感谢楼主，很好的汇集，学习……

生活知乐 发表于 2016-8-10 22:14
感谢楼主，很好的汇集，学习……

不用谢。互相交流，取长补短。

莱奥  6首

莱奥的6首协奏曲，听着已经属于巴洛克晚期的风格了。

莱奥简介：
https://en.wikipedia.org/wiki/Leonardo_Leo

扎尼  12首

扎尼的12首协奏曲，均为比较规范的3乐章结构，数字低音部分亦不太明显。

扎尼简介：
https://en.wikipedia.org/wiki/Andrea_Zani

片段试听：
http://koelnerakademie.de/web-store/andrea-zani-complete-cello-concertos/

没有兄台听得这么多。大提琴作品还是最喜欢大无，大无耐听，有内涵，有深度。
斯塔克水星那个版本也非常不错的。

卡萨尔斯的唱片也非常值得留意，象白宫音乐会。

shinelb 发表于 2016-8-11 10:09
没有兄台听得这么多。大提琴作品还是最喜欢大无，大无耐听，有内涵，有深度。
斯塔克水星那个版本也非常不 ...

可能的话，还是应该拓展一下。即便是你听了一圈儿，还是认为XXX最好，但你会进一步明白XXX比别的究竟好在哪里。

法式纯蓝绿牛筋大提琴，也很不错

C.P.E.巴赫　3首

这款VIRGIN中价小双张，物美价廉。CD2有毕斯玛演奏C.P.E.巴赫的3首大提琴协奏曲，朝气勃勃的，如同封面百舸争流一般。

G.C.瓦根塞尔  2首

G.C.瓦根塞尔简介：
https://en.wikipedia.org/wiki/Georg_Christoph_Wagenseil

奥地利作曲家，约翰·富克斯最喜欢的学生，并继任他成为维也纳宫廷作曲家。瓦根塞尔的作品是早期古典主义风格的典范，对海顿和莫扎特都有一定影响，为维也纳古典乐派的辉煌成就打下了基础。

有关瓦根塞尔的一则轶事是，1762年，年仅六岁的莫扎特来到宫中献艺，他向皇帝问道："Ist Herr Wagenseil nicht hier? Der versteht."（“瓦根塞尔先生在不在？他会理解的。”）当瓦根塞尔来到他面前时，这位小神童又说："Ich spiele ein Concert von Ihnen, Sie müssen mir umwenden."（“我来演奏一首您作的协奏曲，请您为我翻谱好吗？”）

转自网络，感谢作者。

赞同亚河兄。拓展曲目是很有趣味的，会发现小众的优秀作品，也会明白大多小众不出名的原因，和名作的差距所在。

matrim 发表于 2016-8-11 17:55
赞同亚河兄。拓展曲目是很有趣味的，会发现小众的优秀作品，也会明白大多小众不出名的原因，和名作的差距所 ...

所见略同。见多，才能识广；博古，才易通今。

达德  6首

Antoine Dard (1715–84) served as oboist and bassoonist at the French royal court from 1773 [Robin: I assume you mean 1773 – you gave 1673. Please confirm]. It is therefore no surprise that these six sonatas for bassoon or cello and basso continuo were conceived more in terms of the wind than the stringed instrument.

Dard’s highly personal approach combines the expressive, the courtly and the unpredictable with flowing written-out embellished passages of finely etched detail. His predominantly lyrical style exploits the upper registers of the instrument to an extent unusual for the period, and his prefatory note stresses the importance of performing his sonatas with ‘lightness and feeling’. Kristin von der Goltz, a pupil of William Pleeth, does just that, demonstrating also her technical assurance, musical intelligence and strong sense of line.

This is responsive and spirited music making, pregnant with expressive detail. Highlights for me include Goltz’s neat, yet extensive ornamentation in the first movements of sonatas nos.1, 5 and 6; her responses to the challenging passagework in the lively central Allegro of no.1 and the Allegro ma non troppo of no.3; her emotionally charged Adagio of no.3; her pleasant mix of lyricism and articulated commentary in the Ciciliano andante of no.4; and her jauntiness in the finales of nos.2 and 5.

Goltz has an excellent rapport with her partners. However, their collective efforts are smothered in a soupy, reverberant acoustic to which harpsichordist Christine Schornsheim adds rather too much thickening. Regrettably, the detail of Goltz’s warm, mellifluous cello sound is occasionally obscured, particularly towards the bottom of its range.  

以上转自：
http://www.thestrad.com/cpt-reviews/dard-six-sonatas-for-cello-and-continuo-1759/


达德简介：
https://de.wikipedia.org/wiki/Antoine_Dard