Wenn am ersten Tag eines jeden neuen Jahres der Goldene Saal des Wiener Musikvereins mit zehntausenden Blüten aus San Remo geschmückt wird und die Kameras postiert werden, dann ist es wieder soweit für die „Liebeserklärung an die ganze Welt": das Wiener Neujahrskonzert, Österreichs prominentester musikalischer Markenartikel und unter Dirigenten sehr begehrt. Diesmal stand der 85-jährige französische Dirigent Georges Prêtre am Pult, der bereits am Neujahrstag 2008 die Ehre hatte. 1,135 Millionen Zuschauer allein in Österreich verfolgten das Konzert, das erstmals in HDTV ausgestrahlt wurde, doch auf der Welt dürften es Milliarden sein, schließlich hatten sich diesmal 74 TV-Stationen aus 72 Ländern eingeschaltet. Das Programm wie jedes Jahr recht sorgfältig ausgewählt: Strauß, Strauß und ein bisschen Offenbach, dem französischen Dirigenten zuliebe. Prêtre wusste auch diesmal: Diplomatie im Dreivierteltakt funktioniert auf der ganzen Welt, der Operettenhimmel ist für alle da und in einem solchen wähnten sich auch alle an diesem Tag unter Prêtre klangzarter wenn auch keineswegs altersmüder Führung: Ob bei der Ouvertüre zur "Fledermaus", dem lieblich komischen "Krapfenwaldl" (Johann Strauß op. 336), den süßen "Wiener Bonbons" (op. 307) oder der berauschenden "Champagner-Polka" (op. 211) - um nur einige Musiknummern zu nennen. Mit Otto Nicolais Ouvertüre zu "Die lustigen Weiber von Windsor" ehrten die Wiener Philharmoniker ihren Gründer, schließlich hatte Nikolai das Weltklasseorchester vor 150 Jahren ins Leben gerufen. Jacques Offenbachs zarte Ouvertüre "Die Rheinnixen" - besser bekannt: die darin enthaltene "Barcarole"-Melodie - rundete das Programm ab. Und natürlich auch der "Radetzkymarsch" von Strauß Vater, der in keinem Jahr fehlen darf. Für die Kostüme des Ballettcorps der Wiener Staatsoper und der Volksoper, das zur Polka "Ein Herz, ein Sinn" und zum "Morgenblätterwalzer" tanzte, zeichnete der italienische Meister der Haute Couture, Valentino verantwortlich, die Coreographie besorgte Renato Zanella. 2011 wird Franz Welser Möst das Konzert dirigieren. - Teresa Pieschacón Raphael

大师绝对的名盘之一，是他经典中最为璀璨夺目的。在我看来，李赫特的拉二是完美的。虽然很多乐友说不喜欢他手中的拉二，原因是认为他弹得拖沓而自以为是，过于刻板，尤其是第一乐章的开头部分。但是每次聆听这段，我都会感觉像是阳光穿过碧蓝的海水一般，呼吸凝重、大气广博，深得俄罗斯广袤大地之精髓。如果要是推荐拉二的版本的话，大师的这段演绎在我心目中必在前列。

Two of Karajan's bestselling recordings with great soloists. Karajan's rare collaborations with Soviet musicians in the 1960s resulted in exceptional recordings that have become classics - including the ones presented here: "a performance of astonishing intimacy and refinement" from Richter in Tchaikovsky's First Piano Concerto (October 1962), and "a deft and stylish account" of the Rococo Variations with Rostropovich (September 1968) Citations from R. Osborne, Herbert von Karajan: A Life in Music (London, 1998)

01 L'arlÉSienne Suite No.1 - PrÉLude
02 L'arlÉSienne Suite No.1 - Minuetto
03 L'arlÉSienne Suite No.1 - Adagietto
04 L'arlÉSienne Suite No.1 - Carillon
05 L'arlÉSienne Suite No.2 - Pastorale
06 L'arlÉSienne Suite No.2 - Intermezzo
07 L'arlÉSienne Suite No.2 - Menuet
08 L'arlÉSienne Suite No.2 - Farandole
09 Carmen - Act 1 - PrÉLude
10 Carmen - Act 1 - Entr'acte
11 Carmen - Act 2 - Entr'acte
12 Carmen - Act 3 - Entr'acte

专辑介绍：
巴赫最后一部作品《赋格的艺术》被誉为音乐家的“哲学著作”，他以音乐思维中的高度逻辑性和结构的严密性来反映音乐所包含的数理与宇宙的和谐之美。运用对位法的顶峰可从这部作品中见到,他把超越人类脑力极 妙技,处理得极为简单而鲜明,其中的对位技巧极为复杂精致,绝非仅靠耳力所能理解.其中很多以c小调开头，到后来则像最棒的魔术师的戏法一样，以d小调结束。而这些，却只有最留心的听众的耳朵才能识破产生变化的那一瞬。借助调性的跳跃，可以无限重复音乐作品，直到他被所有音阶的音符都变形过为止。巴赫解释说：“只有这样才能使国王的荣耀在转调的同时不断升高。”最后一首赋格曲没有完成，在以他的名字“B-A-C-H”。因为在德语里，B就是降B音，H是B音……这是他第一次用自己的名字去谱曲。非常有意思，因为它是这么容易拼写，他是第一次写这样的赋格曲。人们认为这是4声部的赋格，作品最后的切入点，重新诠释了赋格的艺术。但他去世了，没有完成。所以，他留下了这个忽然结束的让人惊讶的结尾……
专辑曲目:
01 contrapunctus 1
02 contrapunctus 2
03 contrapunctus 3
04 contrapunctus 4
05 canon alla ottava
06 contrapunctus 5
07 contrapunctus 6, a 4, in stylo francese
08 contrapunctus 7, a 4, per augmentationem et diminutionem
09 canon alla decima, in contrapunto alla terza
10 contrapunctus 9, a 4, alla duodecima
11 contrapunctus 10, a 4, alla decima
12 contrapunctus 8, a 3
13 contrapunctus 11, a 4
14 canon alla duodecima in contrapunto alla quinta
15 contrapunctus 12, a 4. rectus
16 contrapunctus 12, a 4. inversus
17 contrapunctus 13, a 3. rectus
18 contrapunctus 13, a 3. inversus
19 fuga a 2 clav.
20 alio modo. fuga a 2 clav.
21 canon per augmentationem in contrario motu
22 fuga a 3 soggetti

组曲，是将可以独立又互有联系的几首乐曲组合为一个整体。那时的组曲通常由四种舞曲组成：
（1）阿列曼德舞曲，4/4拍子，多为沉稳的情绪。
（2）库兰特舞曲，活泼的3/4拍子。
（3）萨拉班德舞曲，也是3/4拍，但缓慢、凝重，常有悲哀的意味。
（4）吉格舞曲，是非常快的三拍子。除这四个基本部分外，还可加入加伏特舞曲（中速，4/4）、小步舞曲（典雅的3/4拍）、布列舞曲（快速的四拍子，总是从弱拍开始）。这些不同的节拍、速度、性格互为对比，但各组内的各曲，调性都是一致的。例如第一首是E大调，所有各曲则都用E大调。至于《法国组曲》为什么叫“法国”？据说是因为组合方式、音乐风格都有法国风格的影响。但本质上，还是德国音乐。凡是学过一段钢琴的，都弹过我们通常称为“小巴赫”的那本书，那里有几首就是选自《法国组曲》的，如第23首：这是第五首G大调《法国组曲》中的第4曲，《加伏特舞曲》。明快、优美而又典雅。乐曲综合了复调与和声两种手法。再如第24首《小步舞曲》，是第六首《法国组曲》中的第7曲。
这套法国组曲是巴赫为第二任妻子安娜而写，充满了温柔和甜蜜。这套法国组曲中，第四号是最意境美丽的，第五号是最脍炙人口的，第六号是最欢快的。以下是我从美丽元素中找到的一篇乐评，虽然我对其观点有保留，但觉得有助于欣赏这部作品。所以转过来：听Gould先生的“法国组曲”仿佛又一次体验了那时的生活，每次听的时候，他那清新而自由的风格都深沉地打动了我。我最喜欢的是第六首组曲，但放下我的喜好不提，大家都知道他是一个非常有才华的艺术家，非常的真诚，深深地了解自己在演奏什么，必须演奏到什么样的水平。他对巴赫作品的深切了解和掌握使得他在演奏时深深的溶入其中，这是你在其他人的演奏中很难找到的。Gould先生演奏的巴赫超过了所有的人，他的演奏随着旋律起伏，而旋律又随着乐章起伏，这就是为什么巴赫的作品在Gould先生手下显得那么自然，那么富有诗意。你可能会被被这些组曲不同的演奏方式所吸引，浪漫的、激情的、解析的，但Gould先生的演奏则会让你回味无穷……

Celebrating ten years as an exclusive recording artist on Deutsche Grammophon, Gustavo Dudamel's career has evolved from Venezuelan Wunderkind to one of the world's most distinguished and sought-after Maestros.
His upcoming recording, made in company with the Wiener Philharmoniker at Vienna’s Musikverein in April 2016, is an all-Russian album – it couples two works by Mussorgsky, Pictures at an Exhibition, in Ravel’s magnificent orchestration, and A Night on Bald Mountain, with the famous Waltz from Tchaikovsky’s Swan Lake. The Viennese waltz kings and Dudamel gives this perennial ballet highlight a fresh, vibrant new reading - a perfect introduction to the festive season.
Pictures at an Exhibition is one of music's most transcribed, arranged and covered pieces, a musical touchstone, inspiration to many artists and cited in popular culture on television, in film, and in video games. The brief, episodic structure of these works makes them ideally-suited for streaming and digital campaigns.
While making the album, Dudamel and members of the orchestra participated in workshops alongside young people involved in the El Sistema-inspired Superar programme. Founded in 2009 and named for the Spanish word for “overcome”, it is based in Vienna’s diverse 10th District and offers free music lessons to children. For the “Pictures Project” Mussorgsky’s work prompted a group of young people from Superar to take their instruments onto the streets, share their music-making with the local community and document the results on camera.
Images from their musical “Pictures”, selected by the highly respected Vienna-based photographer Claudia Prieler, were exhibited as part of the press event in Salzburg last week, where Gustavo Dudamel, members of the Wiener Philharmoniker and the Simón Bolívar Symphony Orchestra of Venezuela, and children from Superar met at Salzburg’s historic Hotel Sacher to launch the album.

An ensemble of maestros offers four legendary interpretations from a golden age of chamber music playing.
Performances that display “richness, warmth and vitality” (American Record Guide).
Original “Westminster” couplings.
David Oistrakh remarked that chamber music “gives great joy not only to the listeners, but first of all to the performers themselves”. For 17 years after the Second World War, these three great soloists carried on a warm-hearted musical conversation and formed one of the finest chamber ensembles in the world.
Here are four of their legendary interpretations, praised by The American Record Guide at the time for their ”richness, warmth, and vitality” (Chopin and Ravel) and for their “well-integrated performances” (Dvoøák and Smetana). (Review quotes from The American Record Guide, 1957).

Perlman also presents a personality performance, one which naturally brings out the individuality of his artistry. The LPO strings play with great refinement, and with a rather more intimate acoustic than in other versions, the result is both in scale and sharply defined'. Gramophone Magazine
Itzhak Perlman, violin virtuoso, conductor, and master-instructor is widely considered as one of the preeminent violin virtuosi of the 20th century.
He made his debut at Carnegie Hall in 1963 and won the prestigious Leventritt Competition in 1964. Soon afterward he began to tour extensively. In addition to an extensive recording career, he has made occasional guest appearances on American television, starting in the 1970s on shows such as The Tonight Show and Sesame Street, as well as playing at a number of functions at the White House.
While primarily a solo artist, Perlman has performed with a number of other notable musicians, including Yo-Yo Ma, Jessye Norman, Isaac Stern, and Yuri Temirkanov at the 150th anniversary celebration of Tchaikovsky in Leningrad in December 1990. He has also performed (and recorded) with good friend and fellow Israeli violinist Pinchas Zukerman on numerous occasions over the years.
The Four Seasons is Vivaldi's best-known work, and is among the most popular pieces of Baroque music. The texture of each concerto is varied, each resembling its respective season. "Winter" is peppered with silvery staccato notes from the high strings, calling to mind icy rain, whereas "Summer" evokes a thunderstorm in its final movement, which is why said movement is often dubbed Storm.
The concertos were first published in 1725 as part of a set of twelve concerti, Vivaldi's Op. 8, entitled Il cimento dell'armonia e dell'inventione (The Contest between Harmony and Invention).
EMI MASTERS celebrates the full glory of the greatest performances from the world's greatest catalogue of recorded music. Digitally remastered at Abbey Road Studios direct from the original master tapes, these classic recordings emerge with unparalleled immediacy. You will be left in no doubt that you are in the presence of legendary musicians and ageless interpretations.

Review by Blair Sanderson
Antonio Vivaldi's Le Quattro Stagioni is one of the most beloved works in Baroque music, and even the most casual listener can recognize certain passages of "Spring" or "Winter" from frequent use in television commercials and films. Yet if these concertos have grown a little too familiar to experienced classical fans, Max Richter has disassembled them and fashioned a new composition from the deconstructed pieces. Using post-minimalist procedures to extract fertile fragments and reshape the materials into new music, Richter has created an album that speaks to a generation familiar with remixes, sampling, and sound collages, though his method transcends the manipulation of prerecorded music. Richter has actually rescored the Four Seasons and given the movements of Spring, Summer, Autumn, and Winter thorough makeovers that vary substantially from the originals. The new material is suggestive of a dream state, where drifting phrases and recombined textures blur into walls of sound, only to re-emerge with stark clarity and poignant immediacy. Violinist Daniel Hope is the brilliant soloist in these freshly elaborated pieces, and the Konzerthaus Kammerorchester Berlin is conducted with control and assurance by André de Ridder, so Richter's carefully calculated effects are handled with precision and subtlety. Deutsche Grammophon's stellar reproduction captures the music with great depth, breadth, and spaciousness, so everything that Richter and de Ridder intended to be heard comes across.