EMI發行芭芭拉韓翠克絲60歲紀念專輯（10CD）

從「小閔的古典音樂世界」知道，EMI為了慶祝美國黑人女高音芭芭拉韓翠克絲（Barbara Hendricks）60大壽，四月份將發行五款雙CD代表錄音。




因此特別從CD櫃中找出1997年時EMI慶祝100週年Centenary Bestseller中的《Chants Sacred》專輯，當時會買這張CD純粹是出於好奇心，想聽聽看這張專輯（或芭芭拉韓翠克絲）有何能耐，為何有辦法列入EMI公司百年經典錄音中，整套3o款發行中可以說是強片如林，其中包括卡薩爾斯的巴哈《大提琴組曲》、福特萬格勒的貝多芬《第九號交響曲》或歌劇《崔斯坦與依索德》錄音等等，都足以列入人類文化遺產的文獻級錄音，更何況《Chants Sacred》可是1990年錄音，是錄音年代最近的...

上了維基百科看了一下Barbara Hendricks的介紹，發現她是一個非常有自己想法的藝術家；首先，她在2006年1月自行創立獨立唱片公司Arte Verum，有如此魄力與勇氣的藝術家，事實上並不多見，更何況是位女性。其次，在藝術表演領域之外，她也是一位積極投入公共領域的人道主義者，從1987年起便擔任聯合國難民公署的終身榮譽大使，一直熱心於難民救援事業，她曾於1991年與1993年兩度在前南斯拉夫境內飽受戰火摧殘的杜布羅夫尼克(Dubrovnik，現屬克羅埃西亞)及塞拉耶佛（Sarajevo，現屬波士尼亞）舉辦演唱會，2002年5月也曾在東帝汶（East Timor）國家獨立儀式中高歌。

這次發行有5款共10張CD：
韓翠克絲60大壽紀念專輯之1～理查.．史特勞斯：歌曲集(2CDs)
韓翠克絲60大壽紀念專輯之2～舒伯特：藝術歌曲集(2CDs)
韓翠克絲60大壽紀念專輯之3～法語藝術歌曲集(2CDs)
韓翠克絲60大壽紀念專輯之4～輕歌劇詠嘆調與二重唱(2CDs)
韓翠克絲60大壽紀念專輯之5～艾靈頓公爵與蓋西文歌曲集(2CDs)

其中，最有購買興趣者是第5張，分別為1994年與2000年的錄音。

SONYBMG版海飛茲典藏錄音套裝（10CD）

博客來網站賣得還挺便宜的，原本有點小小心動，但後來還是放棄了。

原因很簡單，重複的實在太多，而且更重要的是，很多曲目都已經擁有兩個版本了...

具體來說，一套5CD的《Heifetz The Concerto Collection》跟原來的Living Stereo版就有很多重複的，真正沒買過的就只有第7、8張的巴哈的《無伴奏小提琴奏鳴曲與組曲》，但我實在不想多花一千多塊錢再去買原來就有的5張CD，外加一個漂亮盒子。

CD1. Bach: concerto for two violins in D minor(Erick Friedman, Violin) Mozart: Sinfonia Concertante in E-Flat Major (William Primrose, Viola) Brahms: Concerto for Violin and cello in A minor(Gregor Piatigorsky, Cello)

CD2. Beethoven: Violin Concerto Mendelssohn: Violin concerto (Chicago Symphony Orchestra/ Fritz Reiner, Conductor)

CD 3. Brahms: Violin Concerto Tchaikovsky: Violin Concerto (Chicago Symphony Orchestra/ Fritz Reiner, Conductor)

CD4. Bruch: Violin Concerto No.1 Bruch: Scottish Fantasy Vieuxtempts: Violin Concerto No.5 (New Symphony Orchestra of London / Sir Malcolm Sargent, Conductor)

CD 5. Sibelius: Violin Concerto (Chicago Symphony Orchestra/ Walter Hendl, Conductor) Prokofiev: Violin Concerto No2. Glazunov: Violin Concerto

CD 6. Korngold: Violin Concerto in D Major (Los Angeles Philharmonic/Alfred Wallenstein, Conductor) Rozsa: Violin Concerto(Dallas Symphony Orchestra/ Walter Hendl, Conductor) Rozsa: Sinfonia Concertante (Gregor Piatigorsky, Cello) Waxman:” Carmen” Fantasy (RCA Victor Symphony Orchestra/Donald Vorhees, Conductor)

CD 7 &8 Bach: Unaccompanied Sonatas and Partitas(complete)

CD 9 &10 Jascha Heifetz in Concert-The final Concert (這兩張也有點小小興趣，但不知道詳細曲目為何，再加上原本就已經擁有一些炫技小品錄音，想想就算了...)

後記：四月一日愚人節前往國家音樂廳欣賞義大利男高音Salvatore Licitra演唱會，順便晃到小閔的店瞧瞧，就看到一套《Heifetz The Concerto Collection》擺在店頭，定價大概是不到NT$1500，與Original Jacket Collection 版本差不到200元，問題是張數卻差了一倍，唱片行進貨挑到類似這種大降價前的貨色，跟買到打成全額交割股的股票一樣慘....

Decca推出拜魯特音樂節33CD盒裝華格納10大歌劇

日本HMV網站首先披露的大好消息！

33張CD只要日幣 ￥8104，約等於台幣不到NT$2500。

其中包括貝姆指揮1966年版指環全集（14CD）、李汶指揮1985年版《帕西法爾》（4CD）、沙瓦利許1961年版的《漂泊的荷蘭人》(2CD)、沙瓦利許指揮1962年版《唐懷瑟》（3CD）、沙瓦利許指揮1962年版《羅恩格林》（3CD）、貝姆指揮1966年版《崔斯坦與依索德》(3CD)、瓦爾維索(Silvio Varviso）指揮1974年版《紐倫堡的名歌手》（4CD）。

我原本以為是1993年版PHILIPS拜魯特版（32CD）重新發行，但因為張數不一樣，便重新核對一番，果然大不相同。其中最大不同是《指環》由布列茲版改為貝姆版，《漂泊的荷蘭人》或《羅安格林》則抽換成是沙瓦利許版。

日本預計四月三十日發賣。如此具有破壞力的價格（博客來網站上貝姆指揮的舊版《指環》，都不只這樣的金額...），台灣代理商恐怕要「挫咧等」...

2008玉山銀行王建民新廣告之背景配樂

2007年「信賴，是台灣前進的力量」廣告的背景音樂是管弦樂改編版的《燒肉粽》
2008年「相信專業，才能成就更多」廣告的背景音樂則是採用德弗札克第九號《新世界》交響曲(From the New World)中第二樂章「念故鄉」旋律。

我是一位蠻容易感動的人，這兩則廣告都令我忍不住眼眶濕潤，背景配樂更是發揮畫龍點睛的加分效果，從濃濃道地台灣味的《燒肉粽》到懷鄉意味十足的《新世界交響曲》，配樂者的用心實在值得喝采。

YouTube有卡拉揚指揮維也納愛樂的經典版本。
CD版本多不勝數，個人推薦的版本則是捷克指揮家庫貝利克DG大花版。

第一套女指揮家布拉姆斯交響曲全集（Naxos）

Marin Alsop指揮倫敦愛樂（London Philharmonic Orchestra）的布拉姆斯四首交響曲全集在台灣並沒有正式引進，曾經在佳佳西門店或大眾許昌店看過零星幾片，要四片全部蒐集完整必須有點靠運氣，不然就是要花上一個多月時間下專單！三月中旬，倫敦愛樂首次來台演出，Naxos本地代理商卻沒有把握這個難得機會，實在有點可惜。

Marin Alsop的最新作品將是與Baltimore Symphony Orchestra灌錄的德弗札克最後三首交響曲。預計從2008年4月起陸續發行。

Naxos 8570233
Symphony No 4,Op. 98. 21 Hungarian Dances,WoO 1 - No. 2 in D minor;No. 4 in F minor;No. 5 in F sharp minor;No. 6 in D flat;No. 7 in A;No. 8 in A minor;No. 9 in E minor

英國留聲機雜誌評論摘要：
Marin Alsop brings her excellent budget Brahms cycle to a close
The LPO, London’s finest Brahms ensemble, has been in vintage form during this cycle under Marin Alsop’s measured and thoughtful direction. Not since the classically incisive Loughran/HallÈ recordings of the mid‑1970s has there been a more obviously collectable budget-price Brahms set, though Sanderling’s celebrated 1970s Dresden cycle is currently a formidable three-CD budget-price competitor.
Alsop’s reading of the Fourth Symphony is not dissimilar to Sir Adrian Boult’s 1972 LPO recording (EMI – nla). Like Boult, Alsop is happy to establish a tempo and emotional trajectory for each movement and leave it at that – a plausible view given the astonishing degree of thematic integration that underpins the work.
As elsewhere in the cycle, tempi tend to be measured. The Andante moderato is downright slow, though like Reiner and Barbirolli before her Alsop manages to maintain line and interest. The Scherzo, happily, is a true Allegro giocoso, which is important. By acting out the role of a conventional finale, the Scherzo leaves the actual finale free to enact its own tragic destiny.
Sparer-toned performances heedful of Brahms’s marking Allegro energico e passionato (Mengelberg on Naxos Historical, Toscanini on RCA, Klemperer on EMI, Karajan variously) spell out the finale’s tragic mood from the first. Others (Furtwangler, Barbirolli, Sanderling) have taken broader tempi then manoeuvred the orchestra freely towards the tragic summation. Carlos Kleiber, famously, got the best of both worlds.
The Blackheath recording sounds well if played at a decent level. In the Scherzo, the triangle (deliciously placed and recorded in the Hungarian Dances) is more an impression than a presence. There is also an editing glitch midway through the movement, not the first in this series. The seven Hungarian Dances, unorchestrated by Brahms, are heard in newly commissioned orchestrations by Peter Breiner. I didn’t much care for the thudding fairground timpani in No 6. Elsewhere, piquancy is the watchword, with stylish playing from the LPO, gamesomely led. （Gramophone 2/2008，Richard Osborne）

Naxos 8557430
Variations on a Theme by Haydn, 'St Antoni Chorale,Op. 56a. Symphony No 3,Op. 90.

英國留聲機雜誌評論摘要：
Alsop's symphony is fine but it's the Variations that give this disc distinction
Brand-new budget-price recordings which can rub shoulders with the best are rarer than one imagines (Colin Davis's 1962 HMV Concert Classics recording of Beethoven's Seventh Symphony was an early example) but this fine new Brahms disc probably comes into that category.
Finding a recommendable Brahms Third is more difficult than one might suppose. Since Felix Weingartner made his very fine LPO recording in 1938, the number of great, or even successful, Thirds can probably be listed on the fingers of two hands. (Three candidates for the right hand are listed above.) Marin Alsop's reading is certainly fine: dark of hue, lyrical and long drawn, though never, even for a moment, comatose. Rhythm is good, articulation keen, phrasing exquisite, the reading's crepuscular colours glowingly realised by the LPO. The reading has a quality of melancholy, a wistfulness crossed with a sense of incipient tragedy, which is almost Elgarian (Elgar's fascination with the piece is well attested).
Readings such as Furtwängler's and Sanderling's, which are more inclined to tower and course, may not have allowed themselves to be overtopped by the St Antoni Variations, yet there is something rather wonderful about the transition we have here from dark to light. It is a long time since I heard a performance of the Variations as well grounded and as keenly profiled as this. Winds are splendidly to the fore: skirling flutes, songful oboes, grumbling descants on the horns “in deep B”. It is, above all, a reading of great character: the horn-led sixth variation a burgherly jaunt, the seventh variation a handsome galliard, the finale a Meistersinger-like revel.
（Gramophone 3/2007, Richard Osborne）

Naxos 8557429
21 Hungarian Dances - G minor (orch Brahms);F (orch Brahms);F (orch Brahms);F sharp minor (orch Dvorák);D (orch Dvorák);B minor (orch Dvorák);E minor (orch Dvorák);E minor (orch Dvorák) Symphony No 2,Op. 73.

英國留聲機雜誌雜誌評論摘要：
Older hands may find a few cavils but this is well judged, sunny Brahms
This is a late-summer idyll of a performance, easily paced, nicely judged and warmly played. For first-time buyers it will provide unalloyed pleasure; for older hands it will satisfy without necessarily enlightening or surprising.
It is one of those Brahms performances whose centre of gravity is in the violas, cellos and horns. This is apt to the symphony’s lyrical, ruminative character, though there are times when the music is robbed of its light and shade. In the finale, for example, one rather misses the chill-before-dawn mood of the lead-in to the recapitulation; and one needs a keener differentiation of horn and trumpet tone to catch the final page’s incomparable D major blaze. Alsop’s account of the third movement is strong in contrast, the oboe-led Allegretto grazioso strangely muted, the quicker 2/4 section done more or less to perfection. That said, you might think the slow movement under-characterised: insufficiently distinct in tone and temper from the first.
The symphony was recorded in Blackheath Concert Hall, the Hungarian Dances in what used to be Watford Town Hall: a bigger, brawnier acoustic that doesn’t suit the music quite so well. In dance No 18 in D, one of Dvorák’s orchestrations, there is a noisy, cluttered feel to the performance. By contrast, the alfresco No 3 in F, winningly and economically orchestrated by Brahms himself, is played with real charm and style.（Gramophone 1/2006, Richard Osborne）

Naxos 8557428
Academic Festival Overture,Op. 80. Symphony No 1,Op. 68. Tragic Overture,Op. 81.

英國留聲機雜誌評論摘要：
Two views on bold generous-spirited Brahms
Naxos first recorded the Brahms symphonies in the early 1990s with the Belgian Radio Orchestra, a minor league player alongside the London Philharmonic, a Brahms ensemble of pedigree and power. As for Marin Alsop, pigeon-holed as a modernist with a gift for refined and colourful music-making, she has found the grander, more conservative orchestras reluctant to offer her Brahms in the concert hall. They shouldn’t have worried. These are the kind of bold, generous-spirited performances which a Stokowski or a Koussevitsky would probably have been pleased to hear.
The sound is full, warm and accommodating. It is not vintage Watford Colosseum – the drum at the start of the symphony, recessed but in its own reverberant acoustic, ends up overpowering the strings – nor is the editing flawless. It is, though, a good advert for the virtues of studio recording– superior to the recent LSO Live super-budget Brahms First with its airless acoustic and ‘all right on the night’ orchestral playing.
That said, Brahms in tragic mode doesn’t always suit Alsop’s essentially warm-hearted manner. This is not merely a case of fullish sonorities blunting the edge of Brahms’s discourse in a way which is never the case with Klemperer’s 1957 Kingsway Hall account of the Tragic Overture. With Alsop, the lyric pathos is for real. It is the music’s more turbulent sequences which take on a somewhat manufactured air: more an effort of instrumentalism than an embodiment of mood.
There have also been more unpitying performances of the symphony’s C minor introduction and more remorseless accounts of its 6/8 Allegro, where the dramatic and lyrical subjects have been bound within a single all-consuming pulse (Klemperer again). Alsop’s tempi never drag (the Andante sostenuto is superbly done) though they are strangely uncoordinated in the finale where the statement of the big tune must be as slow (crotchet=92) as any on record. Not everyone needs to follow the formula crotchet=112, accelerating to 144 at the animato, favoured in both the exposition and the re-exposition by Toscanini, Karajan, Kurt Sanderling and others, or the more ‘evolutionary’ approach favoured by Klemperer, and James Loughran in his very fine 1970s Hallé cycle. Alsop appears to be allowing rhetoric to take precedence over grammar, which simply won’t do in a structure as long-pondered and closely worked as this.
There are moments of unwonted cosseting in the Academic Festival Overture which Klemperer, in his memorable mid-price cycle, conducts in a wittier, more bracingly theatrical manner. Nonetheless, these are humane, affectionate performances from which browsers and bargain-minded first-time buyers should derive a good deal of pleasure. （Richard Osborne）

留聲機雜誌再追加一篇「相對論」：
And a response from Rob Cowan who was asked to review the disc without being told whose Brahms it was…
The symphony’s opening bodes well: a steady tread, springy and not too broad, with strong timpani and a powerful climax to the reprise of the opening. The switch from Un poco sostenuto to Allegro is unceremonious and just a little abrupt, tempo relations thereafter nicely judged (idyllic horn answering clarinet at 4’56”, for example), the sound frame clear and comfortable. But there’s no tension. The lead-back to the repeated exposition is deadpan, and at the point just before the recapitulation where the lower strings goad the violins into action (at around 10’57”), the violins sound oddly inhibited. The recapitulation itself flushes red as the timps raise a short-lived storm (at 14’48”).
Elsewhere the overall approach seems geared more toward achieving homogenised textures (Karajan’s influence, perhaps?). Certain inner details, such as the all-important contrabassoon, come across well, but there isn’t a tight enough hold on pulse, forward momentum, on the ‘long’ view. This first movement needs to be more granitic, more obdurate, pesante.
I sense someone schooled in the Big Romantics, maybe the fin-de-siècle or later, trying hard with a very good (though not world-class) orchestra, a lively, generous-hearted maestro, though not necessarily a seasoned Brahmsian. The overall impression is fairly sympathetic but some passages sound perfunctory. I’m thinking of the over-prominent staccato duplets at around 7’07” into the slow movement (beneath the solo violin) while the big string theme in the finale (4’34”) lacks a sense of brio. True, the subsequent call for animation is duly met but the spirit remains low-key (including what sounds like a tentative return to the string theme at 8’41”). And you can hardly hear the important trombone line at 15’26”.
Am I being too fussy? It’s a worthy Brahms First; there’s heart aplenty and if I had never heard the work before, I would have no trouble gauging its greatness from this performance. But comparative listening demands more, and the best of the rivals are superior. The overtures are good, the breezy Academic Festival better suited to what I’m assuming is the interpreter’s bright and affirmative character than the grittier Tragic. Good, fairly ambient sound.
（Gramophone 3/2005, Rob Cowan）

José Serebrier指揮Stokowski改編華格納交響作品

作曲家： Richard Wagner（德國，arr Stokowski）
曲目：Entrance of the Gods into Valhalla; Tristan und Isolde Symphonic Synthesis; Parsifal Symphonic Synthesis from Act 3; Magic Fire Music; The Ride of the Valkyries

指揮：José Serebrier
樂團：伯恩茅斯交響樂團 Bournemouth Symphony Orchestra

發行公司：Naxos(台灣金革代理 )
片數：1張
價位：低價位


英國留聲機雜誌評論摘要：
It would be hard to imagine a more sumptuous disc. Stokowski, in these “symphonic syntheses”, enhances Wagner’s already opulent orchestration with shrewdly added instrumental lines and with the vocal parts usually given to the strings. Then at times he thins the orchestration down for more transparent textures. José Serebrier conducts the Bournemouth SO in thrilling performances, passionate in a genuinely Stokowskian manner and treated to orchestral sound of demonstration quality.
Stokowski’s aim was to provide more satisfying orchestral items in concerts than the popular “bleeding chunks”. So in the most ambitious item, on Tristan, we have between the Prelude and Liebestod a rich orchestral version of the Love Duet. Where the end of the duet builds up to that chilling interruption from King Marke, Stokowski has it lead seamlessly into the equivalent passage in the Liebestod. It works superbly.
The selection starts excitingly with the Entry of the Gods into Valhalla and it is good to find Serebrier splendidly adding an anvil when Donner brings his hammer down. The Parsifal synthesis is limited to music from Act 3, thus ignoring the Good Friday Music. From Die Walküre comes the Magic Fire Music and, most excitingly, the Ride of the Valkyries. This is Naxos’s fourth Stokowski disc and is the finest yet.（Gramophone Awards 2007 留聲機大獎）

Classics Today網站評價：9/9
摘要：
José Serebrier continues his series of Stokowski transcriptions with this all-Wagner program. The outstanding item is the "Symphonic Synthesis" from Tristan and Isolde, which consists of the Liebesnacht sandwiched in between the more familiar Prelude and Liebestodt. Serebrier continues to amaze in his ability to conjure a remarkably lush string tone from his Bournemouth forces, and the performance really does capture that Stokowskian sheen more successfully than any other series dedicated to the maestro's transcriptions (think Bamert on Chandos, for example).
But if Serebrier does better than most of the modern competition, he still has Stokowski himself to contend with. The Entry of the Gods into Valhalla faces stiff competition from Stokowski's Phase 4 Decca version, while the Magic Fire Music (absent Wotan's Farewell) never has been better than in Stoki's demented Everest rendition (now available from Arkivmusic.com "on demand"). In both cases Serebrier misses some of the glitz and glamour, especially from the harps, despite the big, fat sonority of the brass section. In the "Entry" he's also fractionally too slow.
Stoki's Parsifal Act 3 Symphonic Synthesis also can be found on the same Everest disc with the Magic Fire Music, but here Serebrier is every bit as persuasive, and much more naturally recorded. There are no "special effects" in this piece, and so we can appreciate all the more just how successfully these Bournemouth players recapture Stokowski's unique timbral vocabulary. So although this latest release doesn't quite rise to the exalted level of its predecessors, it's still extremely fine, and further evidence of the power the conductor has over the sound the orchestra makes. It's common today to hear people complain that orchestras all sound more or less the same, but as Serebrier makes clear, so do conductors, and they have less excuse.

購買日期：未定（台灣尚未發行）

卡拉揚第一套貝多芬交響曲全集（EMI）

購買日期：March/21/2008

購買來源：博客來
價位：超低價位

英國留聲機雜誌評論摘要：
Following Karajan's death, we may expect a flood of reissues from his enormous gramophone legacy. Here now are two of his complete Beethoven cycles, including the first, made with the Philharmonia Orchestra between 1953 and 1956 and produced by Walter Legge, with the balance engineer Douglas Larter. All were made in the Kingsway Hall except the Ninth: as there was no Philharmonia Chorus then, Karajan took the orchestra to the Musikvereinsaal, Vienna, and used the Vienna Singverein.
The names Philharmonia, Karajan and Legge made this an historic recording enterprise, but to these personalities must be added the fact that the LP record was then fairly new, stereo was just happening and, as Karl Schumann's accompanying note reminds us, Karajan's Beethoven, energetic, strongly rhythmical and deeply concerned with beauty of sound, was the antithesis of Furtwangler's, who died while this cycle was still incomplete. Of course, Toscanini had already instituted a highly precise, and some would say soulless, interpretative approach to Beethoven. The young Karajan was an admirer of Toscanini. He learnt from him that Beethoven's titanic strength could emerge equally well from performances that were accurate and objective but being an Austrian he shunned Toscanini's rigidity and ferocity.
These Philharmonia performances represent Karajan's first attempt to formulate his own Beethoven style—it was to be a lifetime's search. They are still magnificent—brimming with youthful vitality but full, too, of those characteristic shafts of light turned on to Beethoven's scoring, as for example in the joyful account of the Pastoral Symphony in which the finale, taken slower than in the first Berlin cycle of 1962, achieves an extraordinary spirituality. In No. 4, too, the playing of the Philharmonia strings in the Adagio and of the prindpal clarinet in the same movement is a reminder of the standard to which Karajan had so quickly raised this new orchestra.
The performances of Nos. 3, 5 and 7 all have outstanding virtues. If one stresses the rhythmic vitality, especially in the finale of No. 7, and the fast tempos which came as something of a shock at the time but now seem merely to have anticipated by 30 years what we take on the chin from the 'authentic' school of conductors, that should not detract from our pleasure in Karajan's lyrical and flowing treatment of the slow movements. As for the recording quality, it is quite remarkable, with a range and balance that are enhanced by CD.
If one wishes to make a spot-check on how Karajan's Beethoven developed, or changed, in a decade, the Allegretto of No. 7 provides a classic example. The pulse of the music is quicker than in the Philharmonia performance the legato smoother, the tone-colour more sharply defined. There is no doubt, in my opinion, that this 1962 Berlin Philharmonic cycle is one of the greatest Beethoven series ever committed to disc, both as orchestral performance and conductor's interpretation, and also as recording. Although there are sublime individual passages in the 1982–5 cycle, it is not as consistently fine as the 1962 (and this earlier cycle had the advantage of being recorded in the Jesus-Christus Kirche).
Nor can one evade the fact that, fine as the Philharmonia of the 1950s was, the Berlin Philharmonic of 1962 was its superior in every department. The refinements of its playing are too numerous to set out in detail, but how anyone could listen to these performances and then say that Karajan was 'bland' is beyond my comprehension. The brass playing throughout, and particularly in the Eroica funeral march, is just wonderful. The pizzicato at the start of the Eroica finale has to be heard to be believed—precise, yes but how meaningful too. The playing of No. 4, too, has all the grace and beauty of the Philharmonia performance, and then some.
The crown of both cycles is the Ninth, with the quartet of soloists carefully chosen each time and the same choir in both. (My preference is for the 1955 quartet, mainly because the male singers are better.) But the Berlin performance has a certainty that comes to a conductor only rarely, and did not come again to Karajan in the 1980s (listed above). Both boxes are well presented. The DG set has a long and perceptive article by RO which is required reading. The EMI set also contains performances of the Coriolan and Egmont overtures.'（Gramophone 1/1990）

儘管1962年DG柏林愛樂版似乎略勝一籌，但這套歷史文獻味道濃厚的貝多芬全集，還是每位貝多芬迷或卡爺粉絲絕對不可錯過的寶藏。

EMI公司誠意十足，此次重發經ART最新技術重新混音。

3/27追加 中國古典音樂資訊網署名里奇先生的文稿一篇：

2008年是指揮帝王卡拉揚一百歲誕辰，這位奧地利指揮大師在1989年過世至今將近20年，但他縱橫樂壇前後達半世紀之久，對當代樂壇影響之深，音樂史上罕有他人能夠相比。

這套錄音收錄了從1989年再版後，許久未在市面上重現的卡拉揚第一套貝多芬錄音，這套錄音完成於1951-1955年間，全是單音錄音，樂團是愛樂管弦樂團，當時該團中網羅許多優秀的歐洲樂手，包括英國圓號神童鄧尼斯·布萊恩。卡拉揚指揮這套錄音當時才40多歲，當時愛樂管弦樂團成立不到幾年，但是在卡拉揚的訓練下，他們迅速成為歐洲戰後的頂尖樂團。這套錄音另有一個重要的歷史意義，在進行這套全集的過程中，柏林愛樂的首席指揮福特萬格勒在1954年11月30日過世，這代表一個以後浪漫主義風格詮釋出強烈戲劇效果的貝多芬交響曲時代的結束，而卡拉揚就代表嶄新詮釋風格的來臨。

福特萬格勒以高度人文素養灌注在貝多芬詮釋中，讓貝多芬交響曲充滿了深奧哲學思維和詩意，也讓平實而具親和力的其他德國詮釋風格成為弱勢，這包括了卡拉揚的老師紹克和溫加特納等人所教導他的美學傳統，同時包括理查·史特勞斯這一派較溫和的貝多芬詮釋美學，也一併被排除在主流德式貝多芬美學之外。這些人的傳統加上托斯卡尼尼的影響，讓年輕時的卡拉揚極力想在這對立的學派之間找到折衷，那是融和了托斯卡尼尼極度精確和南德指揮學派（包括維也納）較溫和的樂風。

這套卡拉揚在1950年代初期所灌錄的第一套貝多芬交響曲全集，訴說他在綜合諸家學派後的第一份心得。在卡拉揚的手下，在1945年才由原名愛樂絃樂四重奏的團體擴建成的愛樂樂團，短短幾年內就脫胎換骨成為小提琴家西蓋蒂稱道的：“卡拉揚讓大家見識到交響樂團也可以用絃樂四重奏的精准度來演奏”的交響樂團。這套錄音因此也見證卡拉揚做為一位樂團訓練者的驚人天份和技術。

羅斯托波維奇指揮柴可夫斯基交響曲全集（EMI）

專輯名稱：柴可夫斯基交響曲全集

作曲家： Tchaikovsky（俄羅斯）
指揮：Mstislav Rostropovich
樂團：倫敦愛樂 London Philharmonic Orchestra
發行公司：EMI
片數：5張
價位：超低價位

英國留聲機雜誌評論摘要：
All the symphonies were recorded in London’s Kingsway Hall, the Tchaikovsky cycle between 1976 and 1977 and Dvorak’s ‘great four’ in 1980 (though not digitally). Granted, critical generalizations can be misleading, but it remains – at least in this particular case – fairly easy to identify a consistent interpretative grid, one that incorporates beefy textures, plentiful rallentandos, enthusiastic though occasionally imprecise playing, visionary slow movements (often taken at slow tempos), felicitous instrumental pointing (especially of brass and woodwind detail), darkly etched cello/bass-lines and an emblazoned theatricality that often recalls Slava’s great friend, Leonard Bernstein. Not that these performances resemble Bernstein’s in detail. Rostropovich’s Tchaikovsky is finer-graded than Lenny’s, and rather less prone to exaggeration (just think of Bernstein’s last New York Pathetique for DG, 5/87, with its wilfully distended Adagio lamentoso – Andante). Rostropovich’s Pathetique opens prosaically but builds to a powerful first movement development; the Allegro con grazia is both mellow and elegant, the scherzo, rumbustious and the finale, dignified and sensitively paced. The Fifth features an immensely solid first movement (with much energetic brass crossfire) and an expansively voiced Andante cantabile, and although the finale takes time to warm up (the opening Andante is rather limp), the sum effect is both stirring and deeply musical. Likewise in the case of the Fourth, where the parallel with Bernstein is most marked, although the first movement’s moderato assai is surely too slow and the heavy-handed Andante in modo di canzona, anything but song-like. The first three symphonies work well, the Winter Dreams and Little Russian particularly, the former for its haunting Andante lugubre (vivid premonitions of Manfred), the latter, for its swashbuckling Scherzo and finale. Manfred himself emerges as equivocal, sombre and inward-looking; the symphony’s middle movements are, by turn, hurried and syrupy (hardly a hint of the prescribed con moto) and while the finale’s slower episodes are atmospherically realized, the Allegro con fuoco is under-powered and the tam-tam under-recorded. However, Slava makes ample amends with a hell-raising account of Francesca da Rimini (Abbey Road this time and plenty of tam-tam) and a broad but passionately emphatic Romeo and Juliet.（Gramophone 9/1996 ）

購買日期：未定（台灣尚未發行）

Christian Tetzlaff巴哈無伴奏小提琴奏鳴曲與組曲（Virgin）

專輯名稱：巴哈無伴奏小提琴奏鳴曲與組曲
作曲家：Bach （德國）
演奏者：Christian Tetzlaff（小提琴）
發行公司：Virgin
片數：2張
價位：2CDs單張高價位

原發行時評價：ClassicsToday：10/10
摘要：
Violinist Christian Tetzlaff recorded Bach's Sonatas and Partitas in 1993, bringing a remarkably high level of technical finesse and musical maturity to his performances. He scans phrases with astute harmonic awareness and subtle accentuation to the point where his generally fast tempos and penchant for detached articulation never sound metronomic or mechanical. Cases in point can be found in the Presto movements from the G minor sonata and B minor partita, and the E major partita's famous Preludio. Tetzlaff's beautiful, focused tone often belies the fact that he employs vibrato sparingly. Moreover, his varied chord playing and effortless ability to clarify and shape Bach's real and implied polyphony in the fugues and throughout the D minor partita's imposing Chaconne give the illusion of at least two fiddlers at work.

購買日期：未定（台灣尚未發行）

Paavo Järvi西貝流士交響詩作品（Virgin）

專輯名稱：西貝流士交響詩作品集
曲目：
The Maiden in the Tower; Pelléas et Mélisande; Valse triste
Nightride & Sunrise Op. 55; Luonnotar Op. 70; Lemminkäinen Suite Op. 22
作曲家：Sibelius （芬蘭）
指揮：Paavo Järvi
樂團：Royal Stockholm Philharmonic Orchestra & Estonian National Symphony Orchestra
發行公司：Virgin
片數：2張
價位：2CDs單張高價位

原發行時評價：
ClassicsToday：10/10（Valse triste） & 9/8（Lemminkäinen Suite ）

摘要：

The orchestra plays marvelously both here and in the Valse triste, and the recording is excellent, making this an unusually desirable Sibelius disc that many music lovers will want to add to their collections. It lasted in the domestic catalog for about 12 seconds, and so it's particularly welcome in this on-demand Arkivmusic.com pressing, complete with original notes and full Swedish/English libretto (hooray!).

Nevertheless, I'd still be delighted to have Järvi's fine-toned and brilliant reading as a plausible alternative, and in any event, Solveig Kringelborn gives one of the most searching renditions of the soprano part in Luonnotar yet realised on CD. In total, these are Sibelius performances of the front rank, and if you want a benchmark interpretation of the Lemminkäinen Suite, this is as good as you're likely to find, even if the string playing lacks the final ounce of lustre that Ormandy could conjure from these pages.

購買日期：未定（台灣尚未發行）