Having recorded for the Decca Gold Label in the 1950s and 60s, Ruth is thrilled to return to the label nearly 60 years later to release a brand new solo piano album, recorded in 2021, entitled My Life in Music. The album celebrates her remarkable life and performing career which began as a child prodigy in the 1920s and continues nine decades later.
When asked about her new album, Slenczynska said,
“Unbelievable! Whoever heard of a pianist my age making another album? I’m grateful if they like the music. Music is meant to bring joy. If mine still brings joy to people, then it is doing what it is supposed to do”
Born in 1925 in Sacramento, California, to Polish immigrants, Slenczynska gave her concert debut at the age of four (just as the world entered the Great Depression), performed on television aged five and at six made her European concert debut in Berlin. 92 years later, the extraordinary pianist still performs to audiences around the world.
As a child, Ruth Slenczynska was taught by some of the most celebrated pianists in history. She is the last living pupil of the great Russian composer-pianist Sergei Rachmaninoff, and even stepped in for him at the last minute when he was unable to perform due to an injury. The pair would often drink tea together and, to this day, Slenczynska wears a Fabergé egg necklace the great musician gifted to her.
My Life in Music is inspired by Slenczynska’s personal connections with Rachmaninoff, as well as American composer Samuel Barber, who was her fellow student and friend. Slenczynska heard Barber’s now world-famous Adagio for Strings in the classroom, before it even had its title.
Slenczynska also explores the music of Chopin throughout the new album, including a piece she performed at the memorial service of one of the greatest pianists of all time, Vladimir Horowitz, a life-long friend. Chopin’s music formed Slenczynska’s musical foundations, with her father making her play all 24 Études before breakfast every morning. Slenczynska went on to earn a reputation as one of the most celebrated Chopin interpreters. The album also features pieces by Debussy, Grieg and Bach which, for her, conjure memories of some of her great piano mentors: Egon Petri, Alfred Cortot and Josef Hoffman.
A phenomenal performing career has seen Slenczynska appear at some of the most prestigious concert halls around the world, as well as for the likes of President Reagan, President Kennedy, President Carter and Michelle Obama, and has even played duets with President Truman and the (now former) Empress Michiko of Japan (with whom she is friends). She has also written extensively with many articles published and two books to her credit.
Still an active performer, Slenczynska performed at the 2021 Chopin International Festival and Friends in October 2021 in the Polish Embassy in in New York and is set to celebrate her 97th Birthday with a recital at Lebanon Valley College, PA, on 6 February.
Laura Monks and Tom Lewis, Co-Presidents of Decca Label Group, say,
“It’s remarkable to think that Ruth made her concert debut before the birth of colour movies, and around the same time as the birth of television! The fact that she is still at the top of her game over nine decades later is extraordinary. It’s very hard to think of anyone, in any profession, who has achieved such a sustained period of excellence.”
Label Director of Decca Classics, Dominic Fyfe, says,
“We are privileged to have Ruth record for Decca again, some sixty-six years since she first recorded for the label in New York. One of her earliest producers was Thomas Frost and we were delighted to unite her with Thomas’ son David, the multi GRAMMY award-winning producer, for this new album. Decca has a long-cherished history of bringing great pianists back to the studio, from Shura Cherkassky to Jorge Bolet. Ruth was friends with them both and her pianism is one of the last living links to that golden era”.

肖邦:第一号钢琴协奏曲
李斯特:第一号钢琴协奏曲
阿格丽希/钢琴 , 阿巴多指挥伦敦交响乐团
肖邦《第1钢琴协奏曲》E小调，OP.11，作于1830年，由1830年10月10日首演。肖邦在给友人的信中曾对这首作品有以下说明：“新协奏曲的慢板乐章是E大调，我并不特别要求此部分强劲的力度。我是以浪漫、平静、略含忧郁的心情作了这首作品，必须非借此让人产生像是在眼望着一个能引起无数快乐的回忆那样的印象不可。比如像是美丽的春天的明月良宵那样的印象。”这首作品呈献给钢琴教师卡尔克布伦纳（Kalkbrenner，1788-1849）。
共3个乐章：
1.庄严的快板，E小调。形式是追随莫扎特确立的古典协奏曲形式，先由管弦乐合奏第一主题，第二主题由弦乐以E大调奏出。钢琴出现后，极尽技巧化而华丽地表现这两个主题，然后以管弦乐合奏结束呈示部。发展部为C大调，钢琴从处理第一主题后半段始，此后诸主题在多种转调中发展。再现部调子改为G大调，最后以钢琴灿烂技巧发挥的激动达到高潮。
2.浪漫曲，甚缓板，E大调，有夜曲风格。主题如歌性格，由两部分构成。其后半段以B大调开始，间奏后进入激动的中段，以强音出现升C小调略呈灰暗的新主题。此主题奏完后以升G大调回到仍装饰得很复杂的主题后半段。尾奏使用序奏部材料，以音阶与琶音三连音轻快的动态装饰，然后像烟雾消失般结束。
3.回旋曲，甚快板，E大调。钢琴谐谑地诱导出第一主题，产生妙趣横生的反复进行，插入的方式极有莫扎特的魅力，结尾是华丽的尾奏，以钢琴奏三连高音阶性乐流结束。
李斯特第一钢琴协奏曲，降E大调，S.124，作于1849年，1855年2月17日在魏玛首言，独奏是李斯特自己。包括4个乐章：1.庄严的快板，由弦乐组果断的八度奏出主题，这是整部作品的动机音型，钢琴紧跟上，经过华丽的八度经过句，表现独奏技巧，有辉煌的华彩。2.柔板，夜曲性质，安宁而朦胧，如在梦中。3.活泼的小快板，谐谑曲，这个乐章中巧妙的使用三角铁，表现轻快和灵巧的节奏，因此而有人称这部协奏曲为“三角铁协奏曲”。4.有生气的快板，豪放的进行曲节奏，以辉煌的急板结束。这四个乐章不间断的演奏。李斯特的钢琴协奏曲，钢琴的表达非常优秀，都是钢琴演奏技巧的很好表演。
阿巴多：当代着名的意大利指挥家。自幼接受音乐教育并就学于威尔第音乐学院学习钢琴和作曲，十岁起就曾研究指挥法，并指挥过室内管弦乐队。1969年被聘为斯卡拉歌剧院的音乐指导，1971年又与不设常任指挥的维也纳爱乐乐团订立了终身契约，并以首席指挥的身份积极筹办演出活动。阿巴多的指挥富有生气、明快流利，具有意大利风格。他对交响乐队了如指掌，得心应手，善于抓住音乐中最本质、最基本的东西，从而得心应手地控制整个乐队的演奏。他指挥的意大利歌剧堪称一绝，在当代指挥家中是无与伦比的。
阿格里奇:这是一位有着特立独行性格、超凡钢琴技巧（甚至男性钢琴家也比不上她）、绝佳视谱能力和记忆力的音乐家。首先是她的钢琴演奏技巧高超过人，其中最赢人的一张王牌就是“快”！不仅读谱快、视奏快、拿下一首作品的周期快，更绝的还是手指的速度快。弹李斯特的奏鸣曲，左手的八个八度，她用不了一秒钟即可弹完。十六岁就获得布梭尼和日内瓦钢琴大奖、二十三岁就得到华沙萧邦钢琴大赛特别奖和冠军。这是为什么她最早在ＤＧ灌录的唱片正是这首萧邦的钢琴协奏曲。在本片这两首协奏曲中，阿格丽希得到当时正值盛年的阿巴多的绝佳乐团领导，在这位指挥家清晰的指挥技巧和控制力之下，这两首曲子以一个小时不到的时间就快速地录完，堪称演奏家惊人合奏技术和精准度的最佳范例。

柴可夫斯基的《第一钢琴协奏曲》是一部最通俗的协奏曲，但就其构思之宏伟和作品的规模而论，它可以称为用钢琴和乐队演奏的一部交响曲。这部作品反映出作者对生活的热爱及对光明与欢乐的热望，它深具民族特点、……作者在这里引用了一些真正的乌克兰曲调，同时也特别鲜明地表现出柴可夫斯基的协奏曲的一些特点，那就是巨大的力量、宏伟的规模同真诚率直的抒情性的结合。这部作品的思想内容和艺术形象之丰富，它的主题的多样和对置，紧张发展的乐思所具有的内在的巨大力度，都是它那激动人心的魅力所在，也正是这些特点，使得这首协奏曲在作者生前就已广泛流传，欧美各国音乐会舞台时常有各种类型的钢琴家演奏它，作者也经常把它列入自己的交响音乐会曲目，多次亲自指挥这部作品的演出。到1878年，尼古拉·鲁宾斯坦终于也理解到这部作品的优点和价值，并出色地演奏它，从而也使这部作品更加牢固地确立了它在音乐会舞台上的地位。
1. 极庄严而不太快的快板。降B大调，在4把圆号演奏的降B小调引子后，大提琴与第一小提琴主奏降D大调主题，钢琴以华彩发展，这个主题据说是柴科夫斯基在卡缅科集市上，从一个盲乞那里采集到的歌曲旋律。第二主题以降A大调先出现于单簧管，钢琴加以反复。在发展部，第一主题纠缠上新音型，以钢琴为主形成变化。主题深情、真挚，如梦般甜美。
2. 朴素的小行板，降D大调，三段体。行板主题为牧歌风格，先由长笛独奏，再以钢琴接替，然后交给大提琴、双簧管。中段速度为最急板，变成匆忙的随想曲。第三段再由钢琴以独奏行板主题，加上颤音与音型装饰变奏。是柴可夫斯基最优美的抒情篇章之一。
3. 热情如火的快板，降B小调，回旋曲式，在4小节引子后，钢琴主奏开始回旋主题，接着小提琴以降D大调用八度奏庄重抒情的对比主题，两个主题的纠缠发展形成高潮。终结部以降B大调形成辉煌的结尾。主部主题是乌克兰歌舞曲《亿万卡，快来唱春歌》，音乐表现春天来了，农时即将开始的欢快、奔放的情绪，副主部是十分抒情优美的同时也充满生机，音乐洋溢着青春和难以抑制的内心喜悦。
第一乐章整个都是快速的节奏，音乐开始时的几十次琴键的重击，让人整个心都飞了起来。之后的旋律更让作为“旋律大师”的柴可夫斯基表露无疑。节奏的亢奋激进，高昂的气势，让生处喧闹都市的生活虫们感到了生活的压力与动力。虽然，第一乐章中间也是有舒缓的旋律的，但是，总体上还是快的节奏，让我们感觉在这样的都市的生活的艰难，为了生活而艰苦的奋斗。
第二乐章整个节奏马上舒缓下来，如果说听第一乐章让你感觉是面对汹涌澎湃的大海的话，那么第二乐章就是让你步入了森林中畅快流动的小溪，不时的还会有活泼的小动物跑过你的身旁。让刚才你亢奋的心情得以缓解，你能感受到生活在都市的你依然有着成功的欢愉，清新流动的旋律让你对生活的希望充满信心，整个人就像是沐浴在温暖的阳光中，呼吸着明媚的空气（不要以为我用错了形容词，空气的明媚意味着憧憬和希望）。为了成功而奋斗的动力也就油然而生。
第三乐章又重回较快的节奏，但是同时也有着优雅的旋律，这是成功后的快乐，在成功后的兴奋中，享受着那份激动。同时，快速的旋律也在提醒着我们，成功来得不容易，可能失去得也快，只有更加的努力，才能取得更大的成功！ 整首曲子在激昂的旋律中结束，完美，只能用完美来解释！
此版本为阿巴多指挥柏林爱乐乐团，阿格里奇钢琴演奏的柴科夫斯基《第一钢琴协奏曲》，1994年实况录制，“企鹅”评价三星，“音乐圣经”推荐版本。

神秘而忧郁的情感、悲伤和孤独的音乐日记......
美籍日裔新世纪钢琴家、作曲家（玛丽卡·竹内）2014年新世纪冥想钢琴音乐演奏专辑。
本辑音乐创作灵感来自于日本京都秋天的落叶。
出生在日本川崎，自3岁起学习古典钢琴和演奏小提琴，圆号，现居住在美国马萨诸塞州波士顿。

自《早春的雨伞》《入秋》之后，窦唯有关的四季狂想已经过半，时隔一年多之后的这个4月， 《箫乐冬炉》结束了它漫长的孕育将破茧而出。正如同北京今冬的第一场雪，来的晚了一些。
该来的总会来的。从2010年的9月至今。
一年的制作，又一张纯音乐即兴，再一次父子的合作。
一次不同的箫与钢琴合作。
同窦唯一样，不管你喜欢与否，他都在这里。

A collection of 18 original piano works which takes us through the award-winning composer's eclectic output, embracing his work with the London Philharmonic (Memoryhouse), The Blue Notebooks, Royal Ballet-commissioned Infra and some of his film scores (Departure from The Leftovers, Miss Sloane). The album is recorded using an avant-garde conception instrument thus creating a completely new sound.

坂本龍一の楽曲に大貫妙子が言葉を紡ぎ唄うアルバム「UTAU(うたう)」発売決定!アルバムリリース後、11/18からの全国ツアーも既に発表になっています。この品番はDISCー1のインストCD付2枚組、永続リパック、6面12Pカバー仕様。ジャケットA。

Grammy and Academy Award-nominated composer, songwriter and producer Stephan Moccio has announced he will release his first Christmas album, Winter Poems, on 6 November 2020.

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Yuja Wang joins her friend and regular collaborator Gautier Capuçon to present a new recording of Rachmaninoff’s monumental Sonata for Piano and Cello. Cast in four movements, the Sonata makes equally high demands on both players and is filled with the turbulent emotions and striking expressive contrasts typical of Russian Romanticism.
The work was written for and dedicated to virtuoso cellist Anatoliy Brandukov, who gave its first performance in Moscow in December 1901 with the composer at the keyboard. Because of the work’s symphonic scope and the prominence and difficulty of its piano part, Rachmaninoff was reluctant to call it a cello sonata and it was published in 1902 under the title “Sonata for Piano and Cello in G Minor”.