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海淀分局备案编号约瑟夫.克里普斯 & 皇家音乐厅管弦乐团 Josef Krips & Royal Concertgebouw Orchestra -《克里普斯指挥莫扎特第21 - 41交响曲》(Krips Conducts Mozart: The Great Symphonies Nos. 21-41)DECCA 6CD Box Set[APE]类别:-状态:普通资源发布: 17:38:00更新: 06:06:00更多电驴资源用户共享的电驴资源列表&&<td align="right" data-size="&&<td align="right" data-size="&&<td align="right" data-size="&&<td align="right" data-size="&&<td align="right" data-size="&&<td align="right" data-size="&&<td align="right" data-size=" 全选
|2.06 GB电驴资源简介
专辑中文名: 克里普斯指挥莫扎特第21 - 41交响曲
地区: 德国
简介: 专辑介绍：DECCA公司出品的这套6CD套装囊括了莫扎特后期（大部分是成熟期）的交响乐，录制于1970年代早期。对于那些听惯了新生代指挥家偏好较小的乐队编制，透明的纹理，较快的速度，夸张的对比，以及他们自认为是还原了那个时代的声响的听众来说，这套唱片似乎有些落伍了，是朝着传统束缚沉重的旧时代的倒退。依此而论，一些听众会给克里普斯贴上德奥学院派“老土”的代表的标签。但是听众的口味是会改变的，昨天的正统的东西可能明天就回归了。或许可以把克里普斯这套唱片视为一个“时代的”遗产，做为上个世纪中叶演奏莫扎特交响曲的一个范例和一种曲趣沿袭的渊源，对于那些头脑和耳朵开放的听众来说则是一种音乐乐趣的来源。事实上，在立体声录音的克里普斯令人愉快的莫扎特演绎里根本找不到支持上述说法的依据。每首交响曲的首尾乐章通常都是生气勃勃和充满前进动力的，慢板乐章流畅如歌，虽然小步舞曲乐章通常会受到一种方正感的牵制。简言之，这是能够给听众带来持续的乐趣的大乐队形制的莫扎特。较早期的稍短的交响曲演绎得犹如春风拂面，而做为晚期大作之先驱的那些交响曲也处理的甚为恰当。第25和第29到34交响曲具有丰富的能量，不时会有戏剧性的躁动，比如No.25的行板乐章是以一种轻喜剧的手法处理而在No.33中则似爱情的表达。第35“哈夫纳”和第36“林茨”交响曲在这套唱片中是属于最佳之列的，使人联想到瓦尔特或比彻姆的演绎。第38“布拉格”是强有力的，但或许没有勒内.雅各布最新版本那种猛烈的强度；第39有一种前进的动力，这也是其后两首所共有的。伟大的G小调第40交响曲稍感受损于一个低迷的开头，但是我喜欢克里普斯对第二主题所做的戏剧性和抒情性的对比。第41“朱庇特”交响曲，给我的印象是这套专辑中唯一有失水准的，如歌的行板乐章听起来更像是一个慢板乐章，而且不是很有凝聚力的慢板乐章。当初克里普斯的莫扎特交响曲以单张LP形式发行的时候，就赢得了一小部分但却是很执着的音响发烧友的追捧，他们陶醉于飞利浦录音中扑捉到的阿姆斯特丹音乐厅丰富的堂音和弦乐所营造的声场的深度，这些效果大部分被完好地保存转移到了CD上。总之，这套专辑很值得赞赏和欣赏。
——摘译自网络~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~由飞利浦唱片公司在1970年代初录制于他长期而杰出的职业生涯的末期，约瑟夫.克里普斯指挥荷兰阿姆斯特丹音乐厅管弦乐团演奏的莫扎特后20首交响曲几十年来一直是这套曲目演奏的一个试金石，大气而又细腻，华美与巧妙相融合，率真而又时尚优雅，明亮而又温暖亲切，克里普斯和音乐厅管弦乐团表现出了莫扎特音乐中崇高而微妙的人类情感。当这些迷人的演奏似乎要随着古乐器的复兴而褪色的时候，2007年DECCA公司以六碟集合重新灌录的这套唱片，克里普斯和音乐厅管弦乐团的声音依然是那样强劲、充满活力和说服力。那些已经听过并钦佩马里纳的优雅和伯姆的大师范的演绎的乐迷，一定要再试试克里普斯的；而那些只听过并赞赏小型乐团演奏的，比如说霍格伍德或平诺克的，就更有必要再听听克里普斯是如何演绎的。
——摘译自网络引用　　约瑟.克利普斯是奥地利指挥家，师事怀恩嘉特纳学习指挥，1921年就在维也纳国民歌剧院担任助理指挥。之后，他对维也纳与奥地利有许多贡献，但对他的评价很不适当，以致在他生涯之后期，主要指挥伦敦交响乐团、旧金山交响乐团等国外乐团，并到世界各地之歌剧院客串指挥。直到1964年以后，他才常在维也纳指挥国家歌剧院，并以较多时间指挥维也纳交响乐团。他最突出的个性是自然与确实的音乐架构。他不像一些指挥家要表现得与众不同，而且在器乐曲中也让音乐流畅如歌。　　克里普斯晚年的演出基本在阿姆斯特丹音乐厅度过，他以指挥莫扎特后期的交响曲受人赞赏。克里普斯的诠释隐含叙事的特性，让莫交听起来像没有歌词的歌剧一般；速度很从容，而且节奏上有一种巧妙的弹性感，听起来不会索然无味且非常耐听。70年代飞利普公司著名的悬挂式三咪近距离拾音，感觉十分美好，乐团四周流泻着“实况转播”的气氛。阿姆斯特丹音乐厅管弦乐团优雅、美妙悦耳而抒情的演出，是继约胡姆(Jochum)以来最为醉人的COA音响。　　阿姆斯特丹皇家音乐厅管弦乐团的原名为“音乐厅管弦乐团”。乐团的第一场音乐会于日在阿姆斯特丹音乐厅举行，团名也由此而来。1988年乐团在纪念一百周年活动中，被封为“皇家”的称号。一百多年间，乐团前后合作过的大师中不可不提及德彪西、拉威尔、马勒、斯特拉文斯基、亨德米特、米约和勋伯格、海丁克等等大名。今天，阿姆斯特丹皇家音乐厅已经成为世界著名的音响效果极佳的音乐厅之一，而乐团更是无可争议的世界级名团。现任首席指挥：马里斯o杨颂斯 Mariss Jansons.引用Josef Krips (1902 - 1974)The son of a doctor, Josef Krips first studied the violin, and in addition sang in the choir of the Carmelite Church in V at a young age he entered the Vienna Academy of Music where he was a pupil of Weingartner and Mandyczewski. He was a violinist in the orchestra of the Vienna Volksoper between 1918 and 1921, when Weingartner promoted him to be a coach an and in the same year he made his debut as a conductor, taking over a performance of Verdi’s Un ballo in maschera at short notice, and conducting without a score. Also in 1921 he made his first appearance as a symphonic conductor, at the Redoutensaal in Vienna. Krips served as head of the opera department of the municipal theatre in the Czech city of Usti nad Labem during 1924 and 1925, before moving to the post of conductor at the Dortmund Municipal Theatre for the following season, ; and was chief conductor at Karlsruhe between 1926 and 1933 where he conducted both opera and concerts, leading festivals devoted to Bruckner (1929) and to Handel (1930).At about this time, Krips began to appear internationally. He was appointed as a resident conductor at the Vienna State Opera in 1933 (making his debut there with Johann Strauss’s Der Zigeunerbaron), made his Salzburg debut in 1935, and taught at the Vienna Academy from 1935 to 1938; but following the Anschlüss, the annexation of Austria by National Socialist Germany, he was forced out of these positions. Although he moved to Belgrade where he continued to conduct during 1938 and 1939, he was again compelled, as in Vienna, to give up all professional musical activity through political pressure and spent World War II doing menial work. After the occupation of Vienna by the Allied powers at the end of the war, the Soviet authorities gave Krips the responsibility to reconstruct musical life in the city. He brought the State Opera back to life with many memorable performances at the Theater an der Wien and at the Volksoper, conducted the Vienna Philharmonic and Vienna Symphony Orchestras at the Musikverein, and reopened the Salzburg Festival in 1946 with Mozart’s Don Giovanni. He also conducted the Vienna State Opera on its highly successful visit to London in 1947, and appeared elsewhere with it and the Vienna Philharmonic on tour in Belgium, France, Italy and Switzerland.Having been appointed chief conductor of the London Symphony Orchestra in 1950, Krips remained with the orchestra until 1954 and did much to rebuild it after the depredations of the war. He succeeded William Steinberg as chief conductor of the Buffalo Philharmonic Orchestra in 1954, and as in London previously, continued Steinberg’s work of making it into one of America’s stronger ensembles. He also took on the conductorship of the Cincinnati May Festival between 1954 and 1960. In 1963 Krips moved from Buffalo to the San Francisco Symphony Orchestra, remaining with this ensemble until 1970, when he was given the title of conductor emeritus. He had made a considerable impact with Don Giovanni at the Royal Opera House, Covent Garden, in 1963, and conducted at the Metropolitan Opera, New York, from 1966; he appeared also with the New York Philharmonic Orchestra for ten weeks during its
season directing a cycle of the Bruckner symphonies. By this time Krips was recognised as one of the most outstanding exponents of the Viennese school of conducting: he returned to Covent Garden in 1971 to lead a beautifully moulded account of Wagner’s Die Meistersinger von Nürnberg and shortly before his death followed this with equally fine readings of Richard Strauss’s Der Rosenkavalier and Beethoven’s Fidelio.Krips was a splendidly animated conductor: so graphic were his facial expressions and so clear his baton technique that it was impossible to misunderstand his musical intentions. Like his mentor Weingartner, he was a stickler for an exact rendition of the written score, which he constantly interpreted with musicianship of the highest order. He was active in the recording studio from the end of the 1940s onwards, initially conducting operatic accompaniments for Walter Legge and EMI, before being taken up by Decca. He made many fine recordings during his time with the London Symphony Orchestra, and remained with Decca until 1960, recording for the company several of its most highly-rated early stereo recordings, such as Don Giovanni and Tchaikovsky’s Symphony No. 5, both with the Vienna Philharmonic Orchestra, as well as many other successful titles. His cycle of the Beethoven symphonies with the LSO, recorded for Everest in London, remained in the catalogue for many years, as did his numerous accompaniments to concerto recordings by Arthur Rubinstein.Towards the end of his life Krips recorded several of the later Mozart symphonies with the Amsterdam Concertgebouw Orchestra for Philips: these stand as an eloquent memorial to his great skill as a Mozart conductor, and fully demonstrate why he was such a key figure in the development of the post-war Mozart style. He wittily said, of Mozart conducting, ‘Mozart is, of all composers, the most difficult to conduct, and I can tell you why: two bars and you are suddenly transported to heaven. It’s very hard to keep your bearings when you are there.’ Of the few live recordings of Krips in the opera house, those made during his later years at the Vienna State Opera preserve outstanding examples of his art as a dramatic conductor. They include brilliant realisations of Richard Strauss’s Die ?gyptische Helena and Der R Smetana’s D as well as, perhaps more unexpectedly but no less fine, of two operas by Verdi: La traviata and Simon Boccanegra.资源来自网络，感谢原发布者。专辑仅供试听，如有需要请购买正版。
发行时间: 2007年
资源格式: APE
专辑曲目: CD 1 (1:05:38)Symphony No.21 in A, K.13401. 1. Allegro02. 2. Andante03. 3. Menuetto04. 4. AllegroSymphony No.22 in C, K.16205. 1. Allegro assai06. 2. Andantino grazioso07. 3. Presto assaiSymphony No.23 in D, K.18108. 1. Allegro spirituosoSymphony No.24 in B flat, K.18209. 1. Allegro spiritoso10. 2. Andantino grazioso11. 3. AllegroSymphony No.25 in G minor, K.18312. 1. Allegro con brio13. 2. Andante14. 3. Menuetto15. 4. AllegroCD 2 (1:05:06)Symphony No.26 in E flat, K.18401. 1. Molto presto02. 2. AndanteSymphony No.27 in G, K.19903. 1. Allegro04. 2. Andantino grazioso05. 3. PrestoSymphony No.28 in C, K.20006. 1. Allegro spiritoso07. 2. Andante08. 3. Menuetto (allegretto)09. 4. PrestoSymphony No.29 in A, K.20110. 1. Allegro moderato11. 2. Andante12. 3. Menuetto13. 4. Allegro con spiritoCD 3 (1:00:33)Symphony No.30 in D, K.20201. 1. Molto allegro02. 2. Andantino con moto03. 3. Menuetto – Trio04. 4. PrestoSymphony No.33 in B flat, K.31905. 1. Allegro assai06. 2. Andante moderato07. 3. Menuetto08. 4. Finale (Allegro assai)Symphony No.34 in C, K.33809. 1. Allegro vivace10. 2. Andante di molto11. 3. Finale (Allegro vivace)CD 4 (1:10:51)Symphony No.31 in D, K.297 “Paris”01. 1. Allegro assai02. 2. Andante03. 3. Allegro04. Andante to K.297Symphony No.35 in D, K.385 “Haffner”05. 1. Allegro con spirito06. 2. Andante07. 3. Menuetto08. 4. Finale (Presto)Symphony No.36 in C, K.425 “Linz”09. 1. Adagio – Allegro spiritoso10. 2. Andante11. 3. Menuetto12. 4. Finale (Presto)CD 5 (58:46)Symphony No.39 in E flat, K.54301. 1. Adagio – Allegro02. 2. Andante con moto03. 3. Menuetto (Allegretto)04. 4. Finale (Allegro)Symphony No.41 in C, K.551 “Jupiter”05. 1. Allegro vivace06. 2. Andante cantabile07. 3. Menuetto (Allegretto)08. 4. Molto allegroCD 6 (1:03:49)Symphony No.40 in G minor, K.55001. 1. Molto allegro02. 2. Andante03. 3. Menuetto (Allegretto)04. 4. Finale (Allegro assai)Symphony No.32 in G, K.318 (Overture in G)05. 1. Allegro spiritoso06. 2. Andante07. 3. Tempo ISymphony No.38 in D, K.504 “Prague”08. 1. Adagio – Allegro09. 2. Andante10. 3. Finale (Presto)Royal Concertgebouw OrchestraJoseph Krips, cond.Total Time: 6h 24' 13''
版本: DECCA 6CD Box Set
古典类型: 交响曲
专辑英文名: Krips Conducts Mozart: The Great Symphonies Nos. 21-41
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《美国队长3》曝最新概念图 黑豹&13号特工新亮相
　发布时间： 11:04　来源:作者:admin 点击:
核心提示：“鹰眼”杰瑞米.雷纳在Twitter发布了《美国队长3：内战》的最新概念图。美国队长和钢铁侠两位超级英雄所引发的内战格局越发明朗化，大战一触即发。 漫威超级英雄大作《美国队长3：内战》曝光了最新概念图。美国队长、钢铁侠、黑寡妇、鹰眼、黑豹、幻视等人一
“鹰眼”杰瑞米.雷纳在Twitter发布了《美国队长3：内战》的最新概念图。美国队长和钢铁侠两位超级英雄所引发的内战格局越发明朗化，大战一触即发。　　
漫威超级英雄大作《美国队长3：内战》曝光了最新概念图。美国队长、钢铁侠、黑寡妇、鹰眼、黑豹、幻视等人一同亮相，超级英雄的内战格局越发明朗化，大战一触即发。　　《美队3》的概念图来自于“鹰眼”杰瑞米.雷纳的个人Twitter，他在影片中将站在美国队长的一边，而他长久以来的战友――斯嘉丽.约翰逊饰演的黑寡妇则选择了钢铁侠一方。有趣的是，如果仔细看图片，观众可以发现鹰眼右肩上有一个小小的人影，就是由保罗.路德饰演的新加入漫威电影宇宙的超级英雄蚁人。根据此前的报道，钢铁侠将获得蜘蛛侠、幻视、黑寡妇和战争机器的支持，而美国队长的阵营将有鹰眼、猎鹰、红女巫、冬兵和蚁人的加盟。　　今日曝光的图片在此基础上透露了更多的信息，新加盟的黑豹在此之前被曝将保持中立，按照漫威影业主席凯文.费奇的话来说，这位超级英雄在影片中将肩负特殊使命。但是在今日的照片里，黑豹显然加入了钢铁侠一拨，在两方的对抗中向美国队长挥起了拳头。另外美国队长一方也有新成员加入，艾米丽.万凯普饰演的13号特工莎朗.卡特在美队阵营中亮相。　　《美国队长3：内战》的故事聚焦奥创事件之后，美国队长史蒂夫.罗杰组建了一支新的超级英雄队伍，继续维护世界和平。因为世界各国都想插手管理一系列事情导致复仇者之间的内部矛盾，政治压力攀升，一系列问责机制和管理机构相继诞生。超级英雄们一边要解决新状况带来的团队裂痕，一边还要对付邪恶的新对手……　　影片由安东尼.罗素和乔.罗素执导，将于日在北美上映。以上就是：《美国队长3》曝最新概念图 黑豹&13号特工新亮相有关的全部内容，更多内容请关注我们的微信号：tmdtmd258 (添加好友)，娱乐八卦，猛料，猛图通通都有！
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24小时点击排行#瓶邪# #绯色SEX&RUMOUR# 第十三章 （娱乐圈 HE）绯色是我和@不叫阿花 的联文 不过 这章因为是H 所以全部是花花写哒~~~ 久违的更新 全章 H 像我一样纯洁的小胖友们可以跳过 转前郭德纲 转后古天乐是我们不变的承诺 请不要因为我不更新 就放弃爱我 因为这样的日子还长着呢 存货已经快用完了！！！！！
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