Disc 1:
01 Die Braut von Messina - Overture in C minor Op. 100 (1991 Digital Remaster)
02 Symphony No. 1 in B flat Op. 38 (Spring) (1991 Digital Remaster): I. Andante poco maestoso - Allegro molto vivace
03 Symphony No. 1 in B flat Op. 38 (Spring) (1991 Digital Remaster): II. Larghetto
04 Symphony No. 1 in B flat Op. 38 (Spring) (1991 Digital Remaster): III. Scherzo (Molto vivace) - Trio I - Trio II
05 Symphony No. 1 in B flat Op. 38 (Spring) (1991 Digital Remaster): IV. Allegro animato e grazioso
06 Symphony No. 2 in C Op. 61 (1991 Digital Remaster): I. Sostenuto assai - Allegro ma non troppo
07 Symphony No. 2 in C Op. 61 (1991 Digital Remaster): II. Scherzo (Allegro vivace) - Trio I - Trio II
08 Symphony No. 2 in C Op. 61 (1991 Digital Remaster): III. Adagio espressivo
09 Symphony No. 2 in C Op. 61 (1991 Digital Remaster): IV. Allegro molto vivace

Disc 2:
01 Hermann und Dorothea - Overture in B minor Op. 136 (1991 Digital Remaster)
02 Symphony No. 3 in E flat Op. 97 (Rhenish) (1991 Digital Remaster): I. Lebhaft
03 Symphony No. 3 in E flat Op. 97 (Rhenish) (1991 Digital Remaster): II. Scherzo (Sehr mäßig)
04 Symphony No. 3 in E flat Op. 97 (Rhenish) (1991 Digital Remaster): III. Nicht schnell
05 Symphony No. 3 in E flat Op. 97 (Rhenish) (1991 Digital Remaster): IV. Feierlich
06 Symphony No. 3 in E flat Op. 97 (Rhenish) (1991 Digital Remaster): V. Lebhaft
07 Symphony No. 4 in D minor Op. 120 (1991 Digital Remaster): I. Ziemlich langsam - Lebhaft
08 Symphony No. 4 in D minor Op. 120 (1991 Digital Remaster): II. Romanze (Ziemlich langsam)
9 Symphony No. 4 in D minor Op. 120 (1991 Digital Remaster): III. Scherzo (Lebhaft) & Trio
10 Symphony No. 4 in D minor Op. 120 (1991 Digital Remaster): IV. Lebhaft - Schneller - Presto

The Op. 42 Notturno for viola and piano is an arrangement of the 1796-97 Serenade in D, Op. 8, which was scored for violin, viola and cello. But it was not the composer who reduced it to piano and viola here. F. X. Kleinheinz did the arrangement and presented it to Beethoven, who corrected it and approved it for publication in 1804. In the same year Kleinheinz also fashioned an arrangement of Beethoven's Op. 25 Serenade for flute (or violin) and piano, with the composer once more making emendations he deemed necessary for publication, at which time he assigned the opus number 41. There were other instances where Beethoven allowed another hand to transcribe his music: the Op. 104 String Quintet (1817) was an arrangement (now attributed to Kaufmann) of the Op. 1 Trio, No. 3, and the Op. 64 Sonata for Cello and Piano was an arrangement by an unknown party of the Op. 3 String Trio. And there are more such instances.
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Felix Mendelssohn composed three violin sonatas (two of which have only in the last 50 years been re-discovered and published) and, as he moved toward and into his thirties, a pair of cello sonatas. Three-quarters of the members of a standard string quartet are thus satisfied; and the other quarter will quickly tell you that Mendelssohn also, in fact, satisfied, or at least tried to satisfy, them -- for in 1824 he composed something most remarkable for the time: a Sonata for viola and piano in C minor.
Mendelssohn's Viola Sonata is not actually unique for its day -- other composers had applied, were applying, and would apply the instrument to the genre. But still there certainly aren't many Classical or early-Romantic viola sonatas. The sonata is by date early Mendelssohn; Mendelssohn was 15 when he signed his name to the piece on February 14, 1824 (he was in fact just a week and a half past his 15th birthday). There is, however, nothing juvenile about the music it contains, and if in his adulthood he wrote superior music, that is a comment not regarding the Viola Sonata's shortcomings, but rather Mendelssohn's own outstanding -- if not always fully used -- gifts.
The composer was himself a keen violinist and violist in his youth (it is well-known that he played one of the viola parts in an early performance of his Octet in E flat), and he clearly understands all of the difficulties that come hand-in-hand with composing for viola. He is sure to keep the piano writing transparent and lean so that the viola and its musically unwieldy register can shine through at any moment.
There are three movements. 1. Adagio -- Allegro, in the usual sonata-allegro form; 2. Menuetto (Allegro molto), with a slightly slower, chorale-like trio section; and 3. Andante con Variazioni, in which the violist occasionally drops out so that the pianist might let loose a bit and draw some thicker, more opaque sounds from the instrument.
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Robert Schumann's little-known Märchenbilder (Fairytale Pictures) for viola and piano (alternately for violin and piano, by the composer's own indication) were composed during March of 1851, during his brief and relatively unhappy tenure as conductor at Düsseldorf. Chronologically, these four fantasy pieces occupy the space between the two sonatas for violin and piano, though they can hardly be said to inhabit the same emotionally conflicted world. Instead, they draw the listener into that same glistening world of fantasy and childlike imagination that, many years earlier, drew from him some of the most beloved piano music in the repertory. However, twenty years of further experience and the first signs of approaching madness grant to these seemingly simple portraits an almost desperate sense of escapism lacking in the earlier piano works.
The first of the four Märchenbilder, marked Nicht schnell (Not fast), features a somber melody in D minor that recurs throughout the piece in a variety of guises. Lebhaft (spirited), which follows, is a kind of truncated rondo that contrasts its main, exuberant, theme with two much gentler digressions, while pitting the violin and piano against one another in friendly competition. Rasch (swift or brisk), a vehement moto perpetuo, follows. A secondary motive, announced by the piano in the fifth bar of the piece, is of rhythmic interest and considerable importance. The final piece of the group is set in the traditionally happy key of D major, but is nevertheless marked Langsam, mit melancholischem Ausdruck (Slowly, with melancholy expression). Its sonorous texture seems to presage the Adagio of Johannes Brahms' D minor violin sonata.

Schumann: Violin Concerto in D minor, WoO 23
Mendelssohn: Violin Concerto in E minor, Op. 64
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Henryk Szeryng (violin)
London Symphony Orchestra
Antal Dorati
Recorded: 1964-07-05 (Schumann) 1964-07-03 (Mendelssohn)
Recording Venue: Watford Town Hall, London
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Bartók: Romanian Folk Dances for piano, Sz. 56, BB 68
Debussy: La plus que lente
Novácek, O: Perpetuum mobile - Concert Caprice Op. 5 No. 4
Brahms: Hungarian Dance No. 17 in F sharp minor
Marroquin: Mexican Lullaby
Rimsky Korsakov: The Tale of Tsar Saltan, Op. 57
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Henryk Szeryng (violin), Charles Reiner (piano), Jascha Heifetz (work arranger)
Recorded: 1963-02-14
Recording Venue: Ballroom Studio A, Fine Recording, New York

顾圣婴（1937－1967），江苏无锡人，1937年7月2日生于上海，是一名钢琴演奏家，被称作“演奏肖邦的钢琴诗人”。

“RCA RED SEAL BEST 100”系列之062，BVCC-37262。

Sony master works,HERITAGE

舒曼：钢琴五重奏
SCHUMANN: Piano Quintet
这首五重奏，降E大调，OP.44，作于1842年，1843年1月8日由克拉拉主奏钢琴首演，共4个乐章：1.华丽的快板，降E大调，奏鸣曲式。呈示第一主题后，以变奏方式处理，钢琴从中抽出旋律，弦乐反复此旋律进 行。钢琴呈示第二主题后，各乐器确保，第一主题形成呈示部结尾。发展部由钢琴从容地奏第二主题变形始，增强力度呈示第一主题后，把第一主题动机分割发展。再现部第二主题在第一主题基础上再现，以第一主题而进入尾奏。2.稍宏大而以进行曲风格，葬礼进行曲风格，却以回旋曲形式。第一小提琴奏进行曲主题，确定后转C大调。第一小提琴和大提琴奏第一副主题，回归C小调后主题第一次再现，转F小调，钢琴奏第二副主题。中提琴第二次强调主题后，第一小提琴和大提琴提出第二副主题，第一小提琴和大提琴以F大调再提出第一副主题，最后以C大调和弦终止。3.谐谑曲，极快，降E大调，有2个中间部。以上升音阶型钢琴乐句始，进行对位处理。第一中间部为降G大调，第二中间部为降A大调。4.不太快的快板，降E大调，自由的奏鸣曲式。先由钢琴奏C小调有力的主题，这个主题经经过部转为G大调，中提琴呈示柔和的第二主题，各乐器反复后结束呈示部。发展部钢琴以E小调呈示第一主题后，钢琴E大调出现细小音型，引出中提琴奏第二主题，第一小提琴予以对位。钢琴在升C小调上以第一主题开始再现部，大提琴引出第二主题，尾奏在C小调上，钢琴提出第一主题，第二小提琴以对位开展赋格。钢琴再现第一乐章第一主题，第二小提琴再与之展开二重赋格而达高潮结束。
勃拉姆斯：钢琴五重奏
BRAHMS: Piano Quintet
勃拉姆斯的这首《钢琴五重奏》，F小调，OP.34，实际上是在F小调弦乐五重奏基础上改编而成。勃拉姆斯于1862年作成弦乐五重奏，因不满意，干1864年2月改编成两架钢琴的奏鸣曲，10月又改成钢琴五重奏形式。这首作品是勃拉姆斯中年时期的重要作品，共4个乐章：1.不很快的快板，F小调，奏鸣曲式。这一乐章的呈示部和发展部，第二主题的篇幅和比重都占很大的地位，它似一种暗藏在整体发展之后的动机，一点一点地升发开来。尾奏开头有一段，钢琴处理成背景，突出对位的弦乐四重奏的效果。2.稍慢的行板，降A大调，3段体，具舒伯特柔和而又抒情的风格，开头主题亦类似舒伯特《冬之旅》中的《休闲》旋律。第一段旋律在流动中多少有些沉郁，第二段弦乐器与钢琴交互对话速度加快，似倾诉又似回忆。第三段速度转化，又以降A大调展开。3.谐谑曲，快板，C小调，3段体。变化多端，其中风格不同的3个主题交互出现，拿波里六和弦得以普遍运用。第一段有很漂亮的赋格，第二段将高昂的情绪转为温暖的抒情，第三段为第一段再现。4.如歌的行板（序奏）转不很快的快板，回旋曲式，其尾声有急速而无限动荡的印象。
简诺•扬多 ：Jeno Jando （1952—— ）出生于匈牙利南部的佩奇。七岁就开始学钢琴，而后在李斯特音乐学院随卡特林•奈莫斯和保•卡多索学习，并在1974年成为后者的助手。扬多在国内外的许多钢琴大赛中获过大奖，其中包括在1973年匈牙利钢琴大赛和1977年悉尼国际钢琴大赛室内音乐组中夺得的桂冠。除了在匈牙利频频露面演出外，他还在东西欧，加拿大和日本一展其精湛的演奏技艺。绝大多数中国爱乐者最容易买到的就是Naxos厂牌的唱片，价廉物美，且录音上乘。而扬多恰是Naxos厂牌录音最多的钢琴家。
柯达伊四重奏团 Kodály Quartet
柯达伊四重奏团成立于1966年，由匈牙利布达佩斯李斯特音乐学院的学生组成。经过几次人员变动，柯达伊四重奏团已经成为具有匈牙利传统弦乐四重奏风格的演奏团体了。乐团成立初期，受到弗里吉斯·向陀尔、维尔莫斯·塔特拉伊和安德拉斯·米哈伊诸教授的悉心指导，尤其是后者对该重奏团起到继往开来的作用。
时至今日，柯达伊四重奏团差不多已走遍了欧、美与亚洲各地。他们的演奏曲目除了标准的古典曲目之外，偏重于匈牙利作曲的作品可称之为最准确与最权威的诠释。他们已经录制了全套的海顿、德彪西与拉威尔的弦乐四重奏作品，最近还准备为Naxos唱片公司录制贝多芬与舒伯特的弦乐四重奏。
柯达伊四重奏团自成立以来成绩斐然，至今已获得“李斯特奖”(1970)、“匈牙利共和国功勋艺术家”称号(1990)以及“巴托克·帕斯托利奖”(1996)。该团在Naxos演绎的多款海顿的室内乐作品都获得英国《企鹅唱片指南》三星以上的好评鉴，1993年发行的室内乐专辑(海顿：弦乐四重奏Op.64)被古典CD杂志评为最佳唱片，。
柯达伊四重奏团的首席小提琴阿蒂拉·法尔瓦伊：16岁时即进入李斯特音乐学院学习，师从斯尼科夫斯基教授。1979年获西盖蒂国际小提琴比赛二等奖。翌年获胡巴伊比赛一等奖。毕业以后，他在维也纳音乐学院的约瑟夫-西沃教授指导下继续深造。1980年加入柯达伊四重奏团。
第二小提琴托马斯·萨博出生于布达佩斯。七岁即开始学音乐。1969年毕业于李斯特音乐学院。当时他已经是匈牙利国家乐团的成员了。后来成为布达佩斯节日乐队的第二小提琴首席。在大学期间，萨博研习并演奏室内乐，1969年成为柯达伊四重奏团成员。
中提琴嘉博尔·费亚斯出生于杰尔，并在那里接受基本音乐教育。1963年-1967年进入李斯特音乐学院，并成为李斯特室内乐团成员。1966年他进入柯达伊四重奏团，1968年该团在布达佩斯举行的莱奥-韦纳国际四重奏比赛上获一等奖。1969年，费亚斯个人获ARD慕尼黑三重奏比赛二等奖。
大提琴杰尔吉·埃德尔：在李斯特音乐学院师从埃德-班达教授。完成学业后他继续在美国与加拿大的耶鲁大学(1978)、班夫中心美术学校(1983)以及威斯康星大学(1984-85)学习。他曾担任布达佩斯交响乐团的大提琴首席多年。他还是埃德尔弦乐四重奏团的创始人。
1999年11月9日，柯达伊弦乐四重奏团于第二届北京国际音乐节期间在北京音乐厅举办“室内乐作品音乐会”，中国的观众有幸亲耳聆听这个世界著名的重奏团的现场演出。

Wolfgang Sawallisch and the Dresden Staatskapelle make fitting and eloquent interpreters of Schumann’s four symphonies, each a highly distinctive work. The city of Dresden was the composer’s home for six years, while Sawallisch was a keen advocate of his large-scale works. For all the energy and passion that Sawallisch communicates in these performances, he does not impose himself on the music; he is content to illuminate and reinforce Schumann’s inspired, if sometimes idiosyncratic arguments.

阿本德洛特1949-1956录音
阿本德洛特(Hermann Abendroth)，德国指挥家。1883年 1月19日生于美因河畔法兰克福，1956年 5月29日卒于耶拿。
曾从L.图伊莱学习理论。
1903～1904年任慕尼黑管弦乐团指挥。
1905～1911年任吕贝克市歌剧院指挥。
1911年在埃森任指挥。后去科隆，同时在伦敦及其他欧洲城市担任客席指挥，确立了国际声誉.。
1915年起任科隆音乐学院院长。
1922年莱茵河音乐节上担任指挥。
1934～1942年继瓦尔特之后任莱比锡布店大厦（格万特豪斯）管弦乐团首席指挥。
1947年任魏玛音乐学校校长。
1949年任莱比锡广播电台音乐指导。
1951年他举办了布拉格春天国际音乐节。
阿本德洛特二战后留在东德，并且成为战后第一位获苏联政府之邀请在莫斯科亮相的德国指挥。他以擅长指挥德国古典音乐而著称，他的指挥特点是忠实于总谱、严谨而热情。