Peter Maag conducts a delightfully fresh "Scottish" Symphony, keeping tempos moderately brisk, textures lean, and phrasing intuitive--that is, everything flows easily and logically. The first movement's slow introduction is not weighted down with profundity but instead sets the stage for the terse, energetic allegro to follow. Maag's scherzo is not as fast as Abbado's (also on Decca), but is still vibrant and allows much inner detail to register. The Adagio can be (and often is) the soggy center of this symphony, but Maag's beauty-in-motion conducting prevents any static dullness from setting in, letting the music emerge as the moving piece it is. Maag begins the finale attacca, quickly dispelling the adagio's mood with flashes of fire from the violins. The London Symphony Orchestra's brass and strings really enliven the confrontations near the movement's end, before the seemingly tacked-on coda (Mendelssohn could have left well enough alone with the quiet ending) which, thanks to thrilling horn playing, sounds less tiresome than usual.

The well-filled (79 minutes) disc includes Maag's selections of incidental music from Mendelssohn's A Midsummer Night's Dream. This includes the usual Overture, Scherzo, Nocturne, and Wedding March, as well as four additional selections, some with female chorus and soprano soloists (Jennifer Vyvyan and Marion Lowe) who help create the fairytale atmosphere with vivid, pointed, and colorful singing. This collection allows us to probe deep into Mendelssohn's work without getting bogged down in the repetitions and minutiae of the complete version. The London Symphony again fulfills Maag's vision, playing with sparkle and polish. Decca's 1960 recording of the symphony is full and clear with plenty of depth; the 1957 sound for Midsummer is dynamically limited by comparison.

--Victor Carr, ClassicsToday.com

FELIX MENDELSSOHN
Symphonien
No. 4 »Italienische
Italian«
No. 5 »Reformation · Riforma«
Berliner Philharmoniker
Lorin Maazel
|A|D|D| 000289 477 8582 8 |G|B|
Int. Release 02 Oct. 2009

韩裔小提琴家郑京和可说是女性小提琴家中最出类拔萃的佼佼人物，她弓法精准利落，快板明亮爽朗，慢板柔韧致密，
演奏宜古宜今，如此全方位的表现即使男性小提琴家中也罕有其匹。辑中收录之两首小提琴协奏曲均是郑京和的拿手好
戏，分别录制于70年代与80年代，担任协奏的肯培与迪图瓦亦是一时之选，表现较郑京和毫不逊色。录音虽有模拟与数
字之分，而有不同的质感，但就聆赏上效果同样出色，郑京和于演奏中所散发的个人魅力，亦丝毫不见减损。

留声机杂志—
这是神奇、光灿的出色演奏，充满门德尔颂式的优雅，久已未见如此大师级的演奏了。郑京和是位可畏的演奏家，
她的弓法锐利钢劲且精准…布鲁赫作品中的抒情乐段明亮丰润，自始至终均有最出色的表现。

企鹅唱片评鉴—
似火花一般且欢愉，可爱的慢板乐章更是鲜活如歌。

☆美國發燒獨立名廠Klavier Records鎮山之寶
這張「動物狂歡節」錄音無須多言，它是早年美國發燒獨立名廠Klavier Records(發燒友通稱老K)兩張鎮山之寶之一（另一張為馬斯奈的「馬斯奈／領袖」）。當年和「領袖」這二張CD在老發燒友之中人手一張應不為過。
「動物狂歡節」是聖桑五十一歲時到奧地利旅行，受好友委託為該地狂歡節所譜。全曲十四段音樂透過聖桑別出心裁的構思描繪出動物滑稽的形態，曲趣非常輕鬆活潑。雖然不是所謂的嚴肅大曲，但優美動聽，一直深受大眾喜愛。當年聖桑在創作此曲時所描繪的雖然是動物，但是這些音樂或多或少借用了一些當時作曲家的作品，而且他也幽默的諷刺了這些作曲家的形象，因此聖桑生前並不准這部作品出版，一直要到他死後才公諸於世。
此版本的動物狂歡節的樂團編制不大，錄音並不是非常刺激，但為何它如此知名？原因就在整張唱片的質感，這種質感表現在它非常真實的樂器音色以及清甜的音質上，再加上大小適中的音場、正確的樂器形體比例、絕佳的定位、良好的暫態反應及飽含光澤的空間堂音，更重要的是旋律好聽，其中更有人人都知的「天鵝」一曲，可以說本片它無處不美、無處不發燒。
所以除了音樂的美感之外，本片也是調整音響器材與鬥機的利器，難怪發燒友趨之若鶩。另外該一提的是美籍鋼琴家奧格東在輯中里托夫與佛瑞另外兩曲中的鋼琴表現敏銳而活力十足，演詮極富魅力。以本片連古典音樂入門者都適合的曲調，及發燒級的錄音效果，

The Op. 42 Notturno for viola and piano is an arrangement of the 1796-97 Serenade in D, Op. 8, which was scored for violin, viola and cello. But it was not the composer who reduced it to piano and viola here. F. X. Kleinheinz did the arrangement and presented it to Beethoven, who corrected it and approved it for publication in 1804. In the same year Kleinheinz also fashioned an arrangement of Beethoven's Op. 25 Serenade for flute (or violin) and piano, with the composer once more making emendations he deemed necessary for publication, at which time he assigned the opus number 41. There were other instances where Beethoven allowed another hand to transcribe his music: the Op. 104 String Quintet (1817) was an arrangement (now attributed to Kaufmann) of the Op. 1 Trio, No. 3, and the Op. 64 Sonata for Cello and Piano was an arrangement by an unknown party of the Op. 3 String Trio. And there are more such instances.
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Felix Mendelssohn composed three violin sonatas (two of which have only in the last 50 years been re-discovered and published) and, as he moved toward and into his thirties, a pair of cello sonatas. Three-quarters of the members of a standard string quartet are thus satisfied; and the other quarter will quickly tell you that Mendelssohn also, in fact, satisfied, or at least tried to satisfy, them -- for in 1824 he composed something most remarkable for the time: a Sonata for viola and piano in C minor.
Mendelssohn's Viola Sonata is not actually unique for its day -- other composers had applied, were applying, and would apply the instrument to the genre. But still there certainly aren't many Classical or early-Romantic viola sonatas. The sonata is by date early Mendelssohn; Mendelssohn was 15 when he signed his name to the piece on February 14, 1824 (he was in fact just a week and a half past his 15th birthday). There is, however, nothing juvenile about the music it contains, and if in his adulthood he wrote superior music, that is a comment not regarding the Viola Sonata's shortcomings, but rather Mendelssohn's own outstanding -- if not always fully used -- gifts.
The composer was himself a keen violinist and violist in his youth (it is well-known that he played one of the viola parts in an early performance of his Octet in E flat), and he clearly understands all of the difficulties that come hand-in-hand with composing for viola. He is sure to keep the piano writing transparent and lean so that the viola and its musically unwieldy register can shine through at any moment.
There are three movements. 1. Adagio -- Allegro, in the usual sonata-allegro form; 2. Menuetto (Allegro molto), with a slightly slower, chorale-like trio section; and 3. Andante con Variazioni, in which the violist occasionally drops out so that the pianist might let loose a bit and draw some thicker, more opaque sounds from the instrument.
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Robert Schumann's little-known Märchenbilder (Fairytale Pictures) for viola and piano (alternately for violin and piano, by the composer's own indication) were composed during March of 1851, during his brief and relatively unhappy tenure as conductor at Düsseldorf. Chronologically, these four fantasy pieces occupy the space between the two sonatas for violin and piano, though they can hardly be said to inhabit the same emotionally conflicted world. Instead, they draw the listener into that same glistening world of fantasy and childlike imagination that, many years earlier, drew from him some of the most beloved piano music in the repertory. However, twenty years of further experience and the first signs of approaching madness grant to these seemingly simple portraits an almost desperate sense of escapism lacking in the earlier piano works.
The first of the four Märchenbilder, marked Nicht schnell (Not fast), features a somber melody in D minor that recurs throughout the piece in a variety of guises. Lebhaft (spirited), which follows, is a kind of truncated rondo that contrasts its main, exuberant, theme with two much gentler digressions, while pitting the violin and piano against one another in friendly competition. Rasch (swift or brisk), a vehement moto perpetuo, follows. A secondary motive, announced by the piano in the fifth bar of the piece, is of rhythmic interest and considerable importance. The final piece of the group is set in the traditionally happy key of D major, but is nevertheless marked Langsam, mit melancholischem Ausdruck (Slowly, with melancholy expression). Its sonorous texture seems to presage the Adagio of Johannes Brahms' D minor violin sonata.

介质为1CD！

01 Overture "A Midsummer Night's Dream", Op.21 Boston Symphony Orchestra 11:58
02 A Midsummer Night's Dream, Op.61 Incidental Music - No.1 Scherzo Judi Dench 4:47
03 A Midsummer Night's Dream, Op.61 Incidental Music - No.2. L'istesso tempo Judi Dench 1:51
04 A Midsummer Night's Dream, Op.61 Incidental Music - Fairies' March Judi Dench 1:37
05 A Midsummer Night's Dream, Op.61 Incidental Music - No.3 Song with Chorus: "Bunte Schlangen, zweigezüngt" Kathleen Battle 4:44
06 A Midsummer Night's Dream, Op.61 Incidental Music - No.4 The Speels Judi Dench 0:41
07 A Midsummer Night's Dream, Op.61 Incidental Music - No.5 Intermezzo Judi Dench 4:08
08 A Midsummer Night's Dream, Op.61 Incidental Music - No.7 Notturno Judi Dench 6:21
09 A Midsummer Night's Dream, Op.61 Incidental Music - No.8 Melodram Judi Dench 2:32
10 A Midsummer Night's Dream, Op.61 Incidental Music - No.9 Wedding March Boston Symphony Orchestra 5:07
11 A Midsummer Night's Dream, Op.61 Incidental Music - No.10 a) Prologue Judi Dench 0:47
12 A Midsummer Night's Dream, Op.61 Incidental Music - No.10 b) Funeral March Boston Symphony Orchestra 1:33
13 A Midsummer Night's Dream, Op.61 Incidental Music - No.11 Dance of the Clowns Judi Dench 2:05
14 A Midsummer Night's Dream, Op.61 Incidental Music - 12 Allegro vivace come 1 Judi Dench 1:40
15 A Midsummer Night's Dream, Op.61 Incidental Music - Finale: "Bei des Feuers mattem Flimmern" Kathleen Battle 5:48

Schumann: Violin Concerto in D minor, WoO 23
Mendelssohn: Violin Concerto in E minor, Op. 64
·
Henryk Szeryng (violin)
London Symphony Orchestra
Antal Dorati
Recorded: 1964-07-05 (Schumann) 1964-07-03 (Mendelssohn)
Recording Venue: Watford Town Hall, London
·
Bartók: Romanian Folk Dances for piano, Sz. 56, BB 68
Debussy: La plus que lente
Novácek, O: Perpetuum mobile - Concert Caprice Op. 5 No. 4
Brahms: Hungarian Dance No. 17 in F sharp minor
Marroquin: Mexican Lullaby
Rimsky Korsakov: The Tale of Tsar Saltan, Op. 57
·
Henryk Szeryng (violin), Charles Reiner (piano), Jascha Heifetz (work arranger)
Recorded: 1963-02-14
Recording Venue: Ballroom Studio A, Fine Recording, New York

本唱片是门交第三/四的名盘，企鹅评价三星，为卡爷指挥亲兵BPO于1971年与1973年在柏林耶稣基督大教堂的录音。正处于巅峰期的卡大师与BPO为我们奉献了一次教科书般的演绎：BPO豪壮又不失柔情的音色充满画面感与生命的气息，如丝绒般绵密细致的弦乐与黄金般熠熠生辉的铜管乐无一将卡式美学发挥得淋漓尽致，令人听出耳油的同时又有叹而观止之感，实乃各位爱乐人士居家旅行休闲放松之必备唱片。
本唱片的补白曲为门德尔松的“赫布里底群岛”序曲，同样是一个经典的录音。卡大师棒下BPO无比细腻与理性的演绎令听者仿佛有带咸味的海风轻抚脸颊之感，除此之外还有圣咏般洒下的阳光与海鸥们快乐的歌声，世间的烦恼瞬间飞到九霄云外，留下的只有对自然力量的感恩。

D大调小提琴协奏曲，本曲作于1806年，是贝多芬唯一的小提琴协奏曲作品，自古以来被誉为小提琴协奏曲之王。这首乐曲旋律柔美、格调高雅、规模宏大，颇具王者风范。然而，本曲在被誉为小提琴协奏曲之王前，也经过很长一段时间的考验。本曲初演以后，几乎没有人再对它回顾，本曲的华彩乐段，并不像钢琴协奏曲那样由贝多芬亲自谱写，而是留给各式各样的演奏者谱曲，其中较常采用的有约阿西姆、奥尔和克莱斯勒等的手笔。当年贝多芬作曲时，正值他与他的学生，匈牙利的伯爵小姐勃伦斯威克产生了深深的爱情，并在她家的庄园度过了快乐的夏天。他一生中这"最明朗的日子的香味"便渗透在贝多芬这部唯一的小提琴协奏曲中。
全曲共分三个乐章：
第一乐章，从容的快板，D大调，4/4拍子，协奏风格的奏鸣曲形式。主部主题带有深切的探询意味（片段1），随后呈现的副部主题旋律明澈柔美，从容匀称，充满了温暖和喜悦，飘散出美丽花朵的芬芳（片段2）。本乐章最后部分的华彩乐段是由不同的演奏家谱写的。
第二乐章，抒情的慢板，G大调，4/4拍子，变奏曲式。优美的主题由加上弱音器的弦乐群单独呈示，充满舒缓恬淡的气氛。主奏小提琴以华彩的风格翩翩上升、下降后，旋律如歌般地呈现出来（片段3）。
第三乐章，回旋曲，快板，D大调，6/8拍子，回旋曲形式。主奏小提琴旋律给人以深刻的印象。在延长记号之后，主奏小提琴展现了它精彩灿烂的技巧，最后终于进入了炫耀琴技的华彩部分。此部分结束，音乐以回旋主题为基础，达到光华灿烂的高潮巅峰，结束全曲(片段4)。
e小调《小提琴协奏曲》， 这首小提琴协奏曲作于1838－1844年间，于1845年首次上演。
门德尔松的小提琴协奏曲中，这一首是最为著名的，与贝多芬的 D大调，勃拉姆斯的D大调和柴科夫斯基的D大调小提琴协奏曲并称为世界四大小提琴协奏曲。整部作品充满了柔美的浪漫情绪和均匀齐整的形式美,小提琴的处理手法精妙绝伦，旋律优美，技巧华丽，达到了登峰造极的境界，不仅是门德尔松最杰出的作品，也是德国浪漫乐派诞生以来，最美丽的小提琴代表作。有人甚至认为这部作品是小提琴协奏曲的"压卷之作"。
全曲由三个乐章构成，乐章之间不中断地连续演奏，这在当时算是新的手法，作曲者可能意在防止具有浪漫氛围的快速流动被切断；而各乐章却各自独立，体现了门德尔松以古典派传统为基础，并灌入新时代气息的典型作风。
第一乐章：热情的甚快板，e小调，2/2拍，是整部作品最著名的乐章。第一主题是一个充满幸福，又荡漾着忧愁的优美旋律（片段1）。 这一乐章是如此的出名， 以至于一提到门德尔松，人们便会联想到这个主题。同时， 这一乐章的华采乐段也体现了小提琴演奏的高超技巧。
第二乐章，行板，D大调，6/8拍， 这是一个抒情的而且富有门德尔松韵味的极其醇美的乐章（片段2）。
第三乐章，以奏鸣曲式写成，也是世界著名的乐章（片段3）。
海菲茨的技巧堪称完美，演奏时冷峻的外表后面是被帕尔曼形容为"tornado"的感情。这个版本的门德尔松协奏曲速度较快，但是非常清晰，典型的海菲茨风格。这首曲子的华丽技巧被表现的很充分，音色有些偏冷，但是明快优雅。相比之下，海菲茨贝多芬的曲子上更“用情”，但是没有丝毫拖沓，表现的非常大气。这种对感性和理性的完美平衡，让海菲茨的演奏不可被超越。

详细内容: MendelssohnOctet in E flat majormi bémol majeur·Es-dur,op.20BeethovenSeptet in E flat majormi bémol majeur·Es-dur,op.20Members of the Wiener Oktett1-4 Mendelssohn:Octet in E flat major(33.01)5-10 Beethoven:Septet in E flat major(40.54)(Total timing·Durée·Spielzeit:74.06)广告语: 门德尔松：《降E大调八重奏》/门德尔松的降E大调八重奏是1825年献给柏林管乐协会创办人小提琴家利茨，采用两个四重奏的编制，是音乐史上最著名的八重奏之一。另有贝多芬七重奏

Born 1967; this recording 1988.

The works on this recording were performed during the 49th season (1984) of the Ravinia Festival, Chicago, James Levine, Music Director.