Leonidas Kavakos is a Greek violinist and conductor. As a violinist, he has won prizes at several international violin competitions, including the Sibelius, Paganini, Naumburg, and Indianapolis competitions. He is an Onassis Foundation scholar. He has also recorded for record labels such as Sony/BMG and BIS.

01. Harp Concerto in B flat major, Op.4/6, HWV 294
Composed by George Frideric Handel
Performed by Academy of St. Martin-in-the-Fields
with Marisa Robles
Conducted by Iona Brown

02. Concerto for harp & orchestra in C, Op.77
Composed by Francois-Adrien Boieldieu
Performed by Academy of St. Martin-in-the-Fields
with Marisa Robles
Conducted by Iona Brown

03. Concerto for harp, 2 oboes, 2 horns & stringorchestra in A major
Composed by Karl Ditters von Dittersdorf
Performed by Academy of St. Martin-in-the-Fields
with Marisa Robles
Conducted by Iona Brown

04. Work(s) unspecified theme, variations, and rondo pastorale
Composed by Wolfgang Amadeus Mozart
Performed by Academy of St. Martin-in-the-Fields
with Marisa Robles
Conducted by Iona Brown

05. Work(s) Variations for Harps
Composed by George Frideric Handel
Performed by Academy of St. Martin-in-the-Fields
with Marisa Robles
Conducted by Iona Brown

06. Variations (6) on a Swiss song for piano in F major, WoO 64
Composed by Ludwig van Beethoven
Performed by Academy of St. Martin-in-the-Fields
with Marisa Robles
Conducted by Iona Brown

《萨拉萨蒂流浪者之歌》又名《吉普赛之歌》。小提琴独奏曲中不朽的名篇。萨拉萨蒂的作品自始至终十分讲究效果和技巧，都是纯粹的小提琴作品。这一首乐曲是萨拉萨蒂所有作品中最为世人所熟悉的名作，它那回肠荡气的伤感色彩与艰涩深奥的小提琴技巧所交织出来的绚烂效果，任何人听后都会心荡神驰不已。吉普赛民族在世界上分布广泛，起源于印度，是不定居的流浪民族，世世代代过着清苦而又饱受歧视的生活，但这个民族活泼、乐观、能歌善舞。作者萨拉萨蒂运用十分恰当的手笔描写了这一民族性格的几个侧面，并使小提琴的旋律性与演奏技巧性得到相当完美的结合。本曲中的管弦乐伴奏部分，也是作者亲自编配的。全曲共分四个部分：
第一部分：中板，c小调。4/4拍子。由强而有力的管弦乐齐奏作为开始，然后主奏小提琴奏出充满忧伤的旋律这一部分很短，只是全曲的引子。
第二部分：缓板，由小提琴奏出新的旋律，是一种美丽的忧郁，以变奏和反复奏技巧性极强的发展，轻巧的泛音和华丽的左手拨弦显示出这一主题的丰富内涵。在这部分管弦乐并不太明显，始终以小提琴的轻柔旋律为主题。
第三部分：稍为缓慢的缓板，2/4拍子。 小提琴装上弱音器，“极有表情地”奏出充满感伤情调的旋律，悲伤的情绪达到极点。这一旋律广为人知。
第四部分：2/4拍子， 急变为极快的快板，有与第二、三部分形成明显对比的豪迈性，反映出吉普赛民族性格的另一方面——级能歌善舞。以管弦乐的强奏作为先导，小提琴奏出十分欢快的旋律，右手的快速拨奏与高音区的滑奏无比欢愉；这一旋律告一段落后，又用小提琴的拨奏开始新的旋律，充满舞蹈气氛；然后以更具技巧性的拨奏再现第四部分的最初部分，逐渐朝气蓬勃地趋于高潮，最后像闪电般结束乐曲。
弗里德曼的弓法同海飞兹十分相近，对小提琴中音区的演奏技巧甚有特色，运弓力度适宜，音色扎实饱满，尤其是双弦拉得特好，把位准确，韵律和谐，在当代提琴家中特树一帜。负责此碟录音的是音响发烧友十分熟悉的美国唱片制作专家莱顿，在1962至1963年期间的制作。CD的传真度极高，现场感及空气感好，堂音丰富，在《茨冈》中表现最为突出。母带的嘶声清晰可闻，需将电平加大聆听，此刻才明白何谓小提琴的音色是如此的美丽。
美国小提琴家。1939生于美国新泽西州的纽瓦克（Newark）。父亲是一位业余小提琴手，六岁开始教他学习小提琴。后从阿普勒鲍姆（Samuel Applebaum）学习，10岁时又随加拉米安（Galamian）学习。1954年初次在纽约登奏。1956年在卡内基音乐厅演出，同年开始随米尔斯坦学习。50年代后期，海菲兹从频繁的音乐会演出中退出后，弗里德曼成为他的第一个正式学生。海菲兹很看中他的才华，曾在1960年邀他合作录制巴赫的双小提琴协奏曲，这是海菲兹惟一一次与他人合作的双小提琴演奏唱片。
美国指挥家、钢琴家。1917年出生于纽约西部。早期在柯蒂斯音乐学院，随赖纳学习。1947至48年曾担任过纽卡耐基音乐厅，1946任约爱乐乐团副指挥。1949年接替多拉蒂任达拉斯交响乐团指挥，至1958年卸任。1959年担任拉维尼亚音乐节（Ravinia Festival）艺术总监，一直到1963乐季结束。他指挥过美国许多知名交响乐团，如60年指挥芝加哥交响乐团，录制了许多海菲兹的小提琴曲，1960-61乐季指挥过洛杉矶爱乐乐团等。1964-1972年担任任美国罗切斯特大学伊斯特曼音乐学校校长及校乐团的指挥。1976-1990年任美国的伊利爱乐乐团指挥。
英国指挥家、管风琴师。 1895年4月29日生于英国林肯郡的斯坦福（Stamford, Lincolnshire）。父亲是一位业余管风琴手和合唱指挥。萨金特16岁在彼得伯勒大教堂（Peterborough Cathedral）充任基顿（Keeton）的管风琴助手。1914-1924年担任梅尔顿莫布雷教堂（Melton Mowbray church）的管风琴师，这期间他又在达勒姆学习音乐理论，并于1919年毕业；1919-1921年随莫伊斯威茨（Benno Moiseiwitsch）学习钢琴。 此后应亨利·伍德爵士（Sir Henry Wood）之邀，指挥他在莱斯特（Leicester）的乐队。 1923年担任皇家音乐学院的讲师。1929年任考陶尔德－萨金特音乐会（Courtauld - Sargent Concerts）音乐总监。

More than any other music appreciation text, LISTENING TO MUSIC, 5th Edition, helps students to develop and refine their listening skills. Wright covers traditional Western music from medieval to modern and integrates non-Western music throughout the text where appropriate, drawing comparisons between Western and non-Western musical cultures. Concluding chapters discuss popular music and its impact on musical globalization. Musical examples from each historical period are discussed within their social context, giving students a broad sense not only of the construction of a piece, but also of its historical and cultural meaning. This chronological text offers instructors and students particular help in developing listening skills in three ways: First, a free "Introduction to Listening" CD comes packaged with each student copy of the text. This CD plays all of the music discussed in the music fundamentals chapters in Part I of the text, providing numerous demonstrations and quizzes, as well as an audio guide called "Instruments of the Orchestra." Second, Wright's text is the only one to provide Listening Exercises built into the book; a total of 47 Exercises delve deeply into the core repertory. Third, computer-enhanced Active Listening Guides and listening quizzes for all of the music in the text are available at no extra cost from the Thomson Schirmer website to further challenge and test your students.

Disc 1
01 Piano Concerto No.1 in D, Op.17 - 1. Andante - Allegro assai
02 Piano Concerto No.1 in D, Op.17 - 2. Andante sostenuto quasi adagio
03 Piano Concerto No.1 in D, Op.17 - 3. Allegro con fuoco
04 Piano Concerto No.2 in G minor, Op.22 - 1. Andante sostenuto
05 Piano Concerto No.2 in G minor, Op.22 - 2. Allegro scherzando
06 Piano Concerto No.2 in G minor, Op.22 - 3. Presto
07 Piano Concerto No.3 in E flat major, Op.29 - 1. Moderato assai - piu mosso (Allegro maestoso)

Disc 2
01 Piano Concerto No.3 in E flat major, Op.29 - 2. Andante
02 Piano Concerto No.3 in E flat major, Op.29 - 3. Allegro non troppo
03 Piano Concerto No.4 in C minor, Op.44 - 1. Allegro moderato - Andante
04 Piano Concerto No.4 in C minor, Op.44 - 2. Allegro vivace - Andante - Allegro
05 Piano Concerto No.5 in F, Op.103 "Egyptian" - 1. Allegro animato
06 Piano Concerto No.5 in F, Op.103 "Egyptian" - 2. Andante
07 Piano Concerto No.5 in F, Op.103 "Egyptian" - 3. Molto allegro