Audio CD (April 11, 2000)
Original Release Date: 1971
One of the best all-time rock albums by any measure, Imagine is nearing its 30th birthday-and here's a marvelous tribute. You can get the original LP on CD or cassette with remixed, remastered sound and a 16-page booklet with lyrics and rare pix. Or go behind the scenes of a masterpiece-the documentary Gimme Some Truth-The Making of Imagine , featuring an unfinished film by John and Yoko, is available on VHS or DVD (DVD has surround sound, an eight-page booklet and discography). A treasured moment in rock history.

在音乐结构、艺术魅力和思想深度上都举世无双，自1901年被卡萨尔斯"发现"并介绍给全世界的听众以来，它们便成了无限意义的延伸，更被誉为演奏家技巧与修养的试金石，史塔克、罗斯特罗波维奇、傅尼叶、马友友等无数大师都屡次争相诠释这一纪念碑式作品。
作为二十世纪最伟大的大提琴演奏家，史塔克已经先后五次灌录巴赫的这一惊世巨作，都获得了极好的评论，并为他带来了1998年度葛莱美"最佳器乐独奏奖"的荣耀。本专辑收录的是他在70岁高龄之际，于RCA灌录的第五次录音。史塔克认为对美的追求永无止境，他冀求每一次的演奏，都更接近这套乐曲的真理。
对比以前的四次，此第五次演奏录音里，细节更多，表现也更精确，史塔克在展现着他的速度与演奏力度的同时，以其一贯充满活力的风格诠释着，琴声中，充满了对生命的热情和坚毅。

令人震撼的John Lennon的首张个人专辑，被《滚石》音乐杂志评选为历史上最伟大500张唱片之一，名列第22位。
1970年，Paul McCartney宣布甲壳虫乐队解散。同年，John Lennon发行了第一张真正的个人专辑“John Lennon/Plastic Ono Band”。其中充满了列侬对少年、青年时承受的烦恼、困惑毫无掩饰的忏悔般表白。强烈的自我也好、无所谓的一起也好。与过去告别的列侬呈现给我们的，是完全不同，却依然精彩的音乐。
为逝去的母亲而做的“Mother”，反映了他幼年失去父母的心情。满是嘲讽的“Working Class Hero”： “'A working class hero is something to be, if you want to be a hero then just follow me”，充满了对蓝领民众生活的冷酷讽刺。还有启示录一样的“God”，列侬以这首歌公开与自己的过去和以往的信仰断绝关系，毫不留情的抨击和否认了包括上帝和自己曾属的披头士乐队在内的种种事物，他唱道，“上帝是一个我们藉以度量自身痛苦的概念"，并列出了一第条他不再相信的事物的名字（幻术，易经，圣经，意式纸牌，希特勒，耶稣，肯尼迪，披头士），最终以一句"我只相信我自己/大野（Yoko）和我自己/这就是现实……"结束。

专辑介绍：
钢琴练习曲能够写得像肖邦这样， 不仅可以让手指进行非常机械的练习。不仅使得技巧和曲式紧密结合，而且竟然可以将一段段天籁之音巧妙地谱入，更让一股浓郁的诗，情从中透出，这真是不可望及的登峰造极境地。肖邦这二十四首练习曲始终是爰乐者心中的典范之作，难以逾越。
肖邦这两部分别编为作品第十号(共十二首)和第二十五号(共十二首)的练习曲，我心目中最佳的演绎者，要数法国钢琴家柯尔托1933年那个录音。柯尔托的演奏。令人听来有骨肉匀透之感，自然也情思清丽，几乎无处不在了。以作品第十号为例。听柯尔托弹其中的降E小调第六首时，那种似乎无形中张开的氛围，一下子就把人罩在那里。让那绵绵的诉说不停地进入你心里，这种感染力量，在别处你就再也找不到。而F小调第九首，真像是投向感情世界的一个个问号，这是对于极其珍惜感情因而也是极端敏感者的凭空设问，因为是从心中直接端出，故而也就真是震人心魄，教人不及思索，只能随着他的发问一路下去。虽然最终谁都能够明白那是无所谓答案的，然而你却不能不对柯尔托锦心巧指弹出的这番意境表示钦佩。遗憾的是柯尔托这个录音未见有单张CD发行。
波利尼的这个录音，有金石之声，可谓技惊当今，无可挑剔。是臻于完美的演奏。
转载自：梁一群 贺秋帆《爱乐——CD经典》
专辑曲目：
01. Etudes (12) for piano, Op. 10: No. 1 in C major
02. Etudes (12) for piano, Op. 10: No. 2 in A minor
03. Etudes (12) for piano, Op. 10: No. 3 in E major, "Tritesse" - "L'intimite"
04. Etudes (12) for piano, Op. 10: No. 4 in C sharp minor, "Torrent"
05. Etudes (12) for piano, Op. 10: No. 5 in G flat major, "Black Keys"
06. Etudes (12) for piano, Op. 10: No. 6 in E flat minor
07. Etudes (12) for piano, Op. 10: No. 7 in C major, "Toccata"
08. Etudes (12) for piano, Op. 10: No. 8 in F major
09. Etudes (12) for piano, Op. 10: No. 9 in F minor
10. Etudes (12) for piano, Op. 10: No. 10 in A flat major
11. Etudes (12) for piano, Op. 10: No. 11 in E flat major
12. Etudes (12) for piano, Op. 10: No. 12 in C minor, "Revolutionary" - "Fall of Warsaw"
13. Etudes (12) for piano, Op. 25: No. 13 in A flat major, "Aeolian Harp" - "Shepherd Boy"
14. Etudes (12) for piano, Op. 25: No. 14 in F minor, "Balm"
15. Etudes (12) for piano, Op. 25: No. 15 in F major, "Carwheel"
16. Etudes (12) for piano, Op. 25: No. 16 in A minor
17. Etudes (12) for piano, Op. 25: No. 17 in E minor
18. Etudes (12) for piano, Op. 25: No. 18 in G sharp minor
19. Etudes (12) for piano, Op. 25: No. 19 in C sharp minor
20. Etudes (12) for piano, Op. 25: No. 20 in D flat major
21. Etudes (12) for piano, Op. 25: No. 21 in G flat major, "Butterfly"
22. Etudes (12) for piano, Op. 25: No. 22 in B minor
23. Etudes (12) for piano, Op. 25: No. 23 in A minor, "Winter Wind"
24. Etudes (12) for piano, Op. 25: No. 24 in C minor, "Ocean"

意大利音乐家Ludovico Einaudi，鲁多维科.艾奥迪，本来从事比较严肃的交响音乐创作，进入80年代中期之后才开始尝试用新的形态来进行进行音乐制作和电影配音创作，却没有想到因此进入newage领域而一发不可收拾。
1955 年出生于意大利都灵的Ludovico Einaudi是著名的交响乐作曲家和钢琴演奏家。97年BMG出版了他的电子竖琴作品《Stanze》，一年后，他的一组钢琴独奏小品《Le Onde》问世。02年3月，《Eden Roc》进入英国古典音乐排行榜前十，而作品《I Giorni》自发行至今一直居于排行榜前二十。
Einaudi早先专门从事古典音乐的创作和电影的配乐，曲风深受巴哈、莫扎特、肖邦和法利亚.M等音乐家的影响。80年代中后期转向更自由的创作风格，意外地和新世纪音乐与极限主义走进同路。
这是Ludovico Einaudi在2001年发行的专辑，并在2004年重新发行。这可以算是他比较成功的作品之一，发行之后就一直停留于排行榜的前20位。Ludovico Einaudi的音乐大都是带着忧伤的，但又一点都不过分，很好的一种减压音乐。他无疑有着更为扎实和浑厚的古典钢琴和交响乐作曲功底和才华，使得他的音乐浑然天成。尽管只是独奏，气势依然独到。另外值得一提的是作者所用的钢琴乃是来自Fabbrini Collection中Registration 542.741的Steinway & Sons的piano。这张的封面也非常唯美，就象专辑中的曲子一样。

入列告示牌「史上最成功的百大熱門榜藝人」、時代雜誌「20世紀百大最具影響力人物」、滾石雜誌「史上最偉大藝人」名單的經典樂團The Beatles，其中擔任主奏吉他手的George Harrison，在2004年以個人身份進入「搖滾名人殿堂」、滾石雜誌「史上百大吉他手」第11位。1974年創立Dark Horse Records音樂廠牌，1978年打造HandMade Films電影公司，2001年11月29日因癌症過世，享年58歲。
就在全球樂迷不捨The Beatles解散之際，George Harrison於1970年發行第三張個人大碟【All Things Must Pass】，他邀請昔日The Beatles戰友Ringo Starr、吉他之神Eric Clapton、創作奇才Gary Wright聯手，齊力獻出搖滾史上首套以三張唱片型式發行的專輯【All Things Must Pass】，標題名稱意味著拋開昔日榮光、一切從零開始，創造屬於自己的輝煌。果然，引起廣大迴響與好評，佔據英美兩地排行冠軍，美國狂銷600萬張，入選滾石雜誌「史上500張經典專輯」名單，其中主打“My Sweet Lord”雄霸英美冠軍！此張雙碟紀念盤，特別加收4首珍貴曲目。

@ JENNIE ABOUT
YG의 대표 걸그룹 블랙핑크의 멤버 제니가 선보이는 첫 번째 싱글 ‘SOLO'는, 블랙핑크로서 보여준 음악과는 또 다른 분위기를 자아낸다. 한층 더 성숙하고, 섬세한 음악과 퍼포먼스, 다채로운 매력으로 ‘솔로’ 아티스트로서 하늘을 향해 도약하는 제니의 첫 번째 날갯짓, 그 도전과 비상은 기대를 모은다.
@ ‘SOLO’ 싱글 소개글

Solo Monk is the eighth album Thelonious Monk released for Columbia Records in 1965. The album is composed entirely of solo piano work by Monk. The Allmusic review by Thom Jurek states "This is perhaps the solo piano record to have by Monk".In addition to various vinyl and CD issues, Sony Music Enterprises issued an SACD (SRGS 4520) in Japan.

BLACKPINK的Rosé個人出道！首張個人單曲《-R-》有她親自參與設計，大玩復古和電影風格。

约翰·列侬（John Lennon，1940年10月9日－1980年12月8日）生于英国利物浦，著名乐队披头四成员。1959年，列侬和四位当地青年保罗·麦卡特尼（Paul McCartney）、乔治·哈里森（George Harrison）、斯达特·苏特克里（Stuart Sutcliffe）、彼得·贝斯特（Peter Best）组成了一支摇滚乐队，他们先是在本地演出，后又到德国汉堡工作。乐队几经易名，最后定为“披头士”（The Beatles 、又译“甲壳虫”）。布莱恩·易普斯坦（Brian Epstein）在利物浦洞穴俱乐部看到乐队表演后，主动提出担任乐队经纪人。此时斯达特已经离队。易普斯坦四处向唱片公司宣传乐队，引起乔治·马丁（George Martin）的注意，后者同意为他们录制唱片。由于马丁对贝斯特的技术提出异议，乐队吸收了林戈·斯塔尔（Ringo Starr）作代替贝斯特担任鼓手。

乐队在1962年10月5日发行了首张单曲《爱我吧》（Love Me Do），上升到排行榜17位。次年1月11日发行的第二首单曲《请令我愉快》（Please Please Me）引起了巨大的轰动，首张专辑也名登英国排行榜首。 1963年3首单曲连续获得第一名《从我到你》（From Me to You）、《她爱你》（She Loves You）和《我想握往你的手》（I Want to Hold Your Hand）。同年在英国的巡回演出取得了空前的成功，接着他们开始向大洋彼岸的美国乐坛进军。1964年“披头士”以迅雷不及掩耳之势迅速征服美国。唱片及单曲洪水般占领排行榜，“披头士狂热”（Beatlemania）迅速在世界范围蔓延。

据统计，1964年第一季度，“披头士”的唱片销售量高达美国唱片总销售量的十分之四，《辛劳之夜》（一夜狂欢，A Hard Day's Night）和《救命！》（Help！）两张专辑在艺术和商业上取得的巨大成功，使列侬和麦卡持尼被公认为是摇滚时代最有才能的作曲伙伴。1965年的单曲《昨天》（Yesterday）深受世界各国歌迷的喜爱。1967年，“披头士”乐队发行了一张受到空前欢迎的专辑《佩铂军士孤独之心俱乐部乐队》（Sgt. Pepper's Lonely Hearts Club Band），这张在流行音乐史上占有重要地位的唱片不仅是“披头士”乐队的鼎盛之作，同时也是乐队的一个转折点，布莱恩·易普斯但之死，事业上的不顺利，乐队内部的争执，给“披头士”乐队带来了不祥的阴影，尽管如此，他们还是在1968年创作并发行了一套名为“披头士”的双唱片集，因封套是雪白的，故以“白色专辑”（White album）著称。同年成立“披头士”自己的苹果公司（Apple）。约翰·列侬认识了日本先锋艺术家小野洋子。并与她合作发行了一张名为《两个处子》（Two Virgins）的唱片，随后又组建了“塑胶洋子乐队”（Plastic Ono Band）。

1969年，列依的第一首个人热门歌曲《给和平一个机会》（Give Peace A Chance）是一首反战歌曲，同年与小野洋子结为夫妇。此时“披头士”内部矛盾重重，发行了两张专辑《修道院路》（Abbey Road）和《顺其自然》（Let it Be）之后，乐队于1970年宣布解散。1971年，列侬和小野洋子离开英国移居美国纽约。他们从1971年到1974年不断有唱片专辑问世，包括《想像》（Imagine）、《纽约城瞬间》（Sometime in New York）、《思想游戏》（Mind Games）、《墙与桥》（Walls and Bridges）。

1975年，列侬的儿子出生，使他毅然放弃了一切音乐活动，和妻儿平静地生活在一起，流行乐坛有5年之久没有听到他的声音。1980年，约翰·列侬和小野洋子的新作《双重幻想》（Double Fantasy）的出版似乎预示着列侬在1980年代将有更多的佳作问世。

1980年12月8日晚10点49分，列侬在自己的寓所前被一名据称患有精神病的狂热男性歌迷马克·查普曼枪杀，终年40岁，引起举世震惊。摇滚乐坛也失去了有史以来最富传奇色彩的人物。

Bar code:
STEREO 289 457 701-2
0 28945 77012 3

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NATHAN MILSTEIN, Violine

Milstein on Recording Bach

“I just stopped making records about ten years ago. I don’t enjoy recording much; it makes me very nervous. When I play for a live audience I am nervous only until I get to the stage; once I’m on stage I feel like a fish in water. Recording does make me nervous, with the extra emphasis on perfection, but I do want to leave a record of my thoughts on the music that has meant most to me. I am not adding new material to my repertoire now; instead, I devote myself to the music I have lived with and loved for a half-century and more. I like the way my sessions are handled by Deutsche Grammophon. Where there is an error or some reason for a re-take, I won’t do a ‘surgical’ job, slipping in a note here or there: repairs must be co-ordinated so the emotional impact, the instinctive quality will be continuous, so the idea, the fire, the lyricism will not be interrupted by patches. If something has to be re-taken, I play a big part of it, for the sake of the continuity. I think the Bach Sonatas and Partitas I recorded for Deutsche Grammophon in London actually are clearly superior to the set I did in the ‘50s. There is nothing in my repertoire that I don’t play better now than I did before — simply because of the added experience I have now — and it is especially gratifying to be able to record these works under today’s technical conditions.”

The Bach solo works [...] have been Milstein specialties for years. [...] Bach, though, was something he had to discover on his own: “In Russia we didn’t have respect for Bach as a great composer. Of all his works, only a single fugue was included in our curriculum. In my Bach playing I stress the bass and the middle voices separately, with particular emphasis on the bass almost as a separate entity.” In Milstein’s definition, “virtuosity” has nothing to do with mere display, but indicates “the highest degree of professional excellence — in any sort of undertaking, not only a musical one. I think War and Peace is a virtuoso work.” He also distinguishes technique from mere dexterity: “technique is not just a matter of muscular control — technique means adjusting the medium to what I want to do.” The instrument Milstein plays is a 1716 Stradivarius he acquired in 1945, formerly known as the “ex Goldmann”. He has renamed it the “Maria Teresa”, in honor of his daughter Maria and his wife Teresa.

From a conversation with Nathan Milstein (1975)
Richard Freed

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This is marvellous violin playing... Milstein’s special virtues are those of commanding technique: never is a note out of true in pitch or in rhythm.
Gramophone (1975)

... this is a magnificent set by any standard; from a performer close on 70 it is an achievement bordering on the miraculous.
Records and Recording (1975)

...this must surely rank as the seventy-year-old Odessa-born violinist’s crowning achievement. His interpretation, immaculately recorded by DG in a penetratingly clear yet warm ambiance, is so extraordinary that this three-disc album not only must be rated as one of this year’s finest releases but deserves to take its place among the greatest Bach recordings ever made. First, Milstein playing is impressive on purely technical grounds. So often these works tend to sound as though the performer is just barely going to make it through, especially in the contrapuntal convolutions of the sonatas’ three fugues; even at best, the rapid arpeggiation necessary to sustain three or four melodic lines all at once frequently results in an unpleasant scratchiness [...].
Technique aside, Milstein renditions have an unusually human quality. I find these to be warmly expressive readings in which the music is allowed to flow forward sensibly and the rhythms evoke all their dance origins. Slow movements, too, are handled in a wonderfully graceful manner. Finally, there is Milstein sense of pacing, which is something quite apart from his judicious choice of tempos. Rather it is revealed in a subtle rhetoric that causes a movement such as the Chaconne to build and grow from one climax to another. The pulse is always strong, the architecture always apparent, and the rubato-like inflections clarify the sentence structure of Bach’s phrases. Tonally, Milstein’s playing is quite beautiful.
Stereo Review (1976)

Every Phrase is shaped with meaning, every line is musically alive and in matters of technique there are no question marks either.
Gramophone (1976)

The Milstein set is the finest to have appeared in recent years. Every phrase is beautifully shaped and keenly alive; there is a highly developed feeling for line, and no want of virtuosity. ... Milstein is excellently served by the DG engineers, and the sound is natural and lifelike.
Penguin Guide (1977)

Milstein’s performances achieve both authority and spontaneity: the phrasing is supple, and the playing deeply felt without any suggestion of romantic indulgence. This is wholly admirable and can be recommended without reservation of any kind.
Gramophone (1977)

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MILSTEIN PLAYS BACH

To understand the fascination that the solo Sonatas and Partitas of Bach had for Nathan Milstein, we first have to consider the works themselves. They were written in 1720, at a time when the composer was concentrating on instrumental music in his role as Kapellmeister to the court of Cöthen. As in so many other spheres, Bach did not invent a genre but improved immeasurably on the solo violin music written by some of his German contemporaries and predecessors. He was a good player of the violin and viola himself and in his Sonatas and Partitas he created abstract shapes and forms in which the player could seem almost to be communing with himself, yet still dazzle the audience. This is music in which the spiritual and virtuosic elements of the performance are so finely balanced that it is difficult to say where one ends and the other begins. Bach is not satisfied with a single line of music but throws in chords and even counterpoint, in which the harmonic drift of the music implies extra voices which are not actually present. The most amazing displays of this counterpoint come in the great fugues of the three Sonatas. The Partitas are at first glance simply suites of dances. Yet they demand many techniques which express the very soul of the violin — the exciting bariolage in the ebullient opening Preludio of the E major Partita, for instance; and the D minor Partita culminates in a Chaconne, a basically slow dance built on a repeated bass, which is perhaps the mightiest single movement the composer ever created. Here, using one small violin, Bach traces out one of his most amazing edifices in sound.

The 19th century did not really comprehend this music, and various attempts were made to fit piano accompaniments to the Sonatas and Partitas. Only with the emergence of Joseph Joachim did a major virtuoso grapple with the vast possibilities of these works; and by then problems had arisen through the steady evolution of the violin and the bow. Bach used a bow with a convex stick and his violin was strung across a flatter, shallower bridge, with tar less tension, because the neck of the violin was shorter and less angled. In the search for more volume, most of the old violins were modified to take a higher tension. The bow evolved into using a concave stick, which again allowed for greater tension. These factors made it harder to play Bach’s chords and most violinists of the early 20th century worked out compromises between Bach’s demands and their own capabilities. There were aberrations such as the Vega bow, a contraption by which the player could sound every note of a chord, even on a modern violin; but until the rise of the period instrument movement, playing Bach on the violin was a struggle. It is one of the imponderable paradoxes of music that although a number of “authentic” violinists have tackled the Sonatas and Partitas in recent years, their best efforts have not so far eclipsed the finest “compromise” players. Among the latter Nathan Milstein (1904-1992) held an honoured place. He brought to Bach the same instincts for style and taste that made him an outstanding interpreter of Mozart and Beethoven. In addition he had a technical facility and fluency second to none.

The surprising thing was that Milstein emerged from a milieu, the Russian bourgeoisie, in which Bach was not appreciated. Under his famous teachers, Pyotr Stolyarsky in Odessa and Leopold Auer in St. Petersburg, he played virtually no Bach, nor was he taught to understand the style. He eventually developed his own view of Bach through playing the marvellous solo violin works of Max Reger, in which Bach’s style was seen through the prism of a modern German intellect. Once Milstein came to the West in the mid1920s, he quickly assimilated what he needed to learn from his fellow fiddlers. Pre-war recordings show that by the end of the 1930s, he was already a nonpareil Bach violinist. He came to esteem Bach, alongside Paganini, as the finest writer for the violin — not that he equated the two composers in terms of quality — and he named the Chaconne as his favourite piece of music, sometimes programming it on its own. He recorded the Sonatas and Partitas in the 1 950s but felt that in this second cycle for Deutsche Grammophon he had said his last word on the music.

Milstein’s Bach is based on a secure sense of rhythm — vital for the slow movements as much as the fast ones. The dance movements really dance but always in an aristocratic way. Milstein’s tone, although of great beauty, never draws attention to itself through the overuse of vibrato. The listener’s attention is always focused on the musical line, because the player’s feeling for line and legato is so strong and his tone is so well focused. The big fugues and the Chaconne are spaciously laid out but urgently played, with such a comprehensive intellectual grip that the interest never flags. The same intellectual grasp ensures that Bach’s counterpoint is fully realized. The quieter, more inward moments are not italicized by romantic rallentandi. Instead Milstein relies on gradations of tone and volume and the tension of the musical line. Above all, these interpretations have the “size” of a great actor’s soliloquy: using no props other than his bow and his 1716 Stradivarius, Milstein comes before his audience with complete confidence that he can hold the stage. And because he is a musician of refinement and elevated ideals, the spiritual charge that should always inhabit Bach’s greatest music is present, alongside those equally characteristic outbursts of joy and exhilaration.
Tully Potter

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ADD
Produced by Werner Mayer
Tonmeister (Balance Engineer): Klaus Hiemann
Recording Engineers: Joachim Niss/Volker Martin
® 1975 Polydor International GmbH, Hamburg
© 1998 Deutsche Grammophon GmbH, Hamburg Cover &Artist Photo: Siegfried Lauterwasser
Art Direction: Hartmut Pfeiffer

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THE ORIGINALS
LEGENDARY RECORDINGS FROM THE DEUTSCHE GRAMMOPHON CATALOGUE
Deutsche Grammophon ORIGINALS — milestone recordings from our LP catalogue, now reproduced with unprecedented fidelity on CD. This new series of critically acclaimed performances features the great names of Deutsche Grammophon’s past and present: celebrated interpreters whose recording careers flourished at 33 rpm, as well as outstanding artists of today whose early achievements were documented on black vinyl. All recordings in the series have been newly refurbished using Deutsche Grammophon’s latest technology in order to “recreate” the original sound-image of these legendary interpretations.

ORIGINAL-IMAGE BIT-PROCESSING
To reproduce the original sound-image of a recorded performance as faithfully as possible: this has been the aim of Deutsche Grammophon Gesellschaft in developing its innovative digital mixdown technology ORIGINAL-IMAGE BIT-PROCESSING.
This technology, developed in conjunction with Deutsche Grammophon’s new 4D Audio Recording system at the company’s Recording Centre in Hanover, is based on the notion that the technical medium itself should become inaudible. It is only the means to an end, that of allowing the listener to enjoy an entirely natural sound quality.
ORIGINAL-IMAGE BIT-PROCESSING now makes it possible to remix older recordings in order to “recreate” the original sound- image. This recreation employs—wherever possible — physio-acoustical principles to compensate for delay factors (such as the time required for sounds to reach the main microphone) as well as an extremely high-resolution processing of the musical signals.
Authentic Bit Imaging, the requantizing procedure developed by Deutsche Grammophon, allows the extraordinarily high quality of this mixdown to be transferred optimally to digital sound carriers.
It is Deutsche Grammophon’s philosophy that technology alone is never sufficient. Optimal sound quality can only be achieved when technology is guided by the trained ear of an experienced Tonmeister Deutsche Grammophon’s Tonmeister combine technical expertise with a solid musical education.
For the listener to these performances, the audible results of this latest alliance of modern technology with traditional craftsmanship will be greater presence and brilliance and a more natural spatial balance than previously attainable.

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WARNING! All rights reserved.
Unauthorized copying, reproduction, hiring, lending, public performance and broadcasting prohibited.
Manufactured and Marketed by PolyGram Classics & Jazz, a Division of PolyGram Records, Inc., New York, N.Y.

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LP released 1975
Grammy 1975
Grand Premio del Disco “Ritmo” (Madrid) 1985
Recording: London, Conway Hall (Wembley, Brent Town Hall), 2, 4 & 9/1973

Hilary Hahn (born November 27, 1979) is an American violinist. She has performed throughout the world both as a soloist with leading orchestras and conductors and as a recitalist. She has also built a reputation as a champion of contemporary music. Several composers have written works for her, including concerti by Edgar Meyer and Jennifer Higdon, partitas by Antón García Abril, and a violin and piano sonata by Lera Auerbach.

‘IU’ 正规5辑 [LILAC]
“再见，如花瓣般的再见”
"我的心没有任何疑问，那我先走“
预示着对20代的末尾华丽"问候"的IU随着春天的气息以第五张正规专辑《LILAC》回归。时隔4年推出的正规专辑《LILAC》与带着20岁的坦率和青涩的感性发表的20多岁年轻人的首张专辑《20岁的春天》不同。 过去的20多岁用10首歌展开, 包含了多彩的成熟的感性。
这次也参与了制作和作曲及全曲作词的IU通过国内外多种特级艺术家们的新合作，展现了对体裁的尝试和完成度高的歌曲，现在正在进行中的IU的音乐进化将会给日后迎接新的30代展现怎样的面貌也令人期待。
另外，这张专辑是国内最顶级的MV制作VM Project(Celebrity, Flu)、Flipevil(丁香花、后记)、SUNNY VISUAL (Coin)共同参与，将各自个性、感性的视频和IU的音乐结合在一起，发挥了强大的协同效应。
专辑名和主打曲题目中使用的"丁香花（ LILAC ）"的花语是"初恋"，还有"年轻时的回忆"。 向从20多岁人的第一页到最后一页一直关注着IU的所有人表示感谢，并表达了IU独有的华丽、有点凄凉的问候
‘아이유(IU)’ 정규 5집 [LILAC]
“안녕 꽃잎 같은 안녕”
“내 맘에 아무 의문이 없어 난 이 다음으로 가요”
20대의 마지막에 대해 화려한 ‘인사’를 예고했던 아이유가 봄 내음과 함께 다섯 번째 정규앨범 [LILAC]으로 돌아왔다. 4년 만에 선보이는 정규앨범 [LILAC]은 스무 살의 솔직하고 풋풋한 감성을 담아 발표했던 20대의 첫 앨범 [스무 살의 봄]과는 달리, 지금껏 지나온 20대를 10개의 트랙에 다채로운 시각으로 풀어내 그동안의 성숙해진 감성을 오롯이 담았다.
이번에도 역시 프로듀싱은 물론 작곡 및 전곡 작사에 참여한 아이유는 국내외 다양한 특급 아티스트들과 새로운 협업을 통해 장르에 대한 시도와 완성도 높은 곡들을 선보여 현재 진행형인 아이유의 음악적 진화가 향후 새롭게 맞이할 30대에는 또 어떠한 모습을 보여줄지 기대감도 주고 있다.
또한 이번 앨범에는 국내 최고의 뮤직비디오 프로덕션인 VM프로젝트(Celebrity, Flu), 플립이블(라일락, 에필로그), 써니비주얼(Coin)이 함께 참여하여 각각의 개성 있고 감각적인 영상들과 아이유의 음악이 만나 막강한 시너지를 발휘했다.
앨범명과 함께 타이틀 곡 제목에 사용한 ‘라일락’ 꽃의 꽃말은 ‘첫사랑’, 그리고 ‘젊은 날의 추억’이다. 20대의 첫 페이지부터 마지막 페이지까지 지켜봐 준 모든 이들에게 감사함을 담아 화려하고, 그리고 조금은 쓸쓸하기도 한 아이유만의 인사를 전한다.
1. 라일락
10년간 열렬히 사랑하다가
봄이 지르는 탄성 속에
기쁘게 이별하는 한 연인의 이야기. //
정규앨범의 포문을 여는 동명의 타이틀곡 ‘라일락’은 화사하고 경쾌한 사운드가 봄의 설렘을 선사한다. 리드미컬한 베이스 라인을 시작으로 펑키한 리듬과 팝적인 요소들이 조화를 이뤄 만들어낸 70-80년대 디스코 사운드가 청자에게 즐거움을 준다. 작곡에는 임수호, Dr.JO, 웅킴, N!ko 가 참여했다.
2. Flu
‘사랑’이라는 소재로 가사를 쓸 때 내가 대표적으로 앞세우는 감각은 ‘고통’이다. 불편하게시리 계속 신경 쓰이던 이 감정이 사랑이라는 것을 비로소 자각하게 됐을 때, 나는 내 몸속을 구성하는 모든 것들이 뒤죽박죽 재배열 되는 듯한 느낌을 받는다. 그리고 그 기분은 가히 상쾌하지만은 않다.
바락바락 부정하더라도 결국 얼마 못 가 나를 완전히 무력화시키고 말, 사랑이라는 세균에 맞서 사력을 다해 마지막 반항을 하는 이야기를 담았다. //
히트 작곡가 라이언 전, 그리고 다양한 음악 작업에 참여한 그의 작곡팀이 함께 한 ‘Flu’는 미니멀한 어반 비트에서 펼쳐지는 중독적인 훅과 몽환적인 느낌의 멜로디가 곡에 생동감을 불어넣는다. 위트 넘치는 아이유 특유의 디테일한 가사와 위태로운 보이스는 곡의 매력을 극대화한다.
3. Coin
자극적인 것들은 대체할 수 없이 매력적이지만 결국 건강에 해롭다.
내 건강에 해로운 게임은 딱 요번 한 판만 더 할게요. //
게임장을 연상시키는 샘플 사운드를 시작으로 Poptime의 펑키한 그루브 밴드 사운드 트랙과 아이유의 멜로디 라인이 만나 기존에 시도하지 않았던 새로운 장르를 만들었다. 특히 음원을 통해서는 최초로 선보이는 아이유의 화려한 랩핑부터 색다른 드롭 파트까지 데뷔 이래 처음 시도하는 컨셉의 곡으로, 티저 영상 공개 이후부터 큰 화제를 모았다.
4. 봄 안녕 봄
아직도 무의식 중에 가장 먼저 떠올리는 이름이 너일 때가 있지만,
이렇게 잠 못 이루는 밤들도 더러 있지만,
이제는 이게 미련이라고 생각되지는 않아
그냥 힘든 날 생각나는 이름이지
다시 한번 만나고픈 우연이지
이른 새벽 작은 기척에 혹시나 싶어 나가 보는 마음
살랑 지나가는 바람에 혹시나 싶어 손 뻗어보는 마음
물끄러미 마주친 고양이의 눈에 혹시 너인가 싶어 이름 불러 보는 마음
나비가 됐구나
여전히 예쁘네
새가 됐구나
드디어 자유롭네
오늘도 잊지 않고 이렇게 왔구나
고마워
내일도 기다릴 수 있어 다행이야
좋은 날 또 만나자. //
대한민국을 대표하는 싱어송라이터 나얼이 아이유에게 선물한 곡으로 담백하면서도 절제된 멜로디가 EP와 나일론 기타의 선율을 따라 조심스럽게 감정선을 이끌어간다. 독백하듯 호흡을 던지는 멜로디컬한 후렴구와 나얼의 담담한 코러스는 곡의 깊이를 한층 더 끌어올리며, 잔잔하게 여운을 남기는 브릿지, 그리고 다이렉트로 키업된 마지막 후렴구가 솔직하면서도 세련된 느낌을 더해준다. 봄이 온 듯한 서정적인 스트링 선율에 따뜻한 일렉 기타 사운드가 함께 더해져 전형적이면서도 감성적인 컨템포러리 팝 사운드를 완성한다.
5. Celebrity
시선을 끄는 차림과 조금 독특한 취향, 다양한 재능, 낯가림에서 비롯된 방어기제, 매사에 호오가 분명한 성격 등으로 인해 종종 별난 사람 취급을 받아온 친구가 있다.
그 친구의 그런 특징들 때문에 나는 더욱 그 애를 사랑하는데, 본인은 같은 이유로 그동안 미움의 눈초리를 더 많이 받으며 살아왔다고 했다.
나의 ‘별난 친구’에게 해주고 싶은 말들을 적으며 시작했던 가삿말이었지만 작업을 하다 보니 점점 이건 나의 얘기이기도 하다는 걸 깨달았다. 가사를 완성하고 나니 내 친구나 나뿐만이 아니라 그 누구를 주인공에 대입시켜도 전혀 부자연스럽지 않다는 생각이 들었다. 누구나 살면서 한 번쯤은 내가 남들이 만들어 놓은 기준에 맞지 않는 사람이라는 이유로 소외감을 느껴본 적이 있을 테니까.
내 친구를 포함해 투박하고도 유일하게 태어난 이들에게 말하고 싶다.
당신은 별난 사람이 아니라 별 같은 사람이라고. //
이번 정규앨범의 선공개곡 ‘Celebrity’는 발매와 동시에 음원차트 1위를 석권하며 화려한 컴백을 예고했다. 트로피컬 하우스가 가미된 일렉트로닉 팝 음악으로 경쾌하고 세련된 사운드가 돋보이며, 신디사이저와 오토튠이 믹스된 드롭 형식의 훅이 아이유의 목소리와 어우러져 신선함을 더한다.
6. 돌림노래 (Feat. DEAN)
한심하지만
여기까지도 사랑이라면 사랑. //
많은 이들이 기다렸던 아이유와 DEAN의 만남이 성사되었다. 작곡에는 박우상, JUNNY (주니), DEAN, jane이 참여했으며 레게와 보사노바를 기반한 장르로 아이유와 DEAN이 마치 돌림노래 같은 연인 사이의 관계에 대해 솔직한 이야기를 주고받는다.
7. 빈 컵 (Empty Cup)
먼저 자리에서 일어나는 여자를 차마 붙잡지 못하고 그 자리에 창백하게 앉아 있던 남자의 컵에는 넘칠 듯 가득 차 있던 향기로운 커피 대신, 바닥에 눌어붙은 커피 자국만이 지저분하게 남아 있었다. //
프로듀서 우기(WOOGIE), 힙합 뮤지션 페노메코(PENOMECO), 그리고 아이유. 음악적 스펙트럼이 넓은 아티스트들의 신선한 협업 소식에 트랙 리스트 공개부터 화제가 된 바 있는 ‘빈 컵(Empty Cup)’은 톤 다운된 아이유의 쓸쓸한 보이스에 로우파이한 기타 사운드, 알앤비 기반의 밴드 사운드가 합쳐져 곡의 시크한 감정선을 극대화 시킨다.
8. 아이와 나의 바다
내가 나를 온전히 사랑하지 못해
마음이 가난했던 밤들을 지나,
이제야 겨우 되찾은 나의 바다. //
‘밤편지’의 콤비, 작곡가 제휘와 김희원이 다시 발라드 트랙으로 뭉쳤다. 잔잔하게 시작되지만 이내 등장하는 웅장한 사운드와 아이유의 에너지 넘치는 보컬이 어우러지며 5분 16초 동안 듣는 이들의 귀를 사로잡는다. 또한 20인조 스트링 세션의 풍부한 연주는 곡의 아름다움을 더했고, 후반부에 아이유의 폭발적인 고음과 작곡가 제휘의 친구들이 함께하는 콰이어는 드라마틱한 클라이맥스를 이끌어낸다.
9. 어푸 (Ah puh)
그 바다에서 지겹게 보자고. //
파도 위 서핑처럼 시원하고 어택감있는 사운드, 마치 사진을 찍는 듯 뚝 뚝 끊기는 리듬과 다이나믹한 멜로디는 아이유와 이찬혁이 함께 써 내려간 재미난 가사를 더 돋보이게 만든다. 또한 이찬혁은 '아이유의 상큼한 초기 노래들의 현대 해석 버전이라 하면 어울리겠다'라는 코멘트를 전해 추가적으로 다양한 감상 포인트를 부여해 준다.
10. 에필로그
수다스러웠던 저의 20대 내내, 제 말들을 귀찮아하지 않고 기꺼이 함께 이야기 나눠 주신 모든 청자분들께 진심으로 고맙습니다.
스물세 살의 아이유도, 스물다섯의 아이유도, 작년의 아이유도 아닌 지금의 저는 이제 아무 의문 없이 이 다음으로 갑니다.
안녕♥
- 지은 드림 //
아이유의 이십 대 첫 앨범 <스무 살의 봄> 마지막 트랙을 맡았던 작곡가 심은지가 이번 이십 대를 마무리하는 앨범에 싱어송라이터 김수영, SUMIN (수민), 임금비와 뭉쳐 다시 한번 마지막 트랙을 장식한다. 아이유가 전하는 후련한 인사말과 마치 오래된 전축에서 흘러나올 법한 로우파이한 질감의 사운드에 레트로한 감성이 더해져 묘한 분위기를 자아내는 발라드곡이다.
[Credit]
1. 라일락
Lyrics by 아이유
Composed by 임수호, Dr.JO, 웅킴, N!ko
Arranged by 임수호, 웅킴, N!ko
Drum 임수호
Bass 웅킴
Guitar 임수호
E.Piano 웅킴, N!ko
Synth N!ko
Chorus 아이유
Recorded by 손명갑 @Kakao Entertainment
Mixed by 손명갑 @Koi STUDIO
2. Flu
Lyrics by 아이유
Composed by 라이언 전, Martin Coogan, Madilyn Bailey, Zacchariah Palmer, London Jackson, Jacob Chatelain
Arranged by Jacob Chatelain, London Jackson, 라이언 전
Chorus 아이유
Recorded by 손명갑 @Kakao Entertainment
Mixed by 구종필 @KLANG STUDIO
Assisted by 정유라
3. Coin
Lyrics by 아이유
Composed by Poptime, Kako, 아이유
Arranged by Poptime
Drum 박지용
Bass 최인성
Piano 홍소진
Guitar 김동민
Chorus 아이유
Recorded by 손명갑 @Kakao Entertainment
Mixed by 구종필 @KLANG STUDIO
Assisted by 정유라
4. 봄 안녕 봄
Lyrics by 아이유
Composed by 나얼
Arranged by 강화성
Drum 신정은
Guitar 홍준호
E.piano 강화성
Keyboard 강화성
Strings Arranged & Conducted by 박인영
Strings Performed by IYP Orchestra (LA)
Chorus 나얼
Recorded by 손명갑 @Kakao Entertainment
김갑수 @Long Play Music Studio
이창선 @Prelude studio
Jeff Gartenbaum @The Village Studios
Mixed by 최형 @C-JeS Studio
5. Celebrity
Lyrics by 아이유
Composed by 라이언 전, Jeppe London Bilsby, Lauritz Emil Christiansen, 아이유, Chloe Latimer, Celine Svanback
Arranged by Jeppe London Bilsby, Lauritz Emil Christiansen, 라이언 전
Chorus 아이유
Recorded by 손명갑 @Kakao Entertainment
Mixed by 구종필 @KLANG STUDIO
Assisted by 강선영, 정유라
6. 돌림노래 (Feat. DEAN)
Lyrics by 아이유, DEAN
Composed by 박우상, JUNNY, DEAN, jane
Arranged by 박우상
Drum 박우상
Bass 박우상
Synth 박우상
Chorus 아이유, DEAN
Recorded by 손명갑 @Kakao Entertainment
Mixed by 박우상 @RBW Studio
7. 빈 컵 (Empty Cup)
Lyrics by 아이유
Composed by WOOGIE, PENOMECO
Arranged by WOOGIE
Drum WOOGIE
Bass WOOGIE
Piano WOOGIE
Guitar WOOGIE
Synth WOOGIE
String WOOGIE
Chorus 아이유
Recorded by 손명갑 @Kakao Entertainment
Mixed by Stay Tuned @Stay Tuned Studio
8. 아이와 나의 바다
Lyrics by 아이유
Composed by 제휘, 김희원
Arranged by 제휘
Drum 제휘
Bass 양경아
Piano 정재일
Guitar 정석훈
Synth 제휘
Organ 서동환
Strings Arranged & Conducted by 이나일
Strings Performed by ON THE string
Chorus 아이유, 제휘, 김희원
Choir 제휘's friends
Recorded by 오성근 @Studio-T
강효민 @Brickwall Sound
손명갑 @Kakao Entertainment
Mixed by 조준성 @W Sound
Assisted by 최자연 @W Sound
9. 어푸 (Ah puh)
Lyrics by 아이유, 이찬혁
Composed by 이찬혁, PEEJAY
Arranged by PEEJAY
Drum PEEJAY
Bass PEEJAY
Guitar 김승현
Keyboard PEEJAY
Sound Effects PEEJAY
Chorus 아이유
Recorded by 손명갑 @Kakao Entertainment
Mixed by 고현정 @koko sound STUDIO
Assisted by 김준상, 정기운, 이민우 @koko sound STUDIO
10. 에필로그
Lyrics by 아이유
Composed by 심은지, SUMIN, 김수영, 임금비
Arranged by 심은지, 김수영
Drum 심은지
Bass 심은지
Guitar 김수영
Keyboard 심은지
Chorus 아이유, 김수영
Recorded by 손명갑 @Kakao Entertainment
Mixed by 윤원권 @Studio Ddeep Kick

专辑介绍：
巴赫最后一部作品《赋格的艺术》被誉为音乐家的“哲学著作”，他以音乐思维中的高度逻辑性和结构的严密性来反映音乐所包含的数理与宇宙的和谐之美。运用对位法的顶峰可从这部作品中见到,他把超越人类脑力极 妙技,处理得极为简单而鲜明,其中的对位技巧极为复杂精致,绝非仅靠耳力所能理解.其中很多以c小调开头，到后来则像最棒的魔术师的戏法一样，以d小调结束。而这些，却只有最留心的听众的耳朵才能识破产生变化的那一瞬。借助调性的跳跃，可以无限重复音乐作品，直到他被所有音阶的音符都变形过为止。巴赫解释说：“只有这样才能使国王的荣耀在转调的同时不断升高。”最后一首赋格曲没有完成，在以他的名字“B-A-C-H”。因为在德语里，B就是降B音，H是B音……这是他第一次用自己的名字去谱曲。非常有意思，因为它是这么容易拼写，他是第一次写这样的赋格曲。人们认为这是4声部的赋格，作品最后的切入点，重新诠释了赋格的艺术。但他去世了，没有完成。所以，他留下了这个忽然结束的让人惊讶的结尾……
专辑曲目:
01 contrapunctus 1
02 contrapunctus 2
03 contrapunctus 3
04 contrapunctus 4
05 canon alla ottava
06 contrapunctus 5
07 contrapunctus 6, a 4, in stylo francese
08 contrapunctus 7, a 4, per augmentationem et diminutionem
09 canon alla decima, in contrapunto alla terza
10 contrapunctus 9, a 4, alla duodecima
11 contrapunctus 10, a 4, alla decima
12 contrapunctus 8, a 3
13 contrapunctus 11, a 4
14 canon alla duodecima in contrapunto alla quinta
15 contrapunctus 12, a 4. rectus
16 contrapunctus 12, a 4. inversus
17 contrapunctus 13, a 3. rectus
18 contrapunctus 13, a 3. inversus
19 fuga a 2 clav.
20 alio modo. fuga a 2 clav.
21 canon per augmentationem in contrario motu
22 fuga a 3 soggetti

专辑介绍：
提起巴赫的键盘曲《哥德堡变奏曲》，人们首先想起的多半是已故加拿大钢琴家古尔德（Glenn Gould）对它传奇性的演奏。就象这首变奏曲以主题开始，经过30个变奏后又以同样的主题结束一样，古尔德的录音生涯也从1955年录制《哥德堡变奏曲》开始，在1981年以再次录制这首曲子而结束，完成了一个生命的大循环. 很多人曾问过古尔德：“你最欣赏谁演奏的巴赫？”每一次古尔德的回答总是：“女钢琴家图雷克（Rosalyn Tureck，1914~）。”这个很陌生的名字是谁？恐怕知者不多。
有一种说法：《哥德堡变奏曲》是由古尔德首先推广开来的。其实并非如此。著名女羽管键琴演奏家兰多芙斯卡（Wanda Landowska，1879~1959）才是名副其实的先驱。正是她的演奏和1933年灌制的著名唱片使这首曲子逐渐传播开来，被钢琴家和大众所接受。图雷克也是最早演奏《哥德堡变奏曲》的钢琴家之一。早在30年代，她的音乐会曲目中就已包括了这首作品。那时，古尔德才刚刚降生呢！由于作品的原谱上很少有速度表情记号，留给演奏家们很大的自由发挥空间，所以各个演奏家的处理方式差别很大。从30年代至今，上百种唱片版本先后涌现，可见它受欢迎的程度。其中最著名的一直是兰多芙斯卡的两种羽管键琴版（EMI和RCA各一）、古尔德的两种版本（Sony）以及匈牙利钢琴家希夫的版本（DECCA）。
根据最早的巴赫传记《天才巴赫的一生及其作品》（弗克尔1802年出版）中的说法，《哥德堡变奏曲》是为身患失眠症的凯塞林克伯爵所作的，目的仅仅是为了帮助他消磨漫漫长夜，减轻失眠的痛苦。“哥德堡”是伯爵身边的羽管键琴演奏家的名字，也是巴赫的学生。变奏曲由一个主题及其30个变奏组成，在30个变奏之后，主题再现，圆满地完成一个循环。伯爵对这首曲子着了迷，慷慨地赐给巴赫100个金路易，相当于巴赫一年的工资。《哥德堡变奏曲》这个曲名并不是巴赫起的，而是传记作者弗克尔在巴赫死后起的。巴赫自己称它为“包括一首咏叹调及其变奏的键盘练习曲，为有两个键盘的羽管键琴而作”（现在一般都用钢琴演奏）。
这首作品看似平常的变奏曲，实际上却是精心安排的。它的变奏都建筑在主题（咏叹调）的32个小节的低音线上，这个数字正好是作品的段落总数（30段变奏加上首尾两段主题）。更奇妙的是，主题低音线上的音符数也是32个！在30个变奏中，大多数变奏的长度是30小节。第3、9、21、30变奏是其一半（16小节）。唯一的例外是第16变奏。这是一首47小节的法国式序曲。
以第16变奏为分界，30个变奏可分为两组。第二组明显比第一组复杂。也就是说音乐的进行渐趋复杂，直到最后骤然回到平静朴素的主题，给人“绚烂之极归于平淡”的奇妙感受。更奇妙的是，第3、第6、第9、第12变奏直到第27变奏，每隔3首就出现一首卡农（严格的对位模仿，合唱中常见的轮唱即为一例）。这些卡农的音程渐渐扩大，从同度卡农（第3变奏）直到9度卡农（第27变奏）。象这样精心构思的作品是极为少见的。穿插在这些卡农曲间的是一些较为自由的变奏，有的是技巧难度很大的双键盘曲，有的近似托卡塔，有的犹如小赋格曲（第10变奏），有的是舞曲风格（第4变奏是帕斯皮耶舞曲，第7变奏是吉格舞曲），有的是古协奏曲形式。第30变奏特别引人注目，它活象一个音乐玩笑，将两首民歌（“我好久没和你在一起”和“卷心菜和萝卜把我赶走”）的旋律和咏叹调主题交织在一起。
古尔德演奏的《哥德堡变奏曲》虽然魅力非凡，但不容否认，它带有明显的古尔德个人标记，并不是很纯净的巴赫风格。与之相比，美国女钢琴家图雷克的演绎显然更合巴赫的原意，难怪古尔德也对她大加赞赏。今年85岁的图雷克60多年来一直以演奏巴赫作品闻名，曾被著名乐评家哈罗德-勋伯格誉为“巴赫音乐的女大祭司”。很可惜，她以前的唱片都是小公司出版的，国内见不到，故此名气很小。事实上，她可能是钢琴家中录制《哥德堡变奏曲》次数最多的一个，也是演奏它时间最长的一个（长达60多年）。
和许多钢琴家一样，图雷克在晚年渐渐进入了更平静、更深邃的升华境界。每个音符、每个变奏都被她处理得异常清晰、端庄。由于她严格遵守巴赫的反复记号（很多钢琴家省略了反复部分），所以演奏时间也比绝大多数版本长。在敏感的指触、纯正的风格感中，我们丝毫感觉不出演奏家是位84岁的老人。这是稳重内敛、宁静致远的演绎。正如她本人所说：“我从不把这部作品当成炫人耳目的技巧表演。它是生命的体验”。现在就让我们聆听这位“巴赫音乐的女大祭司”、曾任纽约爱乐首位女指挥、朱利亚德学校教授的图雷克来演奏，在《哥德堡变奏曲》中体验生命的多姿多彩吧。(摘自视听技术,作者孙皓,有删节)
专辑曲目:
CD1
01 01Aria
02 02Variato 1 - a 1 Clav.
03 03Variato 2 - a 1 Clav.
04 04Variato 3 - Canone all'Unisuono a 1 Clav.
05 05Variato 4 - a 1 Clav.
06 06Variato 5 - a 1 o vero 2 Clav.
07 07Variato 6 - Canone alla Seconda a 1 Clav.
08 08Variato 7 - a 1 o vero Clav. (at tempo di Giga)
09 09Variato 8 - a 2 Clav.
10 10Variato 9 - Canone alla Terza a 1 Clav.
11 11Variato 10 - Fugetta a 1 Clav.
12 12Variato 11 - a 2 Clav.
13 13Variato 12 - Canone alla Quarta (a 1 Clav.)
14 14Variato 13 - a 2 Clav.
15 15Variato 14 - a 2 Clav.
16 16Variato 15 - Canone alla Quinta (a 1 Clav. andante)
CD 2
01 01Variatio 16 - Ouverture a 1 Clav.
02 02Variatio 17 - a 2 Clav.
03 03Variatio 18 - Canone alla Sesta a 1 Clav.
04 04Variatio 19 - a 1 Clav.
05 05Variatio 20 - a 2 Clav.
06 06Variatio 21 - Canone alla Settima (a 1 Clav.)
07 07Variatio 22 - a 1 Clav. (alla breve)
08 08Variatio 23 - a 2 Clav.
09 09Variatio 24 - Canone all'Ottava a 1 Clav.
10 10Variatio 25 - a 2 Clav. (Adagio)
11 11Variatio 26 - a 2 Clav.
12 12Variatio 27 - Canone alla Nona a 2 Clav.
13 13Variatio 28 - a 2 Clav.
14 14Variatio 29 - a 1 o vero 2 Clav.
15 15Variatio 30 - Quodlibet a 1 Clav.
16 16Aria

J. S. 巴赫为独奏小提琴而作的奏鸣曲与组曲一共6首，BWV1001—1006，大约作于1720年，克滕。这6首奏鸣曲与组曲，巴赫设计了小提琴表达所能演奏的一切和弦，使用了几乎不可能演奏的对位技巧。它们构成了巴赫小提琴音乐的最高峰巅。在巴赫之后，小提琴无伴奏奏鸣曲很少有人再创作，是因为再也无法逾越这座峰巅。这6首无伴奏奏鸣曲与组曲，第一、三、五为奏鸣曲，二、四、六为组曲，据推测，乃为当时克滕宫廷乐团的小提琴演奏家约瑟夫·史比斯(Joseph Spiess)所作。
谢霖（1918—1988），墨西哥籍波兰小提琴家，是匈牙利着名小提琴大师和小提琴教育家弗莱什（1873—1944）的嫡传弟子，也是其学生中成就最高，影响最大的一位。他出生在波兰的华沙，幼年时受到很好的音乐教育，1933年首次举行独奏音乐会，之后则开始全球性的巡回演出。1946年他第一次到墨西哥演出，迷上了当地的风土人情，于是加入墨西哥国籍，并在墨西哥从事音乐教育事业，减少了音乐会的演出，直到1954年，钢琴家鲁宾斯坦访问墨西哥，为谢霖的技艺所震惊，力劝他重上舞台，到世界各地奉献琴艺。由此，他才再次到世界各地举办大量的演奏会活动。谢霖是最出色的少数几个能真正让小提琴优雅地歌唱的演奏家之—，他的琴声紧密而有活跃，有一种天生的高贵气质，既富有诗意，有强调对作品深度的表达,艺术底蕴极其深厚，这一点从他拉的巴赫、勃拉姆斯《小提琴协奏曲》以及贝多芬《小提琴协奏曲》中都能窥见。他对莫扎特作品的表达也狻为出色。谢霖对巴洛克时期的音乐很有研究，他的演奏呈现出纯正的巴洛克风格，优雅而又严谨，为他人所不及，被视为这方面的典范。(林逸聪)