追踪科岗 精选集 Les Introuvables Leonid Kogan 艺术家：科岗 (Kogan)

Disc: 1
01 I Vivace
02 II Largo Ma Non Tanto
03 III Allegro
04 I Allegro
05 II Adagio
06 III Allegro
07 I. Allegro
08 II Largo
09 III Allegro
10 I Allegro Aperto
11 II. Adagio
12 III Tempo Di Minuetto - Allegro

Disc: 2
01 I. Allegro Maestoso
02 II Adagio
03 III Rondo
04 I Vivace Ma Non Troppo
05 II Adagio
06 III Allegro Molto Moderato
07 I Allegro Amabile
08 II Andante Tranquillo
09 III Allegretto Grazioso (Quasi Andante)

Disc: 3
01 I Allegro
02 II Adagio
03 III Allegro Giocoso
04 I Allegro Non Troppo
05 II Scherando
06 III Intermezzo
07 IV Andante
08 V Rondo

Disc: 4
01 I Allegro Ma Non Troppo
02 II Larghetto
03 III Rondo (Allegro)
04 I Allegro Moderato
05 II Canzonetta
06 III Finale (Allegro Vivacissimo)

相当可惜的是，Kogan在西方留下来的录音相当少，据我查证在EMI仅有这套唱片里的4首小协+一首小提琴小品，还有另外一首室内乐录音；在RCA只有Khachaturian小协录音——除此之外就只能找苏联的录音了。考虑到苏联的旧录音效果参差不齐效果不好，所以目前来看如果想真正去领略Kogan的风采，主要就靠EMI这套2CD的唱片了。
对于Brahms小协，Oistrakh/Klemperer版当然是不可少的；但是我觉得Kogan/Kondrashin的这个录音同样也不能少。这是Kogan 1959年和Kondrashin指挥下的爱乐乐团的录音，录音地点是EMI著名的阿贝路录音室，效果可以说是惊人的。对于乐曲本身来说，我觉得在以前的Oistrakh那篇文章里已经说过了，所以这回就偷偷懒。不过大家听这个录音的时候，一定要听Kogan的琴声中体现出的意志和不屈不挠的韧性，还有在第二乐章里直抒胸臆的抒情方式——我觉得这是Kogan能够从一大批技巧超强的演奏家中脱颖而出的最主要原因；当然，不要忘记欣赏Kogan的过人技巧，须知他是公认的约阿西姆式炫技型小提琴家呢——尽管明显Kogan的看家宝不止在于技巧，但是听唱片的时候欣赏演奏者的技巧却是最直接也最有感受的。
Oistrakh和Klemperer的录音，浓郁芬香，声势宏大；Kogan和Kondrashin的录音却细节清晰，线条顺畅，动态也相当大。单论清晰度，Kogan的录音还要比Oistrakh的好——幸亏Oistrakh的录音堂音异常丰富，声场够开阔，否则的话他可能要败在Kogan的录音手下了。不过如果现在问我，在我听过的小协录音里哪个演绎+效果综合来看是最好的，我的回答却会是Kogan这套唱片——原因我也说不清楚，但我可以说我觉得这个录音里每种乐器的声音都不是一般的美，而是太美了。细心的朋友可能会发现这里Brahms小协录音的风格特别像CBS的那批Walter立体声录音，声音清爽宜人。这套唱片，我真是越听越有味，比如说这首Brahms小协吧，我连续一星期，每晚听几遍都觉得意犹未尽；这套唱片上有四大小协中的三个，听完Kogan的演奏后，每一个都能引起我深思，进而重新审视以往的理解。因此如果EMI能够再版这套唱片，这无疑对于广大音乐爱好者来说是一个很大的喜讯。

——转贴

1958年、レオニード・コーガン初のアメリカ・ツアーの途上、ニューヨークで録音されたアンコール・アルバムが半世紀を経てようやく世界初CD化。鋼のようにソリッドな技巧とストイックなほどに真摯な音楽への取り組みから生み出される演奏は、ヴァイオリンという楽器の本質とその多彩な魅力を開示してくれる。ショスタコーヴィチ、プロコフィエフやハチャトゥリアンなどお得意のロシア物を入れ込みつつ構成されたこのアンコール・アルバムは、そうしたコーガンの芸術に親しむ上で最上のイントロダクションといえるだろう

Following Rostropovich: Early Recordings, this is a companion Original Masters specially priced 2-CD set featuring the great Russian cellist. With Leonid Kogan and Emil Gilels, his regular partners (and great artists in their own right) in the 1950s, Mstislav Rostropovich emerges here as an exceptional team-player, in polished performances of five piano trios and Fauré's First Piano Quartet, where the young Rudolf Barshai (viola) joins the ensemble.

Firma Melodiya presents an album of Moisey Weinberg’s instrumental concertos interpreted by distinguished domestic performers.
“One of the outstanding composers of modern times”, Dmitri Shostakovich spoke about Weinberg. Weinberg’s artistic personality was formed from a blend of three cultures – Polish, Jewish and Russian. Similar to Shostakovich, he reproduced the spirit of the era, hopes and feelings of the contemporaries in his music. That is perhaps why it has so many sorrowful, tragic pages.
A symphonist by nature, Weinberg devoted much attention to the genre of the concerto. This album features the composer’s most significant works in the area.
Weinberg was on friendly terms with some of the greatest performers of his time. So, the second edition of his large-scale Cello Concerto (1956), that was conceptually close to a symphony, was performed for the first time by the legendary Mstislav Rostropovich. The Violin Concerto (1959), sharply dramatic and at the same time full of virtuosic lustre, was dedicated to the prominent violinist Leonid Kogan. The Concerto for flute and string orchestra (1961), that revived the traditions of neoclassicism, was written for the flutist Alexander Korneyev and the first ever Soviet chamber ensemble – the Moscow Chamber Orchestra – conducted by Rudolf Barshai.