Released to celebrate the 70th birthday of Maria João Pires , this 20CD edition contains all her solo recordings made for DG. The edition includes outstanding interpretations of Bach, Beethoven and Schubert as well as Mozart’s complete piano sonatas and Chopin’s Nocturnes. This is the first out of three editions dedicated to the work of Pires.

普罗科菲耶夫第三钢琴协奏曲的版本很多，在此强烈推荐这张阿格里奇与阿巴多，柏林爱乐的合作（DG公司）。阿格里奇把此曲的豪放与浪漫发挥至极至，令人叫绝。
普罗科菲耶夫是20世纪最有天才的作曲家之一。他的《C大调第三钢琴协奏曲》（op.26）是作曲家最著名的作品之一，也是他的五部钢琴协奏曲中最受欢迎的一部。这部作品始创作于1917年，于1921年完成于巴黎。同年12月16日在美国芝加哥首演，作者本人演奏钢琴，斯托克（F.Stock）指挥芝加哥交响乐团协奏。
这部协奏曲音乐语言的特点，是民俗性与复调手法结合，显示出作曲家创作个性的高度成熟。全曲分三个乐章。第一乐章为行板－－快板，奏鸣曲式。行板的序奏，开始由单簧管独奏奏出悠扬的民歌风旋律，进入奏鸣曲式快板后，连续十六分音符急促进行的引子先由弦乐奏出，随之钢琴奏出响亮的充满生气的主部主题，音乐以充沛的活力铺陈展开并形成高潮。副部主题平易近人，但不乏幽默情趣，丰富的复调手法把这个主题装饰得有声有色。呈示部结尾处再次奏响序奏主题后，乐章进入激动人心的展开部。展开部中的赋格式的推进将音乐的情绪推至顶点。随后的再现部将前面的各种素材作了变化的回顾，钢琴华丽技巧的炫示令人兴奋异常。整个乐章最后在急促有力的强烈音响中结束。第二乐章为小行板，变奏曲式。其主题美柔如歌，由长笛、单簧管在弦乐的和弦衬托下奏出，清澈明净、引人入胜。接续的五个变奏快慢相间，时而娇媚，时而粗野，时而安详宁静，时而热烈狂暴，对比丰富，变化万端。最后在庄重的气氛中结束全乐章。第三乐章为不太快的快板，回旋曲式。叠部主题具有跃动的节奏活力，由弦乐拨弦与大管的齐奏开门见山地引出，带有拉威尔式的某种性格。乐章最后以令人炫目的钢琴技巧将音乐推向高潮。
这部协奏曲钢琴技巧的难度令人瞠目，但效果惊人，因而被人称为“吃力而讨好的作品”。它已成为大钢琴家们争相演奏以显示自己高超技艺的20世纪经典钢琴名作之一。

This album represents what is akin to a piano recital. As a piano student I never participated in this standard ritual (the recital). The pieces that I choose are not ones that are terribly difficult to master and typically serve as pieces that I play to "keep my fingers nimble". I felt compelled to try a project recording classical music, by the masters; such as Mozart, Bach and Beethoven. I learned much more from the process of recording these pieces than I had anticipated. With all that being said, here it is, for your listening pleasure, completely free of charge. Download, listen, relax, take a walk in the park with this music, or fall asleep to it. Whatever your application of these songs, I hope they offer something to you.
credits

《Julemeditasjoner 圣诞沉思》（注意：国内有些地方写成了“Fulemeditasjoner”，那是错误滴）也翻译作《喜乐的宁静》，由大提琴家 Aage Kvalbein 奥格·科瓦尔本 和享誉国际的跨界钢琴巨匠 Iver Kleive 艾弗·克雷夫 共同合作演绎，以醇美的大提琴和珠玉钢琴交织出一首首如诗的音乐篇章。
二位音乐家以音乐传递乐活能量，让这些选自挪威、丹麦、欧洲等地的民谣或诗歌，在音乐的美学中散发出极其温暖、宁静、典雅的气息，令听者神醉。这股充满喜乐的宁静感，是演奏者带给听者既深远又幽静的聆赏感动。

The Good CD Guide 3 discs

贝多芬《No.4、No.5“皇帝”钢琴协奏曲》。钢琴家肯普夫演奏，肯普夫作为当代德国钢琴家的代表人物受到人们尊崇，成为贝多芬、舒伯特、舒曼、勃拉姆斯钢琴作品的权威演奏家。他的演奏含蓄细腻，织体清晰，亲切高贵。“企鹅”评价三星

L’adolescent, l’homme, le dieu” was Liszt’s description of Beethoven’s successive stages of development so patent in the 32 piano sonatas completed between 1795 and 1822, a series as remarkable for the composer’s constant quest for variety of pattern within the traditional sonata mould as his response to the challenge of the piano itself in crucial days of the instrument’s development in strength, compass and colour.
The Grande Sonate Pathetique, as its publisher first issued it, dates from 1798/99. Never before had Beethoven extracted more drama from C minor, always his most fateful key, than in the turbulent opening movement starting with an imposing Grave introduction twice recalled in the course of the sonata-form argument(like Clementi and Dussek he had already tried out a similar device in a sonata written at eleven). It is no surprise to learn from letters that already in the later 1790s he was secretly tormented by early symptoms of deafness. Assuagement comes in the idyllic, recurrent song melody of the Adagio cantabile in A flat, though tension mounts in two contrasting episodes. The finale is an urgent sonata-rondo back in the home key of C minor.
Composed in 1801, during an ill-starred romance with its youthful dedicatee, the Countess Giuleatta Guicciardi, the C sharp minor Sonata testifies to Beethoven”s tireless pursuit of formal adventure: like its predecessor in E flat it carries the subtitle “quasi una fantasia”. His boldest stroke was in opening with an Adagio sostenuto, music sufficiently hypnotic in its calm to remind the poet-critic Rellstab of moonlight on Lake Lucerne- hence the nickname appended after Beethoven’s death. For the Alegretto, a gracious old-style minuet and trio following without sharp break, Beethoven slips enharmonically into D flat major. The finale in the home key is a passionately disturbed Presto agitato in sonata form.
Following hard on the heels of the “Moonlight” in the same year of 1801, the D major Sonata reverts to a traditional four-movement sequence. The nickname “Pastoral” came frome the publisher Cranz. But the music exudes enough of the relaxationg and simple joy Beethoven always found in the country(openly confessed in the Sixth Symphony) to make it easy to believe Czerny’s contention that the sonata was one of the composer’s favourites. Repeated low Ds, like a rustic drone, support the opening tune of the sonata-form Allegro. The lilting main theme of the sonata-rondo finale, again with a drone-like accompaniment, is still more redolent of the village green. Though the D minor-major Andante, with its regular, march-like tread, is tinged with regret, the Scherzo is one of the composer’s most playful.
Beethoven was in his 40th year when composing the F sharp major Sonata in 1809, after four years away from the genre; in total contrast to its stormy F minor predecessor, the “Appassionata”, this gracious work in only two movements was dedicated to the Countess Therese von Brunsvik, who though no longer accepted as his legendary “immortal beloved”, was one of the few closest to his heart whose character approached his own exalted ideals of womanhood. With the unpredictability of genius Beethoven rejects heart-searching, after only the briefest Adagio cantabile introduction, to write a radiantly lyrical Allegro non troppo in concisely expressed sonata form. In the scherzando-like concluding Allegro vivace, also in(for him) the unusual key of F sharp major, he springs constant surprises of tonality, register and dynamics.

Longtime fans of the pianistic genius of Claudio Arrau will no doubt already have his transcendent performances of Schubert's sonatas, impromptus, Moments musicaux, and Klavierstücke that he recorded for Philips in the early '80s and they will already have imbibed deeply and at length of their imponderable sublimity. Listeners coming to the recordings for the first time may wonder what it is his fans hear in these immensely slow and enormously deliberate performances. And make no mistake, Arrau's performances are immensely, incredibly, draggingly slow with Allegros sounding like Andantes and Andantes sounding like Adagios and enormously, unbelievably, ponderously deliberate with huge pauses and vast hesitations. But make no mistake, Arrau's performances are also incontestably transcendent. With the soul of a poet in his heart and the experience of a lifetime in his mind, Arrau finds depths in Schubert's music that few other pianists suspect even exist and expresses them with a honesty and humanity that are wholly compelling. Still, even longtime fans will have to admit that the bonus disc of previously unissued mid-'50s recordings of Arrau performing the Klavierstücke, the "Wanderer" Fantasy, and three Moments Musicaux are not only wonderfully impressive in their own right, but also a tremendous relief after so many profoundly slow performances. Philips' early-'80s sound was so vivid that one can at times hear the pianist's knuckles crack.

德彪西可说是一位革命性的音乐家，他创新和声与旋律，在他的音乐中，色彩、音色与节奏的重要性绝对不亚于和声与旋律。虽然他的作品还存在著调性，但是几乎已经濒临溃散的地步。经过德彪西创新之后，音乐创作就不再被既定规则所限制，改革风气从此一发不可收拾。
德彪西创作了不少钢琴曲，但他却没有专业的钢琴技巧，他犀利的触感足以弥补一切缺憾。德彪西穷其毕生精力要将钢琴从电光石火声音中释放出来，弹琴时就像直接在琴弦上挑抹，未曾经过琴键与琴槌干预，大量运用踏板创造出前所未有效果，从他指尖流泻出来的音韵简直就是一首首清澄优美的诗歌。
帕斯卡·罗热(Pascal Roge，1951～ )，法国钢琴家，是诠释普朗克作品的权威之一。
帕斯卡·罗热出生于音乐世家，是法国音乐专家，被誉为“法国音乐大使”，尤为擅长演绎德彪西、拉威尔、圣桑、普朗克、弗雷等作曲家的作品。罗热认为，法国音乐的特点在于细腻微妙、精炼、优雅—一些俄罗斯及德国作曲家如瓦格纳创作的长达三四小时的巨作，其意境德彪西可能用短短两秒钟、靠两个小节就能达到。
罗热4岁便开始接受母亲的音乐启蒙，11岁入巴黎音乐学院，1966年获音乐学院钢琴比赛一等奖和室内乐一等奖。1971年参加马格丽特·隆国际钢琴比赛获一等奖。
罗热的演奏触键精致细腻，声音清澈透亮，在表现法国印象派作品时，其轻灵雅致、朦胧与虚幻的意境极为迷人。

大师绝对的名盘之一，是他经典中最为璀璨夺目的。在我看来，李赫特的拉二是完美的。虽然很多乐友说不喜欢他手中的拉二，原因是认为他弹得拖沓而自以为是，过于刻板，尤其是第一乐章的开头部分。但是每次聆听这段，我都会感觉像是阳光穿过碧蓝的海水一般，呼吸凝重、大气广博，深得俄罗斯广袤大地之精髓。如果要是推荐拉二的版本的话，大师的这段演绎在我心目中必在前列。

Disc 1:
01 Lieder ohne Worte, Op.19 - No.1 in E (Andante con moto) "Sweet Remembrance" 3:08 $0.99
02 Lieder ohne Worte, Op.19 - No.2 in A minor (Andante espressivo) 2:19 $0.99
03 Lieder ohne Worte, Op.19 - No.3 in A (Molto allegro) "Hunting Song" 2:09 $0.99
04 Lieder ohne Worte, Op.19 - No.4 in A (Moderato) 2:02 $0.99
05 Lieder ohne Worte, Op.19 - No.5 in F sharp minor (Agitato) "Restlessness" 3:02 $0.99
06 Lieder ohne Worte, Op.19 - No.6 in G minor (Andante sostenuto) "Venetian Gondola Song" 1:52 $0.99
07 Lieder ohne Worte, Op.30 - No.1 Andante espressivo in E flat 4:23 $0.99
08 Lieder ohne Worte, Op.30 - No.2 Allegro di molto in B flat minor 1:55 $0.99
09 Lieder ohne Worte, Op.30 - No.3 Andante sostenuto in E "Consolation" 2:13 $0.99
10 Lieder ohne Worte, Op.30 - No.4 Agitato e con fuoco in B minor 2:29 $0.99
11 Lieder ohne Worte, Op.30 - No.5 Andante grazioso in D 1:38 $0.99
12 Lieder ohne Worte, Op.30 - No.6 Allegretto in F sharp minor "Venetian Gondola Song" 2:56 $0.99
13 Lieder ohne Worte, Op.38 - No.1 Con moto in E flat 2:40 $0.99
14 Lieder ohne Worte, Op.38 - No.2 Allegro non troppo in C minor "Lost Happiness" 1:53 $0.99
15 Lieder ohne Worte, Op.38 - No.3 Presto in E "La harpe du poète" 2:12 $0.99
16 Lieder ohne Worte, Op.38 - No.4 Andante in A 2:25 $0.99
17 Lieder ohne Worte, Op.38 - No.5 Agitato in A minor "Appassionata" 2:15 $0.99
18 Lieder ohne Worte, Op.38 - No.6 Andante con moto in A flat "Duetto" 2:17 $0.99
19 Lieder ohne Worte, Op.53 - No.1 Andante con moto in A flat 3:22 $0.99
20 Lieder ohne Worte, Op.53 - No.2 Allegro non troppo in E flat "The Fleecy Cloud" 2:39 $0.99
21 Lieder ohne Worte, Op.53 - No.3 Presto agitato in G minor 2:29 $0.99
22 Lieder ohne Worte, Op.53 - No.4 Adagio in F "Sadness of Soul" 2:23 $0.99
23 Lieder ohne Worte, Op.53 - No.5 Allegro in A minor "Folk-Song" 2:46 $0.99
24 Lieder ohne Worte, Op.53 - No.6 Molto allegro vivace in A "La fuite" 2:33 $0.99

Disc 2:
01 Lieder ohne Worte, Op.62 - No.1 Andante espressivo in G 2:03 $0.99
02 Lieder ohne Worte, Op.62 - No.2 Allegro con fuoco in B flat 1:36 $0.99
03 Lieder ohne Worte, Op.62 - No.3 Andante maestoso in E minor "Funeral March" 2:48 $0.99
04 Lieder ohne Worte, Op.62 - No.4 Allegro con anima in G "Morning Song" 1:25 $0.99
05 Lieder ohne Worte, Op.62 - No.5 Andante in A minor "Venetian Gondola Song" 2:50 $0.99
06 Lieder ohne Worte, Op.62 - No.6 Andante grazioso in A "Spring Song" 2:08 $0.99
07 Lieder ohne Worte, Op.67 - No.1 Andante in E flat 2:24 $0.99
08 Lieder ohne Worte, Op.67 - No.2 Allegro leggiero in F sharp minor "Lost Illusions" 2:08 $0.99
09 Lieder ohne Worte, Op.67 - No.3 Andante tranquillo in B flat 2:41 $0.99
10 Lieder ohne Worte, Op.67 - No.4 Presto in C "Spinning Song" 1:54 $0.99
11 Lieder ohne Worte, Op.67 - No.5 Moderato in B minor "The Shepherd's complaint" 2:10 $0.99
12 Lieder ohne Worte, Op.67 - No.6 Allegro non troppo in E "Cradle Song" 2:11 $0.99
13 Lieder ohne Worte, Op.85 - No.1 Andante espressivo in F 2:24 $0.99
14 Lieder ohne Worte, Op.85 - No.2 Allegro agitato in A minor "Adieu" 0:56 $0.99
15 Lieder ohne Worte, Op.85 - No.3 Presto in E flat 2:22 $0.99
16 Lieder ohne Worte, Op.85 - No.4 Andante sostenuto in D "Elegy" 2:51 $0.99
17 Lieder ohne Worte, Op.85 - No.5 Allegretto in A 1:48 $0.99
18 Lieder ohne Worte, Op.85 - No.6 Allegretto con moto in B flat 2:01 $0.99
19 Lieder ohne Worte, Op.102 - No.1 Andante un poco agitato in E minor 3:10 $0.99
20 Lieder ohne Worte, Op.102 - No.2 Adagio in D 2:13 $0.99
21 Lieder ohne Worte, Op.102 - No.3 Presto in C "Tarantelle" 1:17 $0.99
22 Lieder ohne Worte, Op.102 - No.4 Un poco agitato in G minor "The Sighing Wind" 2:16 $0.99
23 Lieder ohne Worte, Op.102 - No.5 Allegro vivace in A "The Joyous Peasant" 1:06 $0.99
24 Lieder ohne Worte, Op.102 - No.6 Andante in C "Belief" 2:30 $0.99
25 6 Kinderstücke op.72 - 1 Allegro non troppo 0:58 $0.99
26 6 Kinderstücke op.72 - 2 Andante sostenuto 1:47 $0.99
27 6 Kinderstücke op.72 - 3 Allegretto 0:57 $0.99
28 6 Kinderstücke op.72 - 4 Andante con moto 1:47 $0.99
29 6 Kinderstücke op.72 - 5 Allegro assai 1:31 $0.99
30 6 Kinderstücke op.72 - 6 Vivace 1:26 $0.99
31 Gondellied (Barcarolle) in A major (1837) - Allegretto non troppo 2:30 $0.99
32 2 Klavierstücke - 1 Andante cantabile 3:07 $0.99
33 2 Klavierstücke - 2 Presto agitato 2:29 $0.99
34 Albumblatt (Lied ohne Worte) in E minor, Op.117 - Allegro

小提琴家Hilary Hahn四岁就开始拉琴，从5岁起连续7年接受比利时小提琴家Eugene Ysaye现仍在世的嫡传弟子Jascha Brodsky的长期指导。
DG唱片公司于2003年发行了Hilary Hahn与杰夫瑞·柯汉(Jeffrey Kahane)指挥的洛杉矶室内乐团合作灌录的巴赫四首小提琴协奏曲：A小调及E大调小提琴协奏曲，D小调双小提琴协奏曲(第二小提为玛格列特·巴特耶 (Margaret Batjer)，以及C小调小提琴与双簧管协奏曲(双簧管艾伦·弗戈Allan Vogel)。在与德国DG唱片公司签约之前，希拉蕊·韩已经为索尼古典唱片灌录了五张唱片。她的第一张专辑巴赫的无伴奏小提琴奏鸣曲及组曲，获得了1997年法国金唱片大奖(Diapason d’Or)以及Billboard古典音乐榜上蝉联了数周的销量冠军。她的第二张专辑，贝多芬以及伯恩斯坦的协奏曲，使她第一次获得了格莱美的提名，并再次获得法国金唱片大奖(Diapason d’Or)大奖，1999年度德国古典回声(Echo Klassik)大奖，以及被登上留了声机杂志 (Gramophone) “每月CD”榜；她的第三张专辑是塞谬尔·巴伯和埃德加·梅耶的协奏曲，获得了德国唱片大奖及法国坎城古典唱片奖。她在2001年录制的勃拉姆斯和斯特拉文斯基协奏曲，除了使她获得了留声机杂志“编辑的选择”及音乐世界的最佳唱片奖外，还让她获得了格莱美大奖。Hilary Hahn的第四张专辑依然获得了古典唱片的最佳销量。在2002年秋天，索尼发行了她的第五张专辑门德尔松及肖斯塔科维奇。在其他最近的计划中，她将担任奈特·夏马兰(Night Shyamalan)最新的电影《阴森林》(The Village)配乐的独奏，由她参与的电影原声带《阴森林》更是获得了极高的赞誉。知名乐评Terry Teachout在时代杂志中赞扬道：“Hilary Hahn是当今美国最杰出的新生代古典音乐演奏家！”她的琴音温暖的呈现出深层的人性情感，随着剧情的推展，同时也逐步推向戏剧的高潮，而整张专辑的铺陈与流畅的旋律拿捏的恰到好处，这张《莫扎特的小提琴的奏鸣曲》是她最新专辑。
朱叶 Natalie Zhu
钢琴 piano
朱叶从6岁起开始学习钢琴，并在9岁时于北京举行首次公开演出。11岁时她跟随全家移民到洛杉矶，15岁进入柯蒂斯音乐学院学习，就在那里她师从加里·格拉夫曼并获得了着名的拉赫纳尼诺夫大奖。2001年她留校任教。朱叶其后在耶鲁大学音乐学院师从克劳德·弗兰克并获得了音乐学硕士学位。
朱叶曾获得过诸多奖项，其中包括在1994年她获得第一届中国国际钢琴比赛的第一名。1998年费城阿斯垂尔艺术事业全国试音大奖的得主。1988年和1989年青年键盘音乐家联盟比赛的大奖。她亦是1988年及1991年约翰娜·霍奇钢琴协奏曲比赛的金奖得主，及获得该比赛1991年音乐会系列大奖。2003年美国艾弗里·费雪事业大奖以及安德鲁·沃尔夫室内乐大奖的获得者。
朱叶以钢琴家、独奏家和室内音乐家的身份在北美、欧洲和中国演出。在美国她先后与太平洋交响乐团、费城乐团协奏曲独奏家室内乐团、阿斯垂尔室内乐团、卑尔根爱乐乐团、科罗拉多州的国家剧院爱乐乐团合作演出。她也曾在纽约的斯坦威大厅登台，并在此乐季与阿斯垂尔的小提琴家克里斯第娜·卡斯特里(Christina Castelli)和阿斯垂尔的大提琴家柯岚茜·纽曼同台献艺于卡内基大厅的威尔独奏厅。 朱叶于1994年参加法国奥尔良苏立音乐节，首次登上欧洲的舞台，之后巡演德国、意大利和荷兰。至今她与赫赫有名的小提琴家Hilary Hahn合作，展开美国、欧洲和日本的巡演，其中包括一场在卡内基大厅取得辉煌成功的独奏演出。

作曲：Ludwig van Beethoven
指挥：Carlo Maria Giulini
钢琴：Arturo Benedetti Michelangeli
演奏：Wiener Symphoniker
录音：Wien, Musikverein, Groβer Saal, 2/1979
CD编号：Deutsche G 419 249-2
资源出处：my own cd
专辑介绍：
降E大调《第五钢琴协奏曲》是贝多芬所有的钢琴协奏曲作品中，规模最为庞大的一部，故常被人称为“皇帝协奏曲”。贝多芬自1808年开始着手创作此曲，并于第二年完成。当时由于拿破仑率领法军占领了维也纳，使得本曲迟迟不能上演。据说在法军四处作乱的时节，贝多芬曾遇见法军军官，他当即握紧拳头，咬牙切齿地说：“如果我对于战术也像对对位法一样有深入了解的话，非给你一点颜色看看不可! ”直到1811年，本曲才在德国的莱比锡得以首次公演。当时的音乐杂志《大众音乐报》曾这样评价本曲：“毫无疑问，这是所有已经创作出来的协奏曲中最富创造力、最富想象力和最引人注目的作品，同时也是在技巧上最为艰深的一部。”
米凯兰杰里的演绎实在十分狂放。这位乐坛怪杰，不喜欢在录音室里演奏；但在现场气氛启发之下就灵感焕然，光芒四射。不过，他的即兴演奏却不宜于作为经典供奉。同是皇帝协奏曲的录音，塞尔金(Serkin)演来是位庄严富人情味的乔治第五，而米凯兰杰里却是位潇洒的温莎公爵。故此，当你怀着现场演奏的形象去欣赏时，本碟就不失为最富于刺激性和娱乐性的佳作。单听大师神乎其技的指法，已令人五体投地了。录音极丰满悦耳，间中有些超越平衡的木管乐器排众而出，但不足以垢病。