2CELLOS提琴双杰3月25日发布最新演奏单曲Every Teardrop is a Waterfall，两位帅哥共用一把大提琴玩转Coldplay摇滚大热单曲。
在单曲发布前一天，2CELLOS在官方Facebook及Twitter帐号中发布消息：“我们在此不得不宣布，2CELLOS即将变成1CELLO（原文：We have to announce that 2CELLOS are now becoming 1cello.注：CELLO为英文“大提琴”）。”引得众粉丝猜测提琴双杰是否有解散之义。但在第二天新单曲发布后，所有人才恍然大悟，这是两人合奏一把乐器的预告。
不单单是两人在一把大提琴上的演奏，2CELLOS更是加入了打击乐的元素，以大提琴琴身为鼓，两脚并用操作鼓槌和铃鼓，火力全开，尽显创意。
2012年11、12月，2CELLOS作为流行天王Elton John世界巡演的表演嘉宾，分别于上海、北京、广州为中国乐迷带来了震撼全场的大提琴摇滚表演。去年，2CELLOS发行了他们首张同名专辑《提琴双杰：顶尖对决》，一跃成为古典/跨界/摇滚的闪耀新星。今年发行的新专辑中更是力邀流行乐教主Elton John、传奇吉他手Steve Vai、GLEE新晋女星Naya Rivera、古典音乐巨星郎朗、意大利流行歌星Zucchero及美国创作型歌手Sky Ferreira献艺献声。

2CELLOS发布最新现场演奏古典名曲《Benedictus》（赞美诗）单曲及MV，在2012年岁末，以悠扬柔情的大提琴声融化寒冷。
MV中，Luka Sulic与Stjepan Hauser面对两万名观众，现场深情演奏了由Karl Jenkins创作的《Benedictus》。在岁末的寒冷冬天中听来，更有一番冲击内心的暖流回荡。这首乐曲也将收录在他们2013年即将发行的最新专辑《In2ition》之中。
来自克罗地亚的大提琴帅哥组合2CELLOS（提琴双杰）是迄今为止最炙手可热的古典/跨界弦乐组合。乐队成员Luka Sulic和Stjepan Hauser均出身音乐世家，从小接受专业的古典音乐训练，却对于将古典、流行、摇滚乐结合有出人意料的天分及表演魅力。他们凭借在Youtube发布的一曲大提琴改编版本Michael Jackson名曲《Smooth Criminal》一夜暴红，自出道以来便在欧洲、美国及亚洲多国拥有无数粉丝。更因为两人帅死人不偿命的外型吸引了众多女孩子的目光。
此前，2CELLOS与传奇吉他手Steve Vai合作演绎了AC/DC大热单曲《Highway to Hell》MV，正如Luka所说：“我们也迫不及待地想对世界展示，大提琴也可以像吉他一样摇滚起来！”

5月20日，2CELLOS提琴双杰发布两首现场演奏单曲：传奇乐队AD/DC的硬摇滚经典《Back in Black》与朋克摇滚Greenday的《When I Come Around》。在2CELLOS两人的手中，大提琴已不再仅仅是古典音乐的传统代表，更是最摇滚的乐器。
这两首单曲录制于两人的家乡——克罗地亚首都萨格勒布体育馆的2CELLOS现场音乐会，此场萨格勒布音乐会现场吸引了超过两万名观众。2CELLOS以一首古典柔美的《Benedictus》开场，接下来的曲风却摇滚范十足，各路老牌新人的摇滚热曲一应俱出，AC/DC、Green Day、Jimmi Hendrix、U2、Coldplay……原唱中的人声嗓音和吉他连复段都由两把大提琴共同完成，从低沉缓慢到高亢躁动，甚至会让人一时间忘记自己的所在，仿佛身处一场名副其实的“摇滚演奏会”。
2012年11、12月，2CELLOS作为流行天王Elton John世界巡演的表演嘉宾，分别于上海、北京、广州为中国乐迷带来了震撼全场的大提琴摇滚表演。2011年，2CELLOS发行了他们首张同名专辑《2CELLOS》（顶尖对决），一跃成为古典/跨界/摇滚的闪耀新星。今年发行的新专辑中更是力邀流行乐教主Elton John、传奇吉他手Steve Vai、GLEE新晋女星Naya Rivera、古典音乐巨星郎朗、意大利流行歌星Zucchero及美国创作型歌手Sky Ferreira献艺献声。

5月20日，2CELLOS提琴双杰发布两首现场演奏单曲：传奇乐队AD/DC的硬摇滚经典《Back in Black》与朋克摇滚Greenday的《When I Come Around》。在2CELLOS两人的手中，大提琴已不再仅仅是古典音乐的传统代表，更是最摇滚的乐器。
这两首单曲录制于两人的家乡——克罗地亚首都萨格勒布体育馆的2CELLOS现场音乐会，此场萨格勒布音乐会现场吸引了超过两万名观众。2CELLOS以一首古典柔美的《Benedictus》开场，接下来的曲风却摇滚范十足，各路老牌新人的摇滚热曲一应俱出，AC/DC、Green Day、Jimmi Hendrix、U2、Coldplay……原唱中的人声嗓音和吉他连复段都由两把大提琴共同完成，从低沉缓慢到高亢躁动，甚至会让人一时间忘记自己的所在，仿佛身处一场名副其实的“摇滚演奏会”。
2012年11、12月，2CELLOS作为流行天王Elton John世界巡演的表演嘉宾，分别于上海、北京、广州为中国乐迷带来了震撼全场的大提琴摇滚表演。2011年，2CELLOS发行了他们首张同名专辑《2CELLOS》（顶尖对决），一跃成为古典/跨界/摇滚的闪耀新星。今年发行的新专辑中更是力邀流行乐教主Elton John、传奇吉他手Steve Vai、GLEE新晋女星Naya Rivera、古典音乐巨星郎朗、意大利流行歌星Zucchero及美国创作型歌手Sky Ferreira献艺献声。

普罗科菲耶夫的作曲风格从俄罗斯帝政末期的现代主义，到社会主义时期的写实手法，可谓务实而又多变的现代作曲家之一。他为小提琴所写的作品，包括两首著名的协奏曲、两首为小提琴和钢琴所作的奏鸣曲(作品Op.80与Op.94)、C大调双小提琴奏鸣曲、D大调无伴奏奏鸣曲，以及两首未完成的奏鸣曲。
《f小调第一小提琴奏鸣曲》(Op.80)作于1938至1946年间，此曲以18世纪巴洛克奏鸣曲的形式作为全曲的架构，运用独特的音乐语法和尖锐的和声音响，巧妙地将两个不同世纪的写作手法融合在一起。《D大调小提琴奏鸣曲》(Op.94bis)则是普罗科菲耶夫接受了小提琴家欧伊斯特拉赫的意见，改编自1943年所作的长笛奏鸣曲。这两首作品都是题献给好友欧伊斯特拉赫的。收录于本片中的《五首旋律》(Op.35bis)，则改编自1920年的声乐作品。
詹姆斯·海涅斯 1976年出生于加拿大，4岁开始学习小提琴。在9岁的时候成为著名的加拿大小提琴家Francis Chaplin的得意门生，1997年毕业于Julliard音乐学院。海涅斯首次赢得全国性的声誉是在1987年，当时他只有11岁。在加拿大全国音乐比赛中，获得了弦乐类别的大奖。第二年，他又在加拿大音乐节中获得了一等奖，成为当年最年轻的得奖者。13岁时，在蒙特利尔首次公开独奏演出。詹姆斯.海涅斯获奖项颇多，包括Ivan Galamian一等奖、加拿大议会杰出艺术家奖(Virginia Parker Prize)。在年青一代的小提琴家中，海涅斯是崛起最迅速的一位。
陈雯迪(音译) 出生在洛杉矶的华裔女钢琴家。17岁时就获得了国家级肖邦钢琴比赛第一名和国际键盘音乐节优秀青年演奏家(Irving S. Gilmore Young Artists Award)称号。1997年蠃得纽约国际青年演奏家试演头名及布鲁斯•胡格福德(Bruce Hungerford)奖，并获得了美国艺术基金会颁发的“总统学者”(Presidential Scholar)证书。

This is the second volume in a series devoted to the works for strings by Béla Bartók, with James Ehnes the featured soloist. Earlier this year, Ehnes recorded the Violin and Viola Concertos (CHAN 10690), which was made Disc of the Month in Gramophone magazine. On this new recording, he turns to the Violin Sonatas and Rhapsodies, complemented by the earliest surviving work by Bartók for violin and piano, an Andante. He is accompanied by the pianist Andrew Armstrong.

Dedicated to the Hungarian violinist Adila d’Arányi, the sonatas for violin and piano were composed in 1921 – 22, around the same time as the highly successful ballet score The Miraculous Mandarin. Of the two works, the Sonata in C sharp minor is the more traditional in terms of its structure, and characterised by a mood that is sometimes exhilarated, sometimes turbulent – but always virtuosic. The finale builds from a series of increasingly wild dances, folk-like in style but entirely expressionistic.

In the Sonata in C major, Bartók removes himself from classical form and traditional tonal practice, calling on the violinist to distance himself from the romantic manner of playing. At several points, for example, the violin is played without vibrato, producing an ethereally cool and distant sound. The improvisatory character is strong throughout, as the work repeatedly alternates between the quiet and thoughtful, and the stormy and strident. The ending, in contrast to the earlier sonata, is understated, emotional, and expressive.

Bartók’s two rhapsodies for piano and violin, dedicated respectively to Joseph Szigeti and Zoltán Székely, are steeped in the tradition of Hungarian folk music. Exuberant and infectious, the works are heavily inspired by the csárdás, the national dance of Hungary, and display the traditional pairing of lassú (slow) and friss (lively) movements.

Bartók: Violin Concertos Nos 1 and 2; Viola Concerto – James Ehnes, BBC Philharmonic, Gianandrea Noseda
Hailed as ‘the Jascha Heifetz of our day’ (The Globe and Mail, Canada), the violinist James Ehnes is widely considered one of the most dynamic and exciting performers in classical music, appearing regularly with the world’s finest orchestras and conductors. Accompanied here by the BBC Philharmonic under Gianandrea Noseda, he is the soloist in Bartók’s two violin concertos, in which he plays the ‘Marsick’ Stradivarius of 1715, as well as in the viola concerto, performing on the ‘Rolla’ Giuseppe Guadagnini viola of 1793, on loan from the Fulton Collection.
‘These three concertos are among the most striking examples of Bartók’s early, middle, and late periods, each showing a very different side of one of the great musical voices of all time; they are among my very favourite pieces to perform’.

2008 GRAMMY AWARD
2008 JUNO AWARD
2007 WESTERN CANADIAN MUSIC AWARD
Considered an extraordinary release by critics and audiences around the world, James Ehnes’s recording of the violin concertos by Barber, Korngold and Walton with Bramwell Tovey and the Vancouver Symphony Orchestra swept the award season, winning the 2008 GRAMMY Award, JUNO Award, and Western Canadian Music Award.
The recording is available in Canada and US on the CBC Records label and worldwide on the Onyx Classics label.
One of the "100 CDs You Must Own" and “My Pick of 2007”
Classic FM's David Mellor
"In all three concertos, James Ehnes proves that he is one of today's most talented violinists. His tone soars and sings like a human voice -- this is violin playing of the highest class. He brings out the nostalgic, hyper-emotional melodies of the Korngold without straying into over-sentimentality, as well as the often cheeky virtuoso brilliance of Walton's concerto with equal aplomb. His innate sense of rhythm and timing, and spot-on intonation almost make you forget he's playing an instrument, so clear and direct is his expression of the music."
Classic FM's David Mellor
"James Ehnes gives superb performances, bringing out their full emotional thrust without vulgarity or exaggeration. His playing has always been impressive on disc, but here he excels himself in expressive range as well as the tonal beauty, with expressive rubato perfectly controlled. An outstanding disc in every way."
(Gramophone February 2007)
"James Ehnes is the finest violinist of his generation and these superb concerto recordings are all the proof I need to make that statement. Lush tone, flawless technique and personality to burn make this one of the finest recordings of the year."
(WRR, December 2006)
"All three composers tested a soloist's virtuosity, particularly Samuel Barber in the "presto in moto perpetuo" that forms the short but fiendish finale to his concerto; nor was Walton any slouch in the demands he made in the "presto capriccioso alla napolitana" at the centre of the concerto that he wrote on the Amalfi coast. Mediterranean warmth as well as caprice radiates from Ehnes's performance, and in the other two concertos he gets right to the heart of the music's temperament, nostalgic but with spirited uplift as well. The Vancouver Symphony Orchestra does him proud in establishing vibrant, complementary support. This is a must-have disc."
(Daily Telegraph, 11 November 2006) *CD of the Week*

James Ehnes has previously explored Béla Bartók’s concertos for violin and for viola, to great acclaim. This album is the second in his equally successful survey of Bartók’s chamber music for the violin. His accompanist, once more, is Andrew Armstrong, a pianist praised by critics for his passionate expression and dazzling technique.

The folk-inspired Sonata for Solo Violin was the last work that Bartók wrote for the instrument, not to mention the most challenging. In a departure from his usual practice, this work was written not for a fellow Hungarian, but rather for an artist born in New York where Bartók was now living: Yehudi Menuhin. Suitably impressed by a recital performance by Menuhin of his first Violin Sonata as well as Bach’s Sonata in C, he had no hesitation in accepting the violinist’s commission for a sonata that, like Bach’s, would be unaccompanied.

Almost half a century earlier, Bartók had written his Sonata for Violin and Piano in E minor. It was included in a concert given by graduating students of the Liszt Academy in June 1903, when a critic, most likely not realising just how right he would prove, hailed Bartók as ‘a phenomenal young genius, whose name today is known only to a few, but who is destined to play a great and brilliant role in the history of Hungarian music’.

Additionally on this album we have three groups of Bartók’s Romanian and Hungarian folk dances, folksongs, and folk tunes, arranged for violin variously by Zoltán Székely, Tivadar Országh, and Joseph Szigeti, often with direct involvement by the composer himself who helped fine-tune the new arrangements. James Ehnes also highlights the Romanian influences in Bartók’s Sonatina for piano, transcribed for violin by André Gertler, a student of Bartók’s.

On this new disc, 2008 Grammy and Gramophone Award winning violinist James Ehnes pays tribute to the world's most celebrated violin-makers. This unique Onyx project features performances on twelve of the greatest instruments ever made. The Fulton Collection is perhaps the most important private collection of instruments in the world. It contains many examples of the legendary names Stradivari, Guarneri, da Salo and Guadagnini. For example, the priceless La Pucelle has never been heard in a recording, and the Lord Wilton was Yehudi Menuhin's last instrument. Ehnes performs twenty-one selections in a carefully planned recital program specially chosen to suit each instrument and to work on its own terms. It finishes with a section comparing each instrument in an excerpt of the same piece, a unique opportunity to contrast the sound qualities of these spectacular instruments. The set includes a DVD with the complete performances plus spectacular close-ups of the instruments and substantial interviews. This highly collectible package includes detailed notes by Ehnes himself. This is a landmark recording for all lovers of great instruments and of course great playing.

Amazon.com

Editorial Review:

Unlike most composer/pianists, Rachmaninoff's instrumental prowess was fully commensurate with his creative gifts. He embraces his youthful First Concertos as if he had encountered an old lover, consumating his passion with stupefying fingerwork in the first movement cadenza. Conversely, the composer seems bored in the Third. He laconically dispatches its torrents of notes, opts for the easier ossias in difficult passages, and makes cuts in the first and third movements. And pianists like Arturo Michelangeli and Earl Wild have recorded more incisive, demonic Rach Fourths. No question about the Paganini Rhapsody and Second Concerto, where Rachmaninoff's fierce authority and luscious, molten tone permeate every bar. RCA's transfers, however, could have been better. --Jed Distler

作为指挥家的拉赫玛尼诺夫在他作为钢琴家时拥有典型素质，他外在稳着沉静，手势不多，同时代承认他对乐队队员和听众都有一股催眠影响力，他服从于严谨的艺术构思。被称为“理想的表演战略家”，钢琴表演史上最杰出的艺术家之一。他在这个狭窄的领域中创造出一个美妙绝伦的世界。本碟获留声机优质CD指南推荐。是乐迷们的必然之选。

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