纠结的英亚直邮~克劳迪奥•阿巴多 作品集

自从娶了一个学音乐的媳妇，耳濡目染间也对古典音乐有了一定的了解，开始欣赏一些大师们的作品。在此也要感谢她带我走入了一片新的天地。

说到听音乐，绕不开的一个话题就是HiFi了。HiFi（High-Fidelity，高保真）的三大要素：音源，解码器，回放设备，三者缺一不可。网上有很多论坛，各种烧友们每天都在纠结哪种线传导信号损失小，哪种功放配谁家的箱子声场更棒，还有高端的玩家千金一掷定制各种器材，小到一只音箱脚垫，大到自己设计功放电路板，高人比比皆是。但是再转到二手交易区看看，每天也都充斥着初烧或者中级烧友今天1w买了这个，听两天觉得不是自己的爱，只好8000出掉，又加钱1.5w入手了那个，都没煲开就又1.2w出掉。。。折腾来折腾去，劳民伤财不说，也完全丧失了听音乐的初衷。我从来不否认好的设备会带来好的听音感受，但是用着十几万甚至几十万的设备天天听试音碟，和小时候半夜用爱华随身听在被窝里偷偷听beyond，哪个更能给你感动和快乐？这个话题要是往下说，几万字也打不住，所以咱们还是言归正传。

话说是4月3日中午，在媳妇娘家吃完午饭，收拾利落后，习惯性的掏出手机上张大妈看看，一条信息映入眼帘，“ClaudioAbbado RCA And Sony Album Collection 克劳迪奥·阿巴多作品集£27.06直邮中国”

海淘Claudio Abbado RCA And Sony Album Collection 克劳迪奥·阿巴多 作品集£27.06直邮中国（约￥248）什么值得买网友“正源君”的推荐理由：“被誉为“20世纪伟十大指挥家”的意大利指挥大师克劳迪奥-阿巴多于2014年1月仙逝，其曾担任过米兰斯卡拉大剧院艺术总监、维也纳国立歌剧院艺术总监和柏林爱乐艺术总监。德意志留声机（DG）早在2013年就推出了阿巴多八十大寿的纪念交响曲大包子，但大师去世后一直未出纪正源君| 值129 评论132 收藏87直达链接查看详情

英亚卡片

The Complete RCA And Sony Album Collection38.67英镑英国亚马逊直达链接

简单介绍一下克劳迪奥·阿巴多，克劳迪奥·阿巴多（ClaudioAbbado）1933年出生，当代著名的意大利指挥家，位列“20世纪十大指挥家”之列。曾任米兰斯卡拉大剧院艺术总监，维也纳国立歌剧院艺术总监以及柏林爱乐乐团艺术总监。曾罹患胃癌，但以惊人的毅力和勇气恢复健康并重登指挥台，后担任瑞士卢塞恩节日管弦乐团艺术指导，2014年1月20日逝世，享年80岁。（以上内容来自度娘）

可以说，阿巴多的一生并不是一帆风顺，天分、努力、贵人相助缺一不可。幸好，上帝之手一直在背后守护着阿巴多，只到卡拉扬大师离去，阿巴多接过柏林爱乐的指挥棒。阿巴多的指挥集众家之所长，集名师之大成，以此揉成自己的指挥特点。他的指挥，具有鲜明的意大利风格，热情、明快、如歌、流利、敏锐，双手极富有魅力，眼睛里有音乐。他的曲目十分广泛，古往今来，种类繁多，包罗万象。对罗西尼、威尔第等意大利作曲家的歌剧作品，他的演绎尤为出色，堪称一绝。他也擅长指挥德、奥、俄的交响乐以及现代作品。从不爱自我宣传、与世无争的阿巴多，于2002年与柏林爱乐乐团合约期满之后不再续约。03年后仅作为瑞士卢塞恩节日管弦乐团（LucerneFestival Orchestra）艺术指导。

顺便说一下“指挥”，在接触古典音乐之前，我一直不明白为什么需要有个人那根小棍子在那挥啊挥的，不就是打个拍子么，能上台演出专业人员们还需要有人给打拍子么？（说道这个就不能不提到一位“著名指挥家“，舟舟）经过媳妇的普及教育，我才了解，原来乐队指挥更重要的作用是在排练的过程中。同样一首曲子，为什么不同的指挥家会表现出不同的风格，那都是在指挥家和乐团几十次甚至上百次的排练中不断磨合，不断调整中得来的。举个例子，每个乐手都是一个零件，把这几十个零件组装成一辆法拉利还是一辆拖拉机是由指挥来决定的。真到了最后上台演出时，在台上挥舞指挥棒的指挥家，就是一种行为艺术了，甚至可以说演出时的指挥是可有可无的。所以说所谓的指挥家舟舟，可能更大程度上，只是能用强大的记忆力把整支曲子的节奏记下来，然后能够跟着节奏挥舞指挥棒而已。（只是个人不负责任的推测，如果有了解舟舟具体情况的朋友，望不吝赐教，我个人对他也是很好奇的，毕竟网上是找不到他带领乐团排练的信息的。在此附上一个知乎的问题）

看到推送后的媳妇瞬间进入鸡血模式，剁剁剁！

于是就开始了漫长的等待。预计4月30日到货，但是只等到5.1过完了，还是没有音信，5月5日无奈联系客服，客服说，你再等2天，还没到的话跟我联系。5月7日早上，再次联系客服，客服表示非常抱歉，并爽快的给我退了款。说时迟那时快，就在结束了与英亚客服mm的对话后不到半个小时，门卫大叔打来电话，你有个快递，上面全是英文，过来拿吧。我一愣，全是英文的是啥玩意，难道我还有个国外的远方表叔，决定把国外的房产全都过户给我？

赶紧到门口一看，靠得嘞，居然是这套CD......

上图~

历经风霜的箱子，还算完好。

英亚~能不能大气点，放几个空气袋不行么...

大箱套小箱~

P.S.此套CD在某驴上有高品质资源。如果买不到CD的朋友可以自行解决。不过出于对音乐的尊重，建议大家购买正版CD，其实这种大包子这个下来一张CD才10元钱而已，真的不贵。话说15年前，买一张正版磁带也10块钱，我现在都想不明白那会儿为什么那么有钱

借用推送中正源君的话：”这套唱片的曲目非常宽泛，从古典时期的莫扎特到现代的肖斯塔科维奇都有涉猎，演奏的曲目既有贝九、拉二这样的大俗，也有贝尔格的室内乐这样的小众曲目。光盘压盘质量不错，说明书也非常详细精美。至于CD的音质，无需多言，比市面上的无损和加无损要好听得多。”

现在正在一张一张的欣赏中~~~ 当我从收到货的喜悦中度过后，我又陷入了我拿到盘了，也退了钱了，我这好像是占了个便宜啊，作为一个高素质的中国人，我怎么能这样呢，于是在纠结了0.1秒后，我打开了英亚的Help~

经过一番沟通~略过不表

没过两分钟，手机收到了短信，英亚又扣了我£27.06

故事至此，此处应有掌声

———————————————————2015年和2016年的分割线—————————————————

晒单提交后被小编一个巴掌拍回来了，需要我再写一下听后感受 我一个理工男，只能算古典乐的初期爱好者，哪敢些什么听感啊。再说大妈上高手如云，我要说错什么岂不贻笑大方了。但是本着乐（pian）于（dian）分（jin）享（bi）的目的，我复制了一段亚马逊上Top 500 Reviewer的买家评价，个人认为还是写的比较细致和中肯的，大家仅供参考。感兴趣且英文好的朋友可以看看，感兴趣但英文不好朋友可以有道词典、谷歌翻译、百度翻译等等。不感兴趣的就跳过吧。

Abbado was influenced by Furtwangler ( read my review Furtwangler's legacy box set, for more about that conductor), so was Barenboim and Thielemann. But as Gramophone 2012 states " Abbado has always got the big picture in view-the large concept and landscape of a piece in the way that is quite unique to him." His sound world was Italianite, not Germanic; orchestral colouring which spoke of sun, bright skies, but with dark weather, with a lighter sheen. He had a unique sound often with swift tempi and clarity.(see my reviews of the CD's below.)

The cardboard box set, has another box inside, with a lid on top. Smallish box for 39 CDs. One side has pictures of the sleeves, the other, CD numbers and works played. Sony box sets are renowned for their quality, like Toscanini RCA collection, Reiner, Colin Davis, Verdi and Wagner at the Met Box sets and Verdi great recordings. The sleeves are the originals. Behind, the Composer, music to be played and track numbers, but no CD number. That is found on the side of the box, and on the CD itself. The CD is white like the lid of the box, with Claudio Abbado and composer in red, music and orchestra with black wording, plus CD number. The CD's have been remastered this year from the original analogue tapes using 24bit/96kHz technology. Also, when you are dealing with Sony classic CDs, the sound, as with Decca, is always good. The booklet is in English, German and French. Track listings with a photo's of the Sleeves and Abbado. But no translations into English of songs and operas or CD- Rom. Also, an essay" I am Claudio to everyone", and it goes into his philosophy on music making, and about his psychological make up.

I like the fact that Abbado spent his years in Milan with Nono and Pollini, living a utopian vision that combined the avantgarde with working class concerns. Also, his deep commitment and development of young musicians and composers. At rehearsals he was friendly, understated and had a non-confrontational manner."Human affairs are all that really matters.In an age when people simply fail to listen to one another any longer". He believed music could teach us to listen to one another with greater openess.

I will go across the page, Composers first, music, then comments from Penguin guide and myself. The following is with the Berlin Philharmonic orchestra, 13 CDs.

MOZART: (1992). (Live) March in D minor. Serenade No 9 in D major.K 320. "Posthorn" serenade. March in D major. Divertimento No 11 in D major. "Nannerl Septet." K251. Abbado uses a modest chamber group from the Berlin Phil orch for the Divertimento K 251 and larger forces for the Posthorn serenade. The playing is lively. This is an enjoyable concert. (1994 ) Symphony No 23 in D major. Sinfonia concertante for violin, Viola and orchestra in E flat major.Wolfram Christ, Viola. Kussmaul, violin. Symphony No 36. Swift tempi. With an almost period instrument sound.
(1991.) Symphony No 28 (Live) No's 29 and 35. Though Abbado's Berlin sound is weighty, the finals are fast, but played with such verve that there is no sense of breathlessness.

MOZART: (1992.) Symphony No 31 "Paris". Masonic Funeral music. Symphony No 25. Symphony in D major" Posthorn". Abbado and the Berlin Phil defy the fashion for period instruments, in an exhilarating account of Mozart using modern instruments. This CD is warmly recommended to those who like to hear Mozart playing, which marries sweetness and purity to crisp rhythms and dramatic bite. (1990) Mass in C minor K427. Barbara Bonney. Arleen Auger soprano's. Hans Peter Blockwitz. tenor. There is no feeling of superficality or blandness here. With the tempo Abbado judges well. The other great strength are the two soprano's. There are a number of accounts of this work on disc, but few better than this.

BEETHOVEN:(1996) Symphony No 9. An Italianite sound, almost like a period instrument piece. The soloists Eaglen, Meier, Heppner and Terfel are good. MENDELSSOHN:(1995) A midsummer Night's Dream. Overture and incidental music. (excerpts). Barbara Sukowa speaker. Sylvia McNair soprano. Angelika Kirchschlager mezzo-soprano. Abbado blows the cobwebs away from this piece. Symphony No 4 "Italian". Warmly played with an Italian spirit about it, with no Germanic heavyness. Swift tempi. SCHUMANN: (1994)Concerto for Piano. (1997) Introduction and Allegro appassionato in G major. Concert Allegro with Introduction in D minor. With Perahia and Abbado the piano concerto comes across with refreshing eagerness, as if Schumann could scarcely pause for breath with an upsurge of inspiration. The G is the best known, the D the least known, but Perahia's playing makes it the most striking of the two. SCHUMANN: (1994) (LIVE) Scenes from Goethes Faust. Terfel, Mattila, Rootering, Bonney, Susan Graham. Headed by Terfel in the title role, and with Mattila as Gretchen,and could hardly be bettered at the time.

DVORAK: (1993) The noonday witch. Symphony No 8. MUSSORGSKY : (1995-1996) St Johns Night on the Bare mountain. Anatoly Kotcherga bass-Baritone. Khovanshchina. Marianna Tarasova mezzo. Scherzo. Intermezzo symphonique in modo classico in B minor. Festive march from Mlada. (1994) (LIVE) Songs and dances of death. Anatoly Kotcherga Bass. TCHAIKOVSKY: No 5 in E minor. MUSSORGSKY:(1981) Khovanschina: The Departure of Prince Golitsyn. Joshua. Salammbo. Chorus of priestesses. scherzo in b-flat major. the destruction of Sennacherib. St johns night on the Bare mountain. Odepipus in athens. Khovanshchina: Prelude. The capture of Kars. Gal Mezzo. London Symphony orch. Commemorates the centenary of Mussorgsky's death in 1891. There is a vital account of the original version of night on the bare mountain. Best of all are the choral pieces early and the untypical Oedipus in Athens. TCHAIKOVSKY:(1991) Symphony No 1 " Winter dreams" the Nutcracker suite. (1984) No 2, the Tempest. The No 2 account is very enjoyable. No 3.(1990) 1812 overture.The early symphonies are not as popular as the others. However, Abbado captures their unique qualities. No 4.(1988) The final is swift with the Russian dances coming to the fore. No 5.(1985) Romeo and Juliet. No 6.(1986) Pathetique. Marche slave. Chicago Symphony orchestra. Abbado conducts the 4-6 as if he were Russian himself.(1995 )(Live) Violin Concerto. A different approach to this well known concerto. and SHOSTAKOVICH: (1997) Violin Concerto. Midori-Violin. Berlin Philharmonic orch.

RACHMANINOFF: (1983) Piano Concerto No 2. Rhapsody on a theme of Paganini for piano. Cecile Liead. Cond Chicago symphony Orchestra. (1977) Piano concerto No 3. Lazar Berman. a very difficult concerto to play and this is one of the best. BRAHMS:Double Concerto.Chicago Symphony Orch. BERG: Chamber concerto for Piano and violin with 13 Wind instruments. Stern Violin. Yo-Yo-Ma cello. Peter Serkin piano. Members of the London Symphony orch.NEW YEARS CONCERT 1992: RICHARD STRAUSS:Don Juan. Burleske for Piano and Orchestra. Martha Argerich. Till Eulenspiegels lustige streiche. His Strauss is much like the American conductor Zinman's interpretations. Der Rosenkavalier. Trio "Marie Thres! Hab'mir's gelobt" Finale. "Ist ein Traum, kann nicht wirklich sein". (Act 3). Battle, Fleming, Von Stade, Schmidt. Berliner Philharmonic. A pity Abbado did not record Der Rosenkavalier. Singing is good. Fleming is one of the best Straussian soprano's around.

MUSIC INSPIRED by the German Romantic poet FRIEDERICH HOLDERLIN: (1993)(Live) BRAHMS: SCHICKSALSLIED for Chorus and Orchestra. RICHARD STRAUSS: 3 Hymnen. Mattila. REGER: An die Hoffnung for voice and orchestra. Mattila is excellent in both pieces. RIHM: Holderlin-Fragmente. (1977 version). Modern, but I liked it. Kosters baritone. Berlin Philharmonic.Holderlin inspired these musical settings. (1992) PROMETHEUS-THE MYTH IN MUSIC.BEETHOVEN: Die Geschopfe das Prometheus. Brilliant. Beethoven's ballet music, as you have never heard him before. LIZST: Prometheus. Amazing. WOW.! Abbado has captured the essence of Liszt and shown the lessions he learnt from Furtwangler. SCRIABIN: Promethee-Le Poeme du feu. Martha Argerich- piano. The composer was involved in the mystical theosophy movement. NONO: Prometeo. If you have seen the film 2001 directed by Stanley Kubrick, you will get some idea of what the music sounds like. This is the response of four composers to this timeless mythological tale. I really like this CD. The aim of these cycles, Abbado explains was to " treat the music as the driving force and incorporate it into other,more far-reaching programmes". These concerts were complemented by extra-musical programmes featuring film screenings, exhibitions, stage plays, lectures and readings. That is why some of us buy these box sets to find jewels such as these two CD's. Marvellous. Highly recommended.

(1992) (LIve) "Sofia. Zentralgefangnis 22 Juli 1942". "Papa" "Liebe Mama,papa und Schwesterchen"."Mein verhrter Vater"! reciters. Susanne Lothar and Bruno Ganz who took the role of Hitler in Downfall. NONO: Il canto sospeso. Barbara Bonney, Susanne Otto mezzo. Marek Torzewski tenor. MAHLER: Kintertotenlieder. Ich bin der Welt abhanden gekommen. Mezzo; Marjana Lipovsek. Captures the spirit of Mahler. Berlin Philharmonic. ROSSINI: (1978) Overtures. Semiramide. La Scala di seta. Il turco in italia. Elisabeth, regina d' Inghilterra. Tancredi. Guillaume tell. London Symphony orchestra. Very fast tempi. VERDI: (1978) Overtures Nabucco. Aida. La forza del destino. Aroldo. Luisa Miller. I vespri siciliani. London Symphony Orchestra. Abbado brings forth the Italian flavour of these overtures. ROSSINI : (1992) (Live) Il Viaggio a Reims. Rossini wrote this fizzing piece of comic nonsense as a gala piece for the coronation of Charles X in Paris. The opera has virtually no story. it takes place in a Hotel where ten stars characters each take their turn to perform. Rossini refused to allow a revival in his lifetime. He used some of the material in his comic opera Le comte Ory. The cast is strong. Mc Nair, Terrani, Serra, Studer, Gimenez, Ramey, Raimondi, Frittoli. Berlin Philharmonia. VERDI: (1984) (Live) Simon Boccanegra. Bruson, Ricciarelli, Raimondi, Luchetti, Orchester der Wiener Staatsoper. Abbado conducts brilliantly. The singers are excellent, but the tenor has an unusual voice. However, I own this version of the opera and find it quite good.

MUSSORGSKY: (1993) Boris Godunov. Anatoly Kotcherga. Lipovsek. Ramey. Larin. Leiferkus. Langridge. Berlin Philharmonic. Abbado recorded this opera in its original version in conjunction both with live concert performances in Berlin and with the stage production at the Salzburg festival. Speeds regularly press ahead. The urgency of the composer's inspiration is conveyed as never before on disc. Glorious singing of Kotcherga as Boris. Larin sings with clarity and beauty. Ramey and Nikolsky are well contrasted. Lipovsek is a characterful Marina. Langridge and Leiferkus reinforces the starry strength of the team. J.S BACH: (1976) Brandenburg Concerto's. No 4, 5 and 6. I solisti dell orchestra del Teatro alla Scala. A set made to pay tribute to the late Claudio Abbado 1933 -2014. This set is highly recommended.