《巴赫：十二平均律曲集1》在乐坛上一直具有教科书的地位，它们为全部大小调谱写，富有冥想性，有时又令人激动不已。奥地利钢琴家古尔达以演奏巴赫见长，他演奏的巴赫平均律曲强调触键的清晰与透明，令作品本身的超然之美越发空灵、瑰丽。

许多演奏者表现的只是巴赫的外表，而古尔达刻画的却是巴赫的内心世界！如果你的收藏中没有古尔达版的巴赫均律，无疑是个莫大的缺憾。

有人这样评价到：“古尔达的基本形象不是激情、浪漫的，而是清澄、透明、幻想的。他所弹出的音符，没有浑厚的立体感，而是具有一种透明感；没有微妙的、明暗变化的色彩，而是一种纯净的光辉；没有细腻的抒情，而是偏于富于空灵的幻想。”

Disc 1
01 Prelude No.1 in C
02 Fugue No.1 in C
03 Prelude No.2 in C minor
04 Fugue No.2 in C minor
05 Prelude No.3 in C sharp
06 Fugue No.3 in C sharp
07 Prelude No.4 in C sharp minor
08 Fugue No.4 in C sharp minor
09 Prelude No.5 in D
10 Fugue No.5 in D
11 Prelude No.6 in D minor
12 Fugue No.6 in D minor
13 Prelude No.7 in E flat
14 Fugue No.7 in E flat
15 Prelude No.8 in E flat minor
16 Fugue No.8 in D sharp minor
17 Prelude No.9 in E
18 Fugue No.9 in E
19 Prelude No.10 in E minor
20 Fugue No.10 in E minor
21 Prelude No.11 in F
22 Fugue No.11 in F
23 Prelude No.12 in F minor
24 Fugue No.12 in F minor
25 Prelude No.13 in F sharp
26 Fugue No.13 in F sharp
27 Prelude No.14 in F sharp minor
28 Fugue No.14 in F sharp minor
29 Prelude No.15 in G
30 Fugue No.15 in G

Disc 2
01 Prelude No.16 in G minor
02 Fugue No.16 in G minor
03 Prelude No.17 in A flat
04 Fugue No.17 in A flat
05 Prelude No.18 in G sharp minor
06 Fugue No.18 in G sharp minor
07 Prelude No.19 in A
08 Fugue No.19 in A
09 Prelude No.20 in A minor
10 Fugue No.20 in A minor
11 Prelude No.21 in B flat
12 Fugue No.21 in B flat
13 Prelude No.22 in B flat minor
14 Fugue No.22 in B flat minor
15 Prelude No.23 in B
16 Fugue No.23 in B
17 Prelude No.24 in B minor
18 Fugue No.24 in B minor

《巴赫：平均律钢琴曲集第二集》是巴赫《平均律钢琴曲集》第2集/这张唱片收录的是伟大的音乐大师巴赫的平均律钢琴曲集的下卷。该部作品奠定了后来音乐创作的音律规范，肖邦更称其为每一位钢琴家每日必食的面包。此录音由古尔德演绎，水准高超。巴赫《平均律钢琴曲集》（48首前奏曲与赋格）是巴赫键盘音乐中最伟大的作品，这套作品是巴赫音乐创作的峰巅，彪罗（Hans Guido Von Büllow）把它比喻为音乐上的《旧约圣经》。平均律的标题乃巴赫所起。平均律是一种律制，它对自然律进行修正，将八度音程分为十二半音的调律法，以便于转调。这种调律法虽在18世纪已被提倡，但一直未予以重视、首先采用这种方法运用于全部二十四调的音乐家，就是巴赫。

Disc: 1
01 Prelude In C,No 01
02 Fugue In C,No 01
003 Prelude in C Minor, No 02
04 Fugue in C Minor, No 02
05 Prelude in C Sharp, No 03
06 Fugue in C Sharp, No 03
07 Prelude in C Sharp Minor, No 04
08 Fugue in C Sharp Minor, No 04
09 Prelude In D, No 05
10 Fugue in D, No 05
11 Prelude in D Minor, No 06
12 Fugue in D Minor, No 06
13 Prelude in E Flat, No 07
14 Fugue in E Flat, No 07
15 Prelude in E Flat Minor, No 08
16 Fugue in D Sharp Minor, No 08
17 Prelude in E, No 09
18 Fugue in E,No 09
19 Prelude in E Minor, No 10
20 Fugue in E Minor, No 10
21 Prelude in F, No 11
22 Fugue in F, No 11
23 Prelude in F Minor, No 12
24 Fugue in F Minor, No 12
25 Prelude in F Sharp, No 13
26 Fugue in F Sharp, No 13

Disc: 2
01 Prelude in F Sharp Minor, No 14
02 Fugue in F Sharp Minor, No 14
03 Prelude in G, No 15
04 Fugue in G, No 15
05 Prelude in G Minor, No 16
06 Fugue in G Minor, No 16
07 Prelude in A Flat, No 17
08 Fugue in A Flat, No 17
09 Prelude in G Sharp Minor, No 18
10 Fugue in G Sharp Minor, No 18
11 Prelude in a, No 19
12 Fugue in A, No 19
13 Prelude in A Minor, No 20
14 Fugue in A Minor, No 20
15 Prelude in B Flat, No 21
16 Fugue in B Flat, No 21
17 Prelude in B Flat Minor, No 22
18 Fugue in B Flat Minor, No 22
19 Prelude in B, No 23
20 Fugue in B, No 23
21 Prelude in B Minor, No 24
22 Fugue in B Minor, No 24

伊沃·波哥雷里奇，克羅埃西亞鋼琴家。

伊沃·波哥雷里奇，克羅埃西亞鋼琴家。

01 Piano Sonata No.2 in b-flat, Op.35: Grave - Doppio movimento
02 Piano Sonata No.2 in b-flat, Op.35: Scherzo
03 Piano Sonata No.2 in b-flat, Op.35: Marche funebre. Lento - attacca:
04 Piano Sonata No.2 in b-flat, Op.35: Finale. Presto
05 Prelude in c#, Op.45: Sostenuto
06 Scherzo in c#, Op.39: Presto con fuoco
07 Nocturne in E-flat, Op.55 No.2: Lento sostenuto
08 Etude in F, Op.10 No.8: Allegro
09 Etude in A-flat, Op.10 No.10: Vivace assai
10 Etude in g#, Op.25 No.6: Allegro

伊沃·波哥雷里奇，克羅埃西亞鋼琴家。

伊沃·波哥雷里奇，克羅埃西亞鋼琴家。

內容簡介:
貝姆可說是廿世紀公認的莫札特音樂的代言人！
從未正式上過指揮課程的貝姆，似乎天生就具備這種本領，也可說他是自學成功的例子。對於樂團，貝姆要求甚嚴，不時予以責備。除了繼承十九世紀德奧傳統，他可以被譽為二十世紀古典音樂大師。對於莫札特的音樂，他終生熱愛不渝，成就也最高。
在莫札特 (Wolfgang Amadeus Mozart) 的音樂中，大部分充滿了天真活潑的風格，雖然在部分小調作品或是慢板的樂章中，可以感受出比較憂鬱、陰暗，略帶哀傷的情感，但是多半還是可以感覺出莫札特音樂中特有的開朗性格……不過這樣的看法，當你聽過莫札特的最後一部作品：Requiem in D minor, K.626 (安魂曲) 之後，應當會有很大的轉變……
這首安魂曲的創作背景，有一個很神秘的傳聞，說是一位黑衣使者找上莫札特，希望出錢作一首莫札特自己的安魂曲！不過事實上是當時的莫札特疾病纏身，經濟上又陷入困境，因此當一位想為自己過世的太太作一首安魂曲，卻又不願透露姓名的伯爵派人來委託莫札特作一首安魂曲時，莫札特會接受這項委託了，並且伯爵同意先付一半的錢，另一半等到曲子完成後再付。
由於莫札特的病已經相當嚴重，而為了儘早交出這首作品以拿到酬勞，莫札特更是日以繼夜不停的作曲，在寫作此首安魂曲的同時，莫札特的最後一首歌劇：魔笛 (The Magic Flute)也同時在進行中。
不料，莫札特的身體狀況終究無法負荷，到了 1791年12月5日莫札特病逝時，安魂曲並未完成，只有開頭的 Introitus "Requiem aeternam" 與 Kyrie 已完成，而第二到第七部分的 "Dies irae" 到 "Lacrimosa"的第八小節只完成了人聲，器樂的低音部，以及部分樂曲的片段的部分；而其餘的部分，也就是 Sanctus、 　Benedictus　及 Agnus Dei 和 Communio "Lux aeterna" 的部分根本還沒寫。
莫札特去世後他的遺孀康絲坦彩為了怕拿不到後半部分的錢，於是便請莫札特的弟子 Franz Xaver Suessmayr 依照莫札特在總譜上的指示將其餘部分完成，包括 Lacrimosa 第九小節之後，以及最後四個樂章。
當他去世時，家中分文不存，遺體只好埋葬在十分廉價的平民公墓內。莫札特的遺體原先是放在當初與康絲坦彩結婚的史德芬教堂，然後運往墓園，當時因暴風雪侵襲，送葬的人半途折返，只留下被埋沒在無名墓園內莫札特孤單的遺體，第二天，再去確認他的墓地時，卻已永遠無法找到了，莫札特之墓，永遠成謎。過了很久，當世人公認莫札特是曠世奇才，是非常偉大的音樂家時，才動員在墓園作調查挖掘，但仍是無功而返，最後只隨意選個地方替他立了個墓碑，算是對他的景仰。
「天妒英才」這句話應用在莫札特身上是再恰當也不過的，他一生坎坷，終身貧困，但始終樂觀，保持著赤子之情，那時代的人對莫札特並不了解，對莫札特的音樂也只是表現出一般的欣賞程度，但是，如果莫札特死後有知，他應可安息，因為我們已從他的作品中洞徹真情了。

Text for Sea Pictures

Sea Slumber Song
Text by Roden Berkeley Wriothesley Noel (1834-1894)


Sea-birds are asleep,
The world forgets to weep,
Sea murmurs her soft slumber-song
On the shadowy sand
Of this elfin land;

I, the Mother mild,
Hush thee, oh my child,
Forget the voices wild!
Hush thee, oh my child,
Hush thee.

Isles in elfin light
Dream, the rocks and caves,
Lulled by whispering waves,
Veil their marbles
Veil their marbles bright.
Foam glimmers faintly white
faintly white
Upon the shelly sand
Of this elfin land;

Sea-sound, like violins,
To slumber woos and wins,
I murmur my soft slumber-song,
my slumber song
Leave woes, and wails, and sins.

Ocean's shadowy night
Breathes good night,
Good night...
Leave woes, and wails, and sins.
Good night...Good night...
Good night...

Good night...

Good night... Good night.


2. In Heaven (Capri)
Text by Caroline Alice Elgar (1848-1920)


Closely let me hold thy hand,
Storms are sweeping sea and land;
Love alone will stand.

Closely cling, for waves beat fast,
Foam-flakes cloud the hurrying blast;
Love alone will last.

Kiss my lips, and softly say:
Joy, sea-swept, may fade to-day;
Love alone will stay.


3. Sabbath Morning at Sea
Text by Elizabeth Barret Browning (1806-1861)


The ship went on with solemn face;
To meet the darkness on the deep,
The solemn ship went onward.
I bowed down weary in the place;
for parting tears and present sleep
Had weighed mine eyelids downward.

The new sight, the new wondrous sight!
The waters around me, turbulent,
The skies, impassive o'er me,
Calm in a moonless, sunless light,
As glorified by even the intent
Of holding the day glory!

Love me, sweet friends, this sabbath day.
The sea sings round me while ye roll afar
The hymn, unaltered,
And kneel, where once I knelt to pray,
And bless me deeper in your soul
Because your voice has faltered.

And though this sabbath comes to me
Without the stolèd minister,
And chanting congregation,
God's Spirit shall give comfort.
He who brooded soft on waters drear,
Creator on creation.

He shall assist me to look higher,
He shall assist me to look higher,
Where keep the saints, with harp and song,
An endless endless sabbath morning,
An endless sabbath morning,
And that sea commixed with fire,
And that sea commixed with fire,
Oft drop their eyelids raised too long
To the full Godhead's burning.
The full Godhead's burning.


4. Where Corals Lie
Text by Richard Garnett (1835-1906)


The deeps have music soft and low
When winds awake the airy spry,
It lures me, lures me on to go
And see the land where corals lie.
The land, the land where corals lie.

By mount and steed, by lawn and rill,
When night is deep, and moon is high,
That music seeks and finds me still,
And tells me where the corals lie.
And tells me where the corals lie.

Yes, press my eyelids close, 'tis well,
Yes, press my eyelids close, 'tis well,
But far the rapid fancies fly
The rolling worlds of wave and shell,
And all the lands where corals lie.

Thy lips are like a sunset glow,
Thy smile is like a morning sky,
Yet leave me, leave me, let me go
And see the land where corals lie.
The land, the land where corals lie.


5. The Swimmer
Text by Adam Lindsay Gordon (1833-1870)


With short, sharp violent lights made vivid,
To southward far as the sight can roam,
Only the swirl of the surges livid,
The sees that climb and the surfs that comb.

Only the crag and the cliff to nor'ward,
And the rocks receding, and reefs flung forward,
Waifs wreck'd seaward and wasted shoreward,
On shallows sheeted with flaming foam.

A grim, gray coast and a seaboard ghastly,
And shores tro seldom by feet of men -
Where the batter'd hull and the broken mast lie,
They have lain embedded these long years ten.

Love! Love! when we wandered here together,
Hand in hand! Hand in hand through the sparkling weather,
From the heights and hollows of fern and heather,

God surely loved us a little then.

The skies were fairer and shores were firmer -
The blue sea over the bright sand roll'd;
Babble and prattle, and ripple and murmur,
Sheen of silver and glamour of gold.
Sheen of silver and glamour of gold.

So, girl with tempest and wing'd with thunder
And clad with lightning and shod with sleet,
And strong winds treading the swift waves under
The flying rollers with frothy feet.

One gleam like a bloodshot sword-blade swims on
The sky line, staining the green gulf crimson,
A death-stroke fiercely dealt by a dim sun
That strikes through his stormy winding sheet.

O brave white horses! you gather and gallop,
The storm sprite loosens the gusty rains;
O brave white horses! you gather and gallop,
The storm sprite loosens the gusty rains;

Now the stoutest ship were the frailest shallop
In your hollow backs, on your high-arched manes.
I would ride as never a man has ridden
In your sleepy, swirling surges hidden;

I would ride as never a man has ridden
To gulfs foreshadow'd through strifes forbidden,
Where no light wearies and no love wanes.
Where no love wanes.

在這套《杜普蕾精選集》中我們聽到五首她的經典協奏曲：1965年的《艾爾加》、1970年的〈德沃夏克》、1967年的《海頓和包凱裏尼》。在第三片CD中，前半部是她在1961到1963年還未成名時期，嘗試的室內小品錄音，其中與吉他家約翰·威廉斯合作的《霍塔舞曲》，曾被後者在訪問中稱贊她那天生的西班牙節奏感。
後三曲則是從她完整的室內樂錄音中節選出來的，這是杜普蕾在演奏完所有重要大提琴協奏曲後，開始朝室內樂尋找更多演奏空間的後期錄音，其中的鋼琴部分都是由他的丈夫巴倫波伊姆擔任。這三張CD，表現了杜普蕾親切、浪漫、奔放的特性，是認識、探索、了解杜普蕾這位音樂奇才的最佳機會。
演奏家簡介：
傑奎琳·杜普蕾：是二十世紀最著名的大提琴家之壹，又是史上最著名的女大提琴演奏家。可惜的是其演奏生命只有短短十年，1972年因病離開了舞台，1987年因癌症逝世。杜普蕾有十分全面的演奏技巧，其演奏富有歌唱性，音色變化多彩，音質純美憂郁，它能夠將不同時代作品中最直接的感受傳達給聽衆。本專集收錄了杜普蕾演奏的衆多名曲以及生前的稀有錄音，倍顯珍貴。

Penguin Guide Rosette.
This is one of the most important recordings of the 20th century, both for its content (considered by many the greatest cello music of all time) and for the intense devotion, careful preparation, and towering technical skill that went into the project. It was a brilliant idea to make a video as well as an audio recording. Cellists will welcome the chance to study Rostropovich's bowing and fingering techniques, close up and at leisure. And music-lovers will welcome the visuals of the recording location, a French church whose architecture, statues, and flickering candles complement the music.
Mstislav Rostropovich knew, loved and practiced the Bach suites from his teen years, when the legendary Pablo Casals gave him a private performance of one of them. But he did not feel ready to record the complete set until he was 63 years old. Then he found an ideal location for the recording; he carefully chose his recording technicians, and he supervised the sessions besides playing the cello as only he can. Each note is carefully considered and given its unique shape. The music's structures are made clear, its emotional overtones powerfully conveyed. The conventional structure of a baroque suite--an elaborate overture followed by a series of dances--comes vigorously to life. And Rostropovich gives a spoken introduction to each suite (in Russian, with English subtitles) playing illustrative passages on the piano or organ.
The result may appeal mostly to specialized tastes (unaccompanied cello is not everyone's cup of tea), but this video is a landmark. --Joe McLellan

賈桂琳·瑪麗·杜·普蕾，OBE，英國大提琴演奏家。