专辑英文名: mozart completed sympathies
专辑中文名: 霍伍尔德 莫扎特交响曲全集
艺术家: Christopher Hogwood & Academy of Ancient Music
古典类型: 交响曲
发行时间: 1997年
语言: 英语
简介:
感谢原资源发布者！
这个资源是利用emule的搜索功能搜索出来，第一时间拖出来与诸位分享。。。。。。。
这套古乐版莫扎特交响曲全集共19cd，是至今为止最齐全的，收集了莫扎特所有的交响乐。
不知道是什么格式，但源很多，本人正在下载，喜欢的话就顶起来吧。。。
最后，恭祝诸位新春快乐，万事胜意！
指挥家hogwood介绍：
ChristopherHogwood克里斯托弗·霍格伍德英国指挥家。1941年9月10日生于英国诺丁汉。早年就学于剑桥，师从羽管键琴演奏家、音乐学家莱帕德（R.Leppard）和达特。又曾随哥伦比亚羽管键琴家普亚纳（R.Puyana）和荷兰羽管键琴家莱昂哈特（G.Leonhardt）学习。1964年毕业后赴布拉格进修一年。 1967年以羽管键琴演奏家的身份加入伦敦古乐合奏团。同年与英国男高音鲍曼（J.Bow man）等组成四重奏团，又参与圣马丁乐团的演奏。1973年创办古乐学会乐团，翌年在伯明翰首演。1976、1977年，带领乐团赴中东、远东、澳洲巡演，深受好评。1978年首次在伦敦举行音乐会，获得成功，由此名声鹊起。 1983年被评为“最受欢迎的世界十大音乐家”第三名。这一年他带领乐团首赴南美洲、北美洲以及萨尔茨堡音乐节演出。1986-2001年任亨得尔与海顿学会乐团指挥。1994年在墨尔本指挥莫扎特歌剧《伊多梅纽》，又赴奥地利、以色列、美国、日本演出，举行音乐会，广受好评。
除指挥古乐乐团之外，霍格伍德还指挥过大型现代交响乐团，包括波士顿交响乐团、芝加哥交响乐团、圣路易斯交响乐团、底特律交响乐团等。
他还是一位音乐学者，著有《宫廷音乐》、《三重奏奏鸣》、《海顿在英国》、《18世纪英国音乐》、《亨德尔》等。还参与撰写了《葛罗夫音乐与音乐家辞典》有关18世纪英国音乐的条目。1992年起担任伦敦的皇家音乐学院客座教授，
霍格伍德带领古乐学会乐团，在一些唱片公司，特别是在Decca唱片公司的L'Oiseau Lyre（琴鸟）商标下，出版了大量唱片。建团初期所录的阿梅（T.Ame）《八首序曲》即十分畅销，被认为是真正再现了古乐时代的淳朴风格。1978-1982年录制《莫扎特交响曲全集》，1980年代录制了《贝多芬交响曲全集》。1990年代与钢琴家罗伯特·莱文（Robert Levin）合作，录制了莫扎特的《钢琴协奏曲全集》等。其中一些唱片获得了国际大奖。
关于这套全集：
L'Oiseau Lyre's Mozart: The Symphonies, performed by the Academy of Ancient Music under Christopher Hogwood, is the ne plus ultra of Mozart symphony sets. Many "complete" collections of this cycle omit Symphony No. 37 as the better part of it is composed not by Mozart but by Michael Haydn as the result of a backroom trade of compositions between the two old friends. Most do not address the Mozart symphonies that are considered doubtful or that fall outside the accepted canon of Numbers 1-41, and few more contain orchestral Mozart works related to his symphonic output but are technically not symphonies. Hogwood's set, however, contains everything of Mozart's symphonic or near-symphonic music -- excepting most opera overtures, dances, and divertimenti -- as was understood at the time of its release in 1997; it contains 19 discs originally packaged in smaller sets and recorded between 1978 and 1985. Hogwood also includes alternate scorings of symphonies No. 31, No. 35, and No. 40. The alternate of Symphony No. 40, the "Great" G minor, is particularly telling in that it is rewritten without clarinet parts and to some extent rescored. As it is in the later of the two versions, Hogwood posits that this incarnation represents Mozart's own last thoughts on the subject of this most famous of his symphonic works, although it likely won't supplant the familiar first version anytime soon.
All of the performances are grouped by their chronological relationship to one another and just where Mozart was when each symphony was composed -- London, the Netherlands, Salzburg, Italy, back to Salzburg again, Paris, and Vienna. Hogwood, as Neal Zaslaw's painstakingly detailed notes relate, has researched the makeup of specific orchestras in each place where these symphonies were composed and attempts to match them as closely as possible. Whether one hears the result of such diligent scholarship outside of the obvious variance in winds that derive from each score -- nine first violins in one orchestra versus eleven in another, for example -- is hard to say. However, Hogwood does manage to avoid the preciousness that typifies many recorded performances of Mozart's symphonies and his interpretations never sound broad or overinflated. They do not have the same intensity of purpose that one encounters in Trevor Pinnock's smaller 11-disc Mozart symphony set for Archiv, but not every listener who loves Mozart enough to invest in a complete symphony set is looking for "intensity." If Hogwood's general approach to such a wide range of material -- both authentic and seemingly inauthentic works -- can be typified in a word or two, perhaps "gravity" and "dignity" would be operative terms. Although he does not succeed in making the questionable "Odense" symphony sound like genuine Mozart, Hogwood does provide the little piece with as much of a sense of occasion as he can muster. This baseline of interpretive quality is maintained throughout the set, which contains many very satisfying, though essentially conservative, performances. Although the collection represents a mixture of analog and digital sources, it sounds pretty much the same all the way through.
As a set, the little box has its drawbacks. It is not, at first, easy to identify which disc is which from the discs themselves; a tiny superscript number in the upper left-hand of the disc is the only indicator one gets as to the volume number. No big deal if it were a smaller set, but for 19 discs this feature is none too helpful. Each disc is included in thin paper sleeves that identify the disc and contents in a taller point size, so don't let the CDs get too far away from these sleeves! Nevertheless, for an excellent CD set containing possibly every note Mozart composed in a symphonic context and then some, L'Oiseau Lyre's Mozart: The Symphonies easily earns a top commendation. ~ Uncle Dave Lewis , All Music Guide
