( Harmonia Mundi – 1C 065-99 904 ~ 6， 1980年3LP )
儘管卡拉揚有再次「玫瑰騎士」數位錄音，對絕大多數樂友而言Elisabeth Schwarzkopf 舒瓦茲柯芙才是永遠的「元帥夫人」( EMI His Master's Voice – ASD 2726 , 4LP ) 。「玫瑰騎士」錄音當然多，如仍再需一套，那Soliti 爵士 ( DECCA SET 418-21 ，4LP ) 奢華的包裝也令人愛不釋手。不想長篇大論的話，也有管絃組曲。1944年指揮家Artur Rodziński 最早編了組曲，也錄了音 ( WESTMINSTER XWN 18680，1958年 LP ) 。不過如今Rodziński版本早被遺忘，因為杜拉第Antal Dorati 也編了組曲且內容豐富多了，這是如今最通行的版本。杜拉第 自已也有多次錄音 ( RCA , Mercury , Decca …. 都是好選擇，但最後一次 ( Decca – 411 893-1，1985年 LP ) 也包含另一Die Frau Ohne Schatten 「沒有影子的女人」組曲是更完備。其實「玫瑰騎士」組曲唱片多如牛毛，不少指揮都有錄音且不只一次，Previn普烈文就是，早期( RCA LSC-3135，1970年 LP ) 不單是《 TAS發燒名盤，世界首錄 慕尼黑Munchen (Commemorative Waltz ) 》，其普烈文 指揮只算不過不失蠻平庸的。而每次 標【 world premiere recording 】世界首錄對意志淺弱的在下都是挖坑給我跳。這首 Munchen ( Commemorative Waltz ) ，聽起來根本就神似 " 玫瑰騎士 組曲 " Waltz，算了吧！乏人問津才會留到本片是世界首錄。除了您是 TAS發燒名盤的愛好者，不然是能省則省。建議 Eugen Jochum約夫姆 多次和名門樂團的錄音( DGG 柏林，EURODISC 班堡, PHILIPS 阿姆斯特丹 ).. 才是好選擇。另外奧曼第是推早期 MONO ( COLUMBIA ML 5333，1958年 LP ) ，原因當年費城愛樂豐美醇厚的絃樂是蓋世無雙，最合 李查史特勞斯 應有的繁華排場，更何況本片也包括了Die Frau Ohne Schatten 「沒有影子的女人」組曲。
「玫瑰騎士」也有 Percy Grainger 格蘭傑 的鋼琴改編曲，本人也留下約６分鐘78轉錄音，這只算聊備一格罷了。但，也有1926年電影 (默片) 的配樂版就比較為人少知，其詳情就自已看WIKI ( https://en.m.wikipedia.org/wiki/Der_Rosenkavalier_(1926_film) )，不多述。其實也有Ensemble 13 Baden- Baden (巴登巴登 13室內樂團) 錄音，因為是電影院默片音樂，必然是小型樂團且較易懂，所以稱為沙龍版 (Der Rosenkavalier Filmmusik - Salon-Orchester-Fassung) 。因玫瑰騎士是三幕歌劇，所以本錄音也分 (Harmonia Mundi – 1C 065-99 904 ~ 6， 1980年3LP )。第一次聽到 巴登巴登 13，是聯想到日本漫画家齊藤隆夫的哥爾哥 13《骷髅13》，其實巴登巴登 13是德國一些如巴登國家管弦樂團，科隆管絃樂團 …團員組成的室樂團。他們最有名的唱片是亨德密次 Paul Hindemith的 室內音樂集 Kammermusiken (Deutsche Harmonia Mundi 1C 165-99 721/23, 38 000 6，1978年 3LP ) ，把亨德密次 音樂的流動感詮釋很好，個人喜愛這套唱片更甚於阿巴多 ( EMI ) ，蔡利Chailly ( Decca ) 名作。
若以 壹週刊的方式來說「玫瑰騎士」大慨為，古早時有位情場打滾很久的交際老媼面對小狼狗忽然良心發現，給了一朵玟瑰放他走的故事。是「朝如青絲暮成雪」對青春不再的感嘆，這是李查史特勞斯最成功的歌劇。「玫瑰騎士」至少在情感碰觸上不像 （莎樂美Salome）那麼極端，但，「玫瑰騎士」仍是部香艷的大作。以前電影院上映默片所提供音樂，必然是小型樂團，玫瑰騎士沙龍版 (Der Rosenkavalier Filmmusik - Salon-Orchester-Fassung) 是應此誕生。巴登巴登 13的確是身懷絕技的樂手集合，用的是綿裡針，袖中箭的短打功夫，在表面宮廷宴遊交往音樂下，其實七情六慾是暗潮洶湧的，細細品味真是樂趣不小。不過實在是太長了，精神不濟，到後期幾次總被充滿肉慾的法國號叫醒。
雖然儘是些不瘋不癲不成仙的九怪樂友，本唱片 3LP 實在不敢推坑，不然先嚐第一片1C 165-99 721 看看。其實找片牢靠的組曲也夠用，如有時間捱完三片沙龍版，乾脆就聽歌劇全曲，不是更完全更好。
Der Rosenkavalier is a 1926 Austrian silent film of the opera of the same name by Richard Strauss (music) and Hugo von Hofmannsthal (libretto). Directed by Robert Wiene, it premiered on 10 January 1926 at the Dresden Semperoper, which had also hosted the actual opera's premiere 15 years earlier. Hofmannsthal considerably changed the storyline for the film version (which included a final scene in the formal gardens behind the Field Marshal's residence) and Strauss' score included music not only from the opera but also sections of his Couperin Suite and a march for the Field Marshal, who appears in this version.
The music during the film's performances was provided by an orchestra. At the premiere, this was conducted by Richard Strauss himself. The film's projection speed had to be adjusted by the projector in order to fit the speed of the orchestra. This task fell to the film's cameraman, Hans Androschin, because only he knew the exact length of each scene and cut. In later performances, a special recording, also conducted by Strauss, provided the music. Strauss conducted the Vienna and London premieres (and recorded excerpts from the film score on the Victrola label at that time. A planned tour of the United States in 1927 by Strauss and his orchestra failed to go ahead because of the emergence of sound films.
The American premiere took place at Yale University's Woolsey Hall with the Yale Symphony Orchestra conducted by John Mauceri (who received special permission from Strauss' son) on 29 March 1974. A copy of the film was found in the Czech National Archive and Mauceri translated the titles with Glenn Most into English. The final sequence was missing from the print and was performed with orchestral music and titles alone. The score and parts were held by the Library of Congress. The audience at Yale included the famed Strauss soprano Maria Jeritza, who was living in New Jersey at the time
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