舒伯特：冬之旅/菲舍尔-迪斯考演唱，布伦德尔钢琴，菲利普50周年版

01 Symphony No.4 in E minor, Op.98 - 1. Allegro non troppo
02 Symphony No.4 in E minor, Op.98 - 2. Andante moderato
03 Symphony No.4 in E minor, Op.98 - 3. Allegro giocoso - Poco meno presto - Tempo I
04 Symphony No.4 in E minor, Op.98 - 4. Allegro energico e passionato - Più allegro

Glenn Gould (piano)

《企鹅唱片指南》三星带花名版。
又是一张一代名盘，四季必听必搜的版本，阿卡多用四只史特拉底名琴演奏四季，是发烧友必备的一张古典名盘。
阿卡多版的四季音色讲究，悠扬，除第一小提琴之外，另一个角色起到了至关重要的作用——羽管键琴（布鲁诺·卡尼诺），在许多时候小提琴与羽管键琴处于平等的位置，个别乐句中它甚至单独发挥作用。阿卡多版注重音色，这正迎合了“春”的诗句要求：阿卡多演奏速度偏慢，加之稍强的羽管键琴，使人感觉春意融融，暖风拂面；以G弦模拟鸟儿的叫声靓丽悦耳。在“夏”的第一、二乐章和“秋”的第二乐章中，作为独奏家的阿卡多显示出了强劲的实力，他右手的运弓非常有力度。

The long-awaited and highly anticipated recording of Lang Lang performing Chopin's Piano Concertos nos. 1 & 2 has arrived. Both concertos are among the most beloved in the repertoire and Lang Lang's many concert performances frequently receive the highest praise. Lang Lang is joined by Zubin Mehta and the Vienna Philharmonic in a brilliant pairing of talent and temperament. This is sure to become a benchmark recording of these beloved concertos. Lang Lang has sold over 100,000 CDs in the US alone and will be on tour September to November throughout the US, including many performances of the Chopin concertos.

Legendary Polish pianist Krystian Zimerman in his first solo album for DG for over twenty-five years.
Revelatory readings of Piano Sonatas D959 & D960, Schubert’s last major compositions for the piano before his death aged thirty-one. Recorded at the Kashiwazaki City Performing Arts Centre in Japan in January 2016.
Krystian performed these last two eternal masterworks intensely over the last few years to highest critical acclaim. This album is set to take its place among the great Schubert recordings.

世界中から注目を集め続ける15歳のピアニスト小林愛実、待望のセカンド・アルバム。
☆2010年12月　ショパン・パスポートをポーランド政府より授与！
選ばれたのは、ショパンに貢献していると認定された世界で100人の芸術家、日本人はたったの5人。
その中に小林愛実が選ばれました！
選ばれた日本人は、横山幸雄、小林愛実、小曽根真、井上道義、観世銕之丞（能楽師）の5名。
☆2011年1月　ショパン国際ピアノコンクールin ASIAで、年齢制限無しの部門で金賞受賞！
これまでにもコンクールでは、毎度最年少記録を更新してきましたが、今回初めて年齢制限のない部門に挑戦。
大学生、大学院生等に混じり、本選に出場しましたが、圧倒的な演奏で、見事金賞およびコンチェルト賞を受賞しました！
☆2011年1月31日　映画デビュー！ロッテルダム国際映画祭にてワールドプレミエ！
「ピアノを弾く少女役」としての打診を受け、昨年出演し、映画音楽も全編演奏した映画「ネムリユスリカ」が
1月31日、ロッテルダム国際映画祭に出展することになった。
小林愛実は、ピアノを弾く少女の役で出演、映画の音楽も全編小林愛実のピアノ演奏となっています。
日本公開は、2011年11月予定。既に、あらたな映画音楽のオファーがあり、演奏することが決まっています。
☆2011月4月3日　小澤征爾氏が監督を務める、ニューヨークジャパンフェスティバルにて　カーネギーホール　ソロリサイタルデュー！
2011年5月8日には、その凱旋公演として、東京オペラシティコンサートホールで、最年少ソロ・リサイタルを実現！
（2010年には、サントリーホール大ホールにて、日本人ピアニスト、最年少リサイタル記録を更新！）
☆月刊ショパンにて、連載を開始し、彼女の文章力も話題になっています！
また、ピアノ専門誌「月刊ショパン」では、小林愛実の日常をつづった「小林愛実の15歳エッセイ♪　いつもHappy Music」を連載開始！
いつも自然体で愛されキャラの小林愛実の素顔がそのまま文章に現れ、人気コーナーになってます。
そして、活躍目覚しく、世界から常に注目を集める小林愛実が、3年前から弾きたかった「熱情」をいよいよ録音！
前作でも特に定評のあったベートーヴェンのソナタの中から、今小林愛実が3年前からずっと弾きたかったという「熱情（ピアノ・ソナタ第23 番）」、
そして「悲愴（ピアノ・ソナタ第8番）」、シューマンの名曲「子供の情景」、ピアノを習う人たちが必ず通る、王道曲を3曲収録。
いずれも小林愛実が得意とする音楽性に富んだ深い作品。
ほとばしる表現力で、様々な「音楽の深み」に挑戦。聴きごたえのある1枚となりました。

介质为1CD！

技巧与才情兼具的小提琴家帕尔曼与古典吉他王子约翰·威廉姆斯旷世珍藏版！

以出神入化的演奏技巧，瘦骨嶙峋的面容、热情奔放的曲韵，深入人心的意大利“超技派”小提琴演奏、作曲家帕格尼尼，“二十四首随想曲”堪称代表作，也是一般乐迷熟知的；然而他特别选择吉他作为另一创作题材，与一位会演奏吉他的女性朋友有关，为此谱写下约二百首的吉他音乐。专辑中精选的奏鸣曲、小品等，一反帕格尼尼光璨的风格，而显现柔魅的气韵，一新你的耳目。

吉他演奏兼作曲家的朱里尼，深谙吉他，作品对吉他刻画细腻，专辑中所选作品是朱里尼较鲜为人知的吉他曲，将吉他独具的音响发挥尽净。

由技巧与才情兼具的小提琴家帕尔曼、英国吉他王子约翰·威廉姆斯搭档，此意大利双杰的精神有完美的化身。

01 1-3 帕格尼尼：如歌的风格第1奏鸣曲混成曲 NICCOLO PAGANINI CENTONE DI SONATE,OP.64,NO.1
02 4 帕格尼尼：E小调奏鸣曲OP.3之6 PAGANINI SONTA NO.6 IN E MINOR,OP.3
03 5-7 帕格尼尼：A大调协奏奏鸣曲 PAGANINI SONTA CONCERTATA IN A MAJOR
04 8-15 朱里尼：为小提琴和吉他而作的奏鸣曲 MAURO GIULIANI SONATA FOR VIOLIN AND GUITAR
05 16 帕格尼尼：为吉他和小提琴而作的如歌的风格曲 PAGANINI CANTABILE FOR VIOLIN AND GUITAR

《肖邦第2钢琴奏鸣曲等》肖邦：26首《前奏曲》，《第二钢琴奏鸣曲“葬礼进行曲”》/钢琴演奏大师阿格里奇发挥出了极高的水平，自然奔放而富有灵感，触键富有诗意和个性，效果辉煌，是不可多得的一款优秀版本。肖邦一生不离钢琴，所有创作几乎都是钢琴曲，被称为“浪漫主义的钢琴诗人”。

肖邦，波兰伟大的音乐家、作曲家。代表作：《马祖卡舞曲》、《圆舞曲》、《葬礼进行曲》、《革命练习曲》。

自幼喜爱波兰民间音乐，从六岁时开始学习钢琴，在七岁时写了《波兰舞曲》，八岁登台演出，十六岁时加入了华沙音乐学院作曲班，不满二十岁已成为华沙公认的钢琴家和作曲家。后半生正值波兰亡国，在国外度过，创作了很多具有爱国主义思想的钢琴作品，以此抒发自己的思乡情、亡国恨。其中有与波兰民族解放斗争相联系的英雄性作品，如：《第一叙事曲》、《bA大调波兰舞曲》等；有充满爱国热情的战斗性作品，如《革命练习曲》、《b小调谐谑曲》等；有哀恸祖国命运的悲剧性作品，如《降b小调奏鸣曲》等；还有怀念祖国、思念亲人的幻想性作品，如不少夜曲与幻想曲；有《离别》等感情的钢琴曲。

01—24 24 Préludes op.28 33:39
25 Préludes Np.25 op.45 4:03
26 Préludes Np.26 op.posth 0:40
27—30 Klaviersonate No.2 op.35 22:47

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……

The most renowned Canadian classical performer of the 20th century, pianist Glenn Gould remains one of the most fascinating and celebrated figures in all of music, the archetypal riddle wrapped inside an enigma wrapped inside a conundrum. A former child prodigy, his piano artistry was unparalleled, yet he often received less recognition as a virtuoso than as a troubled eccentric; a disconnected recluse notorious for such odd habits as wearing a wool topcoat in the dog days of summer, Gould was a sight to behold even in live performances — seated on a low chair and slumped over the keyboard, humming (sometimes singing) audibly to himself as he played, all the while conducting with his free hand. Gould's impossible technique and singular behavior were so hotly debated by scholars that often it seemed that his actual skills were negligible; perhaps it's not surprising that at the age of just 31, he left public performance behind forever, turning instead to broadcasting and writing, as well as an almost obsessive exploration of modern recording technology.
Gould was born in Toronto, Ontario, on September 25, 1932, the product of a musical family that included his father, an amateur violinist, and his mother, a pianist and organist; Edvard Grieg was a distant relation as well. Even at the age of three, Gould evidenced prodigious skills — in addition to his absolute pitch, he was already able to read staff notation, and just two years later he authored his first compositions. At the age of ten, he began lessons at the Royal Conservatory of Music in Toronto, and in 1944 took home the piano trophy from the annual Kiwanis Music Festival, the only such contest he ever entered in response to his strong opposition to the idea of competitive performance. In 1945, Gould passed his associateship examination as a solo performer at the Royal Conservatory; that same year he offered his first public performance on the organ, a concert reviewed under the headline "Boy, Age 12, Shows Genius as Organist."
At the age of 14, Gould made his debut as soloist at a Royal Conservatory orchestral performance of Beethoven's Fourth Piano Concerto. His first public recital was in 1947, and featured works by Scarlatti, Beethoven, Chopin, and Liszt; his debut network radio recital followed over CBC airwaves in 1950, and marked the beginning of his long relationship with broadcasting and recording. In early 1955, Gould made his New York debut, and within hours signed with Columbia's Masterworks imprint. His first recording, a performance of Bach's Goldberg Variations, became an instant best-seller, and he went on to make over 60 more recordings for the label in the years to follow. In 1957, Gould toured Europe, and at the peak of Cold War tensions he became the first North American ever to perform in the Soviet Union. His concert career continued to great success during the early '60s, but in Los Angeles on April 10, 1964 — with no advance warning, and without fanfare — he delivered his final public performance.
Gould's decision to retire from live performances was in part a result of his desire to focus more of his energies on writing, broadcasting, composing, and conducting; his first major new project was a "sound documentary" called The Idea of North, a philosophical musing on the meaning of northern existence. Keeping in contact with the outside world primarily over the telephone, Gould was often out of the spotlight for long periods of time, but in 1981 he broke with his long tradition of not re-recording material to return to the work with which he remained most closely identified, the Goldberg Variations; his decision was motivated in large part by the vast improvements in technology during the quarter century that separated the two recordings. Months later, he formed a Toronto chamber orchestra, serving as their conductor on a recording of Wagner's Siegfried Idyll; it was his last major work — Gould died on October 4, 1982, after suffering a stroke. He was just 50 years old.