CD 1 & 2:
CD 3:

Sviatoslav Richter (piano)
Live recordings: June 2 1965 [No. 27]; May 18 1986 [No. 28]; June 1975 [Hammerklavier]

'It is a remarkable achievement, arguably the best to appear on disc since Glenn Gould's second celebrated recording from 1981 ... [It] is the sheer technical command of her playing, coupled with such elegantly supple musicianship, that makes the performance so compelling ... Everything is right, everything is natural - this is Bach on the piano of the highest quality imaginable' (The Guardian)
'After five days of recording sessions last August, Angela Hewitt returned in the small hours of September 1 to give a complete "performance" for a few friends of the Bach's Aria with Diverse Variations. Fortunately, the engineers decided to keep the tapes rolling, for this, according to Hyperion's executive director, Ted Perry, is the "take" Hewitt and Hyperion decided to release. The resulting record is a miracle of music-making at its most instinctive and spontaneous. Even by Hewitt's exalted standards it is extraordinary: in the brilliant toccatas, she creates, with her amazing articulation, the illusion of the music being plucked by the modern piano's hammers; her virtuosity and joie de vivre in the fast variations - try 1, 14 and "the most dangerous of all the toccatas", No 20 - take the breath away. She also penetrates the heart of the great 13th and 25th variations without false romantic sentiment. The reprise of the Aria at the close - after a majestic variation 29 - is shattering. If you only buy one Bach album in this anniversary year, let it be this one. A desert-island disc!' (The Sunday Times)
'Outstanding...Hewitt's disc, exquisite artistry commingling with infectious exhilaration gives me the most pleasure' (BBC Music Magazine)
'Beautifully co-ordinated Bach playing, with all voices colourfully defined and spontaneity as a constant virtue. In my view, she has never made a better CD. Strongly recommended' (Gramophone)
'This is as fine a version of Bach's inventive Goldberg Variations as there is' (The Express)
'Hewitt is one of the very finest Bach interpreters around. She possesses all the mechanical skills needed to master the difficulties facing the soloist, but never loses sight of the humanity that is evident in every note ... Playing of the highest order, and one of the finest recordings of this work you're ever likely to hear' (The Scotsman)
'The most recent in a series of wonderfully compelling Bach recordings by pianist Angela Hewitt. She seems to do everything right ... simply one of the best piano versions available' --(Fanfare, USA)

贝多芬：钢琴奏鸣曲全集 收录贝多芬32首钢琴奏鸣曲。钢琴大师巴伦伯伊姆演奏。

'Among the great virtues of Lipatti's playing are his wonderful precision, his rhythmical treatment of the left-hand chords, his refusal to give way at any point to mere romanticising. I was continuously both interested and enchanted from start to finish and regard this recording as a highlight in the history of the gramophone.' Gramophone Magazine

Dinu Lipatti was born in Bucharest into a musical family. His playing was hailed as having reached the highest degree of integrity and pianistic technique, which he employed in the quest for musical perfection.

Lipatti is particularly noted for his interpretations of Chopin, Mozart and Bach, but he also made recordings of Ravel's Alborada del Gracioso, Liszt, Enescu, the Schumann Piano Concerto, and the Grieg Piano Concerto. The power, beauty and sincerity of his recordings continue to inspire and uplift pianists and music lovers worldwide.

Mitsuko Uchida explores some of Schumann's lesser known piano works. The post-Classical Sonata No. 2 in G minor wedged in between the glorious 'Waldszenen' ('Forest Scenes' Op. 82) and the 'Fünf Gesänge der Frühe' ('Five Songs of the Dawn' Op. 133).

在莫扎特所有协奏曲中，这首完成于1785年2月10日的第20号作品，最受浪漫乐派作曲家喜爱。它表现出的骚动不安及抒情风格，让十九世纪人视莫扎特为前浪漫乐派的革命先锋，也是贝多芬及其他突显自我风格的音乐巨人之先驱。但如果不以十九世纪的观点，而以独特的纯熟技巧与集当日音乐风格之大成等特色来评断莫扎特的音乐，这首作品确实是革命之作，与莫扎特先前任何一首协奏曲相比，无论是严肃性或主观性，都大不相同。从此曲开始，莫扎特在两年之内，以同样的形式创作出六首杰作，在器乐作曲上攀上另一座新的高峰。

d小调第20钢琴协奏曲，K.466
Piano Concerto No.20 in D minor
第一乐章以带着不详预感的主题揭开序幕，而这个主题既是伴奏也是旋律，其中心则是压抑的切分音音型，由小提琴及中提琴奏出，具体地将恐惧的感觉表现出来。从一开始，乐曲就传达出不安感，到达高潮时，汹涌的D小调暗示了歌剧《唐乔万尼》的阴影。随着暴风雨过去，钢琴登场——这段钢琴的表现也是非常特别的，在抒情的气氛中传达出一股深沉的焦躁不安。旋律方面大幅度的变化，突显出强烈的情感。整个乐章中，莫扎特都以上述的手法来表现。大调及小调微妙穿插，营造出一种焦虑难安及强大的张力，知道乐章终结。

第二乐章的浪漫曲，开端的特色就是一种与上述乐风成强烈对比的纯真感觉，如歌似的主题先由钢琴唱出，然后再由乐团延续。旋律本身的单纯无邪，与莫扎特编曲偏爱木管营造出来的温顺和缓，让听众得以放松。但是钢琴又弹奏出旋涡似的三连音，完全破坏了这种悠闲的气氛，所幸随后又回到开头时的旋律，让第二乐章平静地结束。
第三乐章回旋曲登场，像晴天霹雳似地——正确的说法应该是钢琴弹出“曼海姆火箭”(Mannheim Rocket)，而乐团在一边唱和——让乐曲回到第一乐章的情绪与气氛。弦乐奏出热烈如火的乐段，预示了《唐乔万尼》倒数第二幕如魔鬼般的气氛，即使是钢琴奏出的抒情第二主题，亦在大幅的音程表现中遭扭曲。莫扎特在最后的乐段中，让D大调取代d小调,顿时让紧绷的情绪舒缓下来。不过即使如此，终乐章仍然是充满爆炸性地嘎然而止。

莫扎特与贝多芬的音乐，是音乐古典期和浪漫期的代表。这两时期的音乐有重大的改变。莫扎特《第25钢琴协奏曲》和贝多芬《第五交响曲》的创作年份只相隔二十年，但音乐风格已由保守矜持转为个人激情的表达。C大调第 25钢琴协奏曲，莫扎特在这部作品中少有地表现了他的英雄气概、他对人生和艺术成就的自豪感。有音乐评论家誉之为莫扎特最雄伟堂皇的钢琴协奏曲；这虽然可能是个人喜好，但亦反映此曲有其吸引人之处。

C大调第25钢琴协奏曲，K.503
Piano Concerto No.25 in C major

第一乐章的快板类似于《第41号交响曲》。主旋律具有号召性，激情飞扬，神思悠远，乐队奏出的辅助旋律内涵非常丰富。这个乐章构思庞大，演奏时间长达15分钟 ，但丝毫没有重复累赘的感觉，而显得感情充沛，厚积薄发，这一点，只有贝多芬的第五钢琴协奏曲能比拟。这个乐章贯穿始终的主题，令人想起他第41交响曲第四乐章里那个反复出现的固定音型。二者确有异曲同工之妙。由于有这种构思，两个乐章虽然规模宏大却都显得前后一贯，流畅而且简洁。贝多芬命运交响曲第一乐章恐怕也是借鉴了这种写法。

第二乐章的构思宽广宏大，意境高远，具有他晚期协奏曲不事雕琢的技艺和流畅风格，旋律就像凝神冥想中的思绪绵绵不绝，节奏也非常自由。讲究旋律“可听性”的莫扎特在这里出格地发挥了一回，主旋律如果你想要跟着哼下去，恐怕都不可能。在内容上，带有哲学沉思的意味，自由而自在。过去在他慢板乐章中常见的那种忧郁被一扫而空。相对其他乐章而言，这个乐章的创造力稍弱。

第三乐章稍快而活泼的旋律又恢复了极具“可听性”的莫扎特风格，沉着、节制、欢快、灵巧，但旋律变化丰富，如中国江南园林，移步换景，美不胜言。中部加入的管乐器，大管、双簧管、长笛，在主旋律的背景上，划出了几道蓝色的弧线，灵动飘逸，漂亮极了。可以想象：在创造这个乐章、特别是写到这一段时，莫扎特内心该充满着怎样的狂喜！对人生快乐不敏感的人，不可能很好地演奏这个乐章。布兰德尔和乐队演奏得棒极了。这个乐章表现的灵性、才情，在莫扎特音乐中属于上品之列。
这首协奏曲情绪如此喜悦，与刚创作不久的第24号钢琴协奏曲简直是有天壤之别。莫扎特在同一人生时期，用不同作品表现他不同的感情，具有如此多的身手，真让人不可思议。

RCA RED SEAL BEST 100
BVCC-37223
1962年录音

详细内容: Wolfgang Amadeus Mozart(1756-1791)1-3.Piano Concerto No.22 in E flat major,K482mi bémol majeur·ES-Dur4-6.Piano Concerto No.27 in B flat major,K595si bémol majeur·B-Dur广告语: 莫扎特：《降E大调第22钢琴协奏曲》，《降B大调第27钢琴协奏曲》/布伦德尔演奏，查理·马克拉斯爵士指挥苏格兰室内乐团