![[套盒] 贝多芬: 交响曲全集 [朝比奈隆] (11.2MHz DSD) [6 Discs]](https://hifiimg.qwe123.me/albums/14/14959/covefdsa3y5qry25qrwar.jpeg)
目录
| # | 曲目 | 时长/大小 |
|---|---|---|
1 | Symphony No .1 in C Major, Op. 21 ：1. Adagio molto-Allegro con brio | 00:10:39 1721M |
| 2 | Symphony No .1 in C Major, Op. 21：2. Andante cantabile con moto | 00:09:32 1540M |
| 3 | Symphony No .1 in C Major, Op. 21：3. Menuetto： Allegro molto e vivace | 00:03:49 617M |
| 4 | Symphony No .1 in C Major, Op. 21：4. Adagio – Allegro molto e vivace | 00:06:41 1079M |
| 5 | Symphony No. 2 in D Major, Op. 36：1. Adagio molto – Allegro con brio | 00:13:19 2151M |
| 6 | Symphony No. 2 in D Major, Op. 36：2. Larghetto | 00:12:21 1994M |
| 7 | Symphony No. 2 in D Major, Op. 36：3. Scherzo. Allegro | 00:03:52 626M |
| 8 | Symphony No. 2 in D Major, Op. 36：4. Allegro molto | 00:06:38 1073M |
| 9 | Symphony No. 3 in E-Flat Major, Op. 55 Eroica：1. Allegro con brio | 00:19:38 3171M |
| 10 | Symphony No. 3 in E-Flat Major, Op. 55 Eroica：2. Marcia funebre. Adagio assai | 00:18:25 2976M |
| 11 | Symphony No. 3 in E-Flat Major, Op. 55 Eroica：3. Scherzo. Allegro vivace | 00:06:09 994M |
| 12 | Symphony No. 3 in E-Flat Major, Op. 55 Eroica：4. Finale. Allegro molto | 00:13:52 2241M |
| 13 | Symphony No. 4 in B-Flat Major, Op .60：1. Adagio – Allegro vivace | 00:12:58 2096M |
| 14 | Symphony No. 4 in B-Flat Major, Op .60：2. Adagio | 00:11:12 1810M |
| 15 | Symphony No. 4 in B-Flat Major, Op .60：3. Allegro vivace – Un poco meno allegro | 00:06:15 1011M |
| 16 | Symphony No. 4 in B-Flat Major, Op .60：4. Allegro ma non troppo | 00:08:30 1375M |
| 17 | Symphony No.5 in C Minor, Op. 67：1. Allegro con brio | 00:08:42 1405M |
| 18 | Symphony No.5 in C Minor, Op. 67：2. Andante con moto | 00:10:11 1646M |
| 19 | Symphony No.5 in C Minor, Op. 67：3. Allegro | 00:05:32 894M |
| 20 | Symphony No.5 in C Minor, Op. 67：4. Allegro | 00:11:39 1883M |
| 21 | Symphony No.6 in F Major, Op. 68 Pastorale：1. Erwachen heiterer Gefuhle bei der Ankunft auf dem Lande： Allegro ma non troppo | 00:12:43 2055M |
| 22 | Symphony No.6 in F Major, Op. 68 Pastorale：2. Szene am Bach： Andante molto mosso | 00:12:43 2056M |
| 23 | Symphony No.6 in F Major, Op. 68 Pastorale：3. Lustiges Zusammensein der Landleute： Allegro | 00:05:23 871M |
| 24 | Symphony No.6 in F Major, Op. 68 Pastorale：4. Gewitter, Sturm： Allegro | 00:04:02 652M |
| 25 | Symphony No.6 in F Major, Op. 68 Pastorale：5. Hirtengesang-Frohe und dankbare Gefuhle nach dem Sturm： Allegretto | 00:10:22 1674M |
| 26 | Symphony No.7 in A Major, Op. 92：1. Poco sostenuto – Vivace | 00:15:33 2512M |
| 27 | Symphony No.7 in A Major, Op. 92：2. Allegretto | 00:09:47 1581M |
| 28 | Symphony No.7 in A Major, Op. 92：3. Presto | 00:12:03 1947M |
| 29 | Symphony No.7 in A Major, Op. 92：4. Allegro con brio | 00:09:41 1566M |
| 30 | Symphony No. 8 in F Major, Op. 93：1. Allegro vivace e con brio | 00:10:31 1698M |
| 31 | Symphony No. 8 in F Major, Op. 93：2. Allegretto scherzando | 00:04:09 671M |
| 32 | Symphony No. 8 in F Major, Op. 93：3. Tempo di menuetto | 00:05:05 823M |
| 33 | Symphony No. 8 in F Major, Op. 93：4. Allegro vivace | 00:09:12 1486M |
| 34 | Symphony No. 9 in D Minor, Op. 125 Choral：1. Allegro ma non troppo, un poco maestoso | 00:17:32 2833M |
| 35 | Symphony No. 9 in D Minor, Op. 125 Choral：2. Molto vivace | 00:15:02 2429M |
| 36 | Symphony No. 9 in D Minor, Op. 125 Choral：3. Adagio molto e cantabile | 00:15:52 2564M |
| 37 | Symphony No. 9 in D Minor, Op. 125 Choral：4. Presto Recitativo | 00:06:22 1030M |
| 38 | Symphony No. 9 in D Minor, Op. 125 Choral：Presto-allegro assai, Final Chorus from An die Freude | 00:18:42 3020M |
专辑简介
专辑《贝多芬: 交响曲全集（Beethoven Sym. All）》涵盖了6张CD，朝比奈隆（Takashi Asahina） 指挥大阪爱乐乐团（Osaka Philharmonic Orchestra）演奏了贝多芬9首交响曲。然而《贝多芬第九交响曲（Symphony No. 9 in D Minor, Op. 125 Choral）》是朝比奈隆有生之年的最后一次指挥，这是2000年日本的重大音乐事件。他做了一些改变，朝比奈隆第九交响曲的合唱部分只在第四乐章后半部分出现，合唱团员如果从全曲开始时坐在合唱席，就要“干坐”40分钟左右，因此很多指挥家在指挥该曲时，大多是在乐章之间让合唱团员入场，但朝比奈在与新日本爱乐演出时，要求合唱团员从全曲开始前就全部就位从而进入状态。
这是朝比奈隆在音乐处理方面的灵活性，也许是受到他极为崇敬的富特文格勒对于作品并不刻板处理的影响使然。在朝比奈隆的着述、采访和谈话中，言及最多的指挥家是富特文格勒与近卫秀麿，而几乎不提托斯卡尼尼。他对富特文格勒绝不呆板僵化的诠释和处理手法十分赞赏，按着他自己的说法，他曾在1953年见过富特文格勒并听过其指挥柏林爱乐的布鲁克纳《第四交响曲》，留下十分深刻的印象。在他的指挥生涯中，受到富特文格勒指挥风格的深刻影响，无论是有意还是无意，都有模仿富特文格勒的痕迹，当然最主要的特点，是并不严格按照总谱去演奏，而是每次都有新意，从而创造出具有时代感的活性音乐。在谈及贝多芬《第九交响曲》时，朝比奈隆说道：“创作这首作品时，据说他（贝多芬）已经完全听不到任何声音，但他一定是另有所闻和另有所见，才写出如此不朽的篇章。我只能这样理解，在那个时候，他看到了‘神光’，听到了‘神音’。”
