美少女小提琴家希拉莉·汉1980年出生于维吉尼亚州的列克星敦，三岁时移居巴尔的摩，并于四岁生日的前一个月在当地的儿童培训中心学小提琴。从五岁到十岁，她在巴尔的摩跟随克拉拉·柏科维基（一个来自前苏联敖德萨并在列宁格勒音乐天才学校任教了25年的老师）学习。她在工作上一直与尤金·伊萨伊（Eugene Ysaye）有着密切联系直到尤金于89岁时去世。1993年她与费城乐团首次合作演出，紧随着便是与克利夫兰乐团、纽约爱乐及匹兹堡交响乐团的合约。 1995年3月， 15岁的希拉莉·汉便与由洛林·马泽尔指挥的巴伐利亚电台交响乐团合作举行了她在德国的首场演出，演奏的是贝多芬协奏曲，音乐会在全欧洲的电台及电视台进行了转播。两个月之后她获得了艾弗里·费雪（Avery Fisher）事业成就奖。尽管她在16岁时就完成了在柯蒂斯音乐学院的学业，希拉莉·汉还是推迟了毕业时间并继续留在学校学习语言和文学，经常接受杰米·罗瑞多（Jaime Laredo）的指导，并跟随费里科斯·加里米尔（Felix Galimir）及加里·格拉夫曼（Gary Graffman）学习室内乐。1999年，19岁的她从柯蒂斯音乐学院毕业，获得了音乐学士学位，作为独奏与费城乐团举行了她在在纽约卡内基音乐厅的首次演出，并与SONY公司签订了独家录音协议。个人第一张专辑《希拉莉·汉演奏巴赫》便被选进了该公司著名的Great Performances系列（俗称报纸版）；1999年发行第二张专辑《贝多芬小提琴协奏曲与伯恩斯坦小夜曲》后，立刻以成熟的音乐性、诠释及甜美的音色得到乐界注意，并且得到法国唱片大奖的肯定；《巴伯与梅耶小提琴协奏曲》则得到坎城古典唱片大奖“二十世纪独奏、管弦乐专辑”。改签DG公司后，希拉莉·汉又推出了埃尔加、巴赫的协奏曲专辑，也广受好评。
这张唱片是她今年新出版的唱片。在主要的小提琴协奏曲中，她就剩下柴可夫斯基、布鲁赫、莫扎特的还没录了。而且在已经出版的协奏曲唱片中，往往是一部较流行的曲目搭配一部较现代甚至是较冷僻的曲目，例如勃拉姆斯的小提琴协奏曲搭配斯特拉文斯基的，门德尔松的搭配肖斯塔科维奇的，西贝柳斯的搭配勋伯格的。这都显示出她的认真和雄心，而且大有赶超穆特之势。
勋伯格小提琴协奏曲：
勋伯格的小提琴协奏曲作于1935年至1936年，呈献给韦伯恩，1940年由克拉斯纳演奏，斯托科夫斯基指挥费城交响乐团首演，用十二音体系作曲。第一乐章为三段曲式，首先在模仿性节奏下出现半音阶动机。音列照原型出现独奏小提琴形成高潮，中途出现切分音节奏，速度减慢后，小提琴在高音区域奏分散和弦性音型，发挥独奏技巧；第二段为不太快的活泼的行板，中段有舞曲风格，接近末尾出现开头的半音阶动机；第三段为再现部，回到原速，安排了一段华彩，在强调半音动机下结束。第二乐章以优雅的行板开始，结构为缩小的奏鸣曲式，前半段为歌谣曲式，后半段为即兴形式。第三乐章类似回旋曲式，小提琴如歌地奏第一插句，接其后推移部，以片断性素材推向高潮，主题再现后小提琴形成华彩导向结尾。
西贝柳斯小提琴协奏曲：
西贝柳斯的这部作品在小提琴协奏曲领域中是技巧最艰深、曲风最华丽的作品。西贝柳斯本身就是一流的小提琴演奏家，所以非常了解小提琴的表现能力，能在传统的架构上表现新鲜的曲思。他从童年就开始学习小提琴，但14岁才正式拜师学艺。他曾写道：“我一接触到小提琴就被它完全吸引，所以今后的十年，我最大的心愿就是要成为伟大的小提琴家。”到26岁时，他还想争取进入维也纳爱乐；不过到了1903年，西贝柳斯开始创作小提琴协奏曲时，旧日的心愿早已放弃。
此曲的写作过程却是一波三折。西贝柳斯由于酗酒，严重影响他的创作能力，财务上又陷入困境，引发家庭关系的紧张，更迫使他不得不将此曲的首演提前到 1904年2月8日，结果根本是一场灾难。西贝柳斯自我检讨，不得不重写全曲。第一乐章全部重写，某些高难度的小提琴乐段全部舍弃、节奏性不强的第二主题改为强有力的动机、放弃松散的乐段发展、改为交响曲意味更强且结构更严谨的编曲。改写后的新曲于1905年10月19日在柏林首演，由理查·施特劳斯指挥，捷克小提琴家哈里(Kare Halir)主奏。
此曲最大的特色之一是第一乐章的荒凉感，西贝柳斯的管弦乐法令人印象深刻。一位柏林的乐评家描述：“就如冬日北欧的画家，以白色颜料的变化，造成有时令人昏昏欲睡、有时强而有力的效果”。这指的当然是开头的乐段(与原始的版本相同)，迷人的主题由小提琴慢慢奏出，而乐团加上弱音器的小提琴则提供缓缓颤动的背景音乐，让独奏小提琴犹如从雾中出现一般；第二乐章慢板表现出热烈的抒情风格；第三乐章则是乐观进取的乐风。西贝柳斯最后修订的乐曲版本做了正确的处理，具备精炼的形式与古典的平衡，同样的特性也出现在他的《第三交响曲》中。西贝柳斯在这两首作品之后，就向后期浪漫主义告别，迈向自我表现之路，这特色在其后期的交响曲及交响诗《塔皮奥拉》中，表现无遗。

Alice Sara Ott is a German classical pianist.

Víkingur Ólafsson (born 14 February 1984) is an Icelandic pianist.

To celebrate the upcoming centenary of Claude Debussy in March 2018, Maestro Daniel Barenboim presents a personal collection with works of the prolific French composer. It was during his years as principal conductor of the Orchestre de Paris from 1975 to 1989 that Barenboim began to take a closer interest in Debussy’s music. It makes logical sense that Barenboim approached Debussy’s piano works through his orchestral music given the composer’s musical language evolved through the interplay between these two different worlds. As a result, we can hear an imaginary orchestra in the tremendous subtleties of the tone colours in Estampes, for all that those orchestral sonorities are created by genuinely pianistic means.

Alice Sara Ott releases new album Nightfall, featuring works by Satie, Debussy and Ravel, including Gaspard de la Nuit, one of the greatest challenges of piano literature. The album marks ten years that Ott – one of the world’s most in-demand classical pianists – has been signed as an exclusive recording artist to Deutsche Grammophon.
Ott will tour the recital programme internationally, with European dates including Paris’s La Seine Musicale, Vienna Konzerthaus, Munich Prinzregententheater, Wigmore Hall and Birmingham Symphony Hall, plus a nine-date recital tour across Japan in autumn 2018.
Nightfall takes its inspiration from twilight: the brief, magical time when day meets night, light meets dark. This merging of contrasts is reflected in a programme of works that explores the complex dichotomy existing in every human character.
“I believe that as humans we all carry in us certain elements of light and darkness. On the one hand consciousness and conscience, and on the other the shadow of greed and temptation. Most of the time we can tell the difference between right and wrong, bad and good, but sometimes there are situations and moments when the boundaries cannot be so clearly defined.”
Included on the album is Debussy’s Clair de Lune, one of the most popular works in the piano repertoire, which sets to music the celebrated poem by Paul Verlaine. However, behind the beautiful, dream-like melody, the poem tells of the sadness disguised by the whimsical mask of happiness. Meanwhile Ravel’s Gaspard de la Nuit sets to music three poems by Aloysius Bertrand who, according to one account – felt he had received the prose from the devil himself. Ravel’s technical Everest is full of allegorical allusions, suggesting that it is in our dreams that our deepest fears arise. From Ondine the mermaid, who faces rejection after a doomed love affair with a human being, to Scarbo, the goblin who attacks artists at night, perhaps hinting at our fear of failure. In Gibet, the heartbeat of the deceased beats throughout the piece, bringing us face to face with loss. Satie’s Gymnopédies and Gnossiennes also feature on the album. Deceptively simple in their minimalist compositional style, the pieces by contrast contain much complexity. Instead of musical instructions, the score features a series of ambiguous, ludic instructions such as “open your head”, or “sculpt something hollow”.
Nightfall features three composers who lived, worked and died in Paris. Three contemporaries, sometimes friends, sometimes rivals, who were all part of a time that gave the art world a new definition and direction. Nightfall is accompanied by two short films, created in Paris, by the Tokyo-based French film director, Julien Lévy.

01 Piano Concerto No.5 in E flat major Op.73 -"Emperor" - 1. Allegro
02 Piano Concerto No.5 in E flat major Op.73 -"Emperor" - 2. Adagio un poco mosso
03 Piano Concerto No.5 in E flat major Op.73 -"Emperor" - 3. Rondo (Allegro)

历史上只有一张唱片同时登上企鹅三星带花、日本唱片艺术名曲三百、《留声机》百大、DG 100（英国的Gramophone杂志为纪念Deutsche Grammophon的百岁生日，特别评选出的榜单，名为「DG百年历史最伟大的百张唱片」），Classic CD百大（由台湾著名古典音乐杂志《CD Hi》推出）五份权威榜单！这张唱片就是由卡洛斯克莱伯指挥维也纳爱乐乐团录制的贝多芬第五交响曲、第七交响曲。
当录音技术发展到本世纪中期以后，在那么多伟大指挥家都一再与一流乐团录过贝多芬的交响曲之后，几乎没有人相信还有谁能在这些音乐中找出更多令人振奋的新素材，可是一九七五年，克莱巴的第五、七号交响曲录音出现了，这是一份真正伟大的录音！这张是唱片史上不朽的经典之作，是经典中的经典。
如果你的唱片架只允许一张唱片，那么留下的一定是这一张！

Bach’s Cello Suites – among the best-known and best-loved works in the classical canon – get a thoroughly modern makeover from young Scottish composer Peter Gregson in Recomposed by Peter Gregson: Bach – The Cello Suites.
Three hundred years after their creation, the six suites composed by Johann Sebastian Bach between 1717 and 1723 are given a stunning reinterpretation by the award-winning cellist for Deutsche Grammophon’s pioneering Recomposed series.
“These suites are the foundation of the cello repertoire and I’ve grown up hearing and playing them, so I’d be lying if I said I hadn’t lost sleep over worrying about what Bach might have thought of this,” admits Gregson.
Instead of being performed by a solo player, the six suites are played by Gregson and an ensemble of up to five other cellists, in various combinations, and are underpinned by a subtle electronic soundbed created and played by the composer himself.
“Rather than thinking about Bach’s compositions as a two-dimensional painting, I thought about them as sculpture. So although the object is the same, if you turn it around and see it from a different angle – shine the light on it in a different way – you get different textures coming out; different shadows get cast.”
He recorded the suites last winter at London’s Air Studios, turning an arsenal of analogue synthesisers into acoustic instruments by re-amping them. “So although they have a power cable in them they’re all performed by me – by a human being in a great big acoustic space.”
For Gregson, the complex production values of the recording – mapped out on more than 500 sheets of paper in his studio – were an integral part of the process of (re)composing. “Understanding how we use the room and where we place the instruments played a huge part in that compositional process,” he explains. “Listening to my version is like looking at Bach’s music through a different lens.”
Peter Gregson is one of the UK’s leading cellists and contemporary composers. Born in Edinburgh in 1987, he began playing the cello when he was four, inspired not by hearing the instrument but by seeing James Bond “ski” down a mountainside on a cello case in The Living Daylights. He studied at the Royal Academy of Music and has also collaborated extensively with the Media Lab at MIT.
He has made three solo albums: Terminal (2010),Lights In The Sky (2014), and Touch (2015). Gregson Richter Jóhannsson (2011) is a two-track EP for Mute Records’ Short Circuit festival, written for him by Max Richter and the late Jóhann Jóhannsson. Cello Multitracks (2012) is a collaboration with the composer Gabriel Prokofiev. Gregson also composed and performed the soundtrack for the ballet FLOW (2013), and composed the film soundtracks for Alan Rickman’s A Little Chaos (2015) and Arran Shearing’s Forgotten Man (2017). His most recent releases are Quartets: One and Quartets: Two (both 2017) – two albums of string quartets which have since been used as the score for the ballet Eight Years of Silence.
Gregson has also worked extensively with Hans Zimmer’s Remote Control Productions as solo cellist on numerous film and TV projects (includingWonder Woman, Terminator, Marcella, The Legend of Tarzan and Hacksaw Ridge); written string arrangements for Rag’n’Bone Man and Public Service Broadcasting; and conducted strings and played solo cello on Ed Sheeran’s chart-topping album ÷ (Divide).

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。