Disc 1:
01 Pelléas et Mélisande - incidental music Op.80 (2001 Digital Remaster): I. Prélude
02 Pelléas et Mélisande - incidental music Op.80 (2001 Digital Remaster): II. Andantino quasi allegretto (La fileuse)
03 Pelléas et Mélisande - incidental music Op.80 (2001 Digital Remaster): III. Sicilienne
04 Pelléas et Mélisande - incidental music Op.80 (2001 Digital Remaster): IV. Mélisande's song
05 Pelléas et Mélisande - incidental music Op.80 (2001 Digital Remaster): V. Molto adagio (Mort de Mélisande)
06 Masques et Bergamasques Op. 112 (2001 Digital Remaster): Ouverture
07 Masques et Bergamasques Op. 112 (2001 Digital Remaster): Pastorale
08 Masques et Bergamasques Op. 112 (2001 Digital Remaster): Madrigal, Op.35
09 Masques et Bergamasques Op. 112 (2001 Digital Remaster): 'Le plus doux chemin' madrigal, Op.87 No.1
10 Masques et Bergamasques Op. 112 (2001 Digital Remaster): Menuet
11 Masques et Bergamasques Op. 112 (2001 Digital Remaster): Clair de lune, menuet, Op.46 No.2
12 Masques et Bergamasques Op. 112 (2001 Digital Remaster): Gavotte
13 Masques et Bergamasques Op. 112 (2001 Digital Remaster): Pavane, Op.50
14 Shylock - incidental music Op.57 (2001 Digital Remaster): Chanson
15 Shylock - incidental music Op.57 (2001 Digital Remaster): Entr'acte
16 Shylock - incidental music Op.57 (2001 Digital Remaster): Madrigal
17 Shylock - incidental music Op.57 (2001 Digital Remaster): Epithalame
18 Shylock - incidental music Op.57 (2001 Digital Remaster): Nocturne
19 Shylock - incidental music Op.57 (2001 Digital Remaster): Final

Disc 2:
01 Ballade Op. 19 (2001 Digital Remaster)
02 Elégie in C minor Op. 24 (2001 Digital Remaster)
03 Berceuse Op. 16 (2001 Digital Remaster)
04 Fantaisie Op. 111 (2001 Digital Remaster)
05 Les Djinns Op. 12 (2001 Digital Remaster)
06 Caligula - incidental music Op.52 (2001 Digital Remaster): Fanfares, marche et choeur: 'Nous sommes les heures guerrières'
07 Caligula - incidental music Op.52 (2001 Digital Remaster): Choeur: 'L'hiver s'enfuit'
08 Caligula - incidental music Op.52 (2001 Digital Remaster): Air de danse
09 Caligula - incidental music Op.52 (2001 Digital Remaster): Mélodrame et Choeur: 'De roses merveilles'
10 Caligula - incidental music Op.52 (2001 Digital Remaster): Mélodrame et Choeur: 'César a fermé la paupière'
11 Prélude de Pénélope (2001 Digital Remaster)

錄音: [1-8] 1989年12月上海音樂學院附中錄音棚 ; [9-10] 1957年歷史性錄音版權由姚公白, 姚公敬提供.
第1, 2, 7, 8, 首由姚公白以無名明琴及宋琴《憂玉》演奏 ; 第3-6首由姚公敬以宋琴《憂玉》演奏 ; 第9-10首由姚丙炎以宋琴《鐵鶴舞》演奏.

This is the first installment in the Pacifica Quartet's highly anticipated, four-volume CD survey of the complete Shostakovich string quartets: The Soviet Experience: String Quartets by Dmitri Shostakovich and his Contemporaries. The Soviet Experience is the first Shostakovich quartet cycle to include works by other important composers of the Soviet era, adding variety and perspective to the listening experience. This superbly performed series of audiophile recordings, produced and engineered by multiple Grammy Award winner Judith Sherman, will appeal to everyone interested in great Russian music of the 20th century. It's also a great value: each two-CD installment is priced as a single CD.
Shostakovich's intense String Quartet No. 5 (1952) introduces many characteristics that would become common in his later quartets. The String Quartet No. 6 (1956) holds surprises beneath its outwardly untroubled themes. The remarkably inventive and compact String Quartet No. 7 (1960) signals a significant stylistic change in the composer's quartet writing. The deeply personal String Quartet No. 8 (1960) is the best-known quartet in the entire cycle. Nikolai Miaskovsky is the only major Soviet composer who was also a member of the pre-Revolution generation of Tchaikovsky and Rimsky-Korsakov. His masterfully written String Quartet No. 13 (1949) demonstrates great ingenuity and craftsmanship within a conventional harmonic language.
The Pacifica Quartet performed the complete Shostakovich cycle to great acclaim in New York and Chicago and at the University of Illinois in Urbana, Ill., during the 2010–2011 season. The Chicago Tribune said, "The remarkable Pacifica Quartet . . . coaxed the music's unfathomable sorrows, fleeting joys and macabre humor to the surface as if creating it on the spot." The New York Times called the Pacifica "enterprising and eloquent" and said its Shostakovich installments were "beautifully and powerfully played." The Pacifica has been demonstrating its prowess with Shostakovich to concert audiences far and wide by performing the Quartet No. 8 on its tour program. The Denver Post said the ensemble "delivered rawness, power, and sensitivity in an authoritative performance that was profoundly haunting and moving." Canada's Globe and Mail said, "The Shostakovich . . . was memorably engaged at every layer and level of its discourse."

This is the second installment in the Pacifica Quartet's highly anticipated, four–volume CD survey of the complete Shostakovich string quartets: The Soviet Experience: String Quartets by Dmitri Shostakovich and his Contemporaries. The Soviet Experience is the first Shostakovich quartet cycle to include works by other important composers of the Soviet era, adding variety and perspective to the listening experience.
Volume 2 features five works from the period surrounding World War II: 1938–1949. Included are Shostakovich's surprisingly sunny and spring–like Quartet No. 1; his often symphonic–sounding Quartet No. 2; the emotionally–powerful Third Quartet, one of Shostakovich's greatest chamber music masterpieces; his Fourth Quartet, notable especially for its "Jewish"–themed finale; and Prokofiev's folk–influenced Quartet No. 2.
The Soviet Experience: Volume I received universal praise on both sides of the Atlantic and was included on the best classical albums of 2011 lists of The New York Times, Chicago Tribune, The New Yorker, San Jose Mercury News, Newark Star–Ledger, and St. Louis Post–Dispatch.
The Pacifica Quartet performed the complete Shostakovich cycle to great acclaim in New York and Chicago and at the University of Illinois in Urbana, during the 2010–2011 season. The Chicago Tribune said, "The remarkable Pacifica Quartet... coaxed the music's unfathomable sorrows, fleeting joys and macabre humor to the surface as if creating it on the spot." The New York Times called the Pacifica "enterprising and eloquent" and said its Shostakovich installments were "beautifully and powerfully played." In 2011–12, the Pacifica plays the Shostakovich quartet cycle in London's Wigmore Hall.

Grazyna Bacewicz (1909-1969) was the first Polish woman to become a famous composer. Educated in Paris under the legendary Nadia Boulanger, she became a master violinist and most of her compositions feature that instrument. Seriously injured in a car accident in 1954, she then gave up performing and teaching to concentrate on composing. Pianist Ewa Kupiec is the preeminent interpreter and advocate of the music of Grazyna Bacewicz. Her previous release of the complete published piano music received global acclaim. Pianist Kupiec is joined by virtuoso violinist Piotr Plawner in spirited and authentic interpretations of this neglected master's music for violin and piano. The music of Bacewicz is extremely accessible, yet modern. While she explored many different styles, her music is based in the traditions of Polish folk music. New interest in the music of Bacewicz makes this an extremely attractive addition to any collection.

hilips之Best 50：哈斯姬儿&格鲁米欧-《莫扎特小提琴奏鸣曲》[APE][0804]
碟片名称：Mozart - Violin Sonatas K 378, 304, 376, 301
演奏者：Clara Haskil , Arthur Grumiaux
唱片公司：PHILIPS
唱片编号：404 590-2 BEST 50
录音时间：1958
Clara Haskil 哈斯姬儿(1895-1960)
罗马尼亚女钢琴家,7岁登台,先在维也纳跟罗伯特学习,后考入巴黎音乐学院,是科尔托的学生。1910年获巴黎音乐学院钢琴比赛第一名,从此开始巡回演出,40年代定居瑞士。
哈斯姬儿在当学生期间,就被小提琴演奏家伊萨伊选中,合作演奏二重奏;毕业后,还经常与埃乃斯库、卡萨尔斯合作举行演奏会。二次大战结束后,她参加卡萨尔斯主持的第一届普拉德音乐,结识格吕米奥,开始合作二重奏.哈斯姬儿体弱多病,其演奏以追求细微的强弱音色变化而著称,在法国曾被称为"莫扎特再世", 她是莫扎特最好的演奏家之一,可惜大部分录音都是单声。Philips公司有她与马克维奇指挥拉穆勒乐团演奏莫扎特的第二十、二十四号协奏曲的最后录音, 可充分展示她的魅力,而她与格吕米奥合作的贝多芬和莫扎特奏鸣曲,虽是单声,都魅力十足。
阿瑟·格鲁米欧Arthur Grumiaux（1921－1986）
1921年3月21日生于比利时维莱用温。他的外祖父是当地的乡村乐长，很喜爱音乐，格鲁米欧5岁即从外祖父学琴。他9岁进入沙勒罗瓦音乐学院学习小提琴和钢琴；12岁进入布鲁塞尔皇家音乐学院从师伊萨伊的学生杜布瓦学琴，两年后夺得学院一等奖；同时学习对位法与复调音乐。1939年获维厄唐奖和普自姆奖。1940年成为比利时政府新设立的演奏荣誉奖的第一个获奖者。30年代末，他在布鲁塞尔音乐学院毕业后，曾去巴黎师从埃奈斯库短期进修，度过了一段快乐的时光。1940年春天，格鲁米欧首次公开露面，演奏了门德尔松的e小调协奏曲，由明希指挥，布鲁塞尔交响乐团协奏。评论界惊叹不已，称为恍然蒂博再现。但是，同年法西斯德国入侵比利时，格鲁米欧刚刚开始的演奏生涯迫不得已中断，只私下参加杜布瓦组织的弦乐四重奏团的活动，并为盟军多次义演。1945 年第二次世界大战结束，格鲁米欧复出，和BBC交响乐团合作举行了在英国的首演，名盛一时。以后到各国旅行演出，受到热烈欢迎。
1949年，格鲁米欧接替了他的老师杜布瓦任布鲁塞尔音乐学院小提琴教授。从此，他尽心教学，出外旅行演出越来越少。出国访问的次数就更少了，那些有幸听到他的实况演出的人，一定还记得他1952年2月16日在纽约卡内基音乐厅演奏莫扎特《第三小提琴协奏曲》，1953年4月9日在伦敦皇家节日大厅演奏贝多芬《小提琴协奏曲》的精彩场面。幸好，从50年代起，Philips公司就开始为格鲁米欧录制唱片，而且音响效果非常好。这就为我们欣赏格鲁米欧的艺术提供了必要的前提条件。
在格鲁米欧早年的唱片中，1955年12月录制于阿姆斯特丹的勒克的小提琴奏鸣曲，相当有代表性。纪尧姆·勒克（1870－1894）是比利时具有罕见才华的作曲家，在巴黎师事弗朗克与丹第，因患伤寒而早逝。作品不多，但异常精美。这首小提琴奏鸣曲梅纽因也曾经录过，热情沉醉，听后觉得凄凉得不得了。格鲁米欧的表现理智得多，他的揉指快而幅度不大，发音清晰纯净。第一乐章清秀高洁、遗世独立的精神得到相当透彻的再现，热情激动的情绪有所收敛；第二乐章安然静谧，浮想联翩；第三乐章激昂奋进，矫捷有力。勒克用第一乐章的乐思，巧妙地贯串全曲，形成统一的整体，这是弗朗克的典型手法。格鲁米欧优雅有力的风格就是在这样高热度的作品中也能够保持冷静，不被融化。在同期录制的德彪西的〈小提琴奏鸣曲》中，格鲁米欧舍弃了一般采用的梦幻一般的进入，他把重点放在了揭示这梦幻的面纱下隐藏着的古典主义的真容。
格鲁米欧喜欢把小提琴的弓毛绷得相对松弛，依靠压力较轻的运已来取得绵延无尽的运弓效果和纯净的音质。这种手法在两根高音弦上的效果尤佳。塔蒂尼《魔鬼的颤音》奏鸣曲和维塔利的《恰空》中，都有许多双音段落，格鲁米欧的演奏干净清晰，他独特的运弓方法，使这些双音听起来格外激动人心。他在50年代和哈斯基尔合作，录下了贝多芬的《10首小提琴奏鸣曲集》和莫扎特的几首小提琴奏鸣曲，这些录音使格百米欧的名气大大地超越了比利时的疆界，传往世界各地。他在甜美、干净、精雅的演奏中偶尔加入一个趣味高雅的下滑音，这些成了他早期风格的标志。
进入60年代，格鲁米欧录下了大量精彩的唱片。包括莫扎特小提琴协奏曲全集（科林·戴维斯指挥伦敦交响乐团）；布鲁赫、门德尔松、柴科夫斯基协奏曲（海汀克指挥）；维厄唐的第四、第五协奏曲（罗森塔尔指挥）；还有贝多芬、茹拉姆斯、贝尔格、斯特拉文斯基和维奥蒂（第二十二号）的小提琴协奏曲。其中，维厄唐的两首协奏曲最为出色。莫扎特的5首协奏曲也演奏得异常精美，被日本《唱片艺术》评为最佳名片，其中第五协奏曲第一乐章激昂的主题，格鲁米欧拉得雄浑有力，音色炽烈。门德尔松第一乐章热情洋溢的主题，格鲁米欧采用了顿挫有致的运弓处理，把热情抑制下来，表现了他独特的趣向。在独奏作品中，巴赫的第一首独奏奏鸣曲的急板乐章，拉得热力四射，无人能比。格鲁米欧还自己演双簧，录过一次勃拉姆斯的《第二小提琴奏鸣曲》，他的钢琴演奏相当雄浑有力。这期间，格鲁米欧更加注重自由速度的运用这类显示个人风格标记的手法，音色更加温暖（优质的录音也有帮助），炫技的表演已经无影无踪。

专辑介绍：
关于拉威尔的室内乐，VC上也有一些，但并不是非常全，而且是分散在许多与其他作曲家的合集中，所以这样一张专辑就尤为重要了。拉威尔是我最喜欢的作曲家，虽然斯特拉文斯基曾戏称他为瑞士钟表匠，来表明他的过分精确与苛求完美，罗曼罗兰也说他的风格是过分雕琢的，但不得不承认，拉威尔的管弦乐法是非常独到的，形成了一种华丽精致的风格。同样，他的室内乐作品也是非常优秀的，这两张cd收录了拉威尔几乎全部的室内乐，其中像茨冈狂想曲、弦乐四重奏、钢琴三重奏还是比较值得一听的。关于版本我也说不出什么，因为除了茨冈以外，所有曲目都只听过一两个版本，所以那位乐友对这些曲目很熟悉的最好说说自己的感受。
以下是马拉美诗三首中第一首Soupir的汉译。
叹息——马拉美
我的灵魂，安静的妹妹呀，飞向你的额头，
铺满雀斑的秋天在那梦思悠悠，
飞向你天使般的眼睛，飘动的云天，
就象忧郁的花园里白色的喷泉
忠诚地，向着太空叹息！
——向着苍白纯洁的十月恻隐的天空，
太空无边的委靡映照在巨大的水塘，
它让昏黄的太阳在死寂的水上
拖着长长的光芒，枯叶在那儿
随风而漂，划出一道冰凉的梨沟。