Composer and performer Joep Beving, one of the most listened-to living pianists in the world, is joining Deutsche Grammophon to release his new album ‘Prehension’ on 7th April.
Dutch musician Joep (pronounced ‘Yoop’) is a towering figure in the streaming world – and in real life too, thanks to his two-metre frame (nearly 6’10), wild hair and flowing beard. He has become a one-man success story – writing, recording and releasing his debut album ‘Solipsism’ (now available digitally on DG) which has been streamed nearly 60 million times.
Joep’s delicate melodies instantly struck a chord with listeners when tracks from the album first appeared on streaming music playlists alongside the likes of Max Richter, Ólafur Arnalds and Nils Frahm.
“I call it ‘simple music for complex emotions’,” says Joep, summing up its universal appeal. “The world is a hectic place right now and I feel a deep urge to reconnect on a basic human level with people in general. Music as our universal language has the power to unite.”
Each track on ‘Solipsism’ was recorded at dead of night in the kitchen of his home in Amsterdam, while his partner and two young daughters slept, played on the German piano he had been left by his late grandmother.
Finally the music reached the ears of DG when a friend of Joep’s played the album in her local bar in Berlin – where one of the label’s executives happened to be – and ended up in a signing with the world’s foremost classical label.
The first fruits of the new partnership are ‘Prehension’. A natural successor to ‘Solipsism,’ it carries forward the musical and philosophical themes Joep identifies in his music. Understated, haunting and melancholic, its delicate melodies will help soothe the soul.

作曲家：Joquin Rodrigo & Isaac Albeniz
指挥：Edmon Colomer
乐队：Orquesta de Cadaques
发行：PHILIPS
编号：510 301 - 2
专辑介绍：
这张现场吉他演奏录音是一个里程碑，flamenco与古典音乐的一次完美结合。 唱片收录两位西班牙音乐大师Rodrigo和Albeniz的最著名作品-《阿兰胡埃斯吉他协奏曲》与《伊比利亚》的吉他改编版本，吉他演奏的是flamenco大师Paco de Lucia（这个不用多介绍了吧，现在就可以提前“盖棺定论”-最伟大的吉他演奏家之一）。一直以为同古典吉他音乐相比，狂放激越的flamenco吉他似乎更能代表西班牙，所以这张碟子可说是最“西班牙”的吉他演奏最“西班牙”的音乐，吐血推荐一下，希望喜欢。
演奏家简介：
提起Flamenco吉他音乐，就不能不提到Paco de Lucia，可以说，他是世界上最优秀的Flamenco吉他演奏家之一。Paco de Lucia从7岁开始弹吉他，当时他的父亲，一位半职业的吉他手，意识到了自己的儿子在这方面具有很大的天分，于是便为他提供了各种条件，使得Paco de Lucia可以将自己所有的业余时间都花在练习吉他和研究吉他的演奏技巧上，而这些成果，正是今天我们从他的精彩演奏中所听到、见到的。起初，Paco de Lucia是与他的兄弟Ramón一起演奏二重奏，另外还与他的一个做歌手的兄弟Repe共同组成了名叫Los Chiquitos de Algeciras的二重奏。1962年，兄弟二人双双获得了大奖。此后，Paco de Lucia成为了一位世界级的明星。他将拉丁美洲和爵士乐中的和声御用到Flamenco音乐中，并且影响到了所有新一代的Flamenco吉他手。Paco de Lucia的演奏出神入化，技巧高超，演奏曲目范围广泛，从传统的Flamenco音乐到《阿兰胡埃斯吉他协奏曲》均演奏，并且还提出了“向古典吉他发起挑战”的口号。

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

It is great to have award-winning Marc-André Hamelin back in the studio, returning to one of his favorite venues the Henry Wood Hall. Recent discs from him have focused on music which is either under-recorded or technically superhuman or both. It is particularly fitting that this French-Canadian pianist has chosen an ‘all Chopin’ recital for this latest Hyperion project. It was not long ago in November and December 2008 when Hamelin appeared in Toronto’s Jane Mallet Theatre and Hong Kong’s City Hall and performed selections of these works in recitals which I attended. I reviewed the latter of these here. It has taken Hamelin well over a decade with Hyperion before he has found it apt to turn his attention to the two mainstays of the Romantic repertoire: Chopin’s Piano Sonatas Nos. 2 and 3, and particularly with the former. It has been nearly fifteen-years since he last recorded the B Flat Minor Sonata which took place in Montréal for the Canadian Port-Royal label. By comparison the results today sound more vibrant and youthful than ever, and they have been stunningly recorded by Hyperion recording engineer Simon Eadon and producer Andrew Keener.
Who else but Marc-André Hamelin can open an all-Chopin recital with the gentle, extraordinarily colouristic Berceuse and get away with it? The pianist quickly puts listeners in his confidence with his silky legato, impeccable balance between the hands, and discerning rubatos. Perahia and Kempff may boast more tonal shimmer, yet Hamelin impresses with his introspective approach.
Completed in 1839, the Piano Sonata No. 2 in B flat minor is most commonly referred to as the ‘Marche funèbre’, owing to the intense mournful mood of the celebrated third movement. In the first, one notices Hamelin’s austere and forthright playing. The dreamy dusk-like quality of the contrasting lyrical second theme is remarkable. The Scherzo feels like a frightening and reckless chase that Hamelin follows with contrasting passages of wistful introspection. It is difficult to imagine a more somber, controlled and assured quality to the “Funeral March”. The fragrant Elegy at 2:38-4:44 is reminiscent of a serene and tender scene from a child’s nursery. I enjoyed the short and enigmatic final Presto where Hamelin’s passagework balances brutal torment with uncontrollable fever.
This disc is interspersed with some of Chopin’s greatest single-movement works which start with the D Flat Major Berceuse. The Op.27 Nocturnes come across as lyrical vocalizes - beautifully arched by left-hand accompaniments. The weakness comes from Hamelin’s Barcarolle, which falls short in his use of agogic and fluctuations of rhythm compared to celebrated readings of Dong Thai Son or Fou Ts’ong, pianists whose Barcarolles were characterized by great nobility and magnificent technical fluency.
Better by far was Chopin's B Minor Sonata. Hamelin brings to the work to life though his innate musicality and his ability to voice the inner parts. A further gain lies in the remarkable amplitude and sensitivity he draws from the Steinway piano; this even in the quietest of passages. The Scherzo second movement, minimally pedaled unlike his interpretation from Hong Kong last December, had wings, its reprise subtly varied and feather-light. The Largo third movement, like a benediction, lifts the mind and heart. The finale's unleashed menace was fully realized; when the floodgates finally opened, there was absolutely no doubt as to where the work's one real climax lay.
Hamelin’s Chopin recital all-in-all is characterized by innate musicality, great nobility and magnificent technical command. I found the sound quality pleasingly realistic. The liner-notes from Jim Samson are educational and offered me a Saturday afternoon where I learnt new things about Chopin.

作曲家简介：
克洛德·德彪西（Claude Debussy）
1862年8月22日出生在圣日尔曼昂莱。他的父亲是个小商人，曾参加过巴黎公社武装起来。德彪西从小随父母学习音乐，十一岁入巴黎音乐学院学习钢琴和作曲，毕业后，任俄国富孀梅克夫人的家庭音乐教员，并随她出访过许多国家。1884年，德彪西因创作大合唱《浪子》成功而获得罗马奖金，被送往罗马深造。
德彪西早期作品继承浪漫主义传统创作的手法。自从他接触俄罗斯“旨力停车”作品，并在“万国博览会”上听到东方音乐之后，深受启发。后来，他对印象主义绘画及诗歌发生兴趣，决心在音乐上创造新的表现手法。这种手法和印象派绘画手法相似，即是用淡淡的色彩，描绘出一种气氛或反映人对某一自吹自擂接触时头脑里产生的印象。他把和声作为丰富色彩的一种手段，经常省略三和弦，多用九和弦、全音音阶、七和弦的平行进行和四度、五度的空泛音。他还有意识地冲破常规节拍，用比较自由的节奏、宽广的音域。在德彪西的创作中，注重色彩性，布局十分细腻，从而扩大了音乐的表现手段。在德彪西的影响下，很多作曲家接受了他的观点，象拉威尔、杜卡都是印象乐派的代表人物。
德彪西的作品主要是钢琴曲，管弦乐不多，他的代表作有管弦乐：《牧神午后前奏曲》、《意象》、《夜曲》、《大海》，《前奏曲集》等。此外，他还作有论文集《克罗士先生》等。
1918年3月15日，德彪西在巴黎死于癌症，享年五十五岁。
在三十余年的创作生涯里，他形成了一种被称为“印象主义”的音乐风格,对欧美各国的音乐产生了很深远的影响。
作品简介：
《牧神午后前奏曲》
这首梦幻一般的交响诗《牧神午后前奏曲》是德彪西的第一部具有代表性的印象主义作品，可以认为，德彪西通过这一音诗而开创了一个新的时代，因而此曲被后人誉为"德彪西的第一颗管弦乐定时炸弹"。从这个标题可以知道，他的音乐是受他的朋友斯蒂芬·马拉美的著名诗篇启发而写的《牧神午后》。虽然这首短小的音诗以其异国情调的旋律和难以捉摸的和声使许多听众困惑不解，但是，另人感到惊奇的是，它获得了普遍的赞赏，始终是作者最脍炙人口的管弦乐杰作之一。
作品分三个段落。
开始，由一支长笛吹奏出一段牧歌风的音调,这个曲调在乐曲里反复出现。它在不断变化的伴奏陪衬下，给人一种飘浮不定的、梦幻般的意境。
主题先由双簧管演奏。它的曲调甜美、热情。描绘牧神和维纳斯女神在一起的情景;其它木管和弦乐接着奏出更加优美的曲调，表现牧神生活在甜蜜的爱情之中;梦境里发生的一切，一个一个地消逝了。牧神又回到朦朦胧胧的睡意之中，他感到疲倦、孤独。
最后，竖琴下行音引出圆号和弦，结束全曲。
《夜曲》
作于1897—1899年。这首作品据说是受怀斯勒《黑色与金色的夜曲与焰火》（作于1874年）及斯因邦的诗《夜曲》（作于1876年）的影响，德彪西自己这样说明：“夜曲的标题，在这里应作较一般性，尤其是较富装饰意味的解释。它不采用夜曲惯有的形态，而以特殊的印象与光影为焦点，烘托出所包括的所有意象。”其中共包括《云》、《节日》和《海妖》3段，均为3段体。《云》为以淡彩描绘而成的一种前奏曲。《节日》为谐谑曲风格，其热闹气氛是五度音程充满活力的伴奏音型引导下呈示的主题。当竖琴的上行滑奏有如烟火般灿烂辉煌时，天上有云彩在移动，最后是一支队伍的走近，主题回想后，队伍远去，倦怠随之而来。《海妖》以波状旋律的女声合唱为主要主题，合唱无歌词，只是一种发音，它表达的是女妖那种妖惑而又独具魅力，足以使船只沉没，水手置于死地的神秘力量。德彪西对这3曲的解说为：“《云》是天空中常有的情景，柔软，洁白如絮，消失于灰色的苦恼之间的云。它悠缓、宁静的移动姿态仿佛就在眼前。《节日》如耀眼炫目的强光突然涌现，以独具舞蹈气氛的旋律、节奏来表现。有插入乐句表示参加节日庆典而加入其中的游行（眩惑如梦般的幻影）。游行的基调以后仍连续不断地出现，这是节日庆典，由音乐和整体节奏呈现华丽灿烂而又尘土飞扬的热闹节庆场面。《海妖》里可以听到海的音乐，以及无限细致的节奏。在月光映照下，海面波光粼粼，远远可以听到海妖的神秘喧闹的歌声。”
《大海》
作于1903—1905年，在此期间，德彪西先在其妻丽莉家开始动笔，1904年他抛弃了丽莉，与艾玛私奔泽西岛，在艾玛身边完成了配器。德彪西认为，此曲创作源于记忆：“大海为什么在冲刷着布尔果尼的斜坡？我拥有数不清的记忆。这些在我的感觉里比实景更有用。因为现实的魅力对于思考，一般来说还是一项过于沉重的负担。”“谁会知道音乐创造的秘密？那海的声音，海空划出的曲线，绿荫深处的拂面清风，小鸟啼啭的歌声，这些无不在我心中形成富丽多变的印象。突然，这些意象会毫无理由地，以记忆的一点向外围扩展，于是音乐出现了，其本身就自然含有和声。”《大海》所含3首交响素描分别为：1．从黎明到中午的大海，从大海在黎明时的安详开头，由一个描述海妖的简单双音开始展开部，其中多天空与云彩、阳光在海上千变万化的光影的描述。近结束时，有一个平静的众赞歌乐句。2．浪的嬉戏，表现海的戏谑的盛怒中，水花涌现出的各种色彩。3．风与海的对话，似乎暴风雨将至，但又一切猝然沉寂。只听到远处而来，越来越强的海妖之歌，最后众赞歌在欢腾的高潮中重现。巴托克认为，“德彪西在《大海》中，构思出一套新的发展方式，其呈示和发展的观念共同存在于不断涌出之中。这种涌出使作品无须乞灵于预先设定的任何形式，只凭借它本身的力量向前推进。”巴托克认为，《从黎明到中午的大海》有一个诸动机依次出现，成为无从把握的半连的导入部，形成乐章的基本要素。不同寻常的调性，形成相互依存的调性关系，赋格式主题形成多重要素组合的“混合型调式”，像是表现大海呼吸的节奏。《浪的嬉戏》中，“就像是澎湃的波浪卷起的形态，其音乐时间几乎完全无法捕捉。它借不断的轮流来延续，看似要溃解，消失，不断又再度涌现。”《风与浪的对话》以引进分化的手法，表现两种力的关系。“明示出构造上的意义”。
（以上资源来自互联网，谨此表示感谢）

透明で軽やかなタッチ、しなやかな音楽性で一大ブームを巻き起こしていた頃の、ブーニンのバッハ演奏です。バッハの鍵盤作品には様々な演奏の可能性があり、実際に様々な個性の演奏が存在するのですが、ここで聴けるのはまぎれもないブーニンの「個性」です。近年のチェンバロを意識した古楽的な奏法とは異なり、鳴らすべき所では開放的にピアノを鳴らした、ピアニスティックなバッハであり、それが少しも嫌みにならない独特の魅力を湛えています。（東芝EMI）

CD

Klemperer“克伦佩勒”。1885年5月14日出生于布雷斯劳（Breslau, 现属波兰）一个犹太家庭。16岁进入法兰克福音乐学院随克诺尔（Ivan Knorr）学习。后转入柏林的克林德沃特·沙尔文卡音乐学院（Klindworth Scharwenka Conservatory），随普菲茨纳（H.E.Pfitzner）学习作曲和指挥。1905年担任指挥家弗里德（Oskar Fried）的助手。1907年，在马勒的推荐下，出任布拉格的德国歌剧院（Deutsches Landestheater）指挥。随后在汉堡（1910-1912）、巴门（1913-1914）、斯特拉斯堡（1914-1917）、科隆（1917-1924）、威斯巴登（1924-1927）等地歌剧院担任指挥。1927年出任柏林克罗尔（Kroll）歌剧院音乐总监兼指挥，不久便确立了剧院先锋派文化据点的地位。1931年，克罗尔歌剧院因政治压力和经济拮据被迫关闭，克伦佩雷尔加盟柏林国家歌剧院。两年后纳粹执政，他被迫流亡国外，举家逃往奥地利、瑞士。后移居美国，出任洛杉矶爱乐乐团指挥，短短六年使乐团达到世界一流水平。二战期间加入美国籍。1947-1950年就任布达佩斯歌剧院音乐总监兼指挥。后回到伦敦，加盟 EMI 唱片公司的爱乐乐团，并与 EMI 签约录制了大量优秀唱片，这使他晚年终于跻身本世纪指挥大师的行列。1960年代，他还在伦敦皇家歌剧院指挥演出过《费德利奥》（1961） 、《魔笛》（1962） 、《罗恩格林》（1963）等歌剧。1970年移居耶路撒冷，并加入以色列国籍。1973年7月6日病逝于瑞士苏黎世。
克伦佩雷尔一生历尽苦难。1933年被纳粹驱逐前不久，在一次排练中不慎跌倒，头部严重撞伤，留下后遗症，曾一度离开乐坛；1939年他作了脑瘤切除手术，导致半身瘫痪，暂停指挥活动；1951年蒙特利尔机场飞机失事，他右腿严重骨折，四年康复后，坐轮椅指挥；1958年一场火灾，他全身严重灼伤，几乎丧命。但他以惊人的毅力战胜不幸，重新站立在指挥台上。
克伦佩雷尔的指挥以严格遵守音乐文本而着称，从不哗众取宠。人们给予他这样评论：“希腊式的古典，犹太传统，中世纪基督教精神，德国浪漫主义，我们时代的现实主义，总合成为克伦佩雷尔这个艺术现象。”
克伦佩雷尔一生留下了大量的录音。在1998年他逝世25周年之际，EMI 公司陆续推出了“克伦佩雷尔传奇”系列（The Klemperer Legacy），以纪念这位伟大的指挥家。迄今已出版了数十个品种。
除指挥之外，他还作有6部交响曲、9部弦乐4重奏、1部小提琴协奏曲、5部歌剧、100多首歌曲，并着有《回忆马勒》（1960年）等着作。(from very cd)

Grigory Lipmanovich Sokolov born April 18, 1950, is a Russian concert pianist. He is among the most esteemed of living pianists, his repertoire spanning composers from the Baroque period such as Bach, Couperin or Rameau up to Schoenberg and Arapov. He regularly tours Europe, and resides in Italy.

This is the eagerly awaited final instalment of András Schiff's acclaimed complete Beethoven cycle. Collectors can now finally explore the extraordinary interpretative and editorial qualities of this cycle in full.Schiff's much-admired art of musical characterisation is particularly evident in these last six sonatas that combine dramatic and symphonic grandeur with intimate beauty. As Schiff completed his Beethoven performances at the Tonhalle in Zurich where all 8 volumes have been recorded live, a journalist wrote "This was a Beethoven which transfixed the audience with its Apollonian balance, its subtly hued sonic and dynamic differentiation, depth of thought and technical command...The three sonatas sounded like a quintessence of pure late style, otherworldly as if made from precious marble" Schiff's reading of the musical texts is personal and charismatic, yet extremely thorough, offering many revealing new insights.

This album from pianist Rafal Luszczewski contains both live and studio recordings by this versatile artist. This time the pianist, somewhat analogously to his previous album, decided to bring you closer his public performance of the complete set of Fryderyk Chopin’s Ballades, supplementing the album with other selected works by the Polish Romantic. ”I appreciate the concert performances as the more lively, genuine and authentic than the recordings made in studio. This is due to the fact that the artist’s
performance of music with the participation of audience, on a concert stage, is accompanied by genuine emotions. Each concert is a rush of adrenaline, which translates into a spontaneous performance, fresh interpretation ideas, liveliness and at the same time authenticity of the artistic message. Nowadays, only a few living artists decide to record such a demanding repertoire in the concert version.” Rafal Luszczewski