后毕勤时代，英国最重要的指挥家应非戴维斯莫属。他的演出范畴不但包括了歌剧与自家人的音乐，尚也含盖不少重要德奥曲目与民族乐派音乐，当然绝对令人无法忘怀的是他在柏辽兹音乐上所作的努力。萧提让柯芬园得到难以辩驳的地位，戴维斯则不但力保住萧提的「战果」，同时将柯芬园的艺术水准带入另一个高峰，因此在1980年受封爵位。
他的指挥技艺是无师自通的，这点令人有点惊讶，因为他在指挥艺术上所展现出来的高手级表现，让人五体投地。他对音乐有着崇高的热爱，并且感染他人。他在排练时不大摆架子，和团员很容易打成一片。他总是先把整个作品走过一遍，接着慢条斯理的整修他不满意的乐段，有时却又过度重视细节而牺牲了整体感觉。他的音乐整个来说就是英国文化的翻版:冷静、清冽。他德奥曲目的特性:「不加佐料的德国猪脚」，所有德奥精髓大概都被蒸馏掉了，但是你说他像托斯卡尼尼，那也不大对，因为他最极力避免的就是作出和托老差不多的音乐风格，毕生对「完全忠实原作」论调提出质疑。也就因此，他对现代音乐的东西十分反感，不认为里头有多少真实的情感。

Water Lily Acoustics is proud to present the legendary orchestras of St. Petersburg, Russia, in live concert recordings which capture the excitement and sense of occasion of attending a live performance as no studio recording can. The philosophical and technical ethos of the Water Lily approach to recording is, here, perhaps for the first time, given free rein to produce a musical experience unparalleled in its realism and impact. Forged from the precious metals of the opulent age of the Czars, and tempered in the crucible of Communism, the orchestras of the former Soviet Union occupy a position in world culture that is truly unique. It is a privilege to be the first American record company to have captured the essence of these great orchestras in their native city.

A century after they were written, Mahler’s symphonies remain among the most challenging works in the symphonic repertoire, demanding the highest level of orchestral virtuosity and the utmost interpretive insight from the conductor. Mahler’s spectacular orchestration presents a sonic palette of the utmost diversity, and a range of dynamic - from whispering solos to apocalyptic climaxes - certain to immerse the listener completely in his unique sound-world. Astonishingly, this recording marks the first time that any of Maestro Temirkanov’s critically and publicly lauded Mahler interpretations with the St Petersburg Philharmonic has been available in recorded form. Now, finally, audiences the world over have an opportunity to experience this extraordinary music in the hands of one of its greatest living interpreters.

Following up their release of Brahm's Ein Deutsches Requiem, Sir Simon Rattle and the Berliner Philharmoniker continue to celebrate the orchestra's 125th year with an exploration of the 19th-century Germanic greats. On this recording they take on Bruckner's mighty Fourth Symphony, an uplifting spiritual journey across a huge musical landscape which commands the listener's attention and promises to remain in memory long after the final chords have died away.

Speaking of the individuality and overwhelming power of Bruckner's music, Rattle had this to say: "It's as though one's caught up in a gigantic wave...which simply will not stop until the last note and in fact when the last note is sounded, very often the audience simply doesn't applaud because there's a feeling to it still going out into space..."

Tracklisting:

Anton Bruckner (1824-1896)
Symphony No.4 in E-Flat Major "Romantic"
1. Bewegt, nicht zu schnell
2. Andante quasi allegretto
3. Scherzo- trio
4. Finale

《欢乐颂》采用中文唱词演唱

阿尔奈斯(Eyvind Alnaes，1872-1932)，挪威作曲家，阿尔奈斯以创作的歌曲为著名，其歌曲基本都由弗拉格斯塔(Flagstad)演唱，London有一张专集，由伦敦交响乐团伴奏，CD编号440 492-2。
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players
Two very satisfying large-scale dramatic-romantic Norwegian symphonies.
This is volume 1 in Sterling’s Norwegian Romantics series. They spawn as many series as Naxos but their rate of production is of necessity more sedate. That they produce so much and of such quality is down to the overarching sense of direction and energy of Bo Hyttner. The span of his achievement and that of his sponsors, principally the Swedish Cultural Council and in this case Norsk Kulturrad can be seen at the Sterling website. Not that Sterling has finished with the Swedish Romantics but this disc is one of a stream of nationally-themed Romantic composer series – this time from, Norway.
Eyvind Alnæs was born in Fredrikstad on 29 April 1872 and died in Oslo on 24 December 1932. He studied music in Oslo and then in Leipzig with Carl Reinecke. He was one of the progenitors of the Norwegian performing arts organisation TONO as Atterberg was for its equivalent in Sweden. Alnaes was however less productive than his longer-lived Swedish counterpart.
His long-limbed First Symphony is in four big movements. The style epitomises the nationalist late-romantic ethos. It is the work of a seemingly confident young man at ease in an idiom that partakes of late Tchaikovsky and of Dvorák. The Adagio sings soulfully and when it veers towards bleak there is an affectionate underpinning that pulls the spirit from the slough – yet with enough struggle to avoid victory. This follows a first movement which has a nocturnal conspiratorial accent, a determined turbulence and a theatrical tension. Some of the writing recalls Tchaikovsky 4 and 5 and some looks to Berlioz. Much of the orchestration is airborne and shows a deft lightness of touch. You can sense that in the final Non troppo allegro (IV) which is romantically haunting and gently winged. The music is typically endearing although the final flourishes are conventional. The symphony secured a performance in Berlin in 1897. The four movement Second Symphony from a quarter century later holds true to the same idiom. The flowing and flourishing first movement is dramatic – a plot played out against minatory black clouds. The second movement has both a hymnal element and the pregnant tension of the prelude to Berlioz’s Marche au Supplice – there’s a chill in the air and the music shivers. After a chucklingly good-humoured but not daft Allegro Scherzando with a lyrical swooning core we come to the finale. This combines stately aspects with some of the strongest facets of nationalism to surface across the eight movements that make up Alnaes’ two symphonies. The cheery mindset of this movement does perhaps diffuse some of the symphonic tautness set up by the earlier movements. Nevertheless it’s a work full of character and pleasing inspiration.
His output was not large. There are many songs of which you can hear four sung by Kirsten Flagstad on an Eloquence CD. Chaliapin also recorded some of them. In 2007 we had the first recording of the Alnaes Piano Concerto in D major on Hyperion. The coupling was the Sinding Piano Concerto.
The apt and extensive notes are by Audun Jonassen.
There you have it: two very satisfying large-scale dramatic-romantic Norwegian symphonies in the idiom caught between Grieg, Tchaikovsky and Dvorák. Sterling remain part of the vanguard of worthwhile and compelling revivals.
-- Rob Barnett, MusicWeb International

Recorded live at the Royal Albert Hall, London, 22 August 1983.

The Lucerne Festival each year opens with a concert given by the resident Lucerne Festival Orchestra. This is an elite ensemble founded by Claudio Abbado that is based on the Mahler Chamber Orchestra, to which are added internationally renowned soloists and chamber musicians. Marking the centenary of the
symphony's premiere in 1906, Abbado leads a heart-felt rendition of Mahler's
tragic and prophetic Symphony No. 6; the performance was made all the more
powerful because of Abbado's long association with Mahler's music.

美国指挥家 David Zinman 指挥苏黎世音乐厅管弦乐团 (Tonhalle Orchester Zürich，创立于 1868 年) 演奏贝多芬九部交响曲。录制于 1997 和 1998 年，1999 年发行。

Christian Thielemann被誉为“德国指挥界最有希望的继承人”。他近年来迅速走红，和他千禧年之后每年在拜鲁伊特音乐节上精彩的表现有很大关系。他2000、 02年，上演《名歌手》，2002-05年指挥《唐豪塞》，2006-07年开始指挥《指环》，曲目的份量是慢慢增加。笔者听过他在拜鲁伊特的《名歌手》 的录音，干净利落，气魄非凡又份量十足，和历史上任何一个经典录音比都不逊色。近年来，拜鲁伊特音乐节的掌门权的争夺是很激烈的。现任总监，理查·瓦格纳 的孙子沃尔夫冈·瓦格纳暂时还没有人可以动摇他的位置和影响力，除了他本人厉害的政治手腕之外，和他紧紧抓住Christian Thielemann这位爱将是有一定关系。从发展的态势看，Christian Thielemann象Hans Knappersbusch那样对拜鲁伊特音乐节那样影响深远是迟早的事。
在Christian Thielemann所有的录音中，他最出名的录音反而是他2001年在拜鲁伊特上指挥的贝多芬第九交响曲，很可能是他自1995年与DGG公司签约后之外唯一不在DGG的录音。
2001年是拜鲁伊特战后重开50周年的纪念。记得1951年，拜鲁伊特音乐节经过二 战的洗礼后重开，那是多么的庄严和神圣的一次。现在拿出那年的录音记录，每一个都是极品的演出，那种气氛，那样的阵容，现在都无法回复了。其中，那年闭幕 式是由富尔特文格勒指挥的“贝多芬第九”。这是一个永载史册的演出和录音。而Christian Thielemann在2001年拜鲁伊特的闭幕式上演“贝九”，相信是为了纪念拜鲁伊特重开50周年和向富尔特文格勒的历史经典致敬。这个演出和富尔特 文格勒那个1951年的经典一样，高潮迭起，最后几乎令人窒息的程度，是一个张力十足的演出，相信在场的听众对这样的演出是终生难忘的。
—— 以上专辑封面及介绍均转自魔术号角，感谢原发表人qna ！

ClassicsToday.com 10/10

☆ 首度以Living Stereo的CD形式压制
☆ TAS发烧榜名碟
☆ 企鹅唱片指南三星戴花
☆ 录音工程师Lewis Layton
蒙都的柴可夫斯基交响曲一直都有极高的评价，尤其是在英国企鹅评鉴当中，荣获三星戴花标志，纵横排行榜数十年无敌手。
这次以最优秀的刻片技术将Living Stereo时代的经典录音一一重现，广大乐迷应当把握机会抢购。蒙都系列在Living Stereo是首次出现，非常珍贵。

澳大利亚已故指挥家 Charles Mackerras 指挥苏格兰室内乐团和爱乐乐团（英国）演奏贝多芬交响曲，第一至第八交响曲由苏格兰室内乐团演奏，第九交响曲由爱乐乐团演奏。录音于 2006 年，2007 年发行。