原帖由 myshirley 于 2014-10-26 20:48:00 发表
原帖由 fightclub 于 2014-10-26 12:09:00 发表
原帖由 myshirley 于 2014-10-26 11:48:00 发表
看你是听音响还是听音乐了。 |
首先希望好听呀，当然模拟时代黄金录音还是很有吸引力的。 |
英语好的话，最近musicweb上推出了系列评论 |
非常感谢详尽回复。可惜已经下单了，暂时先不退了。以后一定先看你推荐的musicweb评论再下单。
我相信一定是迪卡之声更权威，尤其是音乐性，可是我看了第一集和第二集的曲目，貌似很多已经买过了，毕竟这么多年也买了很多小双张和单张名盘，所以估计很难下手迪卡之声。
这个四相位演奏和曲目有些相对少见，而且对于四相位有些模拟崇拜，就当试试吧，如果其中是10张喜欢且很难买到的，就算是值回票价了；如果有15张甚至20张喜欢，就是很赚了。
贴个亚马逊的顾客评论：
Decca introduced Phase 4 Stereo in 1961. For classical music, the Phase 4 approach was based on miking every orchestra section individually, along with mikes for selected instruments – up to a maximum of 20 channels, which were then mixed via a recording console. This resulted in a dynamic, in your face sound with relatively little hall ambience. The quality of the sound mostly depended on how skillfully the recording engineer balanced each channel – and the results were not always consistent. Thus, the Phase 4 sound was the antithesis of the minimally miked, “simplicity is wisdom” approach of the RCA’s early Living Stereo and Mercury’s Living Presence recordings, along with Telarc’s early digital recordings.
Phase 4 recordings tended toward orchestral spectaculars and light classics, although there were exceptions. As for this 41CD set, the performances are highly variable. I frankly doubt if some of them would have been released if the Phase 4 technology was not a consideration. For example, Rhapsody in Blue and American in Paris, as performed by Stanley Black and the London Festival Orchestra, are easily the worst performances of these staples I’ve ever heard. Likewise Israela Margalit’s bumbling, stumbling (and audibly edited) rendition of Prokofiev’s Third Piano Concerto would never have been released had not her husband, Lorin Maazel, been the conductor on the recording. On the other hand, Ivan Davis’ renditions of Liszt’s Piano Concertos are superb, with an almost Horowitzian frisson. Antal Dorati was always reliable and the performances here, from Dvořák’s New World Symphony to Orff’s Carmina Burana, are well worth repeated hearing. Dorati also helms Prokofiev’s Peter and the Wolf and Britten’s Young Person’s Guide to the Orchestra, featuring sly narrations by Sean Connery. Arthur Fiedler’s Strauss Waltzes and excerpts from Tchaikovsky’s Nutcracker are surprisingly idiomatic. Charles Munch offers rollicking performances of the suites from Bizet’s Carmen and L’Arlésienne, and Offenbach’s Gaîté-Parisienne, alongside relatively sober renditions of Respighi’s Pines and Fountains of Rome
Of all the conductors in this set, Leopold Stokowski seems to have made the most effective use of the Phase 4 technology. He’d become expert at seating the orchestra for recordings during the 78rpm era, and his early recordings were some of the best sounding of their era. His interest in recording technology continued to pay dividends during the stereo years. The performances captured here include a riveting but sectionalized rendition of Berlioz’ Symphonie Fantastique, a Scheherazade which is a bit more precise yet not as lascivious as his RCA version, and his own gorgeously gaudy orchestration of Mussorgsky’s Pictures at an Exhibition.
Ilana Vered is featured in a lovely rendition of Mozart’s Piano Concerto, K. 467, along with the Yellow River Concerto, which was apparently composed by a committee of Chinese composers. It sounds like the background music in a cheap Chinese buffet restaurant. There’s also a solo disc of Beethoven’s Waldstein Sonata, Schubert’s Wanderer Fantasy, and Stravinsky’s Three Scenes from Petrouchka. I don’t know why one would apply a Phase 4 approach to a piano solo recording, but the sound is quite fine. Her Beethoven and Schubert playing remind me of Kempff, while her Stravinsky sounds is a mite laboured – no match for the fiery Rubinstein or the icy hot Pollini.
There are also several discs of music which is decidedly off the beaten track for a classical label. Flamenco guitar virtuoso Paco Peña is featured in a live concert, which is quite simply the greatest and most staggering Cante Jondo recording I’ve ever heard.
Especially appreciated are three discs of film music. Bernard Herrmann’s own performances of music from his collaborations with Alfred Hitchcock – North by NorthWest, Marnie, Psycho, and Vertigo – are included here, as well as music from Journey to the Centre of the Earth, The Seventh Voyage of Sinbad, The Day the Earth Stood Still (which, sadly, does not include the Theremin used in the film), and Fahrenheit 451. Herrmann conducts the music in a very different manner that when it was tailored to accompany the films, with relatively expansive tempos, and it’s wonderful to have these works conducted by the composer in stereo.
Miklós Rósza’s rousing score for Ben-Hur is featured here – and it’s one of the best sounding discs in the collection. I only wish his recording of Quo Vadis had also been included.
The final disc is devoted to “Battle Stereo” - essentially sounds of gunfire and explosions accompanied by famous anthems and overlaid with orations. Worth listening to once, but I had to use headphones after the cacophony scared the heck out of my dog.
The series is presented in the Original Jacket format. In most cases, additional material has been included, but some discs are the original LP programs with playing times as short at 35 minutes. Most of the jackets have the original liner notes on the back which can be read with a magnifying glass.
http://www.amazon.co.uk/product-reviews/B00LP298NC/ref=cm_cr_dp_hist_four?ie=UTF8&filterBy=addFourStar&showViewpoints=0
