review33.com: 影音天地: Any classical fans here?

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[#9342] Blu-spec CD SonyMusic將於12月24日開始發行Blu-spec CD，首波約20張（據說會有60張），每張日幣2500。名單中包括 Claudio Abbado 的貝多芬第九號、Horowitz 的最後錄音、Issac Stern 和 Daniel Barenboim 的貝多芬小提琴協奏曲、Bruno Walter 的貝多芬第六號等，詳細名單參見HMV JAPAN網站。 http://www.hmv.co.jp/fl/12/346/15/		george1977 正式會員 219.xxx.xxx.157	2008-11-16 09:46

[#9343] Blu-spec CD
so many formats nowadays...

cande

正式會員
203.xxx.xxx.99

2008-11-16 10:26

[#9344] 大提琴家 Mstislav Rostropovich EMI錄音全紀錄
「大提琴家 Mstislav Rostropovich EMI錄音全紀錄」共26碟加2張DVD，定價是 HK$ 1200-1400。內容除了 Rostrpovich 以大提琴家身分在EMI的錄音集外，還包括絕版多年的「The Russian Years」。CD28是 Rostropovich 接受Jon Tolansky訪問，而DVD是 Rostropovich 演奏巴赫無伴奏大提琴組曲，但穿插他幾段 interview。

http://www.books.com.tw/exep/cdfile.php?item=0020129147

george1977

正式會員
61.xxx.xxx.107

2008-11-18 22:35

[#9345] Complete Ring decided
hi george1977 and chankaiming,

Having pondered several options, I've decided, against the financial big bang, to get the Keilberth 1955 'first stereo' version of the Ring because i) I am very interested in hearing Vinay as Siegmund and Varnay as Brunnhilde and ii) I've already had Furtwangler's EMI mono version. Yo!

wal

正式會員
202.xxx.xxx.5

2008-11-19 14:17

[#9346] Complete Ring decided
Wal

Happy listening!

If I were you, I will consider the live cycle of Rudolf Kempe instead (Testament)!

Still considering... you are so bold! ^.^

george1977

george1977

正式會員
219.xxx.xxx.13

2008-11-19 15:25

[#9347] 為 Edo De Waart 平反!
如果有口痕友用 Leonard Bernstein或者 Klaus Tennstedt 的現場或者錄音室錄音作為標準, 衡量 Edo de Waart與香港管弦樂團演奏馬勒的水平, 批評港樂錯音連連, 但是小弟我只想口痕友撫心自問:

1) Leonard Bernstein的詮釋一向煽情誇張, 同Edo De Waart 的無添加詮釋根本是2種完全不同的詮釋方法, 試問這樣比較是否公正?

2) 錄音室 (Studio) 錄音是可以剪接 (Edit)補錄的, 但是現場演奏或錄音僅有一 Take過, 試問這樣比較是否公平?

3) 記住不管是現場或者錄音室錄音, 麥克風 (Microphone) 的佈置位於指揮家頭上端幾乎2.5米高的位置, 但是聽眾的座位容易遭受不同的元素( 反射聲, 音樂廳的聲學特性) 影響, 試問這樣比較是否公平?

4) 荷蘭流派一向著重馬勒的作品, 甚至得到作曲家馬勒的重視, 皇家阿姆斯特丹音樂大廳管弦樂團 (RCOA)的前任指揮 Mengelberg雖然以誇張的詮釋聞名, 然而繼任者 Van Benuim 及 Bernard Haitink 提出嚴格遵守樂曲總譜上的指示, 展現馬勒作品的自然風貌, 難道這樣都有錯?

5) 管弦樂隊的水平受演奏會那一瞬間的氣氛及排練密度的影響, 試問誰人無過?

反思之餘, 我們是否應當更加惜福?

恐怕 HKPO將來(2012年後)亦難以尋得優於 Edo De Waart的代替者!!!

george1977

正式會員
219.xxx.xxx.13

2008-11-19 15:28

[#9348] 為 Edo De Waart 平反!
總的說來大師 Edo De Waart 在詮釋上相應精煉細緻, 與其良師 Bernard Haitink 有頗多相似之處, 兩者皆尊重總譜本來的指示, 重視速度 (pace) 的掌握 (決不誇張炫耀, 賣弄煽情, 例如 Leonard Bernstein) 和作品整體的結構, 所以絕不隨便使用彈性速度或搶版 (Rubato), 亦非有特性的 (idiosyncratic) 指揮家! 令小弟我聽到更多在總譜上未被發掘的細節, 特別是 Respighi: Suite for Organ and String 及 Walton: Henry V 2首冷門作品開寬小弟我的“耳”界, 聽完音樂會使我產生強烈的衝動, 立即購買CD錄音支持.

一定有口痕友批評Edo De Waart 詮釋缺少想像力及個人特色的洞察力, 演奏缺乏心靈上的啟示旅程, 或盲目追求細節, 有幾分棄本逐末的味道! 小弟我只想說, 實際上不管指揮什麼音樂 (如馬勒), 僅僅遵守樂曲總譜上的指示, 是每個指揮家的基本職業道德要求, 何況馬勒生前最憎恨不勝任的指揮亂指他的作品, 所以馬勒不厭其煩地在樂曲總譜上標示詳細的速度指示及需要注意的細節!

george1977

正式會員
219.xxx.xxx.13

2008-11-19 15:29

[#9349] 為 Edo De Waart 平反!
Edo de Waart 通曉鋼琴及雙簧管, 曾經擔任皇家阿姆斯特丹音樂大廳管弦樂團 (Royal Concertgebouw Orchestra Amsterdam)的首席雙簧管手, 後來轉學指揮; 接著跟隨 Leonard Bernstein 學師一年 (1964-65), 擔任紐約愛樂者樂團 (New York Philharmonic)的助理指揮. 大師隨後亦跟隨 Bernard Haitink學師也擔任阿姆斯特丹音樂大廳管弦樂團的助理指揮 (1965-67). 曾經執掌鹿特丹港管弦樂團 (Rotterdam Philharmonic Orchestra 1973-1979), 舊金山交響樂團 (San Francisco Symphony Orchestra 1977-85), 美國明尼蘇達管弦樂團 (Minnesota Orchestra 1986-95), 雪梨交響樂團 (Sydney Symphony 1995-99)及將擔任密爾瓦基交響樂團的音樂總監 ( Milyaukee Orchestra 2009 -). 大師享有樂團建立者 (Orchestra Builder)的美譽! 並且在 Virgin, Exton, Philips錄下大量的唱片, 以理查華格納, 理查．史特勞斯及馬勒的詮釋享負盛名!

予小弟我深刻印象的4場音樂會分別是

Respighi: Suite for Organ and String;

Walton: Henry V;

Stravinsky: Rite of Spring;

Mahler: Symphony No.4

george1977

正式會員
219.xxx.xxx.13

2008-11-19 15:30

[#9350] 為 Edo De Waart 平反!
無可否認通過 Edo De Waart 3年來地獄式的驅策訓練, 香港管弦樂團 (Hong Kong Philharmonic Orchestra)已經在弦樂組合奏齊整度方面進步不少, 銅管樂器部的準確性需要加強, 木管樂部和敲擊樂部仍舊是始終如一的高水平,然而樂團尚欠缺獨特的樂團音色. 猶記得去年11月大師的馬勒第六交響曲演奏會甚至更引起某幾個古典樂迷在 Hi-Fi 網站Review33的連環爭論, 不幸我認識的2位網友唇槍舌劍, 爭論逐步上升到涉及粗野的人身攻擊, 結果令人遺憾無言.

初初聽 Edo de Waart的指揮港樂的演奏會, 感覺僅僅是不過不失, 有時甚至覺得大師的詮釋到喉不到肺! 但Edo de Waart的詮釋是否真的如此欠缺方向及個性嗎? 聽過今年4場音樂會及在友人錄音室重播實況現場的錄音, 小弟確實徹底對 Edo de Waart 180度改觀了!

george1977

正式會員
219.xxx.xxx.13

2008-11-19 15:31

[#9351] 為 Edo De Waart 平反!

george1977:

Have you posted the link to your blog here?

http://hk.myblog.yahoo.com/georgefung1977/

I see you have mentioned his Pentatone Rachmaninov Symphony #1.

Incidentally there is a review of this CD in the current issue of the American record Guide, my favorite magazine whose critics count a large number of musicains among them:

http://www.americanrecordguide.com/critics.html

Some of the things said about the symphony:

"...EdW gives a professional, somewhat restrained, almost classical performance of Rachmaninov's most loved symphony. There's no romantic excess or over-indulgence here, just bracing, solid musicianship. And that's the problem: the interpretation is too plain..."

On Capriccio Espanol:

"...EdW s a stolid, staid, inflexible performance.The Rotterdam players do their jobs well,; but again, the the tone isone of businesslike professionalism rather than mastery of the long, sensuous line..."

doctorjohn

正式會員
116.xxx.xxx.252

2008-11-19 18:28

[#9352] 為 Edo De Waart 平反!
thanks doctorjohn for quoting the link of American Record Guide!

I think I will post the link or the clumsy articles of my blog subsequently, unless and until my articles are sufficient, fully-edited and well-written, but certainly not at this premature moment!

Unfortunately I dun fully agree with what American Record Guide comments and on what basis (or benchmark recording, original score?!) they compare! If the commentator of American Record Guide even ruled out the original score and fail to accept an inflexible performance (which implied that minimum or even no overdue rubato being used when EDW conducted this symphony!), I really suspect whether they justify to make such stingy comment in this manner.

Surely EDW is not a sentimental conductor in his readings of other works but I respect his full observance of the original score and his ongoing discipline (restraint of using the rubato and self-indulgence).

A great piece of work, I humbly opine, should allow or enlist different kinds of interpretation approach, whether the conductor approach is my cup of tea or not. As a fervent fans of Leonard Bernstein, I like his indulgent tempo and larger-than-life approach in Mahler too. But it does not mean that I could not accept the alternative account of EDW in a "plain" manner if he fully observes the original score, devoid of unstable tempo and tricks-playing.

george1977

george1977

正式會員
61.xxx.xxx.107

2008-11-19 23:12

[#9353] 為 Edo De Waart 平反! (2)
第二張是日本 Exton 唱片公司發行的華格納歌劇的前奏曲(Wagner Overture I; Hybrid SACD), 小弟我真的沒有想過 Edo De Waart指揮華格納竟然不比 Karajan, Bohm, Klemperer 遜色, 荷蘭電臺愛樂樂團 (de Waart 的子弟兵) 演奏 Die Meistersinger von Nunberg, 自第一個音符直到最後的休止符, 一氣呵成毫不冷場, 氣氛之轉變盡在不言中! Lohengrin 的前奏曲令我想起 Rudolf Kempe, 寬廣的線條及流麗的音色, 自然而不做作的詮釋令我深深感受樂譜中華格納的精神層面. Parsifal亦毫不冷場, 速度沒有 Knappertsbusch偏向遲緩的速度, 但是不乏感人的宗教信息. Tristan & Islode 的序曲和愛之死充滿著大師抒情詩般的造句, 手法如歌劇中的 bel canto, 旋律美得扣人心弦, 令人喘不過氣! Tannhauser 序曲並非 Karajan 式的君臨天下, 亦非 Klemperer的緩緩坦克車般的氣勢, 而是 Edo De Waart 精湛安排的巡遊, 我覺得 Edo De Waart似乎使用彈性速度, 張力十足, 沒有勢不可擋的氣勢, 但樂團的音色水乳交融, 銅管樂部與弦樂部的對話充滿人文色彩, 是典型的歐陸小型合奏 (Ensembleship)的最好示範!

george1977

正式會員
61.xxx.xxx.107

2008-11-19 23:15

[#9354] 為 Edo De Waart 平反! (2)
小弟我最近也聽過2 張新的SACD, 1張由 Pentatone重新發行的 Philips再版 (Rachmaninov: 第二交響曲 & Rimsky-Kosakov : 西班牙隨想曲) , 另一張是日本 Exton 唱片公司發行的華格納歌劇的前奏曲(Wagner Overture I).

先聽 Pentatone再版的Rachmaninov: 第二交響曲 & Rimsky-Kosakov : 西班牙隨想曲, Edo De Waart 繼承荷蘭流派拒絕煽情的傳統, 一板一眼地將曲中的懷舊情緒帶出, 節奏起伏大而有條理, 張力十足, 但是鹿特丹港管弦樂團始終絕非俄羅斯樂團, 因此浪漫指數大大降低, 樂團的音色趨向泰然自若; 另一首Rimsky-Kosakov : 西班牙隨想曲, Edo De Waart發揮他老頭子的拿手好戲, 速度 (pace) 的掌握一流, 舞蹈感強烈, 每個章樂的造句猶如天衣無縫的西班牙拱廊建築, 凹突感細緻, 敲擊樂的質感跟隨旋律起落, 每個音符好似應該如此演奏, 活潑而優雅!

george1977

正式會員
61.xxx.xxx.107

2008-11-19 23:16

[#9355] 為 Edo De Waart 平反! (2)

george1977:

The Pentatone recording was an old Philips recording. which Pentatone issues with originally recorded multichannel sound, best for those into multichannel SACD.

However, neither the orchestra nor the conductor was as good as in the later version with the Netherlands Radio Philharmonic on Japanese EXTON.

http://www.sa-cd.net/showtitle/2313

This is actually available in the library! I have heard ALL of them, and can vouch for the sound quality and performances (which are superior to the Pentatone/Philips, and that's an opinion shared by EdW seekers on the net). Since you are an EdW fan, this one is a must-have.

Very often people stuff words into my mouth. I certainly don't mind "neutral", "less opulent" performances of Rachmaninov (or Mahler for that matter).

I am actually a great fan of Rachmaninov symphonic works. While my choice would be something like Ashkenazy/Decca (not overtly "sentimental" either, just WITH SENTIMENT, a big difference), I do think the Exton set worthwhile, unlike much of EdW's discography elsewhere I am afraid.

I actually acquired an EdW/Rotterdam Rachmaninov 1st Philips LP this time in NYC. It's pretty good and I think it's a symphony more suited to him. But, as with him most of the time, there's lack of gravitas.

Incidentally, I listen to EdW wheneevr I can. TONIGHT, RTHK4 Live at the Concertgebouw I think features EdW in Strauss Don Quixote and serenade:

http://www.rthk.org.hk/rthk/radio4/Live_at_the_Concertgebouw/20081120.html

Let's all hear it!

doctorjohn

正式會員
218.xxx.xxx.184

2008-11-20 08:38

[#9356] 為 Edo De Waart 平反! (2)
Morning Doctorjohn,

The Pentatone SACD has hybrid three layers, it could be respectively played in SACD stereo layer, multichannel layer and CD layer. Because I never install any multi-channel amps and speakers, therefore what I auditioned is CD layer and SACD stereo layer. For me both layers sound good but not in audiophile demonstration class.

I also own and listened EDW account in EXTON which sounds more opulent with a bit audible compression, surely the orchestral rendition of Holland Radio Philharmonic Orchestra is technically superior to Rotterdam Philharmonic Orchestra, but the "play-by-the-book"approach of conductor EDW was more or less the same as his previous accounts in 1970s with consistent tempo and minimum use of rubato. The main difference are the distinguishable intonation of both orchestras he commanded and the advancement of recording technology.

BTW, I never say that I am a fervent fan of EDW but just start to appreciate his consistent delivery and endeavour of EDW (even if his plain approach is against the neurotic and glowing approach of my beloved conductors such as Leonard Bernstein and Carlos Kleiber). An open-minded music lover, in my humble opinion, should accept and appreciate all kinds of interpretations rather than sticking on a single approach or authoritative version. Otherwise an immortal work is hardly called as masterpiece because of limited choice of interpretation approach.

After 15 years of listening classical music, I rather trust my ears audition now instead of relying upon those record guides (such like grammophone, penguin guide dictionaries) which may be subject to advertisement, business-driven gimmick or critic self-chauvinism resulting in eel-articles (useful for junior collector at initial record gathering stage, but not good for building your own music library at your own taste). What would be better off if we can listen and feel by our first-hand intuition and feeling ? instead of relying upon the commercial-led music critic !

The only guide I trust for the time being is BBC music magazine whose articles are given in an seemingly impartial manner with actual insight and genuine music knowledge; critics simply wrote the review by their heart without ulterior purpose(even with obvious preference). Most importantly they are funded by British Government but not those greedy record companies' advertisment.

BTW, my music blog is supposed to be private and to share among my close friends (such as you or others whom I am very familiar with), I never intend to make it public to an extent in public forum such like R33 unless and until I fully accumulate sufficient quality articles and finalize my editing (still lots of typo and error indeed!). If I intend to post any clumsy articles at my blog in R33, I will post it by myself unless to my full satisfaction!

Therefore please respect my initial purpose of setting up this private blog and my full command of publication time. Thx!

George1977

george1977

正式會員
219.xxx.xxx.30

2008-11-20 12:10

[#9357] Heifetz's 1950 Walton Violin Concerto
Read the following page for Heifetz's involvement with the genesis, the 1939 premiere, and the 1950 classic recording of Walton's Violin Concerto, with the composer conducting.

(from the RCA Victor CD booklet)

Trollope

正式會員
202.xxx.xxx.213

2008-11-20 23:18

[#9358] Heifetz's 1950 Walton Violin Concerto
Same reading with the same coupling:

Walton: Violin Concerto
Jascha Heifetz / Philharmonia Orchestra / William Walton
July 1950, EMI Studio, Abbey Road

Elgar: Violin Concerto
Jascha Heifetz / London Symphony Orchestra / Malcolm Sargent
June 1949, EMI Studio, Abbey Road

Three editions (all in ADD mono), from bottom to top:

RCA Read Seal BVCC-37113, made in Japan, released 2001
RCA Gold Seal 7966-2-RG, made in the USA, released 1988
RCA Gold Seal GD 87966, made in West Germany, released 1988

The Japanese edition, despite the 96kHz/24bit remastering, sounds depressingly rough and wanting in tonal bloom, so much so that a great deal of intensity seems to have lost. This is a rather worse than usual Japanese pressing.

The two early Gold Seal CD editions are easily found to be more full-bodied, bringing an ear-caressing warmth, an immediacy, and above all, a lyrical strength to this great work.

Trollope

正式會員
202.xxx.xxx.213

2008-11-20 23:22

[#9359] Heifetz's 1950 Walton Violin Concerto
A recording conveying an energy that is almost almighty, entirely in sympathy with Walton's rich writing.

Trollope

正式會員
202.xxx.xxx.213

2008-11-20 23:27

[#9360] Heifetz's 1950 Walton Violin Concerto
My two other versions are modern ones (Haendel, 1977; Kennedy, 1987). Deeply satisfying though they are, I am curious to learn just how Heifetz's equally famous 1941 reading sounds, but I don't have that CD (Cincinnati Symphony Orchestra / Eugene Goossens).