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

joseph_li

HOWELLS, Herbert (1892–1983)
The B’s (Suite for Orchestra); (i) 3 Dances for Violin & Orchestra; (ii) Fantasia; Threnody (both for cello & orchestra) King’s Herald; Paradise Rondel, Op. 40; (iii) In Green Ways (song-cycle); Pastoral Rhapsody; Procession, Op. 36
Chan. 2-for-1 241 20 (2). LSO, Hickox, with (i) Mordkovitch; (ii) Welsh; (iii) Kenny

The inspired suite, The Bs, celebrates the composer’s musician friends and colleagues at the Royal College of Music at the beginning of the 1914–18 war. As such it has something in common with Elgar’s Enigma Variations, although Howells clearly identified each dedicatee. ‘Blissy’ (Arthur Bliss) inspires a dainty, chimerical Scherzo on the second disc, with the piano an orchestral soloist. The shorter evocations are framed by an exuberant Overture with a nobilmente lyrical expansiveness representing the composer himself (‘Bublum’) and the finale (‘Benjee’ – Arthur Benjamin), which begins light-heartedly but ends grandiloquently, recalls the composer’s own themes from the overture. The Three Dances for Violin and Orchestra, another wartime work (1915), are in the best English folk/pastoral tradition, with Lydia Mord kovitch a brilliant violin soloist; the song-cycle, In Green Ways, also includes poignant elegies. The English countryside is strikingly evoked in this group of five songs, using lyrics by Shakespeare and Goethe. Yvonne Kenny sings the whole group most affectingly and Richard Hickox and the LSO are ardent and communicative advocates of all this fine music.

The most personal works on the first disc are the Fantasia and Threnody, both for cello and orchestra, together forming a sort of rhapsodic concerto. Howells was reflecting his anguish over the death of his nine-year-old son, with flashes of anger punctuating the elegiac lyricism. The other major piece is the Pastoral Rhapsody, written in 1923. Similarly pastoral but predominantly vigorous, the Paradise Rondel of 1925 is full of sharp contrasts, with one passage offering clear echoes of the Russian Dance from Petrushka. The collection opens with the boldly extrovert King’s Herald, bright with Waltonian fanfares. Procession brings more echoes of Petrushka, again reflecting Howells’s response to the Diaghilev Ballets Russes’ appearances in London. Helped by rich, atmospheric sound, Richard Hickox draws performances that are both brilliant and warmly persuasive from the LSO, with Moray Welsh a movingly expressive soloist in the concertante works. A most attractive bargain reissue, joining together two equally desirable discs.

这套充满灵性的组曲《以B为名》创作于一战初期（1914-1918年间），用以致敬皇家音乐学院的音乐家好友与同僚。虽与埃尔加《谜语变奏曲》有异曲同工之妙，但豪厄尔斯为每位题献对象都标注了明确身份。第二张唱片中，"布利斯"（亚瑟·布利斯）激发出一支精巧奇异的谐谑曲，钢琴在此充当管弦乐队的独奏声部。这些短小的音乐肖像被包裹在一首意气风发的序曲中——以庄严抒情的宽广旋律代表作曲家本人（"布勃伦"），而终曲（"本吉"——亚瑟·本杰明）始于轻快终于雄辩，再现了序曲中的主题动机。同为战时作品（1915年）的《为小提琴与乐队而作的三支舞曲》承袭了最纯正的英格兰民谣/田园传统，由小提琴独奏家莉迪娅·莫德科维奇精彩演绎；声乐套曲《绿荫小径》则包含令人心碎的挽歌，通过莎士比亚与歌德的诗作，五首歌曲惊人地唤起了英格兰乡野的意境，伊冯·肯尼的演唱感人至深，理查德·希考克斯与伦敦交响乐团以饱满热忱的演奏为这些佳作代言。
首张唱片中最具私人性的作品是《幻想曲》与《哀歌》——两部为大提琴与乐队而作的姊妹篇，共同构成某种狂想协奏曲。豪厄尔斯在此倾注了丧子之痛（其九岁幼子夭折），挽歌式的抒情段落间不时迸发愤怒火花。另一部重要作品是1923年创作的《田园狂想曲》，而1925年问世的《天堂回旋曲》虽同具田园气质却更显蓬勃朝气，鲜明的对比段落中某处明显呼应了《彼得鲁什卡》中的俄罗斯舞曲。这套合辑以气势恢宏的《国王信使》开场，洋溢着沃尔顿式的华丽号角声。《队列》再次折射出《彼得鲁什卡》的回响，印证着迪亚吉列夫俄罗斯芭蕾舞团伦敦巡演对豪厄尔斯的影响。在丰沛的空间音效加持下，理查德·希考克斯率领伦敦交响乐团呈现出既辉煌夺目又深情动人的演绎，大提琴独奏家莫雷·威尔什在协奏风格作品中尤其催人泪下。此次将两张同样精彩的唱片合璧再版，堪称极具吸引力的超值之选。


(i–ii) Elegy for Viola, String Quartet & String Orchestra; (i) Merry-Eye; Music for a Prince: Corydon’s Dance; Scherzo in Arden; (iii) Procession for Small Orchestra
Lyrita (ADD) SRCD 245. Boult, with (i) New Philh. O; (ii) Herbert Downes; (iii) LPO ( with WARLOCK: An Old Song for Small Orchestra. HADLEY: One Morning in Spring) – BUTTERWORTH: The Banks of Green Willow, etc.

Of these short pieces the Elegy is much the most searching, a thoughtful and expressive inspiration, playing on textual contrasts such as make VW’s Tallis Fantasia so moving in its restrained way. Written in 1917, it represents the sort of response to the First World War that one also finds in Vaughan Williams’s Pastoral Symphony. The other pieces are relatively slight, but they present a welcome sample of the work of a highly discriminating composer. Merry-Eye offers some lively and very attractive invention, and the Music for a Prince, commissioned to mark the birth of Prince Charles, is hardly less enjoyable. Added to the original Howells programme is the short but colourful and effective Procession, apparently inspired by a dream the composer had in which he witnessed a sinister procession approaching and dispersing. It was so well received at the Proms in 1922 that it had to be repeated! Supreme performances and recording, with an outstanding coupling of Butterworth’s items plus two excellent works by Warlock and Hadley.

在这些短小作品中，《悲歌》无疑最具思想深度——这首创作于1917年的沉思性杰作通过文本对比手法（正如沃恩·威廉斯《泰利斯幻想曲》以含蓄方式催人泪下的特质），成为与沃恩·威廉斯《田园交响曲》相呼应的、对第一次世界大战的典型艺术回应。其余作品虽相对轻巧，却为这位极具鉴赏力的作曲家提供了令人欣喜的创作样本：《欢眸》展现出活泼迷人的创意，《王子诞辰音乐》（为庆祝查尔斯王子诞生而委约）同样赏心悦耳。原豪厄尔斯曲目单外新增的短篇《队列》虽篇幅精炼却色彩绚烂、效果卓著——据传灵感源自作曲家梦见阴森仪仗队逼近又消散的梦境，1922年在逍遥音乐节首演时因反响热烈而破例返场！顶尖的演绎与录音品质，更超值搭配巴特沃斯经典作品，以及沃洛克与哈德利的两部优秀创作。
（源于DeepSeek翻译）


https://115cdn.com/s/swwy64n3hq9?password=3377&#
Howells, Herbert & Butterworth & Warlock & Hadley - Adrian Boult, LPO & New PO [Lyrita]等2个文件(夹)

joseph_li

HUMMEL, Johann (1778–1837)
Piano Concertos: in A min., Op. 85; in B min., Op. 89
Chan. 8507. Hough, ECO, Thomson

The A minor is Hummel’s most often-heard concerto, never better played, however, than by Stephen Hough on this prize-winning Chandos disc. The coda is quite stunning; it is not only his dazzling virtuosity that carries all before it but also the delicacy and refinement of colour he produces. The B minor, Op. 89, is more of a rarity, and is given with the same blend of virtuosity and poetic feeling which Hough brings to its companion. He is given expert support by Bryden Thomson and the ECO – and the recording is first class.

这首A小调协奏曲是胡梅尔最常上演的作品，然而斯蒂芬·霍夫在这张获奖的Chandos唱片中的演绎堪称绝响。终乐章尾声的处理令人叹为观止——不仅因其横扫千军的炫技演绎，更在于他营造出的细腻音色与精妙层次。相对罕见的B小调协奏曲（作品89号）同样被赋予了霍夫标志性的技艺与诗情，布莱登·汤姆森与英国室内乐团为其提供了精湛的协奏，录音品质亦属一流。


Piano Quintet in E flat, Op. 87; Piano Septet in D min., Op. 74
Australian Decca Eloquence (ADD) 476 2447. Melos Ens. – WEBER: Clarinet Quintet

These two highly engaging works show the composer at his most melodically fecund and his musical craftsmanship at its most apt. One can see how Hummel charmed nineteenth-century audiences into regarding him as being a greater composer than he was, although newer recordings have certainly raised his claims in recent years. His skill at shaping and balancing a movement can be impressive: it is the ideas themselves (as in all music) that can make or break a structure, and here they are entirely appropriate to music designed to entertain. That these works certainly do in such spontaneous and polished performances just try the opening movement of the Septet to sample the composer’s felicity. The 1965 sound is warm, full and rich, and this is a vintage recording in every way. The coupling’s a charmer too.

这两部引人入胜的作品展现了作曲家最为丰沛的旋律天赋与恰到好处的音乐技艺。不难理解胡梅尔为何能让十九世纪的听众误以为他是比实际地位更伟大的作曲家——尽管近年来的新录音确实提升了他的艺术声望。他对乐章结构与平衡的掌控令人印象深刻：正如所有音乐作品一样，核心乐思的质量决定结构成败，而这些作品中的乐思与娱乐性音乐的定位完美契合。在如此自然流畅又精雕细琢的演绎中，这些作品确实实现了这一目标——试听七重奏的开篇乐章，便能领略作曲家妙笔生花的才情。1965年的录音温暖饱满、层次丰富，堪称全方位的经典之作，搭配的曲目同样魅力非凡。


https://115cdn.com/s/swwy64s3hq9?password=3377&#
Hummel, Johann - Piano Concertos - Stephen Hough [Chandos]等2个文件(夹)

joseph_li

HUMPERDINCK, Engelbert (1854–1921)
Hänsel und Gretel (complete, DVD version)
EuroArts DVD 2055888. Papoulkas, Gabler, Vermillion, Ketelsen, Vilsmaier, Teuscher, Female & Children’s Ch. of Dresden State Opera, Saxon State O, Hostetter (Stage Director: Katharina Thalbach, V/D: Andreas Morell)

Hänsel und Gretel (complete, CD version)
EMI mono 6 40716-2 (2). Schwarzkopf, Grümmer, Metternich, Ilosvay, Schürhoff, Felbermayer, Children’s Ch., Philh. O, Karajan

The EuroArts DVD offers a wholly enchanting production of Humperdinck’s wonderfully tuneful children’s opera that cannot be recommended too highly. It was the Dresden Semperoper’s Christmas presentation in 2006 and it would be an ideal Christmas gift for any musical youngster – and it is very entertaining for adults too. There are no voices here of the calibre of Schwarzkopf and Grümmer, but Hans-Joachim Ketelsen (as Peter, the children’s Father) sings his ‘Tra-la-la-las’ with richly resonant amiability, and Irmgard Vilsmaier as their Mother is unusually convincing dramatically. Iris Vermillion is a gloriously camp Witch (she enters glamorously and then changes into a seedier costume). But vocally the children dominate. Their Dance Duet is a real highlight, and Anna Gabler is vocally and dramatically strong as Gretel, while Lydia Teuscher sings charmingly as the Sandman and Dew Fairy. Michael Hofstetter directs with flair, pacing the opera spontaneously, yet finding much glowing detail in Humperdinck’s score, especially the strings and horns, helped by demonstration-worthy sound in the lively opera-house acoustic. But it is Katharina Thalbach’s production that makes this such an enchanting entertainment, full of imaginative detail, from the angels who either swing in on wires or come down a chute, to the Witch’s house, made of eatable biscuits, which conveniently turns into the oven. And one must not forget the hugely real giant tortoise who stays around to guard the children; and the happy ending is exhilaratingly staged, with glorious singing from the chorus of women and children.

Karajan’s classic 1950s set of Humperdinck’s children’s opera, with Schwarzkopf and Grümmer peerless in the name-parts, is hardly less captivating – this was an instance where everything in the recording went right. The original mono LP set was already extremely atmospheric. In most respects the sound has as much clarity and warmth as rival recordings made in the 1970s. There is much to delight here; the smaller parts are beautifully done and Else Schürhoff’s Witch is memorable. This is now reissued as one of EMI’s ‘Classics’ series, with a bonus disc including libretto and synopsis. For those who require a modern stereo version, there is John Pritchard’s beautifully cast version version on Sony, which was the first in genuine stereo (in 1978) to challenge the vintage Karajan set. Cotrubas – sometimes a little grainy as recorded – and Von Stade both give charming characterizations, and the supporting cast is exceptionally strong, with Söderström an unexpected but refreshing and illuminating choice as the Witch. Pritchard draws idiomatic playing from the Gürzenich orchestra, and the recording is pleasingly atmospheric. This is, however, another of those Masterwork reissues in which the libretto is available only via a CD-ROM and a personal computer (Sony S2K 96455).

这套EuroArts出品的DVD为洪佩尔丁克旋律绝妙的儿童歌剧提供了令人沉醉的舞台制作，其推荐程度再高也不为过。这部2006年德累斯顿森帕歌剧院的圣诞献礼，堪称馈赠音乐启蒙期孩童的理想礼物——对成年观众同样妙趣横生。虽未有施瓦茨科普夫与格吕默级别的声乐名家，但汉斯-约阿希姆·凯特尔森（饰演孩子们的父亲彼得）以浑厚亲切的嗓音演绎"特拉啦啦"唱段，伊姆加德·维尔斯迈尔塑造的母亲形象在戏剧表现上格外动人。艾瑞斯·维米利恩饰演的巫婆极尽夸张之能事（华美登场后旋即换上寒酸装束）。但最夺目的当属童声演唱：二重唱舞曲堪称华彩段落，安娜·加布勒饰演的格莱特唱演俱佳，莉迪娅·托伊舍作为睡仙与露珠仙子的演唱清丽动人。迈克尔·霍夫施泰特以灵动的指挥让歌剧自然流淌，同时挖掘出总谱中弦乐与圆号的璀璨细节，生动的剧场声效更带来示范级音质。而卡特琳娜·塔尔巴赫导演的魔力在于充满想象力的细节——从钢丝垂降或滑梯入场的天使，到由可食用饼干搭建、巧妙变身为烤炉的巫婆小屋，更别忘了那只始终守护孩子们的巨型陆龟。皆大欢喜的终场在女声与童声合唱的辉煌音浪中将气氛推向高潮。
卡拉扬1950年代录制的经典版本中，施瓦茨科普夫与格吕默对主角的诠释至今无人超越——这是录音史上罕见的完美制作。原始单声道黑胶已极具氛围感，其音质清晰度与温暖度甚至可媲美1970年代的立体声录音。次要角色的演绎同样精美，艾尔丝·许尔霍夫塑造的巫婆令人过耳难忘。EMI"经典系列"再版时附赠包含剧本与梗概的 bonus CD。若追求现代立体声版本，约翰·普里查德在索尼的录音（1978年首个真正立体声制作）足以比肩卡拉扬经典。科特鲁巴斯（录音稍显颗粒感）与冯·斯塔德的角色塑造充满魅力，配角阵容异常强大，索德斯特伦出演巫婆虽出人意料却别开生面。普里查德指挥居尔泽尼希乐团的演绎地道纯正，录音氛围感出众。但需注意此"大师杰作"再版系列的剧本仅能通过CD-ROM在电脑端读取（索尼编号S2K 96455）。


DVD：
没找到

CD：
https://115cdn.com/s/swwy64r3hq9?password=3377&#
Humperdinck, Engelbert - Hansel & Gretel - John Pritchard, Gürzenich Orchestra; Cotrubas, von Stade [Sony]等2个文件(夹)

langong2004

496楼........4802316 Ansermet-Honegger-Symphonies-Martin ELO 3CD 496楼

1OfROSZb5lz9CxGmn7i5LMQ?pwd=kj7b  

wpx426

joseph_li 发表于 2025-7-11 00:43
HONEGGER, Arthur (1892–1955)
Pacific 231; Symphonies 2; 3 (Symphonie liturgique); 4 (Deliciae Basi ...

No 3, 4 的高码版HDTT remastered

通过百度网盘分享的文件：1-2 Symphonies Nos.3-4 - Ansermet (...
链接：https://***.com/s/1HG1DX4ZKYfnIO5laWaH_6g?pwd=pgpx

wpx426

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

Karajan的都出高码版的了，比原EMI的，NAXOS历史录音版的强了不少

通过百度网盘分享的文件：2 Hänsel und Gretel - Schwarzkopf, ...
链接：https://***.com/s/1exRdUAHUEH82nP65whWvxw?pwd=58ep

joseph_li

感谢 langong2004 和 wpx426 两位补档，

joseph_li

IBERT, Jacques (1890–1962)
Divertissement《嬉游曲》
Chan. 9023. Ulster O, Y. P. Tortelier (with MILHAUD: Le Bœuf; La Création) – POULENC: Les Biches

Yan Pascal Tortelier provides a splendid, modern, digital version of Ibert’s sparklingly witty Divertissement. Verve is combined with much delicacy of detail, and the coupled works, Poulenc’s Les Biches (equally witty) and the no less delectably spirited music of Milhaud are also most enjoyable. Marvellous, top-drawer, Chandos sound.

扬·帕斯卡尔·托特里耶（Yan Pascal Tortelier）为伊贝尔这部妙趣横生的《嬉游曲》（Divertissement）献上了精彩的现代数字录音版本，既充满活力又不失细腻雕琢。同专辑收录的普朗克《母鹿组曲》（Les Biches，同样机智诙谐）与米约那灵动酣畅的乐曲亦令人愉悦。CHANDOS的录音品质堪称一流，堪称瑰宝。


Escales《驿站》
RCA (ADD) SACD 82876 61387-2. Boston SO, Munch – DEBUSSY: La Mer. SAINT-SAËNS: Symphony 3

Munch’s Escales brings some ravishing textures from the Boston violins, and the finale, Valencia, has sparkling dance rhythms. The 1956 recording, if balanced rather closely, has brilliance and transparency, and sounds even better in this new SACD transfer.

明希（Munch）指挥的《驿站》（Escales）中，波士顿交响乐团的小提琴声部呈现出令人沉醉的织体，终章《瓦伦西亚》（Valencia）的舞曲节奏更是璀璨生辉。1956年的原始录音虽声场稍显紧凑，却兼具辉煌音效与通透质感，此番SACD技术转制后更臻完美。  
（源于DeepSeek翻译）


https://115cdn.com/s/swwy7jd3hq9?password=3377&#
Ibert, Jacques & Milhaud & Poulenc - Orchestral Works - Yan Pascal Tortelier, Ulster Orchestra [Chandos]
第二张已经在第326楼发过

joseph_li

d’INDY, Vincent (1851–1931)
(i) Choral varié (for solo saxophone & orchestra). Diptyque méditerranéen, Op. 87; Istar, Op. 42: Symphony 3 (Sinfonia brevis), Op. 70
Chan. 10585. (i) Flosason; Iceland SO, Gamba

D’Indy’s Jour d’été à la montagne, inspired by Debussy’s La Mer, used to appear regularly in the catalogue, but the exotic Istar has been rather more elusive. Premièred in 1897, it follows the story of Orfeo and Eurydice – only with the action reversed and a good deal more seductive, when the Assyrian goddess seeks to achieve the release of her lover from the Underworld. This she does by removing one of her seven garments (or ornaments) at each of the Seven Doors of the Dark Abode, finally revealing herself invitingly naked as she passes through the last door. The work is a richly scored set of variations, presented in reverse order, ending rather than opening with the memorable basic theme itself.

The concertante Choral varié for saxophone, written in 1903, exploits the melodic potential of a work based on a grave yet beautiful passacaglia theme developed within an imaginatively varied orchestral texture.

The Second Symphony has already been recorded successfully, but the powerful Third is again unfamiliar. Composed at the climax of the First World War, it is both patriotic and compelling, and often spectacularly orchestrated. Opening with a rocking Lent et calme it becomes bolder, with a piquant march in 6/8 tempo leading to a soaring theme on the horns, taken up by the full orchestra with hammering timpani. The second movement is more rustic, with fanfares, the third contrasts woodwind, strings and percussion colourfully. The finale is urgently rhythmic, but has a Gregorian Hymn (horn and flute) for contrast which is to reach a climax in the triumphant coda.

The Diptyque méditerranéen (1926) was D’Indy’s orchestral swansong and reflects the composer’s happy second marriage, to a younger woman; in its glowing invocation to nature, it mirrors the early Jour d’étè à la montagne, evoking dawn (Soleil matinal) and evening (Soleil vespéral). The Iceland Symphony Orchestra and Rumon Gamba are thoroughly at home in all this music, and Sigurdur Flosason is a splendid soloist, phrasing with a rich, expansive tone. All four performances have striking spontaneity and the Chandos recording is very much in the demonstration bracket. If you are unfamiliar with D’Indy’s music, this CD will make an admirable introduction to a very rewarding composer.

丹第的《夏日山景》（Jour d'été à la montagne）虽受德彪西《大海》启发并曾常演不衰，但更具异域色彩的《伊斯塔尔》（Istar）却鲜少露面。这部1897年首演的作品，以逆向叙事重构了奥尔菲斯与欧律狄克的神话——故事中，亚述女神为解救爱人勇闯冥府，每经过一道冥界之门便褪去一层衣衫（或饰物），最终赤身裸体通过最后一道门，极尽魅惑之态。乐曲以一组浓墨重彩的变奏展开，却采用倒叙手法：令人难忘的核心主题并非开篇呈现，而是作为终结亮相。

1903年创作的《变奏圣咏协奏曲》（Choral varié）为萨克斯管与乐队而作，以庄重而优美的帕萨卡利亚主题为基础，通过丰富的管弦乐织体层层铺展，充分挖掘了旋律潜力。
丹第的《第二交响曲》已有成功录音，但恢弘的《第三交响曲》仍鲜为人知。这部诞生于一战高潮期的作品兼具爱国激情与戏剧张力，配器尤为壮丽。开篇以舒缓的“缓板与宁静”（Lent et calme）引入，随后转入激昂的6/8拍进行曲，圆号奏出高亢主题，最终由全乐队以定音鼓的轰鸣推向高潮。第二乐章充满田园号角，第三乐章则让木管、弦乐与打击乐色彩斑斓地交织。末乐章节奏紧迫，却以一段格里高利圣咏（圆号与长笛）形成对比，并在凯旋般的尾声中达到极致。

1926年的《地中海双联画》（Diptyque méditerranéen）是丹第最后的管弦乐作品，折射出他与年轻妻子的幸福婚姻。通过对自然的炽热礼赞——晨光（《晨曦》）与暮色（《夕照》）的描绘，它与早期的《夏日山景》遥相呼应。冰岛交响乐团与指挥鲁蒙·甘巴（Rumon Gamba）对这些作品驾轻就熟，萨克斯独奏家西格德尔·弗洛萨松（Sigurdur Flosason）音色丰沛、乐句舒展。四部作品的演绎皆充满灵动的即兴感，CHANDOS的录音更是示范级水准。若您尚未领略丹第的音乐，这张专辑将是接触这位宝藏作曲家的绝佳入门。
（源于DeepSeek翻译）

https://115cdn.com/s/swwy79l3hq9?password=3377&#
D'Indy, Vincent - Orchestral Works - Rumon Gamba, Iceland SO [Chandos 24-96]等2个文件(夹)

joseph_li

IRELAND, John (1879–1962)
(i) Piano Concerto in E flat (1930); Legend for Piano and Orchestra (1933). 3 Dances (1913); First Rhapsody in F sharp min. (1906); Indian Summer (1932); Pastoral (1896); A Sea Idyll (1900)
Naxos 8.572598. Lenehan; (i) with RLPO, Wilson

John Ireland has written the most attractive of all English piano concertos, a piece which has not deserved its neglect since it was frequently played at the Proms in the 1930s and ’40s. Worthy to rank with the finest twentieth-century works in this form, its poetic lyricism and distinctive melodic inspiration are in the ageless tradition of the finest English music. After its lively first movement it offers one of the most lyrically beautiful slow movements of any piano concerto written in the last century, and its sparkling finale has an indelible main theme that you will not be able to get out of your head once the work concludes. John Lenehan, following after Kathryn Stott, is at his finest here. The concertante Legend (written only three years after the concerto) is almost equally memorable. In both works the RLPO is on excellent form under the understanding direction of John Wilson, who is renowned as an idiomatic advocate of English music (shown again in the excellent anthology ‘Made in Britain’) and the Naxos recording is in the demonstration class. In the solo items, written earlier, Lenehan proves equally responsive. The First Rhapsody is passionately virtuosic, and the evocative Pastoral makes an appealing contrast to it. Indian Summer brings a brief but typically expressive song without words. The early Sea Idyll is in three contrasted rhapsodic sections and the Three Dances are folksy, simple but engagingly contrasted, the closing ‘Reapers’ Dance’ infectiously vigorous, and again the Naxos recording is also very real and present. Not to be missed.

约翰·爱尔兰创作了一部堪称所有英国钢琴协奏曲中最迷人的作品——这部在20世纪三四十年代曾频繁亮相BBC逍遥音乐会的杰作，其长期遭受冷遇实属不公。它足以跻身二十世纪最伟大的钢琴协奏曲之列，诗中般的抒情气质与独特的旋律灵感，延续了最纯正英式音乐永恒的传统。

在活泼的第一乐章之后，协奏曲呈现了一个堪称上世纪所有钢琴协奏曲中最优美如歌的慢板乐章，而璀璨的终章则以一段令人过耳难忘的主旋律收尾，余音绕梁。继凯瑟琳·斯托特之后，约翰·勒尼汉（John Lenehan）在此展现了其巅峰演绎。与协奏曲仅相隔三年创作的《传奇协奏曲》（Legend）同样令人记忆深刻。在这两部作品中，皇家利物浦爱乐乐团（RLPO）在约翰·威尔逊（John Wilson）极具洞察力的指挥下表现出色——这位以纯正英伦音乐诠释著称的指挥家（其才华在精选集《英国制造》中再次彰显），而Naxos的录音效果堪称示范级水准。

在更早创作的钢琴独奏作品中，勒尼汉的演绎同样敏锐动人。《第一狂想曲》充满激情炫技，而极具画面感的《田园曲》则与之形成动人对比。《小阳春》（Indian Summer）如同一首简短却典型的无词歌，情感丰沛。早期的《海之田园诗》由三个对比鲜明的狂想段落构成，《三首舞曲》则充满民间风情，简洁却层次分明——终曲《收割者之舞》节奏欢腾，感染力十足。Naxos的录音再次以逼真临场感取胜。此专辑不容错过。


(i) Piano Concerto; Legend for Piano & Orchestra. Overture: Satyricon; 2 Symphonic Studies; (ii) These Things Shall Be
Lyrita (ADD) SRCD 241. LPO, Boult, with (i) Parkin; (ii) Carol Case, LPO Ch.

This CD is included here for These Things Shall Be, one of the composer’s most striking works. Alas, EMI have deleted Barbirolli’s electrifying 78-r.p.m. recording, but Boult’s version is the most successful in the stereo era. The composer chose exactly the right moment to write These Things Shall Be (1936–7). The words, taken from John Addington Symonds, are optimistic in an almost unbelievably naive way, but during the war when things were not going well the direct, life-assertive faith in a possible Utopian state of human relationships suited the need of the public mood and morale exactly. One can remember Prom performances of great power and eloquence, and certainly the music, with its mixture of Elgar nobilmente and Waltonian declamation ( without the dissonant bite of Belshazzar’s Feast), is very effective and easy to enjoy. This recorded performance has less thrust and conviction than those far-off wartime accounts, but it is well sung and played and a good deal of the impact of the writing comes through. The music itself is melodic, spacious in phrase and readily enjoyable at its face value. The performance of the superb Piano Concerto is first class, both as a performance and as a recording, and if the rest of the disc shows the composer at less than first-rate quality, it is all worth hearing: the Legend for Piano and Orchestra is a bit rambling, though quite appealing, and the Satyricon Overture is enjoyable without being as memorable as the London Overture. The Two Symphonic Studies are arranged by Geoffrey Bush; the first begins in a rather broody manner but develops into quite a vigorous fugue, while the second, which begins quietly, turns into a lively Toccata. Both are colourfully orchestrated. The recordings throughout are of vintage Lyrita quality from the 1960s and ’70s.

本专辑的核心价值在于收录了作曲家最具震撼力的作品——《这些事物终将实现》（These Things Shall Be）。遗憾的是，EMI已停售巴比罗利（Barbirolli）那张极具感染力的78转黑胶录音，但鲍尔特（Boult）的立体声时代版本堪称最成功演绎。爱尔兰选择在1936-37年创作此曲可谓恰逢其时——尽管约翰·阿丁顿·西蒙兹（John Addington Symonds）的歌词乐观得近乎天真，但在战争阴霾中，这种对人类关系乌托邦愿景的直白信念，恰恰契合了公众的心理需求。人们仍记得逍遥音乐会上那些充满力量与感染力的演出：音乐融合了埃尔加式的庄严（nobilmente）与沃尔顿式的宣言性（却无《伯沙撒王的盛宴》中的尖锐不协和音），效果出众且易于共鸣。此版录音虽不及战时演出的冲击力与信念感，但演唱与演奏俱佳，仍能传递作品精髓。乐曲本身旋律优美、乐句舒展，直击人心的魅力丝毫未减。
同专辑中，《钢琴协奏曲》的演绎与录音均属一流；其余作品虽非作曲家最高水准，但仍值得一听：《钢琴与乐队传奇曲》结构稍显松散却颇具吸引力，《萨蒂里孔序曲》悦耳动听，只是不及《伦敦序曲》令人难忘；杰弗里·布什（Geoffrey Bush）改编的《两首交响研究曲》中，第一首以沉思氛围开场后发展为强劲赋格，第二首从静谧中迸发为活泼的托卡塔，两部作品配器皆色彩斑斓。全碟录音延续了Lyrita厂牌1960-70年代的黄金品质。
（源于DeepSeek翻译）


https://115cdn.com/s/swwy7xm3hq9?password=3377&#
Ireland, John - Orchestral Works - Adrian Boult, LPO [Lyrita]等3个文件(夹)

joseph_li

(i–ii) Violin Sonatas 1 & 2: (i; iii) Cello Sonata
Naxos 8.572497. (i) Benjamin Frith; (ii) Lucy Gould; (iii) Alice Neary

John Ireland’s two Violin Sonatas, both early works, were what first alerted serious music-lovers to the arrival of a distinctive new voice among young British composers. In 1911 the First Sonata won first prize out of 134 entries in the third Cobbett Competition for chamber works, on this occasion not for the Phantasy form which Cobbett wanted to encourage, but simply for pieces for violin and piano. The powerful first movement leads on to an easily lyrical slow movement featuring a simple melody repeated an octave higher. The flowing music of the finale rounds the work off very effectively. The Second Sonata of 1915 had even greater success when it was first performed, receiving rave reviews and wide audience acclaim. It too is in three nicely balanced movements, ending with an energetic finale. Lucy Gould, one of the leading British violinists of her generation, is most sympathetically accompanied by Benjamin Frith, a pianist who should be far more widely acclaimed. Naxos generously offers as an extra the similarly striking Cello Sonata of 1923. This too receives an outstanding performance from Alice Neary with Frith again an ideal accompanist. With well-balanced sound, the disc makes a very welcome addition to Naxos’s growing library of British chamber works.

约翰·爱尔兰的两部早期《小提琴奏鸣曲》最早让乐坛意识到这位英国年轻作曲家的独特才华。1911年，《第一奏鸣曲》从134部参赛作品中脱颖而出，赢得第三届科贝特室内乐比赛头奖（此次赛事未采用科贝特倡导的"幻想曲"形式，仅限小提琴与钢琴作品）。强有力的第一乐章后，抒情慢板乐章以一条简单旋律在高八度重复呈现；流畅的终章为作品画上完美句点。1915年问世的《第二奏鸣曲》首演时获得更热烈反响，媒体盛赞与观众追捧兼具。它同样由三个平衡乐章构成，以活力充沛的终曲收尾。
当代英国顶尖小提琴家露西·古尔德与钢琴家本杰明·弗里斯（这位本应获得更多赞誉的演奏家）配合默契。Naxos特别加赠1923年创作的《大提琴奏鸣曲》——同样惊艳的作品由大提琴家爱丽丝·尼瑞与弗里斯再度完美呈现。录音层次分明的本碟，为Naxos日益丰富的英国室内乐文库再添珍品。
（源于DeepSeek翻译）


https://115cdn.com/s/swwy7xp3hq9?password=3377&#
Ireland, John - Violin Sonatas Nos.1 & 2, Cello Sonata - Lucy Gould, Alice Neary [Naxos]

joseph_li

IVES, Charles (1874–1954)
Symphonies 1–4; Central Park in the Dark; (i) General William Booth enters into Heaven
Hyp. SACDA or CDA 67540 (Symphonies 1, 4 & Central Park); SACDA or CDA 67525 (Symphonies 2 & 3, General Booth). Dallas SO, Litton; (i) with Albert, Dallas Symphony Ch.

Recorded live in Dallas in 2004 and 2006, Andrew Litton’s two discs cover the symphonies of Ives in the most logical way, with the four main works supplemented by two of his most striking shorter pieces, a coupling offering an advantage over rival versions. Litton is totally in sympathy with Ives’s distinctive use of hymns and marches. The First Symphony, with its echoes of Dvořák’s New World, already points forward to the composer’s later radical development. The Fourth Symphony ( with Litton supported in the extraordinarily complex writing by the assistant conductor, Daniel Rechev) emerges as a masterpiece. Amazing music to have been conceived as early as it was, with the contrapuntal element so important in Ives’s writing clarified, and the hilarious introduction of ‘Yankee Doodle’ in the fourth movement given delightful point. The Second Symphony, while still retaining links with the nineteenth-century tradition, is distinctively Ivesian in many of its procedures, with hymns and marches superimposed on more conventional passages, often celebrating the American brass band. The hilarious finale, brilliantly caught in Litton’s performance, is a quodlibet with one theme piled on another, erupting finally in a shattering fortissimo account of Columbia, the Gem of the Ocean. On the face of it, the Third Symphony is less radical than the others; it is entitled The Camp Meeting, with the three movements based on organ pieces Ives wrote early in his career. Central Park in the Dark emerges as the most vividly atmospheric piece, evoking the impressions of someone at night, sitting in the park and hearing a kaleidoscope of subtle sounds of the surrounding city. General William Booth enters into Heaven is an orchestral development of one of the most stirring of Ives’s songs, a setting of a poem by Vichel Lindsay. With soloist and chorus joining the orchestra, it develops to a massive climax, vividly caught in Litton’s performance with Donnie Ray Albert as soloist. The sound, though not the most immediate, is vivid too, and is particularly spacious on SACD, with textures commendably clear, as in Ives’s use of the piano as part of the orchestra in No. 4.

利顿的这两张唱片以最合理的方式呈现了艾夫斯的交响曲：四部核心交响曲搭配两部最具冲击力的短篇作品，这种编排使其在同类录音中脱颖而出。利顿对艾夫斯标志性的赞美诗与进行曲运用方式有着深刻共鸣。
《第一交响曲》虽带有德沃夏克《自新大陆》的回响，却已预示了作曲家后期的激进风格。《第四交响曲》（在助理指挥丹尼尔·雷切夫协助下完成复杂声部处理）堪称杰作——如此超前的构思令人惊叹：复调元素在艾夫斯笔下变得清晰可辨，第四乐章对《扬基歌》的诙谐引用更是妙趣横生。《第二交响曲》虽保留19世纪传统脉络，但其叠加赞美诗与进行曲于常规乐段的手法（尤其对美国铜管乐队的礼赞）已彰显典型的艾夫斯风格。利顿精彩捕捉了终章的狂欢气质：主题堆叠的"杂曲"（quodlibet）最终以《哥伦比亚，海洋之珠》的震撼强奏爆发。相比之下，《第三交响曲"营地集会"》虽以早期管风琴作品为基础而略显保守，但《黑暗中的中央公园》却成为最具氛围感的作品——夜色中公园长椅上的人，听着城市声音的万花筒在耳边流转。
《威廉·布斯将军进入天堂》则是艾夫斯最激昂艺术歌曲的管弦乐版，独唱家唐尼·雷·阿尔伯特与合唱团加入后，将利顿指挥推向恢弘高潮。录音虽非最凌厉，但SACD格式下声场开阔，织体清晰（如第四交响曲中钢琴融入管弦乐的细节）。


(i) Symphony 2; (ii) The Unanswered Question
DG DVD 073 4513. (i) Bav. RSO; (ii) NYPO; Bernstein ( with GERSHWIN: An American in Paris; Rhapsody in Blue; Bernstein, piano, & NYPO)

An indispensable DVD. To watch Bernstein conduct these supreme masterpieces of American music is a joy and a privilege in itself, his face expressing almost every emotion and his communication with the orchestral players absolute. The richly resonant acoustic of the Royal Albert Hall casts a glow on the glittering rhythmic detail of An American in Paris from every member of the NYPO (especially the solo brass), which is as unforgettable as the arrival of the great blues centrepiece. Taking the solo role in the Rhapsody, Bernstein dominates completely, playing with a spontaneous freedom of tempo and nuance (his virtuosity is tangible), while in the Ives Symphony he produces radiantly expressive string textures from the Bavarian strings and captivates the ear with the composer’s kaleidoscopic quotations of popular tunes. The symphony’s close is all but overwhelming, to be followed by the epilogue of The Unanswered Question with its insistent, haunting trumpet solo. At a Harvard University lecture Bernstein said, ‘I’m no longer sure what the question is, but I do know the answer is “Yes”.’ After the music drifts into silence he leaves the podium to delay any applause. (The DVD includes a talk about the symphony by Bernstein himself.)

观看伯恩斯坦指挥这些美国音乐瑰宝本身就是一种享受与殊荣——他面部表情传递着每一种情绪，与乐团成员的默契更堪称完美。皇家阿尔伯特音乐厅的丰润声学效果，让纽约爱乐每个成员（尤其铜管独奏）在《一个美国人在巴黎》中闪耀的节奏细节，与布鲁斯核心乐段同样令人难忘。
担任《蓝色狂想曲》钢琴独奏时，伯恩斯坦以随性的速度与细腻处理（技巧之精湛触手可及）完全掌控全场；指挥巴伐利亚乐团演绎艾夫斯交响曲时，他既让弦乐绽放动人光泽，又将作曲家引用的流行旋律万花筒展现得摄人心魄。交响曲尾声排山倒海之后，《未答之问》尾声里固执萦绕的小号独奏更添余韵——正如伯恩斯坦在哈佛讲座所言："我已不确定问题是什么，但答案必定是‘是的’。"音乐飘散后，他迟迟不离指挥台以阻止掌声（DVD包含伯恩斯坦对交响曲的讲解）。
（源于DeepSeek翻译）


DVD：
在第416楼已经发过

CD：
https://115cdn.com/s/swwy71j3hq9?password=3377&#
Ives, Charles - Symphonies etc. - Andrew Litton, Dallas SO [Hyperion]等3个文件(夹)

joseph_li

JANÁČEK, Leo (1854–1928)
(i) Sinfonietta; Taras Bulba; (ii) Lachian Dances; (iii; iv) Capriccio ‘Vzdor’ (for piano & chamber ens.); Concertino; (iii; v) Dumka (for violin & piano); (vi) Mládi; (iii; vii) Pohádka; Presto (for cello & piano); (iii; v) Romance (for violin & piano); (viii) String Quartets 1; 2 (Listy Důvĕrné); (ix) Suite for String Orchestra; (iii; v) Violin Sonata; (iii) In the Mists; On an overgrown path; Reminiscence; Teme con variazioni (Variations for Zdenka); (x) Glagolitic Mass; (iv; xi) Ríkadla
Decca (ADD/DDD) 475 523-2 (5). (i) VPO, Mackerras; (ii) LPO, Huybrechts; (iii) Crossley; (iv) London Sinf. (members), Atherton; (v) Sillito; (vi) Bell, Craxton, Pay, Harris, Gatt, Eastop; (vii) Christopher Van Kampen; (viii) Gabrieli String Qt; (ix) LA CO, Marriner; (x) Urbanová, Beňačková, Bogachov, Novák, Slovak Phil. Ch., VPO, Chailly; (xi) London Sinf. Ch.

A multitude of performances and artists here, but a very useful and inexpensive way of acquiring a lot of Janáček. Mackerras’s famous, early-digital accounts of the Sinfonietta and Taras Bulba (1981) are well known: brilliant, exciting performances with recording to match, even though some might find the VPO just too Viennese for this music. The performances of the much rarer Lachian Dances date from 1971, are highly idiomatic and make a welcome appearance here. The two String Quartets come from the composer’s last years and are among his most deeply individual works and profoundly impassioned utterances. The Gabrieli Quartet have the measure of this highly original music and give just as idiomatic an account of these masterpieces, with the advantage of vintage (1978) Decca sound, with clarity as well as warmth. The Suite for String Orchestra was Marriner’s first record with his new Los Angeles group, which he made during the orchestra’s 1974 tour in England. It is an early and not entirely mature piece; but when it is played as committedly as it is here (and ripely recorded), its attractions are readily perceived and it does not want character. Paul Crossley is the impressive soloist in the Capriccio and the Concertino. In the account of Mládi, the work’s youthful sparkle comes across to excellent effect. Crossley’s survey of the piano music is both poetic and perceptive, and his mastery of keyboard colour and feeling for atmosphere are everywhere evident, and the sound that the engineers have achieved is very truthful and satisfying. The set brings a number of rarities, including the Violin Sonata and the Ríkadla for chamber choir and ten instruments, both works very much worth getting to hear. Finally, Chailly’s strong and refined reading of the Glagolitic Mass makes a splendid finale for this set, with fine detail brought out in the glowing Decca recording (1998), even if it is not as immediate as some. If the work’s earthiness is a degree underplayed, the emotional depth is fully brought out, with fine, idiomatic singing and a virtuoso display from Thomas Trotter in the final organ solo. A distinguished set.

这套专辑汇集了众多演奏家和不同演出版本，是以实惠价格获取大量雅纳切克作品的绝佳选择。马克拉斯（Mackerras）1981年著名的早期数字录音版《小交响曲》和《塔拉斯·布尔巴》广为人知：演奏辉煌而激动人心，录音效果同样出色，尽管有些人可能会觉得维也纳爱乐（VPO）的演奏风格对这部作品来说过于"维也纳化"。1971年录制的《拉钦舞曲》较为罕见，演绎极具特色，此次收录令人欣喜。两部《弦乐四重奏》创作于作曲家晚年，是他最具个人特色、情感最为炽烈的作品之一。加布里埃利四重奏团（Gabrieli Quartet）精准把握了这些极具原创性的音乐，演绎同样地道，加之1978年Decca录音的清晰度和温暖音质，更显珍贵。《弦乐组曲》是马里纳（Marriner）与他的新洛杉矶乐团合作的首张录音，录制于乐团1974年英国巡演期间。这部作品属于早期创作，尚未完全成熟，但在如此投入的演奏（以及饱满的录音效果）下，其魅力依然清晰可辨，且不失个性。保罗·克罗斯利（Paul Crossley）在《随想曲》和《小协奏曲》中担任独奏，表现令人印象深刻。他演绎的《青春》充分展现了作品的青春活力，效果极佳。克罗斯利对雅纳切克钢琴音乐的诠释兼具诗意与洞察力，对键盘音色的掌控和对氛围的敏感无处不在，录音效果真实而令人满意。这套专辑还包含多部罕见作品，如《小提琴奏鸣曲》和为室内合唱团与十件乐器创作的《俚谣》（Ríkadla），均非常值得一听。最后，夏伊（Chailly）对《格拉高利弥撒》的演绎强而精炼，为这套专辑画上完美句点。1998年Decca录音细节丰富，尽管不如某些版本那般直接。虽然作品中的粗犷特质稍显克制，但情感深度得到充分展现，演唱极具特色，而托马斯·特罗特（Thomas Trotter）在终章管风琴独奏中的炫技表现更是亮点。这套杰出的专辑以多样化的演绎和录音，全面展现了雅纳切克音乐的独特魅力，无论是入门聆听还是深度欣赏，都极具价值。
（源于DeepSeek翻译）


https://115cdn.com/s/swwy7cl3hq9?password=3377&#
Janacek, Leo - Chamber Music, Orchestral Works - Atherton, Chailly, Mackerras [DECCA]

joseph_li

Glagolitic Mass 《格拉高利弥撒》(original version, ed. Wingfield)
Chan. 9310. Kiberg, Stene, Svensson, Cold, Danish Nat. R. Ch. & SO, Mackerras – KODÁLY: Psalmus hungaricus

The added rhythmic complexities of this original version as interpreted idiomatically by Mackerras encourage an apt wildness which brings an exuberant, carefree quality to writing which here, more than ever, seems like the inspiration of the moment. The wildness is also reinforced by having the Intrada at the very beginning, before the Introduction, as well as at the end. The chorus sings incisively with incandescent tone, and the tenor soloist, Peter Svensson, has a trumpet-toned precision that makes light of the tessitura and the stratospheric leaps that Janáček asks for. The soprano Tina Kiberg, also bright and clear rather than beautiful in tone, makes just as apt a choice, and only a certain unsteadiness in Ulrik Cold’s relatively light bass tone prevents this from being an ideal quartet. Recorded sound of weight and warmth that conveys the full power of the music.

马克拉斯以地道的诠释呈现了这个原始版本中增加的节奏复杂性，恰如其分地展现出一种狂野特质，为乐曲赋予了奔放不羁的气质——这种创作在此版本中比以往任何时候都更像是即兴灵感的迸发。将《前奏曲》同时置于开头（序奏之前）和结尾的处理方式，进一步强化了这种野性。合唱团的演唱铿锵有力，音色炽烈；男高音独唱者彼得·斯文森（Peter Svensson）拥有小号般精准的音质，轻松驾驭了雅纳切克所要求的高音域和跨越音区的跳跃。女高音蒂娜·基伯格（Tina Kiberg）的音色同样明亮清澈（虽非传统意义上的美声），是极为合适的选择。唯有乌尔里克·科尔徳（Ulrik Cold）相对轻盈的男低音偶有不稳，使得这个四重唱组合稍欠完美。录音兼具厚重感与温暖度，充分传递了音乐的力量。


The Cunning Little Vixen 《狡猾的小狐狸》(complete); Cunning Little Vixen: Suite (arr. Talich)
Decca 417 129-2 (2). Popp, Randová, Jedlićka, V. State Op. Ch., Bratislava Children’s Ch., VPO, Mackerras

Mackerras’s thrusting, red-blooded reading is spectacularly supported by a digital recording of outstanding, demonstration quality. The inspired choice of Lucia Popp as the vixen provides charm in exactly the right measure, sparkling and coquettish, spiteful as well as passionate. The supporting cast is first rate too. Talich’s splendidly arranged orchestral suite is offered as a bonus in a fine, new recording. Simon Rattle’s Covent Garden performance on Chandos is also strongly recommended for anyone wanting this opera sung in English (CHAN 3101 (2)).

马克拉斯充满张力、热血沸腾的演绎，得到了这张示范级数字录音的绝佳支持。选择露琪亚·波普（Lucia Popp）饰演狐狸堪称神来之笔——她精准拿捏了角色的魅力：时而光彩熠熠、娇媚可人，时而刻薄刁钻、热情似火。配角阵容同样一流。作为附加曲目，塔利赫精彩改编的管弦乐组曲以全新录音呈现。若需要英语演唱版本，西蒙·拉特尔（Simon Rattle）在科文特花园的演出（Chandos唱片编号CHAN 3101 (2)）同样强力推荐。
（源于DeepSeek翻译）


https://115cdn.com/s/swwyi3l3hq9?password=3377&#
Janacek, Leo - Cunning Little Vixen - Charles Mackerras, VPO; Popp, Dalibor Jedlicka [DECCA]等3个文件(夹)

joseph_li

(i) From the House of the Dead; (iii) Mládí (for wind sextet); (ii; iii) Ríkadla (for Chamber Ch. & 10 instruments) 《死屋手记》《青春》《俚谣》
Decca 430 375-2 (2). (i) Jedlicka, Zahradnícek, Zídek, Zítek, V. State Op. Ch., VPO. Mackerras; (ii) L. Sinf. Ch.; (iii) L. Sinf., Atherton

With one exception, the Decca cast is superb, with a range of important Czech singers giving sharply characterized vignettes. The exception is the raw Slavonic singing of the one woman in the cast, Jaroslava Janská, as the boy, Aljeja, but even that fails to undermine the intensity of the innocent relationship with the central figure, which provides an emotional anchor for the whole piece. The chamber-music items added for this reissue are both first rate.

除一处例外，Decca的演员阵容堪称卓越——多位重要的捷克歌手以鲜明个性塑造了剧中角色。唯一的例外是饰演少年阿廖沙（Aljeja）的女演员雅罗斯拉娃·扬斯卡（Jaroslava Janská）粗犷的斯拉夫式演唱，但即便如此，她与主角之间纯真关系的情感张力仍未被削弱，这种关系成为全剧的情感支点。此次再版新增的两部室内乐作品同样属于一流演绎。


Jenůfa 《耶奴发》 (complete)
Decca 475 8227 (2). Söderström, Ochman, Dvorský, Randová, Popp, V. State Op. Ch., VPO, Mackerras

It was with Jenůfa that Janáček scored his first real success in the opera house: the work has a striking and immediate sense of identity, a powerful atmosphere and a strong dramatic argument. This is the warmest and most lyrical of Janáček’s operas. And it inspired a performance from Mackerras and his team which is deeply sympathetic, strongly dramatic and superbly recorded. Elisabeth Söderström creates a touching portrait of the girl caught in a family tragedy. The two rival tenors, Petr Dvorský and Wieslav Ochman as the half-brothers Steva and Laca, are both superb; but dominating the whole drama is the Kostelnička of Eva Randová. Some may resist the idea that she is made so sympathetic but, particularly on record, the drama is made stronger and more involving. Chandos’s ‘Opera in English’ series has made a superb performance of this opera available – also with Mackerras conducting – with a superb cast including Janice Watson and Josephine Barstow (CHAN 3106 (2)).

《耶奴发》是雅纳切克在歌剧领域取得首次真正成功的作品：它具有鲜明而直接的个性，强烈的戏剧氛围和引人入胜的情节。这是雅纳切克歌剧中最温暖、最抒情的一部。马克拉斯及其团队带来的演绎充满深切共鸣，戏剧性强劲，录音效果极佳。伊丽莎白·索德斯特伦（Elisabeth Söderström）塑造了一个陷入家庭悲剧的少女形象，令人动容。两位互为对手的男高音——饰演同父异母兄弟什特瓦（Steva）和拉察（Laca）的彼得·德沃尔斯基（Petr Dvorský）与维斯瓦夫·奥赫曼（Wieslav Ochman）都表现出色；但主宰全剧的则是艾娃·兰多娃（Eva Randová）饰演的教堂女管事（Kostelnička）。虽然有人可能不认同这个角色被塑造得如此富有同情心，但特别是在录音版本中，这使得戏剧更具冲击力和感染力。Chandos的"英文歌剧"系列也提供了该剧的精彩演绎——同样由马克拉斯指挥，演员阵容包括珍妮丝·沃森（Janice Watson）和约瑟芬·巴斯托（Josephine Barstow）（唱片编号CHAN 3106 (2)）。
（源于DeepSeek翻译）


https://115cdn.com/s/swwyi3i3hq9?password=3377&#
Janacek, Leo - From the House of the Dead - Charles Mackerras, VPO;  Gatt, Philips, Pay [DECCA]等3个文件(夹)
这里有Charles Mackerras的雅纳切克歌剧DECCA合集

joseph_li

Káta Kabanová; (ii) Capriccio for Piano & 7 instruments; Concertino for Piano & 6 instruments《卡佳·卡巴诺娃》《随想曲》《小协奏曲》
Decca 475 7518 (2). Söderström, Dvorský, Kniplová, Krejčík, Márová, V. State Op. Ch., VPO, Mackerras; (ii) Paul Crossley, L. Sinf., Atherton

Káta Kabanová is based on Ostrovsky’s play, The Storm. Elisabeth Söderström dominates the cast as the tragic heroine and gives a performance of great insight and sensitivity; she touches the listener deeply and is supported by Mackerras with imaginative grip and flair. He draws playing of great eloquence from the Vienna Philharmonic Orchestra. The other soloists are all Czech and their characterizations are brilliantly authentic. But it is the superb orchestral playing and the inspired performance of Söderström that make this set so memorable. The recording has a truthfulness and realism that do full justice to Janáček’s marvellous score, vividly transferred to CD. With a double bonus added in the shape of the two concertante keyboard works, in which Paul Crossley is the impressive soloist. These are performances which can be put alongside Firkušný – and no praise can be higher.

《卡佳·卡巴诺娃》改编自奥斯特洛夫斯基的戏剧《大雷雨》。伊丽莎白·索德斯特伦作为悲剧女主角统领全场，她的演绎充满深刻洞察力和细腻情感，深深打动听众，并得到马克拉斯富有想象力和才华的指挥支持。他让维也纳爱乐乐团奏出了极具表现力的音乐。其他独唱演员均为捷克人，他们的角色塑造具有出色的真实性。但最令人难忘的是乐团精湛的演奏和索德斯特伦充满灵感的表演。录音真实而自然，充分展现了雅纳切克精彩乐谱的魅力，CD转制效果生动。作为额外惊喜，专辑还收录了两部键盘协奏作品，由保罗·克罗斯利（Paul Crossley）担任独奏，他的表现令人印象深刻。这些演绎可与菲尔库什尼（Firkušný）的版本相媲美——这已是最高的赞誉。


(i) The Makropulos Affair (Vec Makropulos): complete; (ii) Lachian Dances  《马克洛普洛斯案件》与《拉钦舞曲》
Decca 430 372-2 (2). Söderström, Dvorský, Blachut, V. State Op. Ch., VPO, Mackerras; (ii) LPO, Huybrechts

Mackerras and his superb team provide a thrilling new perspective on this opera, with its weird heroine preserved by magic elixir well past her 300th birthday. Elisabeth Söderström is not simply malevolent – irritable and impatient rather, no longer an obsessive monster. Framed by richly colourful singing and playing, Söderström amply justifies that view, and Peter Dvorský is superbly fresh and ardent as Gregor. The recording, like others in the series, is of Decca’s highest analogue quality. The performance of the Lachian Dances is highly idiomatic and makes a good bonus. Mackerras’s equally commanding ENO performance (sung in English) is also available at mid-price on Chandos (CHAN 3138 (2)) – one of the finest performances in their ‘Opera in English’ series.

马克拉斯及其杰出的演出团队为这部歌剧带来了激动人心的全新诠释——剧中女主角因魔法药剂而活过300岁。伊丽莎白·索德斯特伦的演绎并非单纯的恶毒，而是更显烦躁与不耐，不再是偏执的怪物形象。在丰富多彩的演唱与演奏衬托下，索德斯特伦完美诠释了这一解读，而彼得·德沃尔斯基饰演的格雷戈尔则展现出令人惊艳的清新与热忱。本录音与系列中其他作品一样，达到了Decca模拟录音的最高水准。作为附加曲目的《拉钦舞曲》演绎极具本土特色，堪称精彩补充。马克拉斯指挥英国国家歌剧院的英文演唱版（Chandos唱片编号CHAN 3138 (2)）同样以中价发行——这是该厂牌"英文歌剧"系列中最杰出的演绎之一。


Osud 《命运》（(complete; in English)
Chan. 3029. Langridge, Field, Harries, Bronder, Kale, Welsh Nat. Op. Ch. & O, Mackerras

Janáček’s – most unjustly neglected – opera, richly lyrical, more sustained and less fragmented than his later operas, is not just a valuable rarity but makes an ideal introduction to this composer. Philip Langridge is superb in the central role of the composer, Zivný, well supported by Helen Field as Míla, the married woman he loves, and by Kathryn Harries as her mother – a far finer cast than was presented on a short-lived Supraphon set. Sir Charles Mackerras matches his earlier achievements on the prize-winning series of Janáček opera recordings for Decca, capturing the full gutsiness, passion and impetus of the composer’s inspiration. The warmly atmospheric (originally EMI) recording, made in Brangwyn Hall, Swansea, brings out the unusual opulence of the Janáček sound, yet it allows the words to come over with fine clarity. It is now available on Chandos’s now extensive (and generally superb) ‘Opera in English’ series, all at mid-price, with full texts included.

这部雅纳切克最被低估的歌剧作品充满抒情性，相比后期歌剧更具连贯性，不仅是珍贵的稀有剧目，更是了解这位作曲家的理想入门之作。菲利普·朗里奇在作曲家日夫尼（Zivný）这一核心角色中的表现堪称完美，海伦·菲尔德饰演他深爱的已婚女子米拉，凯瑟琳·哈里斯饰演米拉的母亲——这套阵容远胜于Supraphon短暂发行过的版本。查尔斯·马克拉斯爵士延续了其为Decca录制雅纳切克歌剧系列（曾屡获大奖）的辉煌成就，完整捕捉了作曲家创作中特有的魄力、激情与推动力。在斯旺西布兰温音乐厅录制的这张原EMI唱片音效温暖而富有氛围感，既展现了雅纳切克音乐独特的华丽特质，又保证了歌词的清晰传达。该剧现已被纳入Chandos规模庞大（且整体水准卓越）的"英文歌剧"中价系列，并附完整剧本。
（源于DeepSeek翻译）


https://115cdn.com/s/swwyi3r3hq9?password=3377&#
Janacek, Leo - Kat'a Kabanova - Charles Mackerras, VPO;  Soderstrom, Dvorsky [DECCA]等3个文件(夹)

joseph_li

今天卡了4个要审核


这两天有点忙，没时间上网，今天打算下载两个Chandos补充资源时，才发现下载网站已不能用。在找到新的工具之前，找资源的成功率会大大下降。各位乐友若有合适的工具或途径，请私聊告知，不胜感激！

不亦乐乎lh

joseph_li 发表于 2025-7-11 16:23
HOVHANESS, Alan (1911–2000)
(i) Guitar Concerto 2. Fanfare for the New Atlantis; Symphony 63 (Loon ...

祝贺本贴达到500楼。
感谢楼主辛苦整理提供这么多的好资源！并附上解说翻译！
一路跟随！

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