辛德米特：《小提琴协奏曲》，布鲁赫：《苏格兰幻想曲》，莫扎特：《降E大调交响协奏曲》，为小提琴和中提琴而作的《降B大调二重奏》/大卫·奥伊斯特拉赫演奏，欣德米特指挥伦敦交响乐团。“企鹅”评价三星，“大师传奇系列” ！

01 Sinfonia Concertante For Violin, Viola And Orchestra In E Flat, K.364-Allegro Ma
02 Sinfonia Concertante For Violin, Viola And Orchestra In E Flat, K.364 - Andante
03 Sinfonia Concertante For Violin, Viola And Orchestra In E Flat, K.364 -Presto
04 Duo For Violin And Viola In G, K.423 - Allegro
05 Duo For Violin And Viola In G, K.423 - Adagio
06 Duo For Violin And Viola In G, K.423 - Rondeau (Allegro)
07 Scottish Fantasy, Op.46 - Adagio Cantabile
08 Scottish Fantasy, Op.46 - Scherzo - Allegro; Adagio
09 Scottish Fantasy, Op.46 - Andante Sostenuto
10 Scottish Fantasy, Op.46 - Finale (Allegro Guerriero)
11 Violin Concerto - M?Ssig Bewegte Halbe
12 Violin Concerto - LangsamH
13 Violin Concerto - Lebhaft

Amazon.com essential recording
For decades, there were only three complete collections of Dvorák's symphonies: this one; Rowicki's with the same orchestra; and Kubelik's with the Berlin Philharmonic. Kertész offers the most rustic, gutsy interpretations of all. Famous for his dislike of rehearsals, he allows the London Symphony to make a much rougher sound than his colleagues tolerate, and though not the last word in polish, the results have a spontaneous charm that's pretty hard to resist. More to the point, Dvorák's early symphonies (Nos. 1 to 5) remain sadly neglected, and each one of them is full of gorgeous tunes cloaked in mellifluous orchestration. At budget price, this set now costs less than it did on LP in the 1960s. How can you do better than that? --David Hurwitz

降E大调，第五号钢琴协奏曲《帝皇》，本曲是贝多芬所有的钢琴协奏曲作品中，规模最为庞大的一部，故常被人称为《“帝皇”协奏曲》。而事实上，本曲也确实具有堂堂王者风范。但是“帝皇”这一标题并不是贝多芬自己命名的，也不可能和某一位特定的“帝皇”有关，公认的说法是由于本曲在当时被誉为无可争议的“协奏曲之王”，故此得名，并沿用至今。在本曲中，作曲技巧炉火纯青的贝多芬，又设计出众多崭新的思路，整部作品在平稳的结构中蕴含着壮阔的波澜、变化无穷的旋律，尤其以主奏钢琴的花奏开始的第一乐章，一开始便给听众以极端宏伟、华丽的印象。

贝多芬自1808年开始着手创作此曲，并于第二年完成。当时由于拿破仑率领法军占领了维也纳，使得本曲迟迟不能上演。据说在法军四处作乱的时节，贝多芬曾遇见法军军官，他握紧拳头，咬牙切齿地说：“如果我对于战术也像对对位法一样有深入了解的话，非给你一点颜色看看不可！”直到1811年，本曲才在德国的莱比锡得以首次公演。当时的音乐杂志《大众音乐报》曾这样评价本曲：“毫无疑问，这是所有已经创作出来的协奏曲中最富创造力、最富想象力和最引人注目的作品，同时也是在技巧上最为艰深的一部。”

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

Each of Tchaikovsky's last three symphonies concerns the conflict of a courageous but deeply vulnerable personality with a mysterious Fate. In the Fourth, the symphony eventually turns away from the battering Fate theme to a Tolstoy-like absorption into peasant innocence; in the Fifth, the Fate theme is, somewhat over-insistently, forced into triumph.
Tchaikovsky's first thoughts for a Sixth Symphony were that it should be about Life; and in the autumn of 1892 he sketched four movements of a work in E flat before abandoning it. In February 1893 he took up another scheme, and within days had outlined some of the music, as he told his nephew Bob Davydov:
"At the time of my journey (to Odessa) I had an idea for another symphony, this time with a programme, but a programme of a kind that will remain an enigma to all - let them guess, but the symphony will just be called Programme Symphony (No.6). This programme is permeated with subjective feeling, and quite often on my journey, composing it in my mind, I wept copiously ... Formally there will be much that is new in this symphony, and incidentally the Finale won't be a loud Allegro, but, on the contrary, a very slow-moving Adagio." By the the middle of August the orchestration was finished. The first performance was given in St. Petersburg on 16 October (old style), with Tchaikovsky himself conducting. It was somewhat coolly received. A few days later, he alarmed friends by seizing a glass of unboiled water in a restaurant and drinking it: there was cholera in the city. Within days, he was seriously ill; and on the morning of 25 October, with some of his family and friends gathered by his bed, he died.
The symphony is thus Tchaikovsky's last engagement with the idea of a sensitive soul tormented, and here finally defeated, by Fate - and there can be little doubt that he was describing the misery which his homosexuality had brought into his life. That this could only be resolved by death, in other words that there was no answer, is suggested by the use of the slow final Adagio which, in sketches for the projected "Life" symphony, was to signify death. Even in the first movement, the idea is never far off; for though this is a sonata form movement (after a slow introduction), with an energetic first subject and a passionate second subject recalling Tchaikovsky's beloved Carmen, the dramatic climax of the movement produces some of the most violent music he ever wrote and, built into it, a quotation from the Orthodox Requiem. The waltz movement which follows is no longer, as so often with Tchaikovsky, escape or diversion but a limping, maimed waltz, with a beat missing from it's rhythm. Similarly the march movement which follows has, for all it's superficial energy, a barrenness at it's heart (the intervals of the tune are bleak fourths), and a quality which can come to seem close to panic.
It is after all that has gone before that the agonized phrases of the finale make their most profound effect. In structure and expression, they embody a helpless decline into nullity, and a grief and silence which all the energy and passion cannot stem. It is a true finale to a symphony which, whatever the detail of its secret programme, describes a sensitive, vital and doomed personality. Pondering a title for it on the morning after the première, Tchaikovsky was offered "Pathetic" by his brother. So it has remained. The associations of weakness in the English word have been misleading; for this is not a work of pathos, but Tchaikovsky's Symphony of Suffering.
John Warrack

The recent string of new Berlioz recordings by Sir Colin Davis and the London Symphony Orchestra has proven irresitable for collectors. The LSO has formed it's own label for these recordings, and priced them at mid-price. This recording shows why Davis has no peer among contemporary interpreters of Berlioz' music. This Symphonie Fantastique is irresistible. Don't hesitate.
From

TCHAIKOVSKY: Symphony No. 6 in B Minor, "Pathetique"
London Symphony Orchestra
Jascha Horenstein, conductor
Vanguard Cardinal VCS-10114, stereo LP
In 1967, record collectors clamored for recordings by the sadly-
ignored conductor Jascha Horenstein, particularly of the great
symphonies of Bruckner and Mahler that he championed. Though
Horenstein concerts were well-attended and the conductor could claim a
vocal and loyal following, he had not worked in the studio since the
Reader's Digest sessions in 1962, and his work for Vox had ended in
1958. Then surprisingly, EMI made a Horenstein recording, issuing it
on their full-price HMV label (ASD 2332). To the disappointment of
many, it was a record of the Tchaikovsky Symphony No. 6, the
"Pathetique" Symphony.
The cry went out, "WHY, WHY ANOTHER 'PATHETIQUE?'"
Critic Edward Greenfield, in England's record review magazine, The
Gramophone, gave Horenstein's "Pathetique" a write-up that was
lukewarm at best, unfavorably comparing the performance to the also
straightforward and undemonstrative, justly famous one conducted by
Otto Klemperer.
But that was all right to Horenstein's fans, who expected great things
to come. But alas, that was it. The floodgates had not opened on a
deluge of Horenstein recordings, after all. It would not be until 1969
that Horenstein recorded again, in the famous series that included
Brahms, Hindemith, Nielsen, Mahler, Panufnik and Simpson on the
independent label Unicorn.
When the EMI/HMV "Pathetique" was issued in Britain, at least it got
some attention. But in the USA: nothing. Despite Horenstein's fame,
which extended across the Atlantic and had been given a boost by a
mid-60s magazine review of all records of the Mahler Symphonies (it
judged Horenstein's Vox recording of the First as the best, and
proclaimed about the Ninth, "Back to Horenstein!"), not even EMI's
subsidiary Capitol Records, which issued EMI classical records on the
Angel label, was interested. In the USA, Horenstein's "Pathetique"
was licensed by EMI to Vanguard, which issued it on their midpriced
Cardinal label. It didn't get much notice and was soon deleted.
Now, over four decades later, the CD issue of Otto Klemperer's
"Pathetique", once in EMI's Klemperer Legacy series but now out of
print, commands prices at times nearing $200 in the used and collector
market. But Horenstein's "Pathetique" is still largely forgotten.
The Horenstein page at
ignores it. According to
Horenstein's second cousin Jakob, it has had one CD reissue, coupled
with shorter Tchaikovsky pieces conducted by Sir Malcolm Sargent on
the super-bargain label Royal Classics (ROY 6458) and sold only at the
Music Discount Centre chain of record shops. It's not available at
ArchivMusik.
Here's my transfer of this now-forgotten LP record. It's from a hardly-
ever played copy of Vanguard Cardinal VCS-10114, which already had a
tell-tale punchout on the record's jacket when I bought it as a cut-
out, a long, long time ago. Vanguard's surfaces were, to put it
charitably, variable. This one's got noise, especially at the very
beginning of the symphony; but not the worst I've ever heard, either;
and it goes away pretty quickly. There is a bit of tape overload or
cutter overload at the end of the third movement but it's not bad.
NOTE: Horenstein himself specified a minimal pause between the third
and fourth movements, so that the forced elation of the third movement
be rapidly followed by the resignation and depression of the fourth.
His wishes have been observed here in the short intervals at the end
of the third movement and the beginning of the fourth.

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。

详细内容: Disc: 1 1. Piano Concerto No. 5 In E Flat, Op. 7: Allegro2. Piano Concerto No. 5 In E Flat, Op. 7: Adagio Un Poco Mosso3. Piano Concerto No. 5 In E Flat, Op. 7: Rondo. Allegro4. Concerto In C , Op. 56 For Piano, Violin, And Cello With Orchestra: Allegro5. Concerto In C , Op. 56 For Piano, Violin, And Cello With Orchestra: Largo6. Concerto In C , Op. 56 For Piano, Violin, And Cello With Orchestra: Rondo alla PolaccaDisc: 2 1. Violin Concerto In D, Op. 61: Allegro Ma Non Troppo2. Violin Concerto In D, Op. 61: Larghetto3. Violin Concerto In D, Op. 61: Rondo. Allegro4. Piano Concerto In E Flat, WoO 4: Allegro Moderato5. Piano Concerto In E Flat, WoO 4: Larghetto6. Piano Concerto In E Flat, WoO 4: Rondo. Allegretto广告语: 贝多芬（1770－1827）一生共创作了5部钢琴协奏曲，第五钢琴协奏曲《皇帝》作于1808－1809年间。前四部钢琴协奏曲首演时都是由贝多芬亲自担任钢琴声部的演奏，但是当第五钢琴协奏曲《皇帝》首演时，因为贝多芬已经基本失聪，无法胜任钢琴演奏，只能由他的得意门生、著名的钢琴演奏家车尔尼担任独奏。第五钢琴协奏曲《皇帝》后来又由17岁的李斯特在巴黎演奏而大获成功，盛名远播，倍受欢迎。此CD收录了钢琴协奏曲第5号，D大调小提琴协奏曲等著名曲目。

The Variations on an Original Theme, or 'Enigma' as it is commonly known, brought Elgar overnight fame when it appeared in 1899. The music is glorious from start to finish, especially in the serene Nimrod. Each variation is given a cryptic title referring to one of Elgar's friends although the overall enigma behind the original theme has never been deciphered.