CRO & Asko Ensemble [DECCA]

joseph_li

VAŇHAL, Jan (1739–1813)
Symphonies: in C min., Bryan Cm2; in D, Bryan D4; in G min., Bryan Gm2
Chan. 9607. LMP, Bamert

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

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


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Vanhal, Jan - Symphonies - Matthias Bamert, London Mozart Players [Chandos]

joseph_li

TURNAGE, Mark-Anthony (born 1960)
Blood on the Floor (DVD version)  《血溅地板》
Arthaus DVD 100 430. Ens. Modern, Rundel (Director: Doris Götzl; V/D: Barrie Gavin)

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

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


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

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

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

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

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

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

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


DVD：
没找到，油管上也一无所获。

CD：
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Turnage, Mark-Anthony - Music to Hear - Nash Ensemble [black box]

joseph_li

TURINA, Joaquin (1882–1949)
(i) Danzas fantásticas; (ii) La oración del torero, Op. 34; La procesión del Rocio, Op. 9; (i; iii) Rapsodia sinfónica; (i) Sinfonia sevillana  (i)《幻想舞曲集》；(ii)《斗牛士的祈祷》Op.34；《罗西奥游行》Op.9；(i; iii)《交响狂想曲》；(i)《塞维利亚交响曲》
Regis RRC 1299. Bátiz, with (i) LPO; (ii) Mexico City PO; (iii) Wibaut

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

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

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


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Turina, Joaquin - Danzas Fantásticas, Sinfonia Sevillana, Rapsodia Sinfonica etc. - Enrique Batiz [IMG]

joseph_li

TUBIN, Eduard (1905–82)
Symphonies: (i) 1 in C min.; 2 (The Legendary); 3 in D min.; (ii) 4 in A (Sinfonia lirica); (iii) 5 in B min.; (ii) 6; (iv) 7; (ii) 8; (iv) 9 (Sinfonia semplice); 10. (ii) Suite from the ballet, Kratt; (iv) Toccata for Orchestra
BIS CD 1402/06 (5). (i) Swedish RSO; (ii) Bergen PO; (iii) Bamberg SO; (iv) Gothenburg SO; Järvi

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

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

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

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


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Tubin, Eduard - Symphonies - Neeme Jarvi [BIS]

joseph_li

TREDICI, David Del (born 1937)
Final Alice  《爱丽丝终章》
Australian Decca Eloquence 442 9955. Hendricks, Chicago SO, Solti

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

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


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Tredici, Del - Final Alice - Barbara Hendricks, Chicago SO, Georg Solti [DECCA]

joseph_li

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

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

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


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

joseph_li

TORELLI, Giuseppe (1658–1709)
Concerti musicali, Op. 6/1–12; Sonata a 4 in A min.  《音乐协奏曲》Op.6（全12首）；A小调四声部奏鸣曲
Signum SIGCD 157. Charivari Agréable, Kah-Ming Ng

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

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


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

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

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


https://115cdn.com/s/swwvj653hq9?password=3377&#
Torelli, Giuseppe - Concertos - Collegium Musicum 90, Simon Standage [Chandos]等2个文件(夹)

joseph_li

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

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

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


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

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

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


https://115cdn.com/s/swwvj6k3hq9?password=3377&#
Tomkins, Thomas - Barafostus Dreame - Carole Cerasi [Metronome]等2个文件(夹)

joseph_li

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

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

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


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

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

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


https://115cdn.com/s/swwvj6f3hq9?password=3377&#
Tippett, Michael - Prince Charles Suite, Double Concerto etc. - Davis & Marriner, LSO [Decca]等2个文件(夹)

joseph_li

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

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

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


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

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

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


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Tippett, Michael - Prince Charles Suite, Double Concerto etc. - Davis & Marriner, LSO [Decca]等2个文件(夹)

joseph_li

THOMAS, Ambroise (1811–96)
Mignon (complete)  《迷娘》
Sony (ADD) SM3K 34590 (3). Horne, Vanzo, Welting, Zaccaria, Von Stade, Méloni, Battedou, Hudson, Ambrosian Op. Ch., Philh. O, Almeida

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

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


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Thomas, Ambroise - Mignon - Antonio De Almeida, PO; Horne, Vanzo, Welting [Sony]

joseph_li

Tafelmusik (Productions 1–3; complete) 《餐桌音乐》
DG 477 8714 (4). Col. Mus. Ant., Goebel

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

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


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

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

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


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Telemann - Kapitansmusik 1724 - Ludger Rémy, Telemannisches Collegium Michaelstein [CPO]等2个文件(夹)

joseph_li

Alster (Overture) Suite; La Bouffonne Suite; Triple Horn Concerto in D; Grillen-Symphonie  《阿尔斯特序曲》组曲；《滑稽》组曲；D大调三圆号协奏曲；《蟋蟀交响曲》
Chan. 0547. Coll. Mus. 90, Standage

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

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


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

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

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


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Telemann - La Bouffonne - Simon Standage, Collegium Musicum 90 [Chandos]等2个文件(夹)

joseph_li

TELEMANN, Georg (1681–1767)
Concertos: for 2 Corni da caccia in F, TWV 52:F3; for Violin & 3 Corni di caccia in D, TWV 54:D2. Overtures: for 2 Corni di caccia in D, TWV 55:D17; for 2 Corni di caccia & 2 Oboes in F, TWV 55:F3  协奏曲：F大调为两支狩猎圆号而作，TWV 52:F3；D大调为小提琴与三支狩猎圆号而作，TWV 54:D2。序曲：D大调为两支狩猎圆号而作，TWV 55:D17；F大调为两支狩猎圆号与双簧管而作，TWV 55:F3
MDG 605 1045-2. Deutsch Natural Horn Soloists, New Düsseldorf Hofmusik

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

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


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

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

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


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

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

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


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Telemann - Flötenkonzerte - Emmanuel Pahud [EMI]等3个文件(夹)