|
||||||||||||||||||||||||||
 |
 |
|||||||||||||||||||||||||
|
|
|
|||||||||||||||||||||||
|
|
|
||||||||||||||||||||||
| 卡尔·伯姆（Karl·Bohm，1894－1981） | |||||||||||||||||||||||
莫扎特：第23号钢琴协奏曲（波里尼演奏钢琴 卡尔伯姆指挥） |
|||||||||||||||||||||||
Mozart -Piano Concerto No 23 A major K 488, Maurizio Pollini, Karl Bohm |
|||||||||||||||||||||||
|
|
|||||||||||||||||||||||
|
音乐历史上的今天
1894年8月24日卡尔·伯姆（Karl·Bohm）出生于奥地利的格拉茨，伯姆作为交响乐指挥家也有着极为光彩的业绩，他是莫扎特交响乐演绎专家，并且对贝多芬、舒伯特、勃拉姆斯和理查·施特劳斯等人的大量交响音乐作品，都有着很有特色的演释。 |
|
||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 年轻的卡尔·伯姆（Karl·Bohm) | |||||||||||||||||||||||
|
Today
in the history of music On August 24, 1894, Karl baum (Karl Bohm) was born in graz, Austria, baum as an orchestra conductor is also extremely glorious performance, he is an expert in Mozart symphony deduction, and Beethoven, schubert, Brahms, and Richard strauss and others a lot of symphony music works, has a very distinctive interpretation. Karl Bohm (24 August 1894 -- 14 August 1981) was an Austrian conductor and one of the most famous conductors of the 20th century.Born in Graz, Austria, he became a conductor in 1919.From 1932 to 1933, bohm worked in Hamburg, where he met the maestro Richard Strauss.1934 -- 1943 Music director of Dresden State Opera, 1943 -- 1945 conductor of Vienna State Opera;After World War II, Bohm cooperated with the Berlin Philharmonic orchestra and the Vienna Philharmonic Orchestra successively, and was awarded the title of "Austrian Music Director" and the honor of lifetime conductor of the Vienna Philharmonic Orchestra.Its conductor skill is exquisite, has the unusual keen sense of hearing and the decisive music judgment;He is regarded as one of the most authoritative interpreters of the German-Austrian orchestra and opera. She was born in Graz, Austria, to a musical family (24 August 1894 -- 14 August 1981).Although his father knew of his musical talent and was pleased with it, he did not quite agree that music should be Carl's career. His father was a music-loving lawyer and friend of the famous conductor Hans Licht.The father's vision of his son's future career was to become a lawyer with a solid income, if not a promising musician. So young Bohm studied law at The University of Graz, but also took piano and music theory courses at the Graz School of Music. The fledgling In 1920, Bohm became conductor of Graz Opera House. Bohm was conducting Wagner's Lohengrin at the same time as the famous conductor Carl Mook, who was so impressed with young Bohm that he offered to help Bohm learn Wagner's operas. After that, Mook recommended Boehm to Join Bruno Walter at the Munich Opera House.Bohm was used by Walter and learned from him to conduct Mozart's operas; From 1927 to 1931, Boem served under Kenapetz Bush as a commander at Darmstadt.In the meantime Berm had conducted the first performance of Berg's Wozerk at Damsdart, and Berg had come to watch the last days of rehearsal;Thereafter, Boehm became the authoritative interpreter of Wozeck and Lulu. In 1932, he directed the Vienna State Opera for the first time to perform "Tristan and Isolde", which achieved great success, and became an authoritative German opera conductor master since then. Boehm was a conductor in Hamburg from 1932 to 1933.Here Bohm conducted Richard Strauss's Arabella and became intimately acquainted with the composer himself, who came to visit him. fame From 1934 to 1943, Boehm was music director of the Dresden State Opera.In this position, With good orchestras and singers, Bohm's career flourished. The premieres of Richard Strauss's The Silent Woman and Daphne were conducted by Baum -- his close cooperation with the composer enabled Baum to have a deep understanding of The works of Richard Strauss, and to become an authority on conducting the works of Richard Strauss; Boehm was conductor at the Vienna State Opera from 1943 to 1945. The maestro After the end of The Second World War, Bohm returned to the podium and continued to serve at the Viennese State Opera house, conducting the 1955 performance of "Federico" to celebrate the rebuilding of the Viennese State Opera House;In 1950-54, Bohm also worked as an art consultant at the Cologne Theatre in Buenos Aires;From 1957, Bohm conducted in Chicago, The Metropolitan, Bayreuth, Salzburg, and conducted the Berlin Philharmonic and the Vienna Philharmonic. In 1963, Bohm conducted and recorded the entire play of The Ring of Nibelungen at the Bayreuth Festival. In 1964, Bohm was awarded the title of "Austrian Music Director" by the Austrian government due to his outstanding contributions to Austrian music.In 1970, Bohm was again named conductor for life with the Vienna Philharmonic orchestra.He was also director of the London Symphony Orchestra in 1973;In his later years, his recordings of piano concertos by Beethoven and Mozart (with the Vienna Philharmonic orchestra) with pianist Paulini were also excellent. Baum commanded works have Mozart's opera "women" (with the philharmonic orchestra), "the magic flute" (with the Berlin philharmonic orchestra), "the marriage of figaro" (cooperation with German opera house), Wagner's "the drift of the Dutch" (settlement worship festival orchestra) and "der ring des nibelungen ring" (settlement worship festival orchestra), etc. Boehm inherited the tradition of 19th century Vienna and Europe music, focusing on the expression of the ideas of works, is a conductor master enjoying a high reputation;His written works include the Interview with Richard Strauss and his memoir My Life. Carl Boehm died in Salzburg on August 14, 1981, aged 87. 1、Mozart: Piano Concerto No. 23 (Borini playing the piano Conductor Calpham) 2. Calpham conducting Richard Strauss symphonic poem "A Heroic Career";3. Master Conductor Carl.The Bohm documentary I Remember. |
|||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 卡尔·伯姆（Karl·Bohm） | |||||||||||||||||||||||
| 卡尔·伯姆——政治上虽有致命缺陷，但依然被尊为超一流指挥 | |||||||||||||||||||||||
|
奥地利指挥家卡尔·伯姆（Karl August Leopold
Böhm），1894年8月28日出生于一律师家庭。他的天赋尤其表现在对瓦格纳和莫扎特作品的诠释上，大多数评论家认为他是二十世纪最伟大的指挥家之一。 作为一名律师的儿子，卡尔·伯姆进入音乐学院之前，已在其家乡奥地利东南部城市格拉茨学习了法律专业，并且取得该门学科的博士学位。之后，他就读于维也纳音乐学院，师从勃拉姆斯的一位友人，罗马尼亚音乐家、作曲家、指挥家尤西比厄斯·门迪切夫斯基学习音乐。 慕尼黑、达姆施塔特及汉堡 1917年，卡尔·伯姆在自己的家乡成为一名排练助理；1919年成为助理音乐总监；1920年即成长为一名高级音乐总监。 在指挥家卡尔·穆克的推荐下，著名德裔美籍指挥家布鲁诺·瓦尔特于1921年和他签约慕尼黑巴伐利亚国家歌剧院。在那里早期的一场演出是莫扎特歌剧《后宫诱逃》，演员包括：玛丽亚·伊沃根、保罗·班德以及奥地利男高音理查德·陶贝尔。1927年，卡尔·伯姆在达姆施塔特被任命为首席音乐总监。从1931至1934年，他又在汉堡歌剧院任首席音乐总监并且被任命为教授。 维也纳、德累斯顿及萨尔茨堡 1933年，卡尔·伯姆首次在维也纳指挥演出，剧目为瓦格纳歌剧《特里斯坦与伊索尔德》。1934年，他接替了已经流亡海外的德国指挥家弗里茨·布施，成为德累斯顿森帕歌剧院的负责人，直至1942年。这是卡尔·伯姆人生中的一个重要阶段，在这段时间里，卡尔·伯姆指挥了理查德·施特劳斯后期一些作品的首演：《沉默的女人》（1935年6月24日）以及献给他的独幕歌剧《达芙妮》（1938年10月15日）。此外，他还于1940年4月13日指挥了瑞士歌剧作曲家海因里希·苏特迈斯特两幕歌剧《罗密欧与朱丽叶》的首演；1942年，卡尔·伯姆指挥了这位作曲家的另外一部歌剧《Die Zauberinsel》。1943年，卡尔·伯姆指挥了理查德·斯特劳斯的《第2号圆号协奏曲》。 1938年，卡尔·伯姆首次参加萨尔茨堡音乐节，指挥了莫扎特歌剧《唐璜》，并由此成为该音乐节的永久客座指挥。1943年，他荣获维也纳国家歌剧院的最高职位，成为该剧院的音乐总监。1944年6月11日，在庆祝理查德·施特劳斯八十周年生日音乐会上，卡尔·伯姆和维也纳国家歌剧院合作，演出了作曲家的歌剧《那索斯的阿里阿德涅》。 二战以后 在度过了为期两年战后非纳粹化的禁令期以后，卡尔·伯姆于1948年在意大利米兰斯卡拉歌剧院指挥了莫扎特歌剧《唐璜》，并于1949年和维也纳国家歌剧院在法国巴黎进行了一场嘉宾演出。从1950至1953年，他在布宜诺斯艾利斯哥伦布剧院指导了德国演出季，并且指挥了阿尔班·贝尔格歌剧《沃采克》在西班牙的首演。 1953年8月17日，卡尔·伯姆在萨尔兹堡音乐节上指挥了奥地利作曲家戈特弗里德·冯·艾内姆德语歌剧《审判》的首演。 从1954 至1956年期间，卡尔·伯姆得以继续指导重建后的维也纳国家歌剧院。此外，他与战后德累斯顿管弦乐团的关系也得到了恢复。 纽约的成功 1957年，卡尔·伯姆首次登上纽约大都会歌剧院的舞台，指挥了莫扎特歌剧《唐璜》，并且很快成为鲁道夫·宾时代最受大众喜爱的指挥家之一（鲁道夫·宾为1902年出生于奥地利的歌剧院经理，1950-1972年担任大都会歌剧院总经理）。据说，他一共在那里指挥了262场演出，包括在大都会歌剧院首演的《沃采克》、《那索斯的阿里阿德涅》，其指挥的理查德·斯特劳斯歌剧《没有影子的女人》，是新落成于林肯艺术中心大都会歌剧院第一部演出获得巨大成功的歌剧。卡尔·伯姆还在纽约指挥了许多部新制作的瓦格纳、理查德·斯特劳斯的歌剧，比如：《特里斯坦与伊索尔德》（包括瑞典女高音歌唱家比尔吉特·尼尔森1959年在大都会的首演）、《罗恩格林》、《奥赛罗》、《玫瑰骑士》、《莎乐美》、《埃莱克特拉》，以及贝多芬唯一一部歌剧《费德里奥》。除此之外，卡尔·伯姆在大都会的演出剧目还包括：莫扎特歌剧《费加罗的婚礼》，以及瓦格纳歌剧《帕西法尔》、《漂泊的荷兰人》、《女武神》以及《纽伦堡的名歌手》。 拜罗伊特和瓦格纳 1962年，卡尔·伯姆首次出现在拜罗伊特音乐节，指挥了瓦格纳歌剧《特里斯坦与伊索尔德》，这部歌剧，他在拜罗伊特一直指挥至1970年。卡尔·伯姆在拜罗伊特指挥的瓦格纳其它歌剧还包括：《纽伦堡的名歌手》（1964年）；《尼伯龙根的指环》（1965 至1967年），这也是德国歌剧导演维兰德·瓦格纳执导的最后一部歌剧。这些演出引发了评论界对《指环》和《特里斯坦》唱片的高度赞赏。1965年，卡尔·伯姆在东京指挥了《费德里奥》。1971年，他去莫斯科进行演出并且在拜罗伊特指挥了《漂泊的荷兰人》。 伦敦的“印第安之夏” 晚年的时候，卡尔·伯姆开始签约伦敦交响乐团客座指挥一职，并以此身份出现在了1973年的萨尔茨堡音乐节，并与该乐团合作为DG录制了好几张唱片。在二十世纪七十年代期间，卡尔·伯姆指挥该乐团在伦敦考文特花园皇家歌剧院进行了数场演出。他被授予伦敦交响乐团董事长的头衔，直到去世。 和纳粹之间的意气相投 2015年12月28日，萨尔茨堡音乐节宣布他们将在“卡尔·伯姆大厅”（ Karl-Böhm-Saal）挂上一匾牌，承认这位指挥家与纳粹军队之间的沆瀣一气。相关内容指出：“卡尔·伯姆是第三帝国的受益人，并且在其职业生涯中利用了这一优势。通过驱逐犹太人以及政治上失宠的同事，其事业得以扶摇直上”。奥地利广播电台（ORF）引用了音乐节主席Helga Rabl-Stadler对卡尔·伯姆的评价：“一位伟大的艺术家但政治上有着致命的缺陷”。 根据历史学家米迦勒·H·卡特所述，卡尔·伯姆是属于那样的一群艺术家，对于他们“我们也发现了抵抗、和解以及为政权服务的冲突因素，因此最终并不能明确地将其定义为纳粹或非纳粹。”对于卡尔·伯姆似乎从未加入过纳粹党，卡特早在1930年就公开赞扬了这一点，并且配合其它许多方面，成了一个权威的定论。 卡特还提到了卡尔·伯姆将其儿子卡尔海因茨送往瑞士，也“预示着他自己最终也将离开第三帝国。” 贡献、荣誉及奖章 卡尔·伯姆于1981年8月14日在萨尔茨堡去世，距离他87岁生日仅差14天。卡尔·伯姆对音乐事业的最大贡献，也许是在于其一生都致力指挥、诠释他亲密同事理查德·施特劳斯的歌剧作品。他指挥了作曲家后期一些作品的首演，录制了作曲家所有的主要歌剧。在其任职维也纳国家歌剧院和德累斯顿森帕歌剧院、甚至是萨尔茨堡音乐节期间内，卡尔·伯姆都皆以极大的热情，让人们重新领略了理查德·施特劳斯歌剧中的无穷魅力。 卡尔·伯姆也因其对莫扎特歌剧及交响曲节奏强劲且稳健的诠释，得到了人们的一致赞扬。二十世纪六十年代期间，他受托指挥柏林爱乐乐团，录制了莫扎特所有交响曲。他对于瓦格纳作品轻快且直截了当的演绎方式，为其赢得了众多的支持者。这样的指挥风格也同样体现在他指挥勃拉姆斯、布鲁克纳以及舒伯特的交响作品中。1971年，卡尔·伯姆和维也纳爱乐乐团录制的贝多芬交响曲全集，至今依然得到世人的高度追捧。在一些不常见的作品领域中，他力挺并指挥了阿尔班·贝尔格的前卫歌剧《沃采克》以及《璐璐》，使其在歌剧标准剧目单上取得了一席之地。在这些作品所发行的唱片上，卡尔·伯姆提到了他和贝尔格探讨管弦乐编曲的录音笔记，以及由此带来的对歌剧总谱的修改（在这一点上，一如他之前对待理查德·施特劳斯的歌剧）。 他的指挥气势宏伟，朴素真挚，结构严谨，有深刻的思想性；他指挥的维也纳爱乐乐团，可与卡拉场的柏林爱乐乐团相媲美。 卡尔·伯姆的一生获奖无数。其中包括1964年首次获得“奥地利音乐总指导”之称号。十年以后，众多大咖欢聚一堂，庆祝他的八十岁生日；其同事卡拉扬赠送他一个时钟以纪念当时的盛况。
|
|||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 卡尔·伯姆（Karl·Bohm）在指挥中 | |||||||||||||||||||||||
|
Bloch's
Solomon -- Hebrew rhapsody "Hebrew Rhapsody" is about Solomon, the ancient Hebrew king.Solomon was known as the "King of wisdom of the Jews".Over the four decades of his rule, Israel was in a golden age of development.In his later years Solomon indulged in excess and dotage, and Israel eventually fell apart Listen to Bloch's Solomon, which is subtitled "Hebrew rhapsody," and let's talk about "rhapsody" in music.The appearance of rhapsody in music is often closely related to local colors. For example, Liszt's "Hungarian rhapsody" and Charles V. Stanford (1852-1924)'s "Irish Rhapsody" all adopted local ballads or melodies as the backbone of the songs.Another has nothing to do with local color, but a composer for read some work, or listen to what song music and produce lenovo, then write down "Rhapsody" to show his feifei, for instance, Brahms adopted part of Goethe's poems written by the mezzo-soprano Rhapsody (Alto Rhapsody) ", and rachmaninoff adopted part of paganini written music melody and the piano and orchestra courses "paganini theme" Rhapsody.Although the performance is not strictly limited, but the name "rhapsody" music, usually bright and happy tunes, especially the combination of rhapsody and place names, there are many places of the ballad dance, always light and clear rhythm in the majority. That's not the case with Bloch's "Hebrew Rhapsody," which tells the story of Solomon, the ancient Hebrew king.Known as the "king of philosophers," Solomon ended up ruling Israel with a good ruler and a bad one. He eventually messed up Israel's political and religious systems, causing the country to fall apart.Bloch seems to pay more attention to the "destruction" of this historical figure of his clan, and he also shows Solomon's proud wisdom and reason, but he is no match for his exuberant and extravagant character, and the story ends in tragedy. The orchestral part of the song represents the bright side of Solomon, while the leading cello part represents the dark side of Solomon. The ensemble and solo are sometimes intertwined and sometimes opposed. The discordant parts are mostly, and the overall atmosphere is low and dark and conflicting.Towards the end, at the same time as the orchestra reaches its climax, the cello's tone becomes more desperate than ever, and the song is long, with ups and downs but no match for a strong sense of pessimism.Though sad, Bruch's song has a bright ending that evokes lofty and beautiful associations.This piece by Bloch, on the other hand, is conflicted from the very beginning, and the restless mood continues with the music, without interruption, until it ends with the despairing end of the cello.This is really a piece of music with pressure. After listening to it, people feel loose and loose. They feel that the sky is high and the sun is warm in our world. Both are contradictory, and the tone is sad.It's not just music, it's Israel's overall sense of Hebrew history.The two pieces I listened to were a version (DG) performed by a French cellist, Pierre Fournier (1906-1986), the Orchestre Lamoureux, Pari, played by Jean Martinon (1910-1976) under the Orchestre Lamoureux, and the Bloch, under the Berlin Philharmonic orchestra of Alfred Wallenstein (1898-1983).In addition to fournier's version, I have heard Janos Starker's (1924-2013) version of Mercury, and I think it is fournier's triumph.As for Bloch's song "Solomon", there are many famous performers. Besides Fournier's, there are also the versions of Rostropovich (DG), Mischa Maisky (1948 -) and Sony, which are all worthy of recommendation.As a matter of fact, each has its strong points. |
|||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 卡尔·伯姆（Karl·Bohm）和卡拉扬在一起 | |||||||||||||||||||||||
 |
|
||||||||||||||||||||||
| 卡尔·伯姆（Karl·Bohm）和理查·施特劳斯在度假的时光 | |||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 卡尔·伯姆（Karl·Bohm）和理查·施特劳斯合作的唱片 | |||||||||||||||||||||||
|
在长达半个多世纪的指挥生涯中，伯姆共指挥了150部歌剧。他是德奥古典音乐的权威解释者。早期，他的名字就和莫扎特、瓦格纳、理查·斯特劳斯紧密联系；后来，又与海顿、贝多芬、舒伯特、布鲁克纳、勃拉姆斯、贝格的名字密切联系起来，尤其是他指挥莫扎特、理查·斯特劳斯的作品，具有更为卓越的名望
。 伯姆指挥的作品，给人以纯正、端庄、沉稳、深厚的感受，而不会给人们带来不安和浮躁的情绪。伯姆的音乐手法是简洁、清爽、有力，排斥了浪漫主义的过度伤感，也不沉溺于放纵的技巧表现，实现了平衡巧妙、音响柔和、节奏稳固的音乐效果。这样，伯姆所处理的作品，既有细致、精密的局部表现，又有明朗、健硕的整体形状。在音乐内在意义的表现方面，伯姆的方法是不过份地注入感情，不牵强地借助理念和逻辑来表达作品，而是从作品固有的形式中去把握其内在的美。从他指挥的莫扎特作品中能较明显地体会到其风格。 |
|||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 卡尔·伯姆（Karl·Bohm）和理查·施特劳斯合作的唱片 | |||||||||||||||||||||||
|
年轻的伯姆在慕尼黑曾随瓦尔特指挥莫扎特的作品，并获得收益。但伯姆后来在指挥莫扎特音乐作品时，却不像瓦尔特那样投入明显感情，而是处理得更为平衡、和谐、细致而内在。他说：“你可以体会到莫扎特音乐中的所有感情，但他从不多愁善感。”无论在指挥风格上，还是对莫扎特音乐的理解上，伯姆都是一种现代风格的莫扎特解释，具有一种沁人心脾的魅力，既纯净、优雅又有活力，生动感人。 在指挥瓦格纳歌剧时，伯姆也不是突出、夸张瓦格纳的激情和虚华的浪漫情感，而是化泛滥为收敛，将纯粹的内在音乐精神凝聚起来，表现出紧张、庄重的美，形成一种“黄金般的严肃感”。所以，德奥古典作品在伯姆的手中，从来没有华美、煽情或刻板的样子，而总是显得那么大气、纯正、优美。伯姆指挥的歌剧作品有：歌剧莫扎特的《女人心》（与爱乐乐团合作）、《魔笛》（与柏林爱乐乐团合作）、《费加罗的婚礼》（与德国歌剧院合作）、瓦格纳的《漂泊的荷兰人》（拜鲁伊特音乐节管弦乐团）和《尼伯龙根的指环》（拜鲁伊特音乐节管弦乐团）等。 伯姆继承了19世纪维也纳及欧洲音乐的传统，着重于作品思想的表现，是享有崇高声誉的指挥大师。他的文字著作有《与理查·斯特劳斯的会见》、回忆录《我的一生》等。 |
|||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 卡尔·伯姆（Karl·Bohm）在接受记者采访 | |||||||||||||||||||||||
| Karl Bohm was talking to reporters | |||||||||||||||||||||||
|
|
|||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 莫瑞季欧·波里尼(Maurizio Polini ) | |||||||||||||||||||||||
| 莫瑞季欧·波里尼1942年出生于米兰，早期在卡罗·隆那提门下习琴，在9岁就举行独奏会。后来他在米兰音乐学院向卡罗·维都索学习，在1959年即获得艾托瑞·波卓里大赛的首奖，次年在华沙的肖邦大赛里也是第一名，得到当时评审鲁宾斯坦的青睐，但后来他并没立刻发展出事业之高峰，转而回米开兰杰里学琴，自从这个时候开始，他在一些音乐大城举行独奏会，与最顶尖的指挥与乐团合作，而且录制了一些叫好又叫座的唱片。波里尼被视为一位具有高度智慧的钢琴家，往现代乐派的曲目(例如布列兹、史托克豪森、贝里诺)所做的努力与从事社会政治运动一样多。在他的钢琴生涯里曾做出几次大胆的改变，在录音室里有着技巧完美至上的录音，现场演出则弥漫着音乐的冲劲，他的演奏曲目，从葛苏阿到诺诺，都是无可取代的。 | |||||||||||||||||||||||
 |
|||||||||||||||||||||||
| 莫瑞季欧·波里尼(Maurizio Polini )和卡尔·伯姆合作演奏莫扎特第二十三钢琴协奏曲 | |||||||||||||||||||||||
| Born in Milan in 1942, Maurizio Polini began playing the piano under Carlo Lonatti and gave recitals at the age of nine.Later he music college in milan to carlo d line study, in 1959 won the moxa torre, zhuo in competition first prize, the Chopin competition in Warsaw, in the following year and the first name, get the review rubinstein's favor, but then he didn't immediately develop a career peak, turned back meters have lessons in the ranger, since this time, he held in some music city recital, cooperate with the top command and orchestra, and recorded some cheered and good box office record.Polini is regarded as a highly intelligent pianist who put as much effort into modern music (e.g., Bretz, Stockhausen, Bellino) as he did into social and political movements.He made several bold changes in his piano career, with studio recordings of technical perfection and live performances imbued with musical momentum, and his repertoire, from Garsua to Nono, was irreplaceable. | |||||||||||||||||||||||
| 卡尔伯姆指挥理查·施特劳斯的交响诗《英雄生涯》 | |||||||||||||||||||||||
|
理查施特劳斯英雄生涯 演奏：维也纳爱乐乐团Wiener Philharmoniker 指挥：卡尔伯姆Karl Bohm 小提琴独奏： Willi Boskovsky 收录：1963年5月19日 |
|||||||||||||||||||||||
| 指挥大师卡尔.伯姆纪录片《I remember》 | |||||||||||||||||||||||
|
|
|||||||||||||||||||||||
| 未得原作者编者授权严禁转载www.mt77.com任何内容 | |||||||||||||||||||||||
|
|
|
||||||
|
copyright © 2003-2005 xilu.com all rights reserved. |
||||||
|
|
||||||
