这是一张现场录音CD。录制于1976年3月3日。
肖氏的这首交响曲，E小调，OP.93，作于1953年，该年的12月17日由穆拉文斯基指挥列宁格勒爱乐首演。此曲作于斯大林死后，西方有些评论家因此而认为与表现“斯大林体制下的苏联民众的痛苦”有关。斯大林死后，苏联社会开始“解冻”。在这首交响曲首演前一个月，哈恰图良发表了《创作的自由灵魂》，认为艺术家的自由，才是产生伟大作品的源泉。此曲首演后引起争论，原因是终乐章无法拭去全曲悲剧印象。肖氏在对此曲的讨论会上表示，“在作品中，我期望能描绘出人类的感情和热情”。

作曲：Ludwig van Beethoven
指挥：Carlo Maria Giulini
钢琴：Arturo Benedetti Michelangeli
演奏：Wiener Symphoniker
录音：Wien, Musikverein, Groβer Saal, 2/1979
CD编号：Deutsche G 419 249-2
资源出处：my own cd
专辑介绍：
降E大调《第五钢琴协奏曲》是贝多芬所有的钢琴协奏曲作品中，规模最为庞大的一部，故常被人称为“皇帝协奏曲”。贝多芬自1808年开始着手创作此曲，并于第二年完成。当时由于拿破仑率领法军占领了维也纳，使得本曲迟迟不能上演。据说在法军四处作乱的时节，贝多芬曾遇见法军军官，他当即握紧拳头，咬牙切齿地说：“如果我对于战术也像对对位法一样有深入了解的话，非给你一点颜色看看不可! ”直到1811年，本曲才在德国的莱比锡得以首次公演。当时的音乐杂志《大众音乐报》曾这样评价本曲：“毫无疑问，这是所有已经创作出来的协奏曲中最富创造力、最富想象力和最引人注目的作品，同时也是在技巧上最为艰深的一部。”
米凯兰杰里的演绎实在十分狂放。这位乐坛怪杰，不喜欢在录音室里演奏；但在现场气氛启发之下就灵感焕然，光芒四射。不过，他的即兴演奏却不宜于作为经典供奉。同是皇帝协奏曲的录音，塞尔金(Serkin)演来是位庄严富人情味的乔治第五，而米凯兰杰里却是位潇洒的温莎公爵。故此，当你怀着现场演奏的形象去欣赏时，本碟就不失为最富于刺激性和娱乐性的佳作。单听大师神乎其技的指法，已令人五体投地了。录音极丰满悦耳，间中有些超越平衡的木管乐器排众而出，但不足以垢病。

Lang Lang's first concerto album on the Sony label unites the world’s greatest International music stars: Lang Lang, Sir Simon Rattle and the Berlin Philharmonic Orchestra. This highly awaited collaboration resulted in a recording which will mark one of this year's most important core classical releases in the music industry.
Recorded at Berlin's Philharmonie, the album presents two mile stones of the 20th century piano literature: Prokofiev’s explosive Piano Concerto No. 3, (one of the great show stoppers in the concert literature), and the Bartók Concerto Nr. 2, probably the most technically challenging piece ever written for piano and orchestra.
Comes in luxuriously designed photo-loaded deluxe packaging.
An up-close and highly personal TV documentary (Working Title: "At the Highest Level") will accompany the release. The film will give an exclusive insight into processes that are normally hidden: the preparations of the musicians, the recordings at the Philharmonie in Berlin and the struggle to get the best sound, as well as the post-production phase.
Produced by award winning company BFMI (Bernhard Fleischer Moving Images) and directed by Christian Berger the 60” TV documentary “The Highest Level” gives an exclusive insight into processes that are normally hidden: the preparations of the musicians, the recordings at the Philharmonie in Berlin and the struggle to get the best sound, as well as the post-production phase. The viewer gets unusually close to the stars of the film.

01 Préludes - Book 2 - 1. Brouillards
02 Préludes - Book 2 - 2. Feuilles mortes
03 Préludes - Book 2 - 3. La puerta del vino
04 Préludes - Book 2 - 4. "Les fées sont d'exquises danseuses"
05 Préludes - Book 2 - 5. Bruyères
06 Préludes - Book 2 - 6. "General Lavine" - eccentric
07 Préludes - Book 2 - 7. La terrasse des audiences du clair de lune
08 Préludes - Book 2 - 8. Ondine
09 Préludes - Book 2 - 9. Hommage à S. Pickwick, Esq., P.P.M.P.C.
10 Préludes - Book 2 - 10. Canope
11 Préludes - Book 2 - 11. Les tierces alternées
12 Préludes - Book 2 - 12. Feux d'artifice

01 Piano Concerto No. 1 in D flat Op. 10: First movement: Allegro brioso 6:57
02 Piano Concerto No. 1 in D flat Op. 10: Second movement: Andante assai 4:34
03 Piano Concerto No. 1 in D flat Op. 10: Third movement: Allegro scherzando 4:31
04 Concerto for Piano and Orchestra No. 3 Sz119: First movement: Allegretto 7:22
05 Concerto for Piano and Orchestra No. 3 Sz119: Second movement: Adagio religioso -(poco più mosso) - tempo I 10:45
06 Concerto for Piano and Orchestra No. 3 Sz119: Third movement: Allegro vivace - (presto) 6:50
07 Piano Concerto No. 3 in C Op. 26: First movement: Andante - Allegro 9:43
08 Piano Concerto No. 3 in C Op. 26: Second movement: Tema: andatino - Variation I: L'istesso tempo - Variation 2: Allegro - Variation 3: Allegro moderato (poco meno mosso) - Variation 4: Andante meditat 9:39
09 Piano Concerto No. 3 in C Op. 26: Third movement: Allegro ma non troppo - meno mosso - Allegro 9:51

Gustav Mahler was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century.